I am fairly sure that there are only three recordings of the Goldbergs by Leonhardt (the Ammer, the Sko Dulcken, and the Paris Dowd). 

He was shocked and disturbed when the Ammer recording was re-released on CD, as he clearly thought it was inferior. (I assume that was because of the rather ugly instrument.) It seemed that contractually he had no control over re-releases.

I suspect that he may have done the third recording, on the Dowd, more because he was asked to, rather than because he felt he had changed his musical approach dramatically since the Dulcken recording. He did not have much interest in recordings ("they are to music what reproductions of oil paintings are to art"), though I think he did enjoy recording on very beautiful harpsichords and organs, particularly antiques.

A colleague of mine recently remarked on the close similarities between Leonhardt's recordings of the Art of Fugue - the 1950s one (is it Neupert or Ammer?) and the 1960s (Sko Dulcken). So many aspects of the playing are the same, and yet there are many subtle differences which make the two performances vastly different.

Lastly, someone commented that the early 20th-century pioneers had no choice but to play revival instruments. I don't think that is strictly true, as there were antique harpsichords around (Landowska even owned one), and they could have been restored (perhaps badly). Also there were a few people (such as Dolmetsch) making something resembling copies of historic instruments. There is a very fine-looking French double copy from, I think, the 1880s in the Berlin collection. Many of the harpsichord pioneers consciously chose revival instruments, which I suppose better suited their aesthetic ideals. 

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