Here is a welcome addition to the Bach discography, with the chance to appreciate the awesome compositional skills on display in these four works. This is also the first recording on the 2015 organ built by the firm of Aubertin for a private residence in Sussex. It’s an instrument of outstanding craftsmanship and supreme artistry – ideal for this repertoire.

Thanks to the effortless virtuosity of Stephen Farr’s magnificent playing, Bach’s music is conveyed to the listener with eloquent clarity. Farr’s performances are characterised by a stylish restraint, which suits both the music and the refined sounds of the organ. Occasionally one might wish for livelier articulation, in the manner of a string player; Farr shows he’s capable of this in the second and fourth movements of BWV767. Tempos are mainly well judged, and this results in a sparkling account of BWV768’s eighth variation and a graceful flow to the same work’s tenth variation. However, with movements that contain dancelike elements (such as the sarabande/minuet-like ninth movement of BWV770, plus the various gigue movements), the speeds are a little too slow to provide the appropriate rhythmic impetus.

Throughout the CD, there’s a modest dynamic range – p to mf – giving us the opportunity to relish the lovely quiet stops. With the eight-foot flutes, though, there is a drawback: the bass notes are comparatively weak compared with the treble register, and this lessens the clarity of the harmonic writing. This problem is overcome when the higher-pitched four-foot flute is used, such as in the eighth movement of BWV767. Elsewhere, Farr finds some colourful solo registers among the 30 stops, and he always succeeds in achieving an equitable balance between different voices distributed around the three manuals and pedals.

The recording is very good and the informative booklet includes a complete list of Farr’s registrations. I can wholeheartedly recommend this fine disc, giving threefold thanks to Farr, Aubertin and, of course, JS Bach.