There are two ways of looking at the string quartet: one is serious, the other not frivolous but ingenuous. The first proclaims, with Vincent d’Indy, that it ‘must, to have real artistic significance, be a work of maturity’; examples in support of this include Franck’s and Faure’s quartets, and the late Beethoven’s.
Seven different organs from the Swiss firm of Metzler carry the weight of the project, which is where Herrick's consistency begins. Other complete Bach collections use many and varied makes and locations in the hope of keeping our interest alive. Herrick's journey brings us a sound that has enough variety to show the Metzler's ability to bear a responsible approach to Bach despite their modern construction.