Bach might well have played the harpsichord at these Leipzig concerts since the two clavier parts together hold more interest - bearing in mind that these were essentially Trio Sonatas visualized and written for two equal harpsichord lines and violin. Though given a good harpsichord player, and there would have surely been no shortage, Bach would no doubt have been happy to take up the violin, it being the first instrument he learned, remaining no doubt an instrument dear to his heart.

Those who favour the lighter, single-manual harpsichord often heard in those performances termed "authentic" should recall that Gottfried Zimmerman frequently re-equipped his establishment with the latest musical instruments, one of his prize possessions in the late 1720s being "a clavicymbel of large size and range of expressivity" which was a Leipzig attraction in itself. It was replaced by an even finer instrument in 1733, and there is good reason to believe that it was in fact a three-manual instrument similar to that owned by the Collegium in Jena and illustrated in the 1746 print illustrated on our CD BACH 718.

The performances by Suk and Ruzickova are in our view the best we have ever heard or are likely to hear. The two played together regularly and had already done so for many years before this 1963 recording was made. Their renditions are lively and tuneful, then rich and sonorous, responding perfectly to the moods and demands of the music. Ruzickova is not afraid to use the full resources of her harpsichord, including the 16' stop where added bass is required to give what Bach called "fondament". This is used particularly to stress a change in harmonic progression.

The solo works have been interspersed in the programme to give variety. The solo harpsichord work, BWV 894, was later adapted by Bach as the Triple Concerto BWV 1044 (on BACH 718). The four Duets are late works, from the Clavierübung III.