The distinguished Norwegian organist Bjørn Boysen (b1943) has known these seminal works, written as teaching material for Wilhelm Friedemann Bach, since his own student days in the mid-1960s. This is Boysen’s third Bach disc for the Euridice label, a natural successor to the Orgelbüchlein (recorded 2008) and the ‘Leipzig’ Chorales (2011). The magnificent Rococo church in Kongsberg, on the south-west side of the Oslo fjord, contains the largest preserved 18th-century organ in Scandinavia. Built by GH Gloger in 1765 and mostly recently restored by Ahrend in 2001, its 40 plus stops provide plenty of timbral variety for the six sonatas’ 18 movements.

These instantly attractive, ebullient (though awkwardly spine-twisting), elegant masterpieces pose considerable challenges of co ordination for the player. The term ‘multitasking’ doesn’t really come close! Needless to say, Boysen’s secure technique copes admirably. He clearly loves this music, bringing a sophisticated intimacy to the slow movements and a sparkling bounce to the major-key allegros. He displays good taste throughout, although there is an occasional smudging of rhythmic detail, for example in the finale of the second sonata, where Bach’s contrapuntal games try to rip the music apart. Boysen also indulges in a fair amount of rubato and some listeners might tire of his over use of the tremulant in the central movements. However, the main drawback of recording an organ of this vintage is the noisy pedal action, which occasionally provides an intrusive and clattering fourth contrapuntal line.

Although this a fine survey, Robert Quinney’s recording on the Frobenius organ of The Queen’s College, Oxford (an Editor’s Choice in January 2012) is still my top choice.