On most points I happily refer the reader to DA's review of the original issue but must add further reservations of my own. The witholding of slurs from the Prelude of the Bach suite helps to nullify the weight of the appoggiaturas, contributes to a rather stilted delivery and sits strangely alongside the Gigue, in which slurs are used in comparable situations. Neither am I even halfway convinced of the need to repeat the Gigue after the Double (or even of its effectiveness). The loss of gravity in the Weiss, noted by DA, is in some measure the result of a hasty tempo and a basic sound that lacks weight, but I suspect it to be ultimately a matter of the spirit rather than the fingers. It is a good record but in many ways an immature one; I'm sure that now, more than eight years later, Carlos Bonell would do it differently. '