In Murray Perahia’s hands, Bach’s Partitas not only work well on the modern concert grand but also sound completely at home. The pianist’s vibrant and variegated sonority perpetually sings, while his contrapuntal acumen leaves no detail unconsidered nor unduly fussed over. His tempi always seem right for what the music has to express, as opposed to what Perahia wants to express in the music.

A few examples should suffice to pinpoint what makes these performances special. For instance, the C minor No 2’s Allemande and A minor No 3’s Corrente’s two-part textures gorgeously showcase Perahia’s fluent, utterly natural conversational give and take between the hands. The C minor Rondeaux’s dance-like profile acquires uncommon and welcome gravitas due to Perahia’s measured pulse and a non-legato touch that avoids any hint of percussive residue. The D major Partita No 4 easily takes its place alongside versions by Kapell, Gould, Weissenberg, Hewitt, Tureck and Goode. Strong melodic projection, inner “swing” and a sense of air in between the notes characterise the Corrente, Aria and Menuet. In both the Allemande and Sarabande he gives the decorative right-hand lines their full lyrical due, while his left hand provides a strong, decisive underpinning. Even at a brisk tempo, the Gigue speaks clearly and eloquently, with every accent, syncopation and cross-rhythmic gesture perfectly placed. Stylish, well considered and discreet embellishments flavour the repeats in all three works. A release to savour and cherish as we await Partitas Nos 1, 5 and 6.