How many can recall their first encounter with JS Bach’s celebrated organ Toccata and Fugue in D minor, BWV565? I can cast my mind back to the late 1960s and a Saturday visit to a great uncle who played me GD Cunningham’s celebrated HMV 78rpm recording on the Kingsway Hall instrument and then promptly broke the disc over his knee to provoke a reaction from this incredulous nine-year-old!

Even by this date several distinguished commentators had dared to question its attribution, due perhaps to its alleged eccentricities when compared to other works by the master, not to mention the lack of an autograph manuscript. Now, thanks to Fugue State Films’ Will Fraser, we can enjoy as authoritative and thorough an investigation into this iconic piece as could be hoped for. This new, beautifully crafted documentary benefits from an even greater use of drone footage than in previous productions and a widely cast net of expert opinions and performances, all guided by Daniel Moult, with his natural warmth, enthusiasm and superb musicianship.

He reminds us that the young JS Bach was an ambitious and somewhat mercurial talent, full of self-assurance, which naturally translated into his earlier compositions. In the case of BWV565 – whatever the enigma over its origins – it displays a power, directness and sheer rawness of energy that is hard to ignore from that iconic opening downward mordent.

The earliest surviving manuscript is in the hand of Johannes Ringk, a grand-pupil (via JP Kellner) of Bach himself. By this stage the piece was clearly circulating as an organ solo. However, Moult thoroughly explores the possibility that it might have started life as a violin piece: cue Fenella Humphreys, who demonstrates just how effective most of it is when played on just four strings (albeit transposed into A minor). Further practical insights come from harpsichordist and clavichordist Terence Charlston, who explores links to the seven harpsichord Toccatas, and we are also treated to special access to the Leipzig archives with Christine Blanken.

The main DVD covers a great deal of ground, concerning not just BWV565 but also the differences between organ-building traditions across German areas. Again, evidence is accrued and points conclusively (I would say) towards one particular town and instrument, which might have been the original catalyst for this seminal work.

The audio recital is exemplary in terms of performance and recording, and features Moult in the Netherlands at the mighty organ of the ever-popular Martinikerk, Groningen, and the more modest instrument in the Petruskerk in Leens. Both organs are comprehensively demonstrated on separate DVD tracks. Another superb production, which will be difficult to surpass.