Taped in 1957 for EMI, this second of Rosalyn Tureck’s six recorded “Goldbergs” is not dissimilar from the veteran pianist’s recent Deutsche Grammophon remake in certain respects. Tempos, in the main, are basically slow. Each phrase, choice of dynamic, and mode of articulation appears to have been worked out with scientific precision. I prefer the older Tureck’s freer way with ornaments (DG), plus the quicker pace and more rhapsodic treatment of the toccata-like Variation 29 (in her splendid 1982 VAI version). Tureck’s control over her instrument is awesome, but there’s little joy and abandon to her music making. Still, you can’t deny her genius for clarifying contrapuntal lines and following them through to their ultimate destination. Much of this studied approach is evident throughout Tureck’s French Overture, but with more communicative results. Impressive too are Tureck’s masterful distinction between “solo” and “tutti” effects in the Italian Concerto, and her fusion of laser beam clarity and contemplative repose in the underrated Duets. However you respond to Tureck’s Bach, Philips is to be congratulated for making these long-out-of-print recordings available again.
