RdS said:
Miss Frisch's Goldbergs have received numerous accolades and critical acclaim. Unfortunately, I have yet to hear them. I have, although, heard her recent recording of d'Anglebert. I only heard it once but a good first impression. Very well played, and she includes a second disc of orchestral works and organ fugues, I think. However, I still believe Rousset has set the mark with his d'Anglebert integral and it has yet to be surpassed. Repeated listenings have only enhanced this belief.
In respect of the Goldbergs, maybe because they were the first of Bach's keyboard works that I listened to exhaustively (Gilbert's partitas just set me on the road), I have come to find them a trifle boring, well, at least some of the variations. Nevertheless, I cherish the interpretations of Gilbert (for me, as yet, unsurpassed in its phrasing, fluency and understanding), Hantai (both the 1992 and 2003 versions are quite brilliant but also quite different) and Walcha (a very cerebral version).
Concerning the Art of Fugue, I have listened to only two recordings, Moroney's and Leonhardt's (second recording). Thus, I don't feel particularly qualified to proffer an informed opinion, especially since I'm yet to fully understand the work. However, I have checked out some of Rubsam's piano recordings, specifically his partitas and English Suites. There is no doubt that he is a talented musician with very individual ideas and a firm conviction in his methods. But I find his interpretations too mannered, his use of rubato and agogics excessive to the point of altering the music almost to a point beyond recognition. No one can deny his commitment and a few musicians I know consider him extraordinarily brilliant, but I feel otherwise. I do believe he would sound better on a good harpsichord rather than the soft-toned piano he uses in his recordings.
