Unlike the Swiss Metzler instruments Christopher Herrick chose for his landmark Bach series, for his survey of Buxtehude he has cast the net wider, both geographically and chronologically. The first volume (7/08) was recorded in Denmark on a 20th-century (1969) instrument, the second (2/10) in Norway on an 18th-century one (1741), and for the third he’s been to Paris to record on the 2002 Aubertin organ of St-Louis-en-l’Ile. It claims a tonal design “comparable with those of the organs Bach played” and certainly speaks with the convincing tones of the North German Baroque. Unfortunately, while Herrick draws some super sounds from it – notably the wonderful manual dialogues in the chorale fantasia Nun lob, mein Seel and the chirpy flutes of the first fugue in the F major Praeludium – it’s not among the most endearing organs known to man and in places (not least the opening of the F sharp minor Praeludium) it manages to set one’s teeth horribly on edge with its harsh Mixtures. Perhaps the very forthright recorded sound does it no favours.

The organ may cause occasional offence but Herrick certainly does not. Always captivating and frequently entertaining as he tosses off ornaments and decorative figures with the panache of a circus act, he communicates an enthusiasm for the music which never stoops to poor taste or anything less than thorough musical integrity. Always an invigorating communicator, he is as compelling in his dazzlingly articulated virtuoso displays as he is in the delicate chorale preludes; Gelobet seist du, Jesu Christ is a delight while, all but overwhelmed by a weighty Tremulant, Erhalt uns, Herr rolls around the ear like a boiled sweet in the mouth, its external charms almost too delicious to tempt one to bite any deeper.