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1. Fantasia super ‘Komm, Heiliger Geist’, BWV 651
2. Komm, Heiliger Geist, BWV 652
3. Komm, Gott, Schöpfer, Heiliger Geist, BWV 667
4-5. Fantasia & Fugue in C minor, BWV 537
6. Schmücke dich, o liebe Seele, BWV 653
7. Von Gott will ich nicht lassen, BWV 658
8. Pièce d’orgue, BWV 572
9. Nun komm, der Heiden Heiland, BWV 659
10. Trio super ‘Nun komm, der Heiden Heiland’, BWV 660
11. Nun komm, der Heiden Heiland, BWV 661
12. Allein Gott in der Höh sei Her, BWV 663
13-14. Prelude & Fugue in A minor, BWV 543
'impressive...a musical rhetorical style of playing that avoids all excesses…clear articulation and a good sense of phrasing' Early Music Review
'a musically gratifying presentation of these familiar masterworks…[Andrew Arthur's] solidly controlled tempos allow the music to breathe, and encourage polyphonic clarity. His precise rhythms and clear articulations are enhanced by effective agogic accents… The plenum works are imbued with vigor, while the quiet ones are expressive without being sentimental.' The American Organist
'Andrew Arthur's attention to detail and particularly his harmonic awareness are impressive. Tempos are carefully chosen, eschewing the temptation to race - a tendency in the performance of Baroque music that has continued far too long. [He] allows pieces such as the second setting of 'Komm Heiliger Geist' to flow naturally and spontaneously; the articulation does not advertise itself, though if you attend to that aspect, it is extremely skilled. The interspersed free organ works receive fine performances...' Organists' Review
'a musically gratifying presentation of these familiar masterworks…[Andrew Arthur's] solidly controlled tempos allow the music to breathe, and encourage polyphonic clarity. His precise rhythms and clear articulations are enhanced by effective agogic accents… The plenum works are imbued with vigor, while the quiet ones are expressive without being sentimental.' The American Organist
'Andrew Arthur's attention to detail and particularly his harmonic awareness are impressive. Tempos are carefully chosen, eschewing the temptation to race - a tendency in the performance of Baroque music that has continued far too long. [He] allows pieces such as the second setting of 'Komm Heiliger Geist' to flow naturally and spontaneously; the articulation does not advertise itself, though if you attend to that aspect, it is extremely skilled. The interspersed free organ works receive fine performances...' Organists' Review