The Amazon review by Thomas May is excellent and my words in some sense are superfluous (and the other Amazon customer reviews are first-rate too). I'm writing simply to say that you might find something very special in this recording of the Goldberg Variations. I've long loved Bach on the piano, and I've had Gould's Goldbergs since the early 80s, supplemented along the way by Schiff, Hewitt, Dinnerstein, Landowska (on that massive Pleyel harpsichord), and Perahia, all of whom have brought me a lot of pleasure. Rosalyn Tureck wasn't even on my radar until a dear friend, now deceased, loaned me this recording. I listened once, distractedly, and wasn't especially impressed. But then I listened again late one night, and Tureck's performance just opened up for me in a way that I've rarely experienced with any other recording. Tureck was called "The High Priestess of Bach," and that's as much a warning as an honor: there is a sense of the sacral in this recording, and I can well imagine that many Bach lovers will find it intolerably mannered. Angela Hewitt (whose Bach recordings I admire very much) remarked that it took her a long time to appreciate Tureck's Bach because it just seemed "too lugubrious." So be warned: everything that's said about the slow tempi is right. As you listen to the opening Aria--which goes on for an incredible 6:06--you may be inclined to laugh. All I can say is that Tureck's recording opened a new world of Bach for me. The slow tempi and the restrained dynamics create an achingly beautiful study in shades of grey that is filled with a magical, rapt intensity. If you listen to this in the background, during the day, it won't make an impression. Play it at night, in semi-darkness, with a glass of wine, and I think there's at least an even chance you'll be spellbound. I'm so grateful to my friend John for helping me to discover Tureck's amazing artistry.