We don't always enter by the front door: my own entry into Bach's world over 50 years ago was via an arrangement (Stokowski's) of the Toccata and Fugue in D minor, but though it took me a little time to find where the front door was I had just as surely gained access. I can readily imagine that others might do so rather more directly, by means of Nikolaieva's version of the same work, played with due majesty and an apt sense of drama, and given something of an organ-like palette of colour by variation of touch. She doesn't make much of the echoes at 4'38'' et seq. and there are a few outbreaks of overcooked staccato, but the negatives are few and not ultimately disturbing. The G minor Fugue could have said thank you for a little more pace, but it is clearly stated.
Nikolaieva is, however, a romantic at heart and so too is her view of much of the other music. The Chaconne is compartmentalized as a succession of strongly contrasting events, with constant changes of tempo and often a degree of rubato that unhinges the pulse. It's majestic and heartfelt (and over-dressed) but it isn't 'baroque'. Romantic piety is the name of the chorales' game, beautifully expressed at slow tempos— so played, BWV645 would awaken few sleepers. For the Siciliana from the E flat major Flute Sonata one would be looking for a time-span of about three and a half minutes; Nikolaieva takes 5'24'', which speaks for itself. As a statement of love and respect by a superb pianist this is an eloquent recording, but it is not for the true Bachkenner.'