The Sonata in C minor (BWV526) begins in dramatic manner, with Bach’s familiar bass octave drop introducing a complex, large-scale ternary movement. The second movement is glorious – Bach at his most appealingly melodic. The finale is a splendidly constructed fugue whose whacky second subject has, over the years, caused a few organists to slam on the brakes (or hope that the congregation has already left the building) as they turn the page and meet a surprise. Allowing the tempo to continue without faltering gives the music a marvellous inexorability as well as testing the resolve of any player, whether string or organ.
from notes by Robert King © 1996