The German LP MPS-Basf 1972, in general recorded and mixed poorly – there are many preludes with a level of -10db, and subsequent overloaded fugues, most tracks sound disembodied and cold. F. Gould, to my taste, plays WTC too monotonous and rigid, especially it concerns fugues, but a couple of well-recorded preludes clearly demonstrate that at the piano the master of his craft.
The recording was made in 1970 in one of the churches of Salzburg. Microphones are set far from the piano, the sound is dull and over echoed but rather plastic and conveys the sacred nature of the music very well. Richter plays thoughtfully, his version of WTC is imbued with light sadness and philosophical reflections.
Bach and Gould are made for each other. The language of heavenly beauty of the first and the stunning polyphony of the second are indescribable. The quality of the recording is not bad, the most clearly recorded tracks are selected.
Beuatiful audiophile Lo-Fi of the 1940s! Yes, at the record Factory right after the war, there was a chic (german trophy?) equipment at 78. Switching to 33 in the early 1950s was, of course, a disaster.
The recording is complex in sound, the piano does not fit well with the harsh-sounding Bernstein orchestra. The remastering conveyed the drama laid down by Gould as truthfully as possible. It is immortal concert, for all time.
The 1976 reissue, made by Russian Melodia, is surprisingly decent. The original tracks are not recorded evenly, the sound of fourth and sixth partitas in my opinion do not reach the good rate but in the first numbers there was enough beautiful moments. Gould plays divinely, the unattainable ideal of a classical pianist. The first and third partitas are the best in quality.