I can't hear them properly as I'm on a crappy little netbook for a few days, the best I can do is about a two-minute gap between one and the next, and they sound like what you hear from someone else's Walkman on the bus. You could possibly make a case for any one of 'em being the odd man out. One's in a different key on the fiddle, one's on a viola, one's played by Wacky Gidon (wacky when I saw him in the 70s and wacky to this day - brilliant possibly but still wacky). None of them is Menuhin, unfortunately. I'm unclear as to what point you're trying to make. They are all interpreting the work of a composer who often gave notoriously-little guidance as to performance. Those players have considerable latitude as to how they play the piece but it is not the same thing as the latitude I have when I play Trip To Durrow. I am not saying more or less, just different. I can vary the tune, I can add all manner of ornamentation which I can change from playthrough to playthrough and every time I play it, I can play it straight or with swing, fast or slow. I adapt what I play according to what I hear around me. Finally, you've set individual solo performances of a Bach partita against band performances by Planxty. Hmm. You are far more free when you are not collaborating with other players. Why don't you compare some different solo performances of an Irish tune? Start with any of MacDara's. Compare his playing of Rolling In The Ryegrass with Matt Molloy's playing of it (which is what I was doing in my head when I first herd MacDara's). They are playing the "same" tune but you could struggle to make that out to begin with. You don't get that with your Bach.