A thought-provoking attempt to prise open the most imposing work of the organ repertoire contrasts an urtyp account on a 1769 Silbermann with arrangements by Reger (a characteristically texturally dense re-imagining for four-hand piano); Stokowski (plush, swooning orchestrations substituting Bach’s compelling complexities); d’Albert (crystalline precision on solo piano); and Liszt/Topfer (unapologetically romantic and rubato-rich). Solid performances and good sound help focus the intriguing and multiple lines of thought. Michael Quinn