Consider the recordings of the late Glenn Gould. In particular, consider his
rendering of the Bach French Suites (available on Sony classical edition
bundled together with the Overture in French Style). Routed in his mastery
of Byrd and Gibbons, Gould achieves a renaissance-like transparency. Gone is
any hint of Romanticism, so typical of piano performances, and gone is the
excessive ornamentation so typical of say Gustav Leonhardt and Toon Koopman.
.
Gould notes, with regard to the influence of French culture on German music:

"It was a disastrous influence that inspired Bach to produce an extroverted,
over-decorated style of writing."

As a consequence, Gould purges Bach's work of the "galant" complaisance that
characterises other interpretations of the French Suites. In the astonishing
echo movement with which the French Overture ends, Gould simply ignores
Bach's "piano" and "forte" markings - markings which, redolent of the
contrast between solo and tutti sections in a concerto grosso, would
otherwise constitute the pieces essential character. Everything superficial
or "Romantic" such as Bach's own legato slurs in the Menuet of the C minor
Suite (to cite one example of many), is ignored, with Gould reducing the
music to its most basic outlines. In this way Gould purges the music of
"French Corruption" and liberates Bach from the debilitating fashions of his
time.

This is the best interpretation of the French Suites I have heard!