Italian Concerto in F major, BWV 971
Partita No. 1 in B-flat major, BWV 825
Partita No. 5 in G major, BWV 829
Chromatic Fantasia and Fugue in D minor, BWV 903

There's an indubitable higher logic and clockwork precision within the keyboard music of Johann Sebastian Bach (1685-1750). When compared to other composers even the layout of his music on a printed page looks more symmetrical, almost as if preordained. But it certainly should not sound that way. As a matter of fact there's a certain level of an improvised element inherent to it, which is probably why jazz musicians like to tinker so much with Bach's music.

Pianist Konstanze Eickhorst, a prize winner at the unique tercentenary 1985 Toronto Bach Competition in commemoration of Glenn Gould, certainly brings all of this forward in her highly expressive and confident playing. There's a marked dynamic fluidity to her phrasing as well as a controlled and disciplined use of rubato which feels completely natural. And like Gould she clearly defines the intricate contrapuntal crosstalk from hand to hand, without Gould's idiosyncratic humming. Everything is marked by highly clear and yet pliable articulation which breathes life into the music. A rejuvenating outlook on Bach's music and a pleasure to hear.