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Jerry Dubins
Fanfare, September 2015

…amazing clarity and intelligibility of Beauséjour’s playing. What I marvel at is the artist’s ability to delineate the individual voices in the fugues with such independence and lucidity that the ear is able to penetrate the contrapuntal texture and follow each line all the way through from beginning to end without ever once losing the thread of it…

On harpsichord, I do not believe you will find better performances or recordings than these… I know that this will now be my reference version of Bach’s 48. © 2015 Fanfare Read complete review

Rob Haskins
American Record Guide, July 2015

Taking full advantage of the numerous variant readings among the many manuscript copies of the WTC, Beausejour makes some interesting, less-heard choices (for instance, in the F-sharp fugue). All in all, the performance is a fine one and worth owning… © 2015 American Record Guide Read complete review on American Record Guide

Richard Todd
Wolfgang’s Tonic, April 2015

These days, we are more inclined to hear the Forty-Eight on piano. However, a good harpsichord account has its particular rewards, and Beaséjour’s is among the best: a real treasure, in fact. The conceptual clarity of the playing is complemented by a commendable variety of spirit in the preludes and the sheer beauty of many of the fugues. © 2015 Wolfgang’s Tonic Read complete review, February 2015

Hearing these 48 works in a single two-and-a-half-hour session is overwhelming, and scarcely necessary, since the individuation of the pieces is so well managed by Beauséjour that it makes it attractive to listen to just a few at a time. Beauséjour manages to make every fugue…clear and structurally audible—you can hear the building blocks Bach used very easily without ever being distracted by them and without ever having them descend to the level of a mere academic exercise. Beauséjour is an absolutely wonderful guide to this absolutely wonderful music, and this recording, like his earlier one, serves as yet another reminder of the fact that Bach’s keyboard works sound far better on the instruments of his time (harpsichord, clavichord, organ) than on those of later years (fortepiano and piano). © 2015 Read complete review

David Denton
David's Review Corner, January 2015

The second book of the work known today as The Well-Tempered Clavier, a gathering of two sets of Twenty-four Preludes and Fugues in all the key signatures. Regular readers of this column will know of my aversion towards piano performances of Bach’s keyboard music, and that I will therefore look approvingly on this new release from the Canadian harpsichordist, Luc Beauséjour, that is following on from his highly acclaimed recording of the first book. There is certainly no shortage of discs where the performer is intent on pointing to every detail, and inserting dynamics that will highlight those details, particularly in the intricate structure of the fugues. For those who find that approach exaggerated, Beauséjour will be the perfect antidote, for his is an unfailingly direct and uncomplicated view where tempos seem so natural and unhurried. You will also find elsewhere a greater sense of rejoicing, where Beauséjour brings an almost sacred simplicity to the music, elegant in conception and immaculate in articulation. It would not be difficult to point to passages that show his enviable dexterity, the Prelude to the 15th in G major bubbling along in a most cheerful way as if a spinning-wheel, while his feel of serenity inhabits the following Prelude. In sum, I commend the release to you for Beauséjour’s unfailing musicianship and lucidity. © 2015 David’s Review Corner

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