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Notes & Reviews:
Whatever the elusive truth may be regarding the "English-ness" of these Six Suittes avec leurs Preludes, there is no denying the imagination of Bach's keyboard writing. Each of the English Suites is headed by a prelude of substantial proportions, followed by a group of wonderfully varied dance movements, all of which are perfectly suited to showcase the joyful brilliance of harpsichordist Richard Egarr's prodigious technical and interpretive skills.
Gramophone Magazine, March 2013
Egarr's tempi can be recommended as canonical to students of this music...as Egarr's traversal of all six suites unfolds, it becomes increasingly clear that his approach isn't about self denial or lack of ideas...for listeners struggling to find what they most admire in Egarr's playing in the somewhat muted earlier movements, the advice is simple: hold on, it will all make sense.
BBC Music Magazine, March 2013
Egarr opens No. 1 like a lutenist improvising, flexing his fingers and checking his tuning, before embarking on a thoughtful stream of deliberate quavers...The dances are full of imaginative touches...Egarr's ornaments have a delightfully improvised quality...Egarr displays an extraordinary tonal range, from harp-like resonance to transparency. The best harpsichord recital of these Suites on disc.
International Record Review, February 2013
Egarr remains true here to the predominantly cantabile style of his previous Bach releases ... he is an all the more eloquent guide for being a relatively unshowy one, his continuous supple rubato aptly realizing Bach's harmonic twists without resort to undue histrionics. This is yet another fine release from one of the most consistently stimulating keyboard artists recording today.
The Independent on Sunday, 20th January 2013
The musical partnership is with the listener. From the elegant formality of the A major Suite to the quasi-orchestral flamboyance of the A minor, Egarr is good company. A remarkable cycle played with pungent physicality and generous wit.
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