Felix Delbruck writes:

>By the way, is the Bach (and other harpsichord) playing of Landowska really
>the ne plus ultra in imagination and eloquence that people used to think it
>is? Or are her instrument and playing style just too weird and overblown to
>be recommendable now-adays?

As I've mentioned before, it took the Landowska recording to open my ears
to the Goldberg's.  Ironically, now that I have also heard and appreciated
several other versions on both piano and harpsichord, I'm not nearly as
enamored of the Landowska as I was at first.

I'm not sure what this says that could possibly be of general interest
to the list as a whole, except for demonstrating that our taste and our
response to a given work should never be considered as fixed in concrete.
Which also points to why Ms Turek's two versions recorded at the start and
end of a long career (and life) could both speak to listeners in differing
ways.

Ed