Containing the eight suites, miscellaneous grounds and popular tunes, Gibbons presents Purcell in his most domestic vein. Yet there is nothing parochial about the composer’s easy manipulation of Italian, French and indigenous styles. These are spirited and immediate performances, but pale beside Terence Charlston’s softer-grained and more discriminating readings on Naxos (4/98). The documentation is too paltry to mention the name of the harpsichord.'