One day I shall come across a new recording of Bach organ music which doesn't start with the Toccata and Fugue in D minor. That day has yet to dawn and I'm glad since Martin Souter reminds us vividly just why it is that this has always been and looks as if it always will be the most popular organ piece of all. This is a stirring performance, full of impressive dramatic gestures, sturdy musical ideas and flashes of unashamed virtuosity. With the exception of the Passacaglia (more of that anon) I warm to all Souter's performances despite his somewhat middle-of-the-road approach to matters of style and interpretation—in my book a strong sense of purpose and open honesty are worth a thousand prettily turned ornaments or nifty registration effects.
This strong sense of purpose is encouraged by the deliberately hands-off approach to editing from the excellent Isis team (including our good friend Geoffrey Horn whose full-blooded recording of this gutsy instrument is as honest and unpretentious as Souter's playing—the perspective is absolutely right, the overall sound refreshingly uncluttered). While the odd slip and blemish are a small price to pay for preserving the integrity of these performances I do wish they had relaxed their principles enough to rid the G minor Fantasia's bar 44 (5'22'') of a shocking G natural, and frankly the Passacaglia should never have been allowed through: the pedal reed speaks so late it sounds as if each note of the theme is played twice, Souter's sense of pulse is decidedly soggy and more than once hands and feet fall embarrassingly adrift. Am I over-sensitive? I know every bar of this great work inside out and perhaps can't approach a flawed performance with as dispassionate an ear as all those goodly folk out there who wouldn't know a dulciaan from a tertiaan; but if they'll accept my strong health warning for this performance, they can rest assured that everything else gives unreserved satisfaction.'