. . . unexpectedly striking.

. . . there is plenty for your ears to enjoy . . . The playing is beautiful throughout as you might expect, with acute observation of dotted dance rhythms, no overburdening of the notes with excessive ornamentation but certainly not lacking in expression and animation. The single voice to a part starting-point works well, giving the music a chamber-music intimacy but the projection of the players and subtle reinforcement of the keyboards adding scale without imposing artificial grandeur . . . [Ottavio Dantone and the Accademia Bizantina's recording is] a version I'm glad to have heard, and one I will certainly want to keep for the future.

Illuminating.

. . . [Dantone plays with the combinations of instruments] to give each movement its own expressive character . . . [the performances by] Accademia Bizantina are first-class.

In stets wechselnden Farben beleuchten sie das scheinbar nur intellektuelle Linienspiel, erwecken es zu klingendem Leben.

On sent que prime ici la volonté de rendre vivante cette musique, trop souvent montrée sous un jour austère. Comme jamais la précision ou la musicalité ne sont prises en défaut, comme le jeu est parfaitement conduit tout du long, le plaisir de l'écoute ne s'érode pas, tout comme celui d'entendre se dérouler cette partition d'une perfection contrapuntique inouie. Cette approche chambriste de "L'Art de la fugue", dans le sillage de Rinaldo Alessandrini, convainc finalement.