Notes and Editorial Reviews
"Though the pattern of movements which Bach adopted in each of his six keyboard partitas is essentially regular and traditional he achieves within it a wonderfully stylistic diversity whose cosmopolitan language is immediate in its ability to touch our emotions. The pieces were widely admired by Bach's contemporaries, above all for their melodies, expressive range and innovative qualities....Sometimes in the past Verlet's playing has struck my ears as being too matter-of-fact, though I hasten to add that her contempt for the extremes of early music cant has long been among her refreshing virtues. But here her subtle and lively responses to Bach's richly diverse stylistic palette are rewarding."
-- BBC Music
"Blandine Verlet, one of the finest current harpsichordists around, is driven by an inner need to make music and, the study period over, the notes become living things under her fingers. Perhaps more than any other harpsichordist, she makes use of a remarkably flexible rubato, reporting faithfully to the metronome, but not at short intervals. Though it is applied with unfailing musicality it may disturb conservative listeners who like Bach to arrive with strict punctuality, the more since it is immediately apparent in the Praeludium of the first Partita. For those who are willing to subjugate their prejudices the music will acquire a new and very human dimension...The full scale of the Partitas is conveyed fully, as is the grandeur of the French Overture."
-- Gramophone [10/1978]
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