It is obvious from the very opening of the Toccata, Adagio and Fugue that we are in the presence of a truly magnificent organ and an organist who has a real flair for interpreting Bach. Powerful dramatic gestures (a little undermined by the removal of 16-foot tone in the opening echo passages) and a gloriously delivered pedal cadenza lead into some sparkling fingerwork; and, while the booklet-notes incongruously refer to Liszt’s little-known piano transcription, Goode plays it all with the kind of all-encompassing virtuosity – hands, feet, registration and intellect – which is unique to the organ.

What a glorious sound this 1714 Silbermann makes, and what a superb recording Signum Classics has come up with, capturing it with a hefty dose of atmosphere but with untarnished clarity of detail. Much of the slim booklet is devoted to justifying the choice of instrument but, interesting as this is, it is merely wasted space. Our ears provide justification enough.

Goode is obviously relishing this fine instrument and gives us something of a Cook’s tour through its manifest delights. Nothing disturbs and the subtle Tremulant added to the slow movement of the A minor Concerto has an almost violinistic quality.

Unashamed in his deployment of the pregnant pause, the decorative flourish and the grand gesture, Goode ensures that everything fits so nicely into place that, far from merely being an excuse to hear Bach on a great historic organ, we hear Bach played with perception and real musical intelligence. A thoroughly enjoyable disc from every aspect.