This project has clearly been a labour of love for Robert Costin, and one admires his consistently excellent playing. Any new recording of the ‘48’ for solo organ is to be welcomed, especially with an outstanding instrument. The three-manual, 42 stop Metzler organ of Trinity College, Cambridge, is magnificent; combining it with the chapel’s warm but clear acoustic provides the ideal venue for this repertoire.

Costin’s performances could be described as straightforward, with mostly well-chosen tempos and neat articulation, well suited to the organ. There’s just some inconsistency in the phrasing of fugue subjects, where notes that are detached in the opening statement become legato later on. Some of the syncopations are understated in their articulation, and Costin only occasionally adds his own ornaments to the printed decorations. Speeds are never too fast but some tempos feel rather solemn and measured, particularly in Book 2. This is partly a result of the acoustical and mechanical properties of the organ; but the slower pace can prove beneficial to clarity.

However, in some of the louder fugues where Costin uses an ‘organo pleno’ tutti, there’s some loss of clarity, with Bach’s counterpoint sounding somewhat congested. Also, a few of the fugues have changes of manuals, and some might ask whether this enhances the music at all. (It does in Book 2’s G sharp minor fugue, which uses two themes.) Another aspect that might disturb listeners is the big dynamic gap between quiet, serene preludes and loud, bold and majestic fugues. Meanwhile, in the softer preludes which use the beautiful, delicate flute stops, the bass register is too weak to support the harmony.

Nevertheless, there are some wonderful colours on these CDs: the Vox Humana in Book 1’s E major Prelude and the Dulcian in Book 1’s B minor Prelude are delightful. Equally enjoyable is the telling use of the Pedal Posaune towards the end of some of the Book 2 fugues. Overall, then, despite some reservations, listening to these CDs has been an invigorating and stimulating experience. Above all, we can rejoice again in the glorious music springing from Bach’s compositional genius.