Amazing.. sorry I can't give any useful input, just loved it! such clarity!

I just played this in my lesson today -- and got a load of other stuff to work on with this suite now...  it was the first lesson I had with this suite in 2 months.  It's good though. I've been in 'practice' mode for so long I need to practice performing it more. 

Im working on the prelude. I think u play it too fast and ther's a lack of emotions.
Here is my version; it's not perfect, but it's a beginning.

I think you're right about the Prelude tempo... I've been practicing it at 120 and this is a bit faster than that (guess I was feeling a bit energetic that day...) and if I'm not careful I'll end up rushing through it in the recital.  As for lack of emotions... duly noted, however in my defense I must at least partially fault the small room, the loud piano and a bad microphone (digital point&shoot camera) for the stagnant dynamic levels.    If by emotions you mean playing it with more rubato, I don't know how much of that is warranted... I've heard 1 professional recording with much rubato and it pretty much ruined the performance by breaking up the rhythm.

Thanks for the comment, and moi69... you play the prelude very well!  Thanks for sharing your recording!!

dear jlh,

wow.  you are really good at bach.  the only thing i wouldn't do in the prelude so much  (too much of anything is bad, right?!) is play the rh dynamically ALWAYS over the left hand.  you do bring out voicing  - but never to the disadvantage of the top line.  this =boring to some people who want to hear more of the voicing sometimes in the middle sections.

you have a good feel, otherwise, to me of the 'whole' of the piece.  i actually like your tempo (can't really say why - other than it sounds really energetic and who's going to want to listen to hours of sixteenth notes.  get it done.  do it well.)  you have really nice trills, too. 

ok on to listen to the rest of it.  i really like the 'sweetness' of the allemande.  the only thing i would change is how you approach the keyboard to start.  look at your hands while you are playing (on the video) - blend in with this as you start by starting ON the keys or very close.  it's just distracting to have this slow motion wrist stuff before you start.  that was the VERY FIRST thing my teacher caught me on when i restarted taking lessons.  i'm so glad he made fun of it.  you don't realize what it looks like until you really watch yourself.  it's unnecessary movement.  eliminate every movement that has nothing to do with making sound at the piano.

is the sarabande supposed to be THAT slow?  forgive me.  i just don't know.  it sounds kinda like a car attempting to make it to the gas station on fumes.  i heard that you should hear them in three instead of six - but that is entirely up to you.  rostropovich used to take sarabandes in extremely slow fashion and they were beautiful - but the thing is - you have to put a lot of effort into doing this with a somewhat static instrument.  you don't have a bow (like with violin) and you can't quaver notes and such.  so you're stuck with a hammer that once it's struck, you're just trying to hold out the note and make connections with what's coming and what went.

i would emphasize the second beat - and give the pulse just a bit more energy by speeding up a little bit.  hardly any thought to the first beats.

the gigue - do you think a little more crescendo on the runs? not necessarily played louder - per se - but just a little more 'umph' each run.  if you have several runs in a row - the first one crescendos to a peak just a bit softer than the next run.  same for going down the keyboard - getting softer and softer each time going down.