Well it had to happen, I suppose. Saturday - CD shop - Tureck - credit
card - guilt feelings.

Or not.....

The Goldberg is one of those pieces which I enjoy in a variety of
performances.  Before the Tureck I had five - not that many, I know - but
as one is an arrangement for strings and the other for guitar, I suppose I
should say that I have three.

And where does Tureck fit in?

I decided to spend some time listening to the Goldberg (I know - it's a
lousy job, but somebody has to do it!) and trying to get my feelings about
these different versions in some sort of order.

To start, I played what is obviously the bench-mark version for any
comparitive study of the Goldberg: Leonhardt's masterly performance.
Again, as I listened, I was struck mostly be the ease, by the naturalness
of Leonhardt.  His sense of timing is immaculate, never setting a note in
the wrong place.  It is pure.  Somehow bringing you a better understanding
of Bach.

I decided to stay with the harpsichord and listened next to
Christine Schornsheim.  The harpsichord sound is fuller than that of
Leonhardt - perhaps because she uses a 1994 Klinkhamer which is based on
a German-French example.  I had never heard of Schornsheim until I bought
her Goldberg.  I saw it in the shop and listened to the opening.  For the
first time in my life I heard the Aria played with grace, with style, with
a rare understanding of cadence and phrasing.  It was this which prompted
me to buy it - and I have grown fonder of her version the more I have
listened to it.  As good as Leonhardt? No.  But certainly a worthy
runner-up.

So - two down, two to go.

I next reached for Ivo Janssen's 1997 recording.  Janssen is a 34-year-old
Dutch pianist who is planning to record all of Bach's keyboard works and
publish them under his own label.  I remember frowning when I first heard
this piano recording.  Janssen takes the Aria at such a slow pace that it
balances on the edge of the acceptable.  But this only makes his passionate
entry into the first variation all the more stunning.  And his version
shows considerable thought and care, particularly in the phrasing and the
balance between the two hands.

So - how would Tureck stand up? I was captivated.  I admit it.  Here is
playing which is emotionally charged, but with a refinement and subtlety
which demands respect.  Yet - the more I listened, the more I realised
I was saying to myself "she played that nicely"; "her phrasing there was
excellent".  And I realised that this was playing which made you very
aware of the performer.  You know, as you listen, that everything has been
carefully, assiduously worked out and polished.  Here, nothing is left to
chance.  And you listen to Tureck's Goldberg.

And so, ultimately, I return to Leonhardt.  All the other three are very
fine performances (even that by the virtually unknown Janssen).  But all of
them allow the performer to intrude between the listener and the composer.
Leonhardt would never allow anything so self-serving.  And for this reason,
I would choose his Goldberg for my Desert Island.  But as I am not forced
to go there, I shall be able to enjoy all four.  And I am sure Tureck will
frequently find her way onto my player.

Now - I wonder when Angela Hewitt will release a Goldberg.

Jonathan