Bach has been a bugaboo to many pianists, many audiences. Pianists must play him for their prestige whether or not they are able. Audiences squirm, remember unhappily their own five-finger exercises, their struggles with the metronome.
An All-Bach program was the announcement for Harold Samuel's Manhattan recital† last week. It was a rainy night but the hall was filled. Some had heard him in 1924 when he came from England to play at Elizabeth Shurtliff Coolidge's Berkshire Festival; some had attended his six Bach recitals last year, given on six consecutive days, had...
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