In transplanting harpsichord music to the piano there are things that are acceptable and believable, and other things which are not, as my colleagues and I are wont to point out from time to time; some arise from the differences between the two instruments and others from the interpretative 'traditions' of those who play them. The numerous peccadillos of Schiff's Partitas (Decca) are, as LS has said, largely of the latter kind; those (fewer) of Steuerman's are entirely so and he is the clear winner of a two-horse race with Bach's name written on the winning post. There is, however, so much that is admirable in Steuerman's set that one regrets those things which make it less than the 'ideal' one we are still waiting for. To LS's enumeration of those things I would add only that Steuerman's way with repeats is particularly distrubing: when time permits them, as it does here, the omission of repeats is hard to defend not least when the expectation of one is rudely dismissed by one of Steuerman's summary endings. Neither am I enamoured of the clangorous bass sounds he occasionally produces, in the later stages of the D major Ouverture for instance, and harsh treble sounds are not entirely absent. With these reservations, Steuerman's is the best (albeit well rather than ideally recorded) set of the Partitas yet on offer from a pianist: either choose it or wait for the as-yet-unattained ideal to come along.'