There is no questioning Diana Boyle's technical finesse nor whether she has thought long and hard about how to play Bach's Art of Fugue. However, her approach to this work is, for me, shocking and unsettling. She plays with such mooning and and taffy-pulling of phrases and such disparities of touch and dynamics that I had trouble making myself listen through to the end. Such sudden sforzato notes emerge without warning out of a soft dynamic that one wonders if something fell on the piano keyboard. Often her unnecessary accenting of Bach's fugue theme makes a mockery of the work's subtleties, as if she is shouting, 'Here it is again!'. Ends of phrases tend to be tapered in hyperromantic fashion. At times, for no apparent reason, a musical line will subside into near inaudibility only to emerge at an equally odd moment back to its former dynamic. This is clearly not a fault of the engineering -- indeed, the audio engineering is one of this two-CD set's laudable qualities -- but a choice made by the pianist. She has left out the four canons, playing only the contrapuncti, but she does play the right-side-up and upside-down versions of contrapunctus XIII, back-to-back. She leaves the last contrapunctus unfinished just as Bach did.
I had the thought along the way that the spirit of that eccentric of the piano, Vladimir de Pachmann, had been reincarnated. De Pachmann played in such as way as to command unwavering attention because one never knew what strangeness he would commit next. The same applies here. There are those who love 'romanticized' or high individualized Bach and perhaps this set will appeal to them. But I suspect they are in the minority, even including those who love the idiosyncrasies of Glenn Gould's playing.
No recommendation here.