Bach BWV667 "Komm, Gott Schöpfer, Heiliger Geist":
Maybe it is rather an extended than an elaborated version from the Orgelbüchlein, but the extension is really great (the first part is identical to the Orgelbüchlein version beside that it misses the ornaments included in the Orgelbüchlein version (in that area the Orgelbüchlein version is more elaborated)).
For those who don't know the translation: "Komm, Gott Schöpfer, Heiliger Geist" means translated something like "Come, God Creator, Holy spirit". This is important to know since Bach literally puts the meaning of something walking with big footsteps into music, the pedal notes on the 3rd beat epitomize that.
Well, the Lord walked a bit in a hectic manner in the first part, but went calmer in the 2nd part. Of course one can walk faster or slower. The hectic was not because of rhythm issues (however the holy lord could rest a bit on the fermate places since he need to breathe, but that is matter of taste), it was because some notes in the middle voices were sloppy played. Because of speed but also because of the heavy reverb (I don't hope you added extra artificial reverb? I would really wish to hear a dryer version, otherwise it is almost impossible to follow every note) I cannot exactly tell what is the reason that it sounds a bit hectic. It can be that there are some notes in the 16th runs are played with overlegato or the fingers did not remove the key at some notes. Don't tell me how difficult it is to play with precise articulation on organ, I know!
I really liked the 2nd part, and I liked your plenum registration here, the piece allows for strong registers. Did you draw also mixture, not only principal registers?
A version from me will come too next time, (the Orgelbüchlein version), so Chris, you can beatback than!
BWV599 "Nun kommet der Heiden Heiland":
I like your version, and that you don't play all the way legato - instead with articulation. You went slower in the last two bars, sounded like it should be a ritartando. But since the rit. came in the last few notes additional, it sounded not so inteded to me. And, although the articulation for those notes with 16th upbeats gives the salt in the soup here, it would sound even more convincing if you could manage to do it the same way through all voices, also left hand, and also pedal on the similar places in those voices. That starts already in the first bar at which the "lick" goes 4 times through all voices.
Maybe you could give it a try how it sounds if the articulation is the same, it sounds almost like a great echo effect than.
BWV601 "Herr Christ, der ein'ge Gottes-Sohn":
Sounds good to me too, not too fast or too slow. I never heard this piece before. In the 2nd part there are some half notes. The first half note in the 2nd part, 2nd bar you played shorter, also in the repetition. Different scores? Otherwise nice piece, and well played, beside some notes in the 2nd part which are "lost in the dark here" here and there! Great, how you managed the 16th notes in the pedal part!
BWV602 "Lob sei dem allmächtigen Gott":
I appreciate your articulation around those 32th notes, which you managed to maintain the first some bars throughout the places in right and left hand. After the 2nd fermata you lost the groove a bit, sounded a bit unsecure and missing notes, and in the last bars you lost the articulation on those 32th notes. Beside this, well done!
BWV603 "Puer natus in Bethlehem":
The score I have here available (Sheetmusicarchive) contains only the shorter version, so I could not follow with score. Maybe one could make the thing a bit more interesting with some articulation in the middle voices? My organ teacher likes too, that the cantus firmus is not played fully legato, instead only "almost" legato, very dense, but not complete legato. That way the cantus firmus does not sound that static (not only on that piece, on all Orgelbüchlein chorales). Of course matter of taste. Tasteful registration for that calm piece!
BWV604: "Gelobet seist du Jesus Christ":
I could imagine a more elaborated articulation in the right hand. You play all way through legato beside the feramtes, but make a strong gap before the trill. If there were other accents, I could understand, but not if all the rest is non-stop legato. And after the last fermata you did not articulate - although the fermata are for breathing because the underlaying song starts with a new line. Otherwise calm played. If you would have a decent tremolo, here I could imagine to switch it on for the right hand part.
BWV606: "Vom Himmel hoch da komm' ich her":
Nothing to niggle, maybe it could be played a bit more lively so that the melody comes closer to the well known singing version, and so that it sounds a bit happier.
BWV628: "Erstanden ist der heil'ge Christ":
I like your detached playing, that way nothing can sound blurred, even with reverb.
BWV629: "Erschienen ist der herrliche Tag":
Also here, tasteful articulation - well done! The registration is interesting, however the title says translated: "The glorious day appeared". Maybe the registration could sound more glorious regarding the title (nevertheless, beside that it fits to the music itself).
All in all, again some great contributions. Do you plan to record the complete Orgelbüchlein?
Your rerecordings show too improvements, regarding articulation, if I have the former correct in mind.
Your organ playing is getting better and better too, congratulations! And that although you contribute so much on piano, really unbelievable!