“Bach composed the WTC Book II (preludes and fugues in every major and minor key) two decades or so after the first. It possesses mature nuance, well-delivered by Ohlsson. The prelude of BWV 882 in F-sharp Major confers a precise and delicate mood, with two main, lightly articulated themes and several portions, hinting of French style. I felt the pianist’s interpretation reverential and stately, yet approachable. His phrasing seemed more elegant than most. The 3-part fugue has a triumvirate of unique features that recur throughout—a trill, a rest of a quarter note, plus an E natural (a so-called flattened 7th, which renders it a signature fugue Bach lovers savor. Hearing it, I mused, “is Ohlsson equal to Bach, or is JSB equal to Ohlsson?” It was delicious.

The pianist went on to BWV 883, with its ornamental triplets in the prelude requiring “particular” playing—and after a false start, which he gestured with something like American Sign Language or a Gallic shrug, he dove in and played the exquisite 14th Prelude with panache, followed by the ornate 14th three-themed triple Fugue. In certain ways, the prelude provides a right-hand arioso, accompanied by a lilting left hand, with tantalizing leaps and pianistic flexibilities. The tour-de-force fugue left one breathless with admiration – for Bach and Ohlsson.

[…]

After the last note and harmonics faded, the audience waited breathless, appreciative moments, allowing emotions to linger but then roared with a unison of approbation.”

The Boston Musical Intelligencer