French‑American harpsichordist Lillian Gordis, hailed as “a Martha Argerich of the harpsichord,” brings her boldly expressive musicianship to a program devoted to Bach’s keyboard masterpieces. In celebration of her recent album devoted entirely to Bach, she performs four preludes and fugues from The Well‑Tempered Clavier alongside the expansive and deeply poetic Partita No. 6. Renowned for her imaginative touch, rhythmic vitality, and nuanced rhetoric, Gordis has quickly become a defining voice among a new generation of early‑keyboard interpreters. Her playing reveals the harpsichord’s vast expressive range—from crystalline counterpoint to richly sculpted melodies—while amplifying Bach’s unmatched ability to join structural invention with emotional depth.
