The Bruhns family formed a musical dynasty in 17th-century Germany. Nicholas Bruhns – organist, violinist and viol player – learned organ from Dietrich Buxtehude, who regarded him as a favourite pupil. Bruhns was employed as organist in Copenhagen, where his salary was – unusually – raised to ensure his loyalty. Immensely happy in this post, he remained there until his death in 1697 at just 31 years old.

The four Praeludia are modelled after those of Buxtehude, and owe much to the style of his teacher through the use of repeated-note subjects and thematic transformation. The two E minor works are unsung gems of the Baroque period, which make prominent use of the echo device (common to the works of Jan Pieterszoon Sweelinck), while Bruhns’ toccatas are as technically brilliant as those by Vincent Lübeck, displaying qualities reminiscent of the violin idiom and extended passages for pedal. The selection of Bruhns’ works is completed with the Adagio in D and the Chorale Fantasia ‘Num komm, der Heiden Heiland’. This special collection teams Bruhns’ works with pieces by Schiedemann, Scheidt, Sweelinck and Buxtehude.

Adriano Falconi enjoys an international reputation and has been a finalist and prize-winner for many organ competitions throughout Europe. He teaches organ at the Conservatory of Sassari and is principal organist of the Metropolitan Cathedral of St Lawrence in Perugia.