Bernard Roberts’ view of Bach runs roughly along the lines of Schnabel’s‚ Serkin’s or Horszowski’s: in other words‚ it’s more concerned with under­lying harmonic architecture than with the niceties of nuance. Heard after‚ say‚ Schiff or Hewitt‚ Roberts can seem a little dry‚ even brusque; and yet there are definite benefits to his approach. The Second Partita’s opening Sinfonia is immediately commanding‚ with a strong Grave adagio and an Allegro that‚ like everything else in this set‚ tends to flex audibly whenever the music modulates. In the Sixth Partita’s Sarabande‚ Roberts relishes the chordal richness of the writing‚ arpeggiating generously but never distorting the line. In the same work’s Allemande‚ he pushes his phrases forwards so as not to lose their shape‚ and his articulation is admirably crisp. But to my ears both the Sarabande and Tempo di Minuetto (especially) of the Fifth Partita fall short of ideal rhythmic focusing. Some of the faster movements are admirably buoyant (the Third Partita’s Scherzo‚ for example)‚ whereas others are slow‚ even ponderous. I’m thinking in particular of the Rondeau of the Second Partita‚ which is very emphatic‚ or the Fifth Partita’s Gigue. This music needs to dance and here it doesn’t. Viewed in general terms‚ Roberts tends towards breadth in the lighter movements and mobility in the Sarabandes. Taken one at a time‚ his Partitas are strong‚ patient and thoughtfully built‚ but if heard en bloc (the reviewers’ imperative‚ admittedly)‚ their very lack of tonal variety tends to work against them. If you want to sample Roberts’ Bach at its best‚ try his 48‚ music that responds more readily to the classical‚ structure­conscious axis of his playing style‚ indeed a very fine set all round (Nimbus‚ 11/99). The Partitas are rather too heavy on their feet‚ though the sound quality‚ like on the 48‚ is superb.