Ray Bayles, not taking well to my Tureck review:

>If you only have money for one, the 1950's Tureck is clearly superior to
>her recent recording...  clearly...  I don't understand how you can hold
>them up as so similar because to me they clearly are not...  what good is
>slightly better sound if the performance is dull...

I did not indicate that the sound on DG was "slightly better".  I referred
to it as "perfect".  I never said anything highly favorable concerning the
Philips sound.

>... her creative power blooms in the 50's version...

I fully agree, and I say it continues to bloom.

>Most dedicated Bach people couldn't even tell for sure that her recent
>recording is even by her...  just another Goldberg.

Obviously, I can't explain why I immediately noticed strong similarities
with both recordings; I heard it and felt it.  Evidently, Ray and others
hear and feel no such thing.  Am I delusional or musically insightful?
I know it's the latter (that could be part of my delusion).

Up to this point I'm taking Ray's criticisms in stride.  But, it does
irk me when I read that the DG performance is "dull" and "just another
Goldberg".  I consider those comments quite inaccurate.  To me, a "just
another Goldberg" would be of the mainstream variety with the usual tempos,
degree of legato/staccato, etc.  Tureck/DG is simply not a mainstream
performance - like it or not like, that's fine, but this "just another"
theme is wrong.

>I don't disagree with you often, Donald, but this one stunned me.

The last thing I want to do is play any part in another person buying a
recording he/she does not like.  All I can do is impart my basic feelings
of the recording in an honest and hopefully understandable manner.  The
connection I felt with the two recordings at issue was a strong one, and
I would have been negligent not to highlight it in my review.  I stand by
everything I wrote in the review.

Remaining with Bach, I plan to post a "thorough" review of the new WTC,
Book I performed by Sergey Schepkin on Ongaku.  I will be explaining what
each prelude and fugue means to me, how I think each works best when
performed, and how Mr.  Schepkin handles it all.  This will contradict my
"be concise" preference, but I'll try to be compact.

On last thing about the Tureck recordings.  I'll be enjoying both of them
for many years, Ray will not: Advantage - Don.

Don Satz
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