The organ music of Nicolas de Grigny stands at the summit of late 17th century keyboard music. The musical text for the present recording is based on the first edition of 1699. The conventions of the period, as we have come to understand them through the efforts of performance practice scholars have been taken into account, especially as regards matters such as ficta and retroactive accidentals. One always speaks about the influence of de Grigny on the young Bach. The story of Bach’s copy is well known, but he was just learning his craft at the time. We can well imagine Bach returning to his copy when he was so absorbed with revision and consolidation during his later years. Would we have the wonderful en taille chorale preludes without his knowledge of the French master? Surely de Grigny’s preoccupation with 5-voice counterpoint finds a kindred spirit in Bach. In fact, the contrapuntal skill of de Grigny is every bit as unique in French keyboard music as that of Bach in Germany.