Regents Lecture No. 3 - Parts Four and Five

[Aug 31, 2012]

This month, we make available the fourth and fifth (of five) parts of Dr. Tureck's third Regents Lecture at the University of California, San Diego, held on Feb 9, 1966:

These parts feature a fascinating discussion of ornamentation and notes inégale, using examples from J. S. Bach's Aria variata in A minor, BWV 989.

[See also Parts One, Two and Three]

Regents Lecture No. 3 - Part Three of Five

[Jun 15, 2012]

This month, we've made available the third part (of five) of Dr. Tureck's third Regents' Lecture at UC San Diego, held on Feb 9, 1966:

[Parts One and Two are also available]

Regents Lecture No. 3 - First Two Parts

[May 14, 2012]

This month, we're pleased to make available the first two parts (of five) of Dr. Tureck's third Regents' Lecture at UC San Diego, held on Feb 9, 1966:

Stay tuned for the remaining three parts in the coming months!

Regents’ Lecture No. 2, Part 3

[Mar 17, 2012]

This month, we present for you the final installment of Dr. Tureck's second lecture at UC San Diego on Feb 3, 1966:

Also available: Part 1 and Part 2

Regents’ Lecture No. 2, Part 2

[Feb 14, 2012]

This month, the second of three parts of Dr. Tureck's Lecture on Feb 3, 1966 at UC San Diego:

Also available: Part 1

UC San Diego - Regents Lecture No. 2

[Jan 23, 2012]

This month, we continue the series of lectures Dr. Tureck gave at the University of California, San Diego in 1966 with the second lecture from that series.

Please stay tuned for parts 2 and 3 in the coming weeks!

Washington U 1963 - Part 3

[Dec 04, 2011]

This month we feature the third, and final, part of a lecture lecture from October 1963 given by Dr. Tureck at the University of Washington.

Please follow the link here:

(See also part 1 and part 2)

Washington U 1963 - Part 2

[Nov 03, 2011]

This month we feature the second part (of three) of a lecture lecture from October 1963 given by Dr. Tureck at the University of Washington. Please follow the link here:

Washington U 1963 - Part 1

[Oct 23, 2011]

This month we begin the posting of a lecture from October 1963 given by Dr. Tureck at the University of Washington. Please follow the link here:

Regents’ Lecture - Part 3 of 3

[Sep 21, 2011]

We are pleased to announce this month the final installment of Dr. Tureck's lecture given at the University of California, San Diego in January 1966.

[Also available, Part 1 and Part 2]

Regent’s Lecture, Part 2 of 3

[Aug 11, 2011]

This month comes the second part, of three, of Dr. Tureck's lecture given at the University of California - San Diego in January 1966.

[Part 1 available here]


[Jul 16, 2011]

The Tureck Bach Research Institute is now on Facebook! Go here to "like" us to stay informed!

Regents’ Lecture

[Jul 09, 2011]

Today, we've made available the first part, of three, of Dr. Tureck's lecture given at the University of California - San Diego in January 1966.

Musical Authenticity, Part 3

[Apr 03, 2011]

Continuing our series of Dr. Tureck's articles on 'musical authenticity', we present part 3:

The first two parts are also available:

Musical Authenticity? Continued…

[Mar 03, 2011]

This month, we continue our series with the second part of an article on this topic by Rosalyn Tureck:

Read all news articles here


Dr. Tureck’s Playing

To see her sit there, coolly engrossed in the terrifying Fantasia, with its eerie premonitions of 20th-century tonal disintegration, was one thing; but to hear her proclaim the Fugue, layer upon layer, with perfect clarity, poise and a chest-swelling grandeur that relegates all research back to the musical path-lab, reminded us that Dr Rosalyn Tureck's greatest claim on our attentions is the very quality that most defies analysis - her own artistry.

Robert Cowan, The Independent (UK),
May 22, 1993

Rosalyn Tureck stands beside Casals, Landowska, in her definitive solo work in Bach. She has monumental greatness in her recorded discography… the refined exactitude of her expression exceeds any performance standard one might choose by other interpreters alive or dead.

Donald Morris,, 09/08/99

Once having heard Rosalyn Tureck play Bach — or any other composer, for that matter — you can never forget it… this disc gloriously confirms her mastery.

Adrian Jack, Classic CD, February 1999

Bach, The Well-Tempered Clavier. Rosalyn Tureck (piano)

A complete recording of the “Forty-Eight” serves as a reminder of what a tremendous work it is, occupying as it does twelve long-playing twelve-inch sides. Simply to play it complete is an achievement and to play it so magnificently as Rosalyn Tureck is phenomenal.

Arthur Dennington, The Strad, May 1955

Miss Tureck’s Bach Recital, Edinburgh, September 1st

It is not possible to exaggerate the artistic value of her performance.

Frank Howe, The Times, London, 2 September 1955

Rosalyn Tureck’s Bach Recital, Royal Festival Hall

The Preludes and Fugues from the Well-Tempered Clavier were a lesson to Bach aspirants in the big house on how things should be done.

Percy Cater, Daily Mail, London, May 1964

“Rosalyn Tureck — High Priestess of Bach”

Harold Schonberg, N.Y. Times, 1960

One of the most discerning interpreters of Bach in the world today.

The Times, London, 5/10/1954


“A pianist considered by some the greatest in the world”…

James Strecker

Bach: Goldberg Variations (DG 459 599-2GH2)

Five Stars (excellent, highest rating)

Rosalyn Tureck is by way of being a living monument… the personality other playing is captivating, her technique is secure and unquestionable: the artist’s instinct is supreme.

Alexander Pham, Goldberg, June 1999

Rosalyn Tureck—the Meridian

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

Marie-Aude Roux, Le Monde, 13/02/99, Paris

Rosalyn Tureck in the gardens of J. S. Bach

An album which assuredly joins the ranks of the most precious in the great record collections.
The result is a shining exploration of the innumerable possibilities 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 it life, perfectly autonomous, but attached to a whole from which one would not know to detach it.
Perhaps it is the privilege of a great age, but such an intensity of emotion has never, I believe, been heard.

Remy Loury, Midi Lebre, 18/02/99, Paris

Goldberg Variations — The Fifth

The carefully-edited CD offers every computer owner with a CD-ROM player the additional CD-plus-score-the possibility of following Tureck’s edition of the score next to her analytical comments on the 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 other playing does not merely declare itself through the realm of nuances other touch, nor through the strictness other performance, nor through a rhythm chiseled 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. Rosalyn Tureck has brought back through her playing that which is most often bemoaned as lost in today’s civilization: time.

Frank Siebert, TAZ (Germany), 30/01/99

Rosalyn Tureck, from the Other Side of Bach

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.

Eric Danan, Liberation, 04/03/99, Paris

Bach: The Well-Tempered Clavier (DG 463 305-2GH)

A Classic Recording by a Great Artist (Five stars, highest rating)

“Epoch-making” is an overused description, but for some of us Rosalyn Tureck’s first recording of Bach’s “48”, completed in 1953, was just that. There was, and is, none quite like her.

Adrian Jack, Classic CD, February 2000

Here is cause for celebration, first of enterprise, secondly of what Tureck in her trenchant and dazzling notes, calls the past, present and future bible of Western music and, thirdly, a performance of matchless wit, musical grace and eloquence. Here is playing as vivid and life affirming as any on record, a magical interaction of scholarship and imaginative brio… Skillfully remastered, lavishly illustrated and annotated, of such work is beyond price, deserving, in the words of that most august publication The Record Guide, ‘a heavenful stars’.

Bryce Morrison Gramophone, February 2000

Bach: The Well-Tempered Clavier (Vol. 1) BBC Legends

Playing which transcends questions of authentic instrument or style.

As is characteristic of Tureck’s Bach, she combines technique with, expression in a way that makes one barely aware of the physicality of her playing. Her range of articulation is something to marvel at and her judicious use of both pedals enables a range of timbre and colour that brings the music to life. Indeed, the truth of Tureck’s playing transcends her choice of instrument.

Gramophone, 2003

Making Techniques and Expression Indivisible

Too often the groves of academe and the world of performance are mutually unsympathetic rather than complementary, but with the great scholar-pianist Rosalyn Tureck they are both championed and reconciled in a fruitful interaction of active and contemplative attitude and abilities.

Bryce Morrison BBC LEGEND, Nov.2002