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.
Benny Carter's MusicMasters catalogue turned up some fine sessions in which colleagues included Clark Terry, Hank Jones, and Doc Cheatham, among a raft of musicians - for the stellar singers, see the end of this review. The recordings, made in various locations, span the years 1990-95 and reveal the altoist seemingly unruffled by the reach of Time, still spinning some sublime and harmonically darting lines as if for the first time.
Twin Peaks became one of the top-rated shows of 1990 and was a critical success both nationally and internationally. It captured a devoted cult fan base and became a part of popular culture that has been referenced in television shows, commercials, comic books, video games, films, and song lyrics. Declining viewer ratings led to ABC's insistence that the identity of Laura's murderer be revealed midway through the second season. The series was followed by a 1992 feature film, Twin Peaks: Fire Walk with Me, which serves as both a prequel and an epilogue to the television series.