Bach Harpsichord Concerto No 1 in D Minor BWV 1052 George Malcolm

This is the landmark (circa early 1960's) Original London Mono (CM 9392) LP recording of George Malcolm and the Stuttgart Chamber Orchestra conducted by Karl Münchinger [with a preferable tempo shift].
I first purchased this LP in a unique record-shop while visiting NYC as a young teen back in the fall of 1973; it's still my favorite recording of the BWV 1052--there's true magic in Them-Thar Keys and ensemble sound! I used to play it over and over on my old Radio-Shack Stereo Phonograph; it was black with swinging silver speakers on either side (detachable) of the main unit that swung down and opened like an old medicine chest--loved it! For the price it had a remarkable ambient-punch!
The following is an old review of the recording, circa 1964
"At a time when so many Bach performances sound so drearily mechanical, and one begins to wonder whether one really loves or only reveres the greatest of all composers, this record comes as a salutary shock. It offers the unique experience of hearing the great D minor Harpsichord Concerto in a superlative performance by a virtuoso of the instrument for which it was written; and the effect is no less electrifying than that produced by a great piano virtuoso in the Tchaikovsky B flat minor- far more so, in fact, owing to the vastly superior quality of the music and its comparative unfamiliarity.
The concerto does quite simply need a harpsichord virtuoso to do any kind of justice to it. It is essentially a virtuoso work, and yet there is absolutely nothing in the keyboard part for a piano virtuoso, so different are the two instruments. Indeed, piano virtuosos rarely touch it; it is usually played by rather sober and solid pianists-. and mighty dull they usually make it sound. There can be no more clinching demonstration of the absolute rightness of the harpsichord for this work (and for Bach's other keyboard concertos) than the contrast between the impeccably correct piano performance of it which I reviewed last month and this inspired harpsichord performance by George Malcolm. The regular repetitive rhythms, which plod so heavily on the piano, are lifted right off the ground by the percussive attack of the harpsichord, and can in consequence be infused with enormous dynamic tension. The broken arpeggios, which all sound so similar in the monochrome tone of the piano, become vividly contrasted on the different registers of the harpsichord, and can be further differentiated by the varied registrations- the cavernous rumbling of the sixteen-foot, the incisive ping of the normal eight-foot, the brittle tinkling of the four-foot, and the clattering brilliance of the full instrument. All these potentialities are used with superb skill and musical insight by George Malcolm, to build up performances of the two quick outer movements which are at once architecturally and emotionally thrilling; while in the central slow movement the long-spun melismatic line of the melody, which sounds so much more expressive on the harpsichord's eight-foot stop than in the wooden tone of piano cantabile, is given its true mood of passionate melancholy by means of an ultra-sensitive minimal rubato. The orchestral contribution is fully worthy of the solo performance in its drive and precision, and in the beautiful way that Karl Miinchinger negotiates the handing over from harpsichord to orchestra and vice versa by means of subtle dynamic shadings. I feel that George Malcolm was most wise in shunning the fashionable practice of acting as conductor-soloist in the eighteenth-century way, which all too often distracts the soloist's concentration from his own task and also affects the ensemble adversely. What a work and what a performance! And what a recording too: both mono and stereo are just about as lifelike in clarity, tone and balance as can be imagined."