BACH: The Six English Suites. Colin Tilney, harpsichord

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J.S. BACH: THE SIX ENGLISH SUITES. Colin Tilney, harpsichord. (DDD) UPC #0-17685-07772-2


 


“Colin Tilney certainly takes his assignment au grand sérieux, and earns our respect for his thoughtful approach, his firm rhythmic control – even in the huge initial fugue of Suite No. 6 – while avoiding inflexibility (with subtle phrasing that clarifies structure), his crisp ornaments, his stylishly discreet embellishment of repeats (virtually all of which he makes), and his general air of solid command. He uses a very fine brass-strung Italian harpsichord of the early 18th century (which is admirably recorded): it possesses only two eight-foot registers that are little contrasted aurally, but such is the intense commitment of Tilney’s playing that no sense of monochrome monotony arises.”


–Lionel Salter  in Gramophone




“Mr. Tilney’s instrument is wonderfully differentiated in each register and makes even the dense counterpoint of the E minor suite’s Prelude clear as a bell. The Music and Arts sonics are great, too...


–Robert Haskins in American Record Guide

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J.S. BACH: THE SIX ENGLISH SUITES. Colin Tilney, harpsichord. (DDD) UPC #0-17685-07772-2

 

“Colin Tilney certainly takes his assignment au grand sérieux, and earns our respect for his thoughtful approach, his firm rhythmic control – even in the huge initial fugue of Suite No. 6 – while avoiding inflexibility (with subtle phrasing that clarifies structure), his crisp ornaments, his stylishly discreet embellishment of repeats (virtually all of which he makes), and his general air of solid command. He uses a very fine brass-strung Italian harpsichord of the early 18th century (which is admirably recorded): it possesses only two eight-foot registers that are little contrasted aurally, but such is the intense commitment of Tilney’s playing that no sense of monochrome monotony arises.”

–Lionel Salter  in Gramophone

 

“Mr. Tilney’s instrument is wonderfully differentiated in each register and makes even the dense counterpoint of the E minor suite’s Prelude clear as a bell. The Music and Arts sonics are great, too...

–Robert Haskins in American Record Guide

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