The partnership between James Galway and Monica Huggett, playing at modern pitch, may raise the odd eyebrow, but it is one that contributes strongly to the excellence of this recording: her tone lacks something of its usual warmth but the lovely phrasing is much in evidence, and their musical minds meet on the best of terms. Galway has adapted well to baroque style, with which his colleagues are well acquainted, and his wife, making her debut on record, is neither overawed nor outshone in BWV 1039. In BWV 1013 Galway plays the second-half repeat only in the Sarabande, which he takes very slowly indeed, though there is ample playing time for those in the other movements. Philip Moll rises to proper prominence in BWV 1032 but for most of the rest it requires acute hearing to detect his presence, though happily not that of Sarah Cunningham. However, the disc is very recommendable to anyone who doesn't insist on period instruments.

-- Gramophone [8/1997]