His Bach is resolutely head-driven - and it's curious. His preeminently ascetic use of the sustaining pedal creates clarity tinged with dryness, yet he's prone to Romantically portentous rallentandos.

Clarity of texture and of part-playing are the virtues which predominate, plus a cool atmosphere. Whether or not we think of these as characteristically French, they do bring rewards in Bach, of course; and yet the impression Aimard conveys is of Book 1 as a monument, even a scholastic tract

It's an austere, almost self-effacing performance in which Aimard is ensuring that Bach is the real star...I'd venture to suggest that Pierre-Laurent Aimard has found that sweet spot for Bach's keyboard works – he manages to capture on the piano the spirit of a work designed to showcase the harpsichord. If you think you don't like Bach on the piano, I think Aimard may just convert you.

Aimard has clearly thought deeply about the collection’s kaleidoscopic structure, but parts of its kaleidoscope suit him better than others. Playing of dancing glee or delicate sentiment continually rubs against patches unduly dry and detached. The F sharp minor fugue is a mysterious wonder, as if the music were feeling its way in the dark; the G major prelude sparkles with gaiety.