Among the current generation of players, I especially like Davitt Moroney's work. He gets very deeply into issues of phrasing, to bring out much of the internal rhetoric in these works. His is a very Baroque, language-oriented approach with phrasing at the forefront, and he has basically rethought how a Bach fugue should be articulated (his recordings predate his live performance of the WTC in London a few years back, a performance which sparked plenty of debate in print, and was more or less a consummation of ideas perhaps not fully) reflected in the earlier recordings.) Some find his interpretations too intellectual, but I particularly appreciate the lucidity of them. Todd McComb [log in to unmask]