Andrew Clements
The Guardian

Though this collection contains very fine performances of some of Bach’s greatest organ works, the focus of the recording is as much on the instruments on which they are played as on David Goode’s interpretations themselves. The Silbermann organ in Freiberg cathedral was completed in 1714, and has remained virtually untouched ever since. Though there’s no evidence that Bach actually played it, he did know Silbermann and certainly gave performances on the builder’s other instruments, and arguably as close as it’s possible to get nowadays to what Bach would have envisaged for these works.

Goode certainly exploits that tonal weight and coherence in this recital; the sombre power he generates in the magisterial C minor Passacaglia and Fugue, and the crispness of the bravura flourishes of the Toccata, Adagio and Fugue and equally effective, which the two preludes and fugues, the introspective B minor and distinctly perky G major, and brilliantly contrasted.