Donald writes:

>As far as who plays in Trueck's style, there's not any good answer for
>that.  Her style is her own, and I know of nobody else who sounds like her.
>But, if an answer is needed, I'd go with Nikolayeva - she is slow paced,
>but not as slow as Tureck, and she is very good, but nowhere as good as
>Tureck.  ...

I can relate TOTALLY to what Donald says here, at least on a number of
levels.  And it's gratifying to hear someone talk about Bach's WTC in a
way that I can relate to!

Anyhow, a few comments.  I grew up in Toronto, and was a young "aspiring"
pianist, when Gould was becoming as popular as sliced bread.  I was 10
in ?64 (an infamous year for other reasons) and quite taken with the
Inventions (Bach).  I well remember asking my wonderful Latvian piano
teacher, "Whom should I get playing these pieces?" I mentioned, but
quietly, that I already had Gould.  She replied, "Oh yes, I can tell,
because of the way you are playing." She then instructed me to get Tureck.
I'm pretty sure that every other ten-year old pianist at the RCT (Royal
Conservatory .....) in Toronto got the same advise (and implied
admonition--for listening to Gould).

The curious thing is that having heard the Tureck then, and now more
recently with the newly re-released DG recording of the WTC, I find quite
a few similarities in approach.  Since Gould, who grew up in what we in
Toronto call the "Beach," also studied at the RCT, I think it can be safely
assumed that he grew up with Tureck's Bach.  What is similar? An exquisite
attention to detail, for one.  And phrasing for another.  (It might be
illuminating, here, to look at the Palmer edition, which attempts to
outline phrasing of various artist's.)

I actually have, I think, ALL the recordings currently available on CD
of the WTC.  That means I DON'T have Demus, whom I recall hearing on LP
as a kid, but who isn't available on CD.  But I think I have everyone else.
So a question here for Donald.  I really liked your thumbnail evaluation
(if I may call it that) of the WTC by different interpreters.  But, unless
I'm mistaken, you didn't include Richter or Feinburg, although you've
apparently listened to them.

Why not?  And what's your opinion of them?

BTW, I'd put Nikoilayeva closer to Richter and Schepkin, that is, firmly in
the Russian school of Bach-playing (which I happen to adore).  Tureck, like
Gould, is a phenomenon.  And although it is completely impossible to rate
WTC Bks 1 and 2 as a whole, if I were FORCED to purchase the WTC, and could
get Bk 1 and 2 separately, I would buy Richter on Bk 1, Feinburg on Bk 2,
with Tureck running an excruciatingly close second for Bk 1 and Bk 2.

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