At the outset of the scholarly notes that Mahan Esfahani has provided to accompany this release, he states his aim ‘to perform and record all the keyboard works of J.S. Bach’. His Hyperion discography has, over recent years, garnered considerable praise from MusicWeb reviewers, including myself. So I was delighted to be given the opportunity to appraise his latest offering, in which he performs the composer’s Six French Suites.

The French Suites are amongst J.S. Bach’s most admired keyboard works, yet are far less ambitious in scope than their English counterparts. The composer penned them between the years 1722 and 1725. They seem to have been written for the domestic market and for teaching purposes. So, it’s entirely logical that Esfahani employs the clavichord for some of them.

In addition to the French Suites, Esfahani has included three 'orphan' Suites in E flat major (BWV819), G minor (BWV822) and A minor (BWV818). He explains in his liner that the G minor has the most tenuous connection to Bach yet, despite its doubtful authorship, he’s recorded it just in case another source turns up in the future. He also finds it a ‘charming’ work, which it certainly is. Of the three orphans, it did sound to me the least like Bach. The E flat major and the A minor, on the other hand, were included in some of the sources alongside the French Suites, yet both lack autographs which makes dating them impossible.

Two very fine instruments have been used in the recording, a clavichord by Peter Bavington (London) and a harpsichord built in the workshop of Jukka Ollikka (Prague) completed in January 2018. Esfanani has divided the works over the two instruments. The first three French Suites and two orphans in A minor and E flat major are performed on the clavichord, the last three French Suites and the G minor Suite are played on the harpsichord. Thus, an element of variety and contrast is factored into the mix. The clavichord offers a more homely and intimate feel, whilst the harpsichord declaims a grander aspect.

Esfahani elicits a wide spectrum of tonal colour from his instruments. Passage work is notable for its pristine quality, with the thicker harmonies luminously clear. His tempo choices are comfortable, and the music comes over as vibrant and alive. Repeats are observed and extra ornamentation is added the second time around. The dance movements have gusto, verve and vigour, whilst the Sarabandes offer contrast, being eloquently contoured with phrases spun out in a single breath.

Recording quality is excellent in every way, and the accompanying annotations are top drawer.