yes indeed this double cd re-relased by EMI in 2008 under its apparently contentious Prism sound mastering system offers very fine Bach here by Tureck. Rosalyn Tureck is of course one of the most noted Bach interpreters on piano along with the love/hate Glenn Gould and in recent years Angela Hewitt, Perahia ,et al
the other reviewer lambasts the poor sound on this double cd for its dull sound due to the use of the aforementioned Prism re-mastering. well... i have only two only moderate hi-fi systems . one a nice panasonic mini systtem and the other is more audiophile although ageing hi-fi separates :denon cd player, cambridge audio amp and tannoy speakers and guess what ? this EMI release in sound perfectly fine ! the sound is lifelike with a natural acoustic and no hiss of course. Ok yes there is a lack of top end sparkle yes but if you have a system with a treble control just turn it up a little to compensate perhaps.
the music and the playing by Tureck (the mono recording is from 1958 ) are marvellous , the Goldbergs receives introspective and a perhaps in places slightly over slow performance here but with much finesse whilst the Italian Concerto on cd 2 sparkles, yet offers much delicacy and introspection by Tureck to this majestic keyboard music. so guess what ? ignore the other review and thoroughly enjoy the elegance, grace and finesse of the Bach s music and Tureck's playing, where the sound quality barely registers as perhaps being slightly lacking presence. however isn't it about the music ? concentrate instead on the music and marvellous elegant playing . all in all a highly recommended double cd that for me is first choice for Bach keyboard interpretations.
This is a horribly egregious example of the current remastering style. In their efforts to reduce inherent tape hiss (obviously the devil incarnate) the entire upper frequency range of recorded music is being removed. Tureck's piano here sounds as if it is being played underwater.
This recording of the Goldberg Variations was made at Abbey Road Studios in 1957. Although EMI lagged behind Decca and DG in the introduction of stereo, it was a full-frequency range recording made on magnetic tape.
These CDs were analyzed by computer frequency spectrum software and indicated no sound above 4k. Since humans hear up to 20K and full frequency recording captured such, we are simply not being given a great deal of the recorded music.
This is a historically important recording. If this is how EMI is presenting and preserving such material, they have a great deal to answer for.