Charles Dieupart’s harpsichord “Suittes” published in 1701 represent the first time a keyboard suite was treated as a form in itself, uniformly structured with a set number of movements, all opening with a designated “overture”. Though they were highly esteemed throughout the 18th century (Bach used the gigue of the second suite for the opening movement of his first English Suite) and continue to receive excellent recordings today, listening reveals that their historical importance far outweighs their musical interest. While certainly a consummate technician, Dieupart lacked the style and originality that other more gifted composers (Rameau, the Couperins, Froberger, Handel, Bach) brought to the dances of their suites. If ever a quintessential musical example were needed to demonstrate that whoever has the first word doesn’t necessarily make the most difference, this is it.

Nearly all of Loewe's most popular ballads are included in this collection, sung by a voice that is admirably suited to them, and interpreted by an intelligence that dramatizes each song grippingly without the need to inflect every emotive word. Quasthoff's baritone has a rich and sonorous extension into the bass range, a broad palette of vocal colour (so he can personify the child, the father and the sinister wraith in Erlkonig or act out the fraught colloquy of Edward without ever ceasing to sing) and it is a voice that can touch lightly or sing quietly without losing tone.