Nordic temperament: yearning for a certain spiritual limit

On the first day of the new year, Gil Shaham's melodious violin in the early morning was very beautiful, and in the afternoon, it was intoxicated by Glenn Gould's 32 short films. The former knew at first glance that it must be the note performed by the water bottle, and then found that it was the genius of the Japanese water bottle. The latter...because from a recent blog post about Nordic countries, I read that the master Gould also has a deep Nordic complex. With curiosity and respect, I immediately found this film and watched it. Because listening to Bach in the past always felt too rigid, after all, I was only used to love instant tacit understanding, so even the Glenn Gould version was deaf. Until now, I found out what I missed. It should be said that after understanding his rebellious and outstanding character, and then immersing my heart in the notes he performed, I was instantly intoxicated. Well, I have to play Gould's Bach one by one and re-experience it.

It's the best documentary I've seen in a long time of celebrity biographies, it's well-drilled, and it's superbly done. In addition to the predicted nordic temperature that is Nordic temperament. I found it interesting and resonated a lot. This musician also speculates on stocks, likes supernatural phenomena, and believes in metaphysical numerology. In the end, his music was taken into outer space as a representative of human crystallization. The ingeniousness of the ending made me feel a magical echo. This verifies that the resonance I have always thought is not accidental, sometimes it is the same kind that intersects a lot, and you knew it would be like this at the first moment. It is a pity that since ancient times, manic genius has emerged, and many other souls who can resonate will not become the latter if they do not possess the former. . . That is, whether you have the courage to bring art to the extreme, and at the cost of the loneliness of the high and the low, this is exactly the watershed between the "master" and "audience" that I have concluded. Looking at Gould's astrological chart, I found that it was the configuration of his sensitive heart (the moon) that made him so sensitive and extraordinary. Whenever I dig into the hearts of the masters, I understand their works better. Artists' temperaments are seldom perfect, but their souls are undoubtedly pure and great.

Here's the text about that, where he explained my indescribable northern plot for me. . .
"Faced with growing frustration, young musicians are scrambling from left to right, looking forward to breaking out and creating a world where 'it only cares about my music but not who I am. Finally, he decided to quit the stage and go "north"!
"You may not believe it," Gould wrote to a friend in 1965, a year after he retired from the stage. "What I am thinking of now is a trip to the North Pole. There is an unquenchable desire in my heart, I want to go to the polar seaside." Gould, who is originally from Scotland, has long had a mysterious sense of identity with the North. For him, "north" is not only a geographical location but also a certain spiritual limit. He likes the purity and grandeur of the northern ice and snow world, and the loneliness of being inaccessible adds to a certain inner tension and sacred poetry. His interpretation of the north is also fully reflected in his musical taste. Gould has always admired northern European composers, mainly Baja; on the contrary, he was hostile to the rich and colorful French music and Italian opera. According to Gould's aesthetic standards, all passions must be controlled under a clean and cool appearance, and the northern landscapes just meet this standard.
In 1964, Gould announced his retirement from the stage, in a symbolic sense, a declaration that he was heading north. And this invisible "north" is the empty recording studio." In the

short film, Gould said that his fans have an exceptional taste, and they are lucky. I am relieved by this sentence.

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