Prelude and Fugue in E Minor, BWV 553
18 Chorales, BWV 651-668, "Leipziger Choräle": Allein Gott in der Höh sei Ehr, BWV 662
Meine Seele erhebet den Herren (Fuge uber das Magnificat), BWV 733
18 Chorales, BWV 651-668, "Leipziger Choräle": An Wasserflüssen Babylon, BWV 653
Prelude and Fugue in C Minor, BWV 549
Allein Gott in der Höh sei Ehr, BWV 676
Fughetta super
Fantasia and Fugue in C Minor, BWV 537
18 Chorales, BWV 651-668, "Leipziger Choräle": Von Gott will ich nicht lassen, BWV 658
Prelude and Fugue in C Minor, BWV 546

With this release, Italian organist Massimiliano Sanca embarks on a venturous project to record the complete organ works of Johann Sebastian Bach (1685-1750). There are many outstanding sets available by many organists including notable names such as Marie-Claire Alain, Hans Fagius, Jean Guillou, Peter Hurford, Ton Koopman, Simon Preston, Helmut Walcha, etc... to name but a few. So why set out on such a daunting task when pipe organ music enthusiasts already have a wealth of recordings to choose from? Well, based on my previous review of Sanca's recording titled German Baroque Organ Works and what I've heard so far of this new recording, I suspect that this may very well be the closest we'll get to sonic authenticity and to Johann Sebastian Bach's methodology.

In the booklet notes Sanca explains how Bach applied 'gematria' (the association of numerical values to notes) to his music. "In each of his works he developed more complex numerical formulae to express feelings, messages and above all his deep faith in God. As a result in this recording everything converges once again into a profound union between human and divine nature, and in fact between Heaven and Earth." There is a famous quote by W.E.B. Du Bois that states: "When you have mastered numbers, you will in fact no longer be reading numbers, any more than you read words when reading books. You will be reading meanings." And I believe that it's this lifelong search for meaning and order that empowered Bach to compose music of such uncompromising harmonic beauty and integrity. Something clearly audible in a piece as simple as the Allein Gott in der Höh sei Ehr, BWV 662, the ending of which can be heard below.

Once again, as in the German Baroque Organ Works release, Massimiliano Sanca has chosen to use the 2007 Ilic Colzani mechanical action Organ of the Sanctuary of the Madonna of Mangher in Vallio Terme, for this new recording. Despite being of small stature with only 7 stops ranging from a 2' Octava to a 16' Posaune reed stop for the pedalboard, it produces a distinctly clear and true sound across the board, perfectly suited to Bach's harmonic and contrapuntal clarity. No hyperbole or over-the-top showmanship here. Johann Sebastian Bach straight up!