Among the current generation of players, I especially like Davitt
Moroney's work.  He gets very deeply into issues of phrasing, to bring
out much of the internal rhetoric in these works.  His is a very Baroque,
language-oriented approach with phrasing at the forefront, and he has
basically rethought how a Bach fugue should be articulated (his recordings
predate his live performance of the WTC in London a few years back, a
performance which sparked plenty of debate in print, and was more or less
a consummation of ideas perhaps not fully) reflected in the earlier
recordings.) Some find his interpretations too intellectual, but I
particularly appreciate the lucidity of them.

Todd McComb
[log in to unmask]