It must by now be some 16 years or more since Gustav Leonhardt recorded the Suite in E minor, BWV996, the Fantasia and Fugue in A minor, BWV904 and the Capriccio in B flat major, ''On the departure of a beloved brother'', BWV992 (Telefunken AS6 41130, 4/71). As I remarked in a recent review of the English Suites played by Leonhardt (HMV Reflexe EX270243-3, 12/85), this immensely accomplished artist seems to have acquired an additional fire and a greater degree of spontaneity in recent years. Of that former stylistic self-consciousness and what to me seemed excessive mannerism there is not a trace. Instead there is what at times amounts to an almost demonic vitality; and when that is harnessed to a fluent technique and the kind of stylistic assurance on display here the results are quite remarkable. In short, I find these performances absolutely thrilling.
The Suite in E minor (c. 1708-1717) was originally conceived as a lute work though the words aufs Lautenwerk were added by a hand other than Bach's well after this death. Leonhardt brings plenty of character to the stylized dance movements and I found the Praeludio and Gigue particularly impressive. The Capriccio in B flat major probably dates from the years shortly before Bach's Weimar appointment in 1708. Leonhardt's performance has a pleasing improvisatory quality which seems especially apposite to fraternal feelings at such a time; ''Departure'' means absence and not death in this context as we are reminded, for instance, by the ''Aria di Postiglione''.
The Fantasia and Fugue in A minor is a later work dating from c. 1725 and can be equally effective played on the organ. Here and in the fine Toccata in E minor, BWV914, Leonhardt draws us into the midst of music whose sometimes melancholy and sometimes turbulent affects seem to strike up a startlingly close and passionate rapport with him. These pieces provide a strong temperamental contrast with the one remaining work in his programme, the Prelude, Fugue and Allegro in E flat, BWV998 which, like BWV996, was originally for lute.
To sum up, then, a distinguished recital which I recommend without reservation, and a fine recorded sound.'