To find the direct ancestors to these Bach performances by Russian pianist
Jacob Katsnelson, you have to go back past
Vladimir Ashkenazy to the old Russian school of Bach playing by the likes of Samuel Feinberg.
Katsnelson doesn't strictly resemble Feinberg, but his approach to articulation is as extreme as Feinberg's to tempo: listen to him whale on the keys in the Gigue of the Suite for keyboard in A minor, BWV 818a. The average listener is likely to suspect that Bach would hardly have recognized his own music in some of these performances that use every resource of the piano and dismiss any attempt at historical verisimilitude by referring to the instrument used as a "regular" piano; it is a Steingraber concert grand from Germany, and the album was made on the company premises and very nicely recorded. The best news is that
Katsnelson plays a very unusual Bach work here and does it appealingly. The Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992 (Capriccio on the Departure of a Beloved Brother), is a little programmatic suite depicting the reaction of Bach and his friends to his brother Johann Jacob Bach's departure for military service in the Swedish army, ranging, in six movements, from trying to talk him out of it to accepting it by way of a nifty little fugue that imitates a military horn. Bach wrote this ingenious little work in his teens, and it apparently parodies earlier pieces of religious program music by Johann Kuhnau.
Katsnelson's performance is delicious. As for the suite, the collection of three-part Sinfonias (Inventions), and the single prelude-and-fugue pair included, you have to try them out and see whether they fit into your particular tolerance level for non-Baroque Bach.