Don Satz comments about Perahia:

>... Sony dumped its superb "Vivarte" series that specialized in baroque
>and classical-era music but continues to deluge us with Bach recordings
>from Murray Perahia.  I find this frustrating, given that Perahia is not
>usually idiomatic in baroque music.  Actually, he's not idiomatic in any
>music - it's always Perahia plays Perahia.  His Handel/Scarlatti recording
>was particularly "out in left field".  Yes, his pianism is top-rate and
>he is quite appealing in a generic sense, but what ever happened to
>trying to get into the composer's psyche?  I shudder to think what Perahia
>would do with the music of Scriabin.

I'm no expert, but among the four recordings I have of the Goldberg
Variations, the Perahia is by far my favorite.  (The other recordings:
Gould's first recording, Schiff, Pinnock -- on the harpsichord.) I don't
know if he plays Bach the "right" way.  For starters, many would say
he's playing the wrong instrument.  While I feel that the research that's
been done in the last few decades has shed invaluable light on Baroque
and Classical music, it's ultimately up to the performer.  In general,
I feel that the performer has more license with solo music -- especially
keyboard -- than with ensemble music.  (That reminds me of a time when
I jokingly "complimented" a friend, after her performance in a chorus,
"You sounded great!" If she were singing "correctly", I shouldn't have
been able to distinguish her from the other singers.) I consider love &
dedication to be just as important as anything else in making great
music.  I find this to be especially true with Bach's music.  The Perahia
Goldberg is very special to me because I hear this love & dedication,
from both composer and performer.

Don't get me wrong.  Much love and dedication has gone into researching
Baroque and Classical music, and that can come through in the so-called
"authentic" performances as well.  There are many paths to the truth in
the matter, but they all require love & dedication.

Mike Leghorn