The organ of the Grote Kerk was built in 1730-2 by Rudolph Garrels, a pupil of Arp Schnitger, and it was restored to its original proportions in 1975 by Pels & Van Leeuwen. It has, as might be expected, a full range of choruses capable of realizing Bach's tonal intentions in this programme of display pieces. I find it hard to believe, therefore, that Ton Koopman chose to rely pretty well on one type of tone quality throughout (except of course for the Adagio in BWV564, a welcome oasis if ever there was one), making the very forward Ruckpositiv take the responsibility of all the main contrasts. Everything depends on brilliance, of which there is an abundant supply. The unrelenting pace of the F major Toccata takes one's breath away, though its steady fugue rumbles somewhat under a fungoid growth of ornamentation. Yet the perky and unusual graces in the D minor Toccata, BWV565, help the amazing effect the piece is meant to convey. The recording does not always come to grips with the demands made by Koopman's speeds in a wasteful acoustic. Generally, the balance favours manuals rather than pedals, and hugs the Ruckpositiv like a brother.
I had barely written the above when the CD arrived. I was amazed by the totally different picture presented by this version. Increased clarity makes much more sense of the spacious effect and brings the pedals much nearer the manuals in power. The ornamentation I complained about in the fugue of BWV540 is now so much clearer that it makes good logic. In biblical terms, what was lost has been restored. There is also more tonal relief in evidence than on the LP. A very good case for the value of Compact Disc.'