Celine Frisch began with the harpsichord at the age of six, studied in Basle with Andreas Staier and Jesper Christiensen, and is now embarked on a successful career; this is her first recording – and a fine one it is, too. Bach is a hard taskmaster but she is undaunted by his demands. Even in the quicker movements, where her tempos inhabit the upper end of the spectrum, they never sound rushed and the effect is joyous; while the slow ones are spacious and thoughtful.
The written-out agrements in two of the Sarabandes in the English Suites support the view that Bach’s intention in these works was partly didactic, and those in BWV808 sanction levels of elaboration of which few performers now have the stomach to take advantage. Frisch is cautious – perhaps wisely so at this early stage – in adding embellishment to the Sarabande of BWV816 and indeed to any other ‘vulnerable’ movement in the programme, and does not resort to diminutions. Her use of rubato is of a degree of subtlety that cannot be taught – it must, and does here throughout, spring from natural musicality. It is in her bones.
Blandine Verlet once told me she would not record Bach until she was 40 (she did though!) because she did not, with the wisdom of hindsight, want later to regret the shortcomings of her youth. Celine Frisch, 26, need not worry. She is Frisch by name and frisch in her educated enthusiasm and love for this music. If, in time, she has the opportunity to make integral recordings of the French and English Suites, she and we shall be able to judge. The full-throated harpsichord she uses is magnificently recorded and the annotation (French, English and German) is brief but adequate.'