Edward Aldwell has a good reputation as a Bach pianist, especially in America, and hearing this recording I can see why. His playing is direct and straightforward, unaffected by eccentricity or false sentimentality, and exuding an uncomplicated technical security that allows both pianist and listener to concentrate on the music. Pianistically, he doesn’t attempt too much with these pieces, resisting any temptation to dazzle in the more virtuosic movements; musically, his sober, unegocentric approach allows Bach’s voice to speak with unhindered directness. There are times, though, when this selfless stance borders on the inexpressive. Aldwell isn’t inclined towards over-embellishment (in terms of ornaments or poetic richness) and, depending on how you like your Bach, you may, like me, find his approach too solemn and restrained. The Fourth and Fifth Suites are the most successful for their expressive range and honest musicianship; elsewhere, for an idea of his no-nonsense, unsmiling tone of voice, try the C minor Courante or E major Menuet. In the final analysis, I feel a good deal of respect for these performances, but little affection.
Five minutes with Angela Hewitt’s recording reveals what, for me, is missing from Aldwell’s rather stark view. Hewitt engages much more strongly with the dance-like spirit of these works, bringing far more rhythmic vitality and expressive variety, as well as more daring poetic insights. Aldwell’s set is well recorded and presented (although the Air and Menuet of the Fourth Suite are listed in the wrong order), but Hewitt offers more – both musically and, with additional works adding almost an hour’s extra music, materially.'