Baroque harpsichord makers tried various methods of extending the expressive range of the instrument, one of which was to attempt to simulate the sound of the lute. The buff (‘lute’) stop is the only one to have taken root but others entailed the radical redesign of the instrument. Rather than a harpsichord with one stop that simulated the lute, it became a keyboard-operated ‘lute’ with a coloristic range of its own, a veritable genus of harpsichord in its own right. No original instrument has survived; the diversity of solutions to the problem shown in today’s reconstructed lute-harpsichords reflects that indicated in contemporary descriptions of the instrument. Robert Hill’s notes expand informatively on the situation, and give a clear account of the instrument he uses. It has a distinctive sound, but one that would deceive no one who knew what a lute sounds like – not least in its higher reaches.
So what repertory is appropriate to this elusive instrument? His justifiable view is that, as it was not customary in Bach’s time and place to specify the instrument on which keyboard pieces were to be played, the idiomatic character of the music should govern the choice. He has chosen well in this recording, and he presents his ‘case for the defence’ on behalf of each separate item. There are no ‘routine’ performances but highly personal ones, marked by expressive rubato that occasionally gets a bit out of hand, as in the far from dance-like Allemande of BWV996, and enthusiastic embellishment (added ornaments, implied appoggiaturas and diminution) that at its best is enhancing, but at its most extravagant swamps the lines with deluges of busy notes – there are many such inundations in BWV996. All this said, it is a stimulating and well-presented recording and very recommendable to boot.'