“Outtakes from these sessions … suggest that in 1955 he used the studio in the opposite way: to maximize risk-taking, to push each of the short pieces that make up Bach’s ‘Goldberg’ Variations to its furthest physical, musical, spiritual extreme.”
“Outtakes from these sessions … suggest that in 1955 he used the studio in the opposite way: to maximize risk-taking, to push each of the short pieces that make up Bach’s ‘Goldberg’ Variations to its furthest physical, musical, spiritual extreme.”