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American Record Guide: (11/2017) 
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Reviewer: Rob Haskins

The Allemandes mostly follow the one-size-fits-all variety: find a moderate tempo, stick to it with little to no deviation, and play with pale, inoffensive tone and minimal phrasing. The Courantes are much the same except sometimes a continuous, irritating staccato is added to create the illusion of exuberance. The other dances are a mixed bag. Overpedalling and a measured lyricism make the Loure from Suite 5 very enjoyable. The hard-bitten articulation and phrasing in the Gigue of Suite 1 is merely perverse and, frankly, unmusical. The sequence of suites here is 2, 4, 1, 6, 3, and 5— more willful eccentricity without a payoff.

For other piano recordings, I prefer Schepkin (M/A 2014), Gould (J/A 1995), and  Feltsman (J/A 2016). Although my tastes for Bach on the piano have changed a lot since the 1970s, I still find Gould’s performance a lovely document of Bach performance from that time. Schepkin and Feltsman produce highly expressive

performances with abundant nuance and only a few missteps. I find it hard to think of other fine recordings of these pieces on the piano—Zhu’s is definitely not one of them.

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