Gustav Leonhardt has made several recordings of the 
          Bach’s Art of Fugue, and took a revolutionary approach to the work, 
          being the first to maintain (through a pamphlet published in the 1950s) 
          that it was definitely written for the keyboard, and for just one keyboard 
          at that. This recording, made in 1953, was his first, and marks a special 
          point in the history of "authentic" performances of baroque 
          music. 
        
        
This recording is interesting, but, like Leonhardt’s 
          first recording of the Goldberg Variations, also available from Vanguard, 
          is marred by a harpsichord whose sound is so tinny, so lacking in depth 
          and relief that it is difficult to listen to. In particular, the lower 
          range of this harpsichord is terrible, and the fugues and canons using 
          this part of the instrument sound hollow. Part of this is because of 
          the recording techniques of the 1950s, but part is simple that the instrument 
          was not that good. A great deal of progress has been made since, and 
          one no longer hears this type of sound.
        
        
Nevertheless, Leonhardt shows here a deep understanding 
          of this work, and succeeds far more than in his first Goldberg Variations. 
          His tempi are a bit slow, as in the Goldbergs, but they sound much better 
          with such a contrapuntal work as this. At times, as in the fourth part 
          of the work (listed here as Simple Fugue - theme inverted), it sounds 
          far too slow to work as music. It takes on the character of a purely 
          didactic work, an idea that Leonhardt strove to counter in his work. 
          The harpsichord sounds out of tune in the final, unfinished fugue, and 
          this makes this masterwork very difficult to listen to.
        
        
Leonhardt here, at age 25, showed his courage and audacity, 
          yet his performance was not up to his ideas. He recognized this by re-recording 
          the work, and his later Teldec set is far better. While this recording 
          has historical value, the casual listener, looking for a harpsichord 
          version of the Art of Fugue, would do better with Davitt Moroney’s recording 
          on Harmonia Mundi or Robert Hill’s set on Brilliant Classics.
        
        
        
Kirk McElhearn