I have heard them all, I know them by heart, I play them myself (and mostly for myself). For the last 20 years I've had my periods where the favorite has changed from Jaap Schroeder to Gidon Kremer, or from Nathan Milstein to Helene Schmitt, just to mention a few. All have something, although some have a tendency to follow the 'standard' readings (perhaps not Helene's). From each I could signal something special, although there is always a 'but'. I prefer it when the reading is more personal, as this is what I look for from an artist-interpret. I also look for when there is some respect to what Bach actually wrote, with the articulations and bowings, phrasings when known, altough I am not purist.
When I bought the Mullova discs, I was quite won by the honesty that she shows in her comments in the booklet included, when she explains how she got to rediscover these works from the conservatoire approach to the actual reading she does in the set. It's obvious that she has re-worked them very thoroughly. In the occasions where a interpreter decision is expected (choice of bariolage, chords, accents, tempi, ornamentation, bowing and articulations), in my opinion she always seems to take the right one.
With the Partitas, she takes seriously the dancing motto (except for preludios and allemandas that were not really to be danced) and plays them in such a manner that you could actually dance them. With the Sonatas, however, the approach is more inward-looking and she concentrates in getting the inner poetry out into life. And she succeeds.
With her, you always have the impression that the music is going somewhere. And with her conviction and sound, she takes you there.
Thanks very much. I think this is wonderful.