Bob van Asperen’s J. S. Bach: French Suites (Aeolus AE-10084, rec 2003, 780) is a valuable addition to an already rich catalogue. Here is highly distinguished playing in the Leonhardt mould, with a wonderful sense of controlled freedom. Every individual phrase, figure and ornament is exquisitely shaped but fully integrated into the whole. There is abundant subtlety and nuance, discreet ine´galite´, a touch of whimsy at times, and panache where appropriate (as in the courante and bourre´e of the G major suite). Asperen’s liner notes are full of insights, and the historic instrument on which he plays is of particular interest. This is the Christian Vater single-manual harpsichord of 1738, now in the

Germanisches Nationalmuseum in Nuremberg, and the only extant harpsichord by this important organ builder. Now fully restored, it offers (in Asperen’s words) ‘the opportunity of a rare connection of the specific, Italianate timbre of an original German historic harpsichord, in French chamber pitch [a0 = 392], with the French Suites’. Asperen’s authoritative accounts of these wonderful pieces and the echoing, brittle clarity of this rather special harpsichord make a highly attractive combination.