Product Description It is with children in mind that I recorded these French Suites, always having heartfelt simplicity and purity in their mind. Children see the world with hope, optimism, and cast in light much like Miró sees the world. I find a childlike purity in him, similar to what I hear in the French Suites. There is a quote by Miró that touches me enormously and makes me think a lot whenever I play, as it reflects something that may be the most difficult aspect of musical interpretation and of art in general: 'To gain freedom is to gain simplicity' - Zhu Xiao-Mei. Review Delightful, too, are the galanteries: listen, for instance, to the playful Gavotte of the G major Suite, or the Loure-light as gossamer. Mei's phrasing is beautifully tapered, lending a natural ebb and flow to the music. In short, these are honest and deeply affectionate performances, set to become a classic. --BBC Music Magazine, September'17Zhu sounds happiest in the three major key suites. The gigues charm, the rhythms delectably pointed. Just when you think things are sounding a little too comfortable, she'll deploy a sharp accent or play with the dynamics. This is irresistible Bach keyboard playing, easily up there with the likes of Perahia and Hewitt. 80 minutes of sonic bliss, attractively presented. I also sampled Accentus's vinyl edition, lavishly spread over two LPs. Surfaces are commendably quiet and there's a pleasing depth and richness to the piano sound. --The Arts Desk, March'18
S**G
a wonder-pianist in this repertoire
There is much pleasure to be had from these readings of Bach's French Suites. They are marvellous works, of course, perhaps the most dance-oriented of all Bach's keyboard output. Zhu Xiao-Mei has a particular affinity for Bach which seems to release the essence of the music. I'm not always so keen on them on a modern piano, but she makes a thoroughly convincing sound for the music - bold but not hard-edged as it can sound in other hands; detailed in the variations in touch between legato and staccato, without being fussy or anything other than free-flowing - she always sidesteps any Romantic feeling, while nevertheless getting much soulfulness into the sarabandes, which are often very beautiful. Every tempo is here, and she mixes up the order of the suites, ending with No. 5. The gigue here typifies her approach - it makes you listen afresh as she launches it at a fast tempo, brings out the top notes of the subject in a way that makes a very strong shape, but when they occur at a lower pitch in the phrase, she seems to cut them off rather than let them resound. This creates a superb balance of tensions, as she observes the opposition throughout; add a couple of rhythmic hiatuses, and the whole effect lifts off to the skies like a kite . As you go through all six suites, the cumulative effect is one of complete elation, while never overstepping the bounds in which the baroque was contained. The disc follows her equally marvellous Goldberg Variations, also on this label. The booklet contains some attractively tinted photos of the pianist playing that are arty but not too much so, and a fascinating interview in which she talks about Bach and a bit about Miro, featured on the cover. It brings a discreet visual flourish to match the boldness of her interpretations.
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