This two-CD release concludes Ton Koopman’s complete survey of Buxtehude’s organ and harpsichord works, spread over five instalments. He plays on the three-manual organ in the church of St Wilhadi, Stade, west of Hamburg, which was built between 1731 and 1735 by Erasmus Bielfeldt. Its silvery choruses are perfectly matched to Koopman’s fresh – almost flighty – approach to Buxtehude’s stylus phantasticus. The recording’s sound stage has a clear sense of depth and breadth. Majestic, rotund climaxes are handled as adeptly as the smaller-scale manuals-only passages. Tonal combinations are constantly refreshed. The hurdy-gurdy effect in the chorale prelude Von Gott will ich nicht lassen is especially engaging. Pedal solos (whether at 16-, eight- or four-feet pitches) cut through with ease.

As in the previous instalments these discs include a contrasting mixture of extended multi-sectional preludes and three types of chorale-based works: compact polyphonic settings, elaborate and highly expressive fantasias, and pieces based on Latin liturgical melodies. Right-hand solo voicings are particularly plangent in the second category.

The second CD is made up with the complete surviving organ works of Nicolaus Bruhns (1665-97), a gifted pupil of Buxtehude. Bruhns displays a young man’s exuberance and desire to display his technical prowess, and is no slavish copier of his teacher. His idiom is highly distinctive and his keyboard-writing beautifully balanced.

Each disc makes a satisfying recital on its own. Key juxtapositions and tempo changes between tracks make perfect sense and the playing, recording and documentation are first rate. Koopman has done Buxtehude proud.