'Andrew Arthur seems to be an almost ideal advocate for these works. His playing is patient, poetic and genial, and deeply natural. There isn't a bar - from the gloriously fragrant D minor opening suite - that seems forced, calculated or designed to draw attention away from the elegant cantabile that forms the heart of the collection. [...] Arthur brings a spontaneity that allows each work to feel as if the ink is still wet on the page. [...] This sense of freshness is where Arthur's performances are among the very finest. The guileless charm of the first half (Suites Nos 1, 3 and 6) is also partly encouraged by the sweet double-manual harpsichord by Andrew Garlick after an instrument by Jean-Claude Goujon (Paris 1749) and his own judicious ornamentation. Special care is given to all the Allemandes to breathe and grow, and the wonderful E major Suite is dealt a joyousness at every turn - the Sarabande is the closest the French Suites get to their English counterparts - and this most varied piece in the set evolves through seven dance types as if stitched by a golden thread. Another double-manual harpsichord is chosen for Suites Nos 4, 2 and 5, this time by Keith Hill after a Pascal Taskin instrument (Paris, 1769). It is generally deeper and more probingly resonant. The Sarabande of Suite No 4 is a case in point, as is the expansive and generous G major Suite, with its langorous opening Allemande and closing Gigue of irresistable Schwung. Of all these lasting pleasures, a beautifully narrational C minor Suite is the pick of the bunch. Arthur's clarity of intent, unintrusive rubato and unmannered approach gets right to the heart of these deeply touching works.' Editor's Choice, Gramophone (Jonathan Freeman-Attwood)