Btw, just for your information: Tureck is one of the pianists that Gould admired himself. There are reviews suggesting that Gould's 2nd recording on Goldberg pretty much influenced by Tureck's. Anyway, why waste time on this endless debate. Everyone can have their own favourite.
Yes, I recall reading that. However, in the context I believe he rejected the 'excessive rubato' of Edwin Fischer in favor of Tureck's rhythmic strength.
I mention that in his recording, gould's Italian seems fiery fast, leaving no room for notes to express themselves.
I agree that Gould's playing of the second movement leaves something to be desired in the way of expression. I don't believe that Tureck does any better a job. Larrocha plays the right hand too loud.
In the outer movements, the only pianist who even comes CLOSE to Gould's structural vision is Michelangeli, and even further away are Fiorentino and Richter. I am truly baffled why some claim to prefer tasteless rubato, obnoxious phrasing, and deadly dull rhythm (Tureck) to Gould's sleek presentation.
If you look for showmanship, Gould is the answer. But Tureck and Alicia has more emotional depth and subtle. It is an insult and sickening to say that these pianists can "barely" play. They have dedicated their life for music. Next time, please think twice b4 you make a statement.
First off, I never said tht Alicia de Larrocha could barely play. I have a lot of respect for Mrs. de Larrocha's musicianship and pianistic ability. I also believe she is a great creative interpreter of Spanish music.
It is my view that Tureck's pianistic's skills are not sufficient to play the works of Bach, or almost any other composer. Her playing is pedantic, pedestrian, and mind-numbing. What's more, from interviews I've read of her, she comes across as a conceited, arrogant, and rude individual. She is a very poor ambassador to the music of Bach.
But Tureck and Alicia has more emotional depth and subtle.
Gould was an artist of considerable depth. Gould *could* be labelled superficial judged on the slow movement of his Italian concerto alone. Then again, Tureck *could* be labelled an obnoxious, mind-numbing pedant from her entire recorded output.
Incidentally, if your benchmark for depth in the Italian concerto (slow movement especially) is Rosalyn Tureck or de Larrocha, then you are either deaf or have not heard Artur Schnabel's miraculous recording of it.
Topic: Italian Concerto recordings