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Tureck Bach Research Foundation
Rosalyn Tureck

PRESS EXTRACTS 1999

Liberation, 04/03/1999

Rosalyn Tureck, from the Other Side of Bach, by Eric Danan

Rosalyn Tureck has just created an event by recording her first record for Deutsche Grammophon. As a result people are currently hurrying into the theatres of Europe, to hear the woman through whom the truth about Bach happens.

Midi Libre, 18/02/99

Rosalyn Tureck in the gardens of JS Bach - Rémy Loury

An album which will assuredly join the ranks of the most precious in the great record collections of those mad about music.

The result is a shining exploration of the innumerable possiblities offered by Bach: the majestic entrance of the first variation, the brave sharp notes of the fourth, the ornamental refinements of the seventh, the impenetrable sweetness of the fifteenth, the fascinating and visionary sarabande on the twenty-fifth.

Each variation has its life, perfectly autonomous, but attached to a whole from which one would not know how to detach it.

And at the end of this, as after a silence that only music can offer, one finds the the initial theme again, just as destabilising as the return of a dear one believed gone forever.

Perhaps it is the privilege of a great age, but such an intensity of emotion has never, I believe, been heard.

taz (Germany), January 30/31 1999

Goldberg Variations the Fifth, by Frank Siebert

Rosalyn Tureck considers the new version of the Goldberg Variations to be "the sum of my entire musical, technical and scientific experience as an interpreter and as a person who is interested in ideas and feelings". The carefully-edited CD offers every computer-owner with a CD ROM player the additional CD-plus-score system - the possibility of following Tureck's edition of the score next to her analytical comments on screen, and of calling up further information and pictorial information on Bach's life and works, as well as on the career of the artist.

The actual achievement remains the music, however. The energetic strength of her playing does not merely declare itself through the realm of nuances of her touch, nor through the strictness of her performance, nor through a rhythm chiselled as though swinging, nor through her polyphonic kingdom. This strength comes from the sum of a life of artistry filled with experiences. What is convincing about Tureck's playing is that human surplus value, which is freed through this great knowledge.

When, at the end of the Goldberg Variations, after the theme of the whole cosmos of Bach's art of metamorphosis has passed by, the Aria rings out again in sublime simplicity, Rosalyn Tureck has brought back through her playing that which is most often bemoaned as lost in today's civilisation: time.

Le Monde - 13/02/99

Rosalyn Tureck - the Meridian, by Marie-Aude Roux

The American pianist releases an historic recording of the Goldberg Variations.

What rapture in this combination of diverse voices that Tureck made sing for a lifetime in order to blend them here in an uncompromising piano! All of this in the art of miniature, a knowledge of detail, which, however, did not exclude the harshnesses nor the ranges of barren sonorities which roll like pebbles. From start to finish the tempo remains wide, ambulatory, more than a walk in the garden, it's life returning to its source a time before measure, a vision of origin.

There would have been pages to write about each note! such heights of view, of grace, the mystery of an osmosis between a master and his interpreter, the extravagant sensuality of such a piano joined to such royal modesty.

There are exceptional recordings marking musical history with their white stone, and there are others, even rarer, which draw there their meridian: a line crossed over by such a thing that nothing will ever again be as before. These Goldberg Variations are one of those.

Le Monde - 4 January 1999

Famous and unknown, the pianist eclipsed by Glenn Gould - Alain Lompech

Rosalyn Tureck is no unknown discovered by a record company. This artist is one of the most accomplished musicians of this century. She has never ceased to play, be heard, admired, discussed, and copied, even, without ever occupying the forefront of the stage. She says so herself, if it hadn't been for a small American publisher, her performances would be out of reach today. In other times, however, Tureck recorded occasionally for several major firms, but her misfortune, our misfortune, rather, went by the name of Glenn Gould. The Canadian's playing was undoubtedly derived from that of his lady colleague, but in the consciousness of music lovers everywhere, it will have left him only a folding seat.

The great commercial advantage in Gould's Bach technique resides in its unequivocal, simplistic character. That clear piano, that clarified, voluble polyphony was ideally ready-to-listen-to in the post-war years. So they made Gould the Bach performer par excellence. This abuse of a dominant position should be challenged: Gould only offers one of the oppositions in performance, for he has chosen to play descriptively, systematically, using a power of seduction that has put more than one listener to sleep.

Rosalyn Tureck is no less voluntarist in her playing, but her more complex, less cellophaned performance, less easily accessible, too, give an image of Bach that is at once archaic, timeless, and sensitive without being expressionistic, analytical without being motorique. Owing nothing to the harpsichord, and taking advantage of all the possibilities offered by the piano - an instrument that is reinvented each time by the person touching it - Rosalyn Tureck is an artist without being an egocentric. Her great quality is to impose a perception of musical time that is incredibly different from one individual to another, by succeeding in recreating Bach's music in all its complexity. The contemplative will delight in the sumptuous sound of her performances, the keenest ears will excitedly follow the path taken by the Kantor's scholarly contrapuntal constructions and lovers of the piano will get drunk on the infinite variety of attacks and colours in such a venerable technique.

Gramophone, January 1999

The High Priestess of Bach - Rob Cowan

One hopes this newly formed alliance might eventually result in more Tureck Bach on the Yellow Label. Who knows, maybe even a new 48.