Two more recordings for the list, both of which I just repurchased because as a silly ten year-old (yes, I started quite young with classical) I never kept any of my discs in their cases, and now I'm (literally) paying for it since I have to replace the ones I managed to ruin. It's amazing to think that I first bought the second in series of these two recordings 14 years ago--I feel quite old.
Bach: Well-Tempered Clavier, Books I & II
Friedrich Gulda, Philips, 1972 (Bk I) & 1973 (Bk II) - Both (in)famous recordings, best known for being extremely dry, both in technique (no rubato, not much pedal, very rigid tempi) and production (close mic'ed, no room or hall ambiance whatsoever), some liken these performances to a robot or MIDI recording. It was also my first set of both books of the WTC and the only one I've spent a considerable amount of time listening to in full, though I have a little bit of experience with selections from others (Gould, Tureck, Richter). From what I understand, this set is like getting hit in the head with a velvet-covered brick compared to the other well-known renditions. Gulda really hammers the keys sometimes, and the counterpoint is always about as naked as could be imagined, though one of the major complaints is that the playing is more vertical than horizontal.
I like the sense of energy and precision throughout. Even in places where Gulda takes a slower (sometimes considerably slower than usual) tempo, it's electric and never sounds mushy or smoothed over. The words
intense and
concentrated often come to mind when listening, and sometimes it's best to enjoy these renditions in smaller doses.
Sound wise, it's not great. Hiss is prominent, and Gulda's thunderous pounding regularly overdrives the equipment. Also, there are a few horrendous edits. I put up with it, though, since there are some selections--the A minor fugue in Book I and the G minor fugue in Book II immediately come to mind--which I haven't found an equal to anywhere. Plus, I like the dryness--if you want reverb and drama, these aren't your recordings. Also, the piano used is a unique-sounding instrument--it bears a strong resemblance to whichever make of piano Kurzweil uses for its piano samples.
All in all, from what I've read, a very polarizing pair of recordings. Probably invaluable as a tool for students attacking the WTC, though, since the counterpoint is so clear. Gulda's interpretations are the equivalent of an unforgiving set of studio monitors--if you like things a little more colorful, you probably won't like these recordings at all.
