It is interesting to compare this ensemble’s earliest recordings to their latest. You’ll note how their playing standards have soared and observe the evolution in stylistic practice over the past 50 years.

Egarr’s approach is to use one player per part but offset the potential for lean asceticism by tuning down to French Baroque pitch (A=392). Although I still prefer the grandeur of massed strings, the result here is close to a best of both worlds rendition with the clarity of the chamber approach warmed by rich umber tones. There is also a conscious move away from breathless tempi to relaxed natural speeds that still move forward. Short cellular phrasing is replaced by longer flowing lines. These changes are unexaggerated so don’t expect the stodgy tempi of yesteryear’s non-specialists; Egarr’s choices are mostly ideal, although surely the Passepied I and II of BWV1066 could flow a little faster.

The various Bourrée come across a little too leaden; more lift to the rhythms and a little more schwung would have done wonders and elevated this to the top of list. However, the excellent playing and characterful tonal colours are a delight in themselves. There are illuminating shifts of balance with Egarr’s harpsichord clearly underpinning the string lines and leading entrances allowing Bach’s dense contrapuntal invention to be clearly laid out before one’s ears. An intimate and warm recording allows those subtleties to be appreciated.


Download this album on iTunes

Limelight subscriptions start from $4 per month, with savings of up to 50% when you subscribe for longer.