Following his wonderful recording of Bach's most intimate organ pieces (the six Sonatas, BWV525–30 on CDA66390, 11/90), Christopher Herrick has now turned his hand to the flamboyant and extrovert works. Comparisons in music as universally popular as this are a little pointless; after all, anyone who favours the flippancy of Guillou's account of BWV565 (Dorian/Conifer, 3/90), the quirky registration effects and rhythmic freedom in Keith John's BWV564 (Priory, 4/90) or Kevin Bowyer's studied romanticism in BWV538 (Priory, 3/90) are unlikely to be swayed by Herrick's middle-of-the-road approach. But although 'middle-of-the-road' is often a term of derogation, by deliberately avoiding novelty in his interpretations, by not even trying to look at this well-known music from a 'new' angle, Herrick is unlikely to incur the wrath of any but the most pompous of scholars. That alone puts him streets ahead of the competition.
It all dances along with a vitality which is both endearing and immensely refreshing. The Toccata of BWV540 flows along with a compelling one-in-the-bar pulse and some effervescent phrasing in both hands and feet, while BWV582 maintains an inexorable forward momentum which is not even interrupted as Passacaglia gives way to Fugue. The most popular Toccata of all (BWV565) seems just right; it has brilliance, energy, purpose and a most welcome lack of gimmickry. My only real reservation is the Fugue of BWV538. The vivacious character which pervades everything on this disc seems quite out of place here: I can't believe Bach intended this to be so light-hearted.
Coupled with a stupendous organ sound and Robin Langley's exceptionally interesting and valuable insert-notes, this will join Herrick's Sonatas recording and Nicholas Danby's recital (CBS (CD) CD45807, 6/90) as one of the three Bach CDs I will turn to over and over again for sheer enjoyment. All three are yardsticks with which to measure other performances.'