The name Young Guns seems ironically amiss until one learns that this recording dates from 1968-69 when organist Gene Ludwig was thirty years old, guitarist Pat Martino twenty-three and drummer Randy Gelispie somewhere in that neighborhood, long before he became fondly known as "Uncle G." The organ trio was in its heyday then, and this one was caught on tape during an exciting live date at Club 118 in Louisville, KY. How many other such performances have been lost forever owing to the absence of a tape recorder or the failure to turn it on is anyone's guess. But this one, thank goodness, has been preserved for present-day ears to appreciate.
In his recording of Bach's 48 Colin Tilney, unlike his fellow competitors in the same repertory, plays both a clavichord (Book 1) and a harpsichord (Book 2). Why not? Bach's title for the first book of 24 preludes and fugues, The Well-tempered Clavier leaves both this issue and that of tuning wide open. The clavichord was a favourite instrument of Bach's, so was the harpsichord and the organ; indeed, I am sorry that Tilney does not include a chamber organ since some of the pieces, the E major Prelude and Fugue (Book 2), for instance, seem well-suited to it. Tilney's performance of the 48 differs again from almost if not all others in the sequence which he adopts in playing the preludes and fugues. But an apparently random approach is in fact nothing of the kind, but one that is directly linked with tuning. We know that Bach himself was a master in matters of tuning as he was in all other aspects of his craft. What we do not know is the exact nature of his tuning.
It was an eminently sensible decision to couple Zimerman's previously separate Chopin concertos on a single CD. The Ax/Ormandy/RCA disc is the only rival as a coupling, so let me say at once that in different moods I would be equally happy with either. The main difference, I think, is the actual sound. From DG we get a closer, riper sonority, with Zimerman's piano much more forwardly placed. Both orchestra and piano are more distanced on the RCA recording, especially Ax's piano. This, together with Ax's lighter, more translucent semiquaver figuration (and sometimes his greater willingness to stand back and merely accompany—as in certain episodes in the F minor Concerto's finale) often conjures up visions of Chopin himself at the keyboard, and we know he was often criticized for insufficiently strong projection.