So would you put Puyanas's French Partita (BWV 831), Walcha's English Suites, Kirkpatrick's Partitas and the 1950s Goldbergs and AoF from Leonhardt in the same category? I mean, I know they didn't record on instruments as colourful as Wolfe's and Landowska's. But in terms of articulation?
To begin with Wanda Landowska: I consider her an artist, who tried to adapt piano-aestetics to harpsichord-playing (a kind of reversed Glen Gould – he tried to adapt harpsichord aestetics to piano-playing). She exerted great influence, and many harpsichordists in the 1950es and 1960es thought like her obviously of the piano, when they played (what they thought was) a harpsichord (f.i. George Malcolm, Frank Pelleg), and also the young Leonhardt. But considering the fact that his recordings for Vanguard of the AoF and Goldbergs were made in 1952, when he was about 24 years old, I would not expect him to have elaborated any individual Bach style yet. But already in the mid 50es he had in principle thought out his well known informed style and had begun to play period instruments or copies.
I do not know much about Puyana – but he was a pupil of Landowska as was Kirkpatrick. I think brilliance was his primary aim, and his sense of style limited.
Walcha and Kirkpatrick were both individualists, who created their own harpsichord style. Nor did they play on period harpsichords. Well, Walcha recorded the WTC for DG in the early 70es on period harpsichords, but his touch is an organists touch, which has not much in common with period harpsichord touch (or Landowska´s touch for that matter).
Walchas point of departure was first and foremost the score (and the fact that he was an organist not a pianist), and he invented his own Bach style, relative uninformed and rather litteral (true to the score) with his own system of articulation and using much 16F, as he was used to on the organ. His changes of registration were few and aimed – like in his organ playing – at the displaying of the overall structure of the work. He retired too early to think of changing his style (1977).but part of the picture is, that he maintained to the end of his life (1991) a critical attitude towards the HIP movement. Elderly people often think they know better.
Kirkpatrick is in my opinion one of the first harpsichordists to create a playing style with the harpsichord as his point of departure. Other than that he was a relatively informed musician, and I do not hear many hints of Landowska in his playing. His articulation was varied and sensitive for his age. He used much 16F, but his changes of registration were few and aimed like Walcha´s at the displaying of the musical structure, and not at piano-derived “expressivity”.