In contrast with the characterful ebullience distinguishing Richard Egarr’s Handel concerto releases for Harmonia Mundi, the harpsichordist approaches the composer’s eight ‘great’ suites in a more intimate, softer-grained style. The impression is abetted by the crystalline transparency of Egarr’s 1991 Joel Katzman instrument, modelled after a 1638 Flemish Ruckers harpsichord, plus a recorded balance that splits the difference between the opulent ambience of Jory Vinikour’s Delos cycle and the close-up, analytic impact of Paul Nicholson’s Hyperion versions (6/95).

In addition, Egarr differentiates detached and sustained articulations by way of his masterful legato fingering; listen, for example, to the subtle linear tension throughout the D minor and F sharp minor Suites’ Allegro movements. In the main, Egarr is not so consistently incisive as his aforementioned colleagues. At times, tiny agogic stresses momentarily pull focus from the music’s implicit rhythmic momentum. One instance involves the E minor Suite’s opening movement, where Egarr’s thoughtfully phrased yet reticent interpretation falls flat next to Vinikour’s red-blooded animation. But when it comes to ornamentation, Egarr truly lets loose.

I like the flamenco-like accelerations in the A major Prelude’s free-form arpeggiations, the F major Adagio’s inventive arabesques on the repeats, and almost all of the whimsical embellishments. One could argue that the effect overloads music constructed in short phrase-groups, such as the famous E major Suite’s ‘Harmonious Blacksmith’ variations: you can’t deny Egarr’s inventiveness and flair for mischief but will the novelty sustain repeated listenings? Pressed to choose just one recording, the full-bodied yet clear engineering, stylistic assurance and passion of Blandine Verlet’s 1999 Auvidis traversals (out of print on physical CD but available as a download) remain the benchmark.