The Coro label, home of The Sixteen, has diversified into a series of Bach organ recordings, played by its principal organist (and sub-organist of Westminster Abbey) Robert Quinney. His starting point is surely the pinnacle of the organist’s repertory, the Six Trio Sonatas, which are thought to date from the early 1730s and were intended as organ teaching pieces for Bach’s son Wilhelm Friedemann. The technical challenges are immense, requiring independent control of four limbs (and at least two brains!). Needless to say, Quinney delivers finger- and foot-perfect performances.

Four of the sonatas are built upon the same fast-slow-fast Italianate trio sonata groundplan. Bach weaves a deeply satisfying and elaborate three-part texture, full of imitative counterpoint. With the exception of the Third and Fourth sonatas (which are marked at more moderate tempi), Quinney projects the first movements with a light touch, allowing their intricate, tuneful beauty to shine brightly. His slow movements are achingly eloquent, for example in the middle movement of the Third Sonata (marked Adagio e dolce), where the unforced tone of two matching eight-foot flute stops (one with a gentle tremulant) is a delight. Final movements are consistently sparkling and fresh, making the fullest use of the comparatively modest colours of the 22‑stop 1965 Frobenius in The Queen’s College, Oxford.

With all the repeats observed, this makes for a very full disc but one which is highly satisfying. How fitting, too, that it is dedicated to the much-lamented David Sanger, an inspiring teacher to so many organists.