Donald writes:

>I was reviewing recordings of WTC II, and I currently only have Richter's
>WTC I on Russian Revelation.  Concerning Feinburg's set, I haven't been
>able to locate it in my home for many months; it was not one of the three
>cd's inside my piano bench.  I'm close to considering it a lost cause and
>purchasing another copy which will likely be a pain to acquire.

Actually, I much prefer the standard and readily accessible Richter WTC,
with all that reverberation that critics love to hate, over the Revelation
CD.  The "standard" Richter WTC that I'm referring to is the compilation
dating 70-73, recorded mostly or entirely at Salzburg.  It's MUCH more
refined playing, I think, than the youthful Revelation recording of Book 1.
And its dead easy to find.  It's been released under many, many labels.

The Feinburg is also dead easy to find, at least in Toronto.  It's
expensive; and it's wild playing; but it's the one of the best investments
I've ever made in piano music.  Astonishing, unmatched performances.
eccentric tempi, of course.  Not played at all the way one is "supposed"
to play the WTC.  But, then, who's complaining? Sure, there are still quite
a few purists out there when it comes to the WTC.  But if one is to give
credit to their perspective, NO ONE in the modern keyboard world would ever
be allowed to play Bach!  Indeed, the clavichord, harpsichord, et al, are
wonderful instruments (perhaps most most wonderful, however, when played,
as opposed to listened to).  But not everyone can afford one!

If only because we live in the 20th century (at least culturally) we
are compelled to use, most of us, the piano as our principle keyboard
instrument.  It's what's generally available.  (And it's not a bad
instrument either, especially when it's well-made.)

Once that simple fact is admitted into evidence, as I think it must be by
sensible people, it would be hypocritical then to commence erecting more
barriers to keyboard performance:  viz, the idea that Bach must be played
"staccato"-style; that tempi must be constant throughout, with only the
most subtle (and almost indiscernible) phrasing; that any use the pedal is
a heresy; etc., etc.  Let the pianist, him or her, speak; listen; and only
then evaluate.

Canonical, rule-bound, stylistic shibboleths about how and on what
Bach should be played on the piano are NOT, after all, scientific or
objective truths.  They are nothing more than personal preferences about
playing--preferences backed by logical reasons, to be sure--but preferences
only, in the end.

>Some artists record excellent WTC sets, such as Hewitt, Aldwell, Suzuki,
>Jarrett, and Schepkin.  A smaller number create unique and compelling
>associations between the artist and Bach - that's where Richter, Feinburg,
>and Tureck reside.  ...

Exactly.   Couldn't agree more.

John Grant
http://artists.mp3s.com/artists/42/john_lewis_grant.html