Her secret was a lifetime of scholarship, plus perfect technical equipment and resilient rhythm, all combined with knowledge of just when not to hold the printed note sacrosanct. Of course, that alone demands a lifetime of knowledge. She was a genius at underlining the dramatic and did have meaning and emotional significance. She took liberties, all kinds of liberties, but like all great artists she could get away with them. In short, her entire musical approach was romantic: intensely personal, full of light and shade, never pedantic.
Thanks to Landowska, Bach began to sound thick when played on the piano. One by one, pianists stopped playing Bach as adapted by Liszt, Bach as adapted by Tausig. Then they began to think twice before performing any kind of baroque music, including even Scarlatti. The piano repertoire, it began to be felt, was extensive enough without reverting to transcriptions and Bach and Scarlatti on the piano were in a way, transcriptions no matter how faithfully the original notes were played.
In line with this kind of purity came the emphasis on the back to nature study of the composers manuscripts that has continued to the present, will continue and is something new in the scheme of things.
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