Respighi had always been committed to the art of transcription, arranging Bach’s Violin Sonata in E minor in 1908–09 with acute perception. This was followed during 1929 and 1930 by even greater and more resplendent Bach settings. The powerful sense of orchestral colour acquired during his training under Rimsky-Korsakov is heard to bold yet subtle effect in the Three Chorale Preludes. The Prelude and Fugue in D major is even more gloriously lavish, drawing on the full resources of the modern symphony orchestra, as does the brilliantly realised Passacaglia and Fugue in C minor. Edward Elgar’s transcription is a work of sustained grandeur and rich musical intensity.