James Lancelot in his booklet note suggests that “the Orgelbuchlein had become the organist’s Bible. No organist should be ignorant of the collection and every organist should master some at least of these chorales which have adorned the liturgy of churches throughout and far beyond Lutheran communities”. He goes on to say that “no organ with Romantic voicing, electric blowing, electro-pneumatic action and (not least) a scale tuned in twelve equal semitones is going to make the sort of sound that Bach would have recognised in his lifetime. So why record this music in Durham Cathedral with its Willis/Harrison instrument? Firstly because Bach’s music transcends its
medium; it is less insolubly tied to specific tone colours than (for instance) French Classical organ music. But second, perhaps, because the organ at Durham possesses sufficient variety and vitality to bring each piece convincingly to life. I have not repeated any registration; every plenum is
different. Whether or not my confidence is justified you, the listener, must decide.”
