There is something about playing Bach that encourages pianists to sing along while they are performing. No one has ever quite matched the efforts of Glenn Gould, of course, many of whose exceptional Bach recordings come with an extra vocal counterpoint. But here was Richard Goode adding his own baritonal accompaniments to two of the partitas and a selection of preludes and fugues. It was only a minor distraction, though, and in any case Goode has never been overly concerned with presentation. Interpreting the music comes first.

That's perhaps the reason why there is never a sense of machined evenness about Goode's Bach playing, and there were brief passages in his sequence when his rhythmic articulation became quite blurred. Against that, though, was the wonderful feeling of spaciousness in the slower music and the simplicity with which he span out the sarabandes of both that and the G major partita.

Between those works, three numbers from the Well Tempered Clavier were perfectly conceived - the F major prelude from the second book began as if it were giving the answer to an unheard question, the chromatic symmetries of the A minor fugue (also from book two) presented with total lucidity, and the C sharp minor prelude and fugue from book one providing a moment of serene introspection.

There were fewer vocalisations after the interval, as Goode tore into Schubert's D major Sonata D850. Perhaps aware that this is a sonata that can have its longueurs, he kept the performance moving, making sure the slow movement really was con moto as the score indicates, and giving a lilt to the Ländler tune that appears in the scherzo. There's not much anyone can do with the finale's musical-box squareness except make it charming, which is what Goode did.