Weilerstein’s special qualities? Her resolve to allow each movement of each suite to shine on its own terms. Hers is not an overview systematically imposed but more a way to facilitate the cycle’s immense expressive range piecemeal. Not that the best of her rivals don’t; but with Weilerstein you enjoy the sensation of being escorted through a Baroque dance hall by an all-encompassing commentator with a comprehensive understanding of what she plays.

The American’s sumptuous sound and modern technique have greater kinship with Casals and his successors than with “period-style” performers, and her spacious readings have something of du Pré’s emotional style...This outstanding artist is a great catch for Pentatone.

What emerges is a performance that unfolds at its own pace and in its own space, inward-looking yet confident – one captured at exactly the right time. And, crucially, it’s a performance that sings: put Weilerstein next to most of her colleagues in these suites (competitors would be the wrong word – Bach doesn’t encourage competition) and she would win for sheer resonance of tone and length of line...There are dozens of recordings of these suites to choose from, but this stands up with the best.