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Julian Perkins (clavichord)
Making his Resonus solo recording debut, early keyboard player Julian Perkins records the fascinating six French Suites by J.S. Bach on clavichord, the most delicate of keyboard instruments that was favoured by Bach himself.

Completing the recording, Perkins includes solo suites by Johann Jakob Froberger and Georg Philipp Telemann,  both of whom Bach is thought to have studied by moonlight in his earlier years. Julian Perkins uses two modern copies built by Peter Bavington.

'The ability to play loud and soft, albeit within a very narrow and low-level range – is effectively exploited by Perkins; melodies sing over their accompaniments and the soft-curved sarabandes (the Fifth especially) are shaped with beauty and feeling'
Gramophone

Credits
© 2016 Resonus Limited
Ⓟ 2016 Resonus Limited
Catalogue No. RES10163

Producer, engineer & editor: Adam Binks
Cover image: Clavichord detail © Resonus Limited

'The ability to play loud and soft, albeit within a very narrow and low-level range – is effectively exploited by Perkins; melodies sing over their accompaniments and the soft-curved sarabandes (the Fifth especially) are shaped with beauty and feeling'
Gramophone

In making this recording Perkins has done an important service to both the clavichord and to J. S. Bach. As a different take on these well-known works it can be highly recommended'
Early Music Review

'[...] Julian Perkins is a fine musician and plays the suites elegantly'
BBC Music Magazine

'Perkins demonstrates complete rapport with the instruments and music, evoking a wide range of colors and effects. His performances are delightfully unbuttoned but never mannered [...] Altogether, this is music making of the highest order, rewarding the attentive listener at every level of detail.'
Boston Clavichord Society Journal

'[...] a most valuable addition, particularly for clavichord recording collectors'
The British Clavichord Society Newsletter

'Julian Perkins’ playing is sensitive and musical. He makes excellent use of ornaments, both realised from the score and also added improvisational ornaments,all forming an integral part of the music line, rather than being the often heard ‘add-ons’ to the texture. He also adopts an attractively free approach to interpretation, entirely appropriate given the complications of the sources of these suites. [...] I recommend turning off the lights, lighting a candle, sitting back and just letting the music flow.'
Andrew Benson-Wilson (andrewbensonwilson.org)

'These works sit perfectly on the clavichord and are here given lively yet intimate performances which are highly convincing'
Lark Reviews

J.S. Bach: French Suites, BWV 812-817

J.S. Bach: French Suites, BWV 812-817

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1 3:47
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  • 2 1:25
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  • 3 3:25
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  • 4 1:15
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  • 5 4:19
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  • 6 2:31
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  • 7 2:54
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  • 8 2:48
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  • 9 3:48
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  • 10 2:58
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  • 11 2:22
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  • 12 3:16
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  • 13 1:37
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  • 14 2:52
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  • 15 2:36
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  • 16 3:50
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  • 17 2:34
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  • 18 2:59
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  • 19 1:32
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  • 20 2:42
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  • 21 2:30
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  • 22 2:32
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  • 23 2:34
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  • 24 2:15
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  • 25 3:00
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  • 26 1:43
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  • 27 2:51
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  • 28 2:02
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  • 29 3:24
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  • 30 2:39
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  • 31 1:55
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  • 32 2:37
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  • 33 3:39
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  • 34 1:49
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  • 35 5:05
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  • 36 1:17
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  • 37 1:29
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  • 38 2:26
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  • 39 3:37
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  • 40 1:39
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  • 41 3:37
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  • 42 2:06
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  • 43 3:48
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  • 44 1:19
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  • 45 3:16
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  • 46 1:44
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  • 47 2:54
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