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 [log in to unmask]