Don’t be taken aback by so much rubato because it is legitimate. The treatises of Diruta‚ Quantz‚ Mattheson and Walther (Bach’s cousin) show that line­shaping‚ through the inflection of phrases‚ was considered important; and these writings have led musicologist Peter le Huray to believe that the result was ‘even more subtle and instinctive perhaps than Chopin’s much praised rhythmic flexibility’. Charlston puts this knowledge to discerning use. An example of his sensibility is the Chromatic Fantasia and Fugue where virtuoso pyrotechnics are eschewed. The malleable line of the Fantasia‚ the circumspect treatment of the chords (2'01" to 3'16") that Bach wanted arpeggiated according to the performer’s taste‚ both point to a thoughtful imagination that extends to a lucid exposé of the Fugue; and to an equally lucid exposé of the other major work‚ the Italian Concerto. There are surprises here too – like the moderately paced first movement‚ and a Presto finale that is no mere romp. Perhaps Charlston could have used his two­manual instrument (1998 copy of a 1624 Ruckers) to bring out the concerto­like contrasts more sharply; but the bass‚ notably in the slow movement‚ is strongly characterised so the tensions inherent in the harmonic progressions are clearly exposed. The sound is clean but confined‚ and the recorded level is too high. There is also one unexpected lapse – a rather mechanical performance of BWV 906. Otherwise‚ Charlston offers an outstanding recital. Of course‚ anything less from a professor at London’s Royal Academy of Music would have been most disappointing.