This piece needs no introduction or explanation, so, I'll give a few details of the performance and the registrations used.
As in the Homilius preludes, this work is recorded quite a distance from the organ. It's probably about 2/3 down the nave, and towards the "front" of the church. By "front," I mean AWAY from the organ.
I wanted a strong, majestic, "sharp" sound for the cantus, and I think the sound you will hear is passionate and emotional, but dignified and "appropriate" for Bach.
The accompaniment is perhaps "stronger" than usual. I wanted you to hear just how buttery smooth the two 8' stops are when drawn together.
An odd thing about the last, long pedal point on low "G" - the sound seems to "fade out" as it is held. I didn't notice it when I was playing, and the note, played on the 16' Bourdon, is as loud as the surrounding ones. Perhaps it's just an "effect" caused by the vast acoustic or the distance from the pipes.
The registration is:
RH - RW: Holpyp 8′, Quintadena 8′, Fluyt Does 4′, Speelfluyt 3, Sexquialter II–IV, Tremulant
LH - HW: Octaaf I-II 8′, Roerfluyt 8′
Ped: Bourdon 16', Holfluyt 8′
MORE Bach and others yet to come... :-)