How should we ideally express both ourselves and the music of Bach while playing his organ works? How do we move beyond the weight of various traditions of performance practice and other cultural baggage? How do we reach the deepest meaning in our interpretations? Daniel Moult, Martin Schmeding and Christine Blanken give richly detailed presentations about the nature, history and performance practice of a broad selection of Bach's organ works, and then perform the pieces themselves on four individual but complementary central German organs - two Silbermanns in Rötha, the Trost in Waltershausen and the Hildebrandt in Sangerhausen.
—Will Fraser