The six Bach Trio Sonatas BWV 525-530 are compositions from his maturity
and were finalized in the early 1730's.  They are a unique body of works
in that Bach transferred to the organ the Italian trio sonata with its two
treble voices and bass continuo; for the organ works, Bach uses right hand,
left hand, and pedal in a fully egalitarian application.  The stylistic
variety that Bach employs for the Trio Sonatas is wide-ranging and includes
alternation of polyphonic sections with homophonic ones; also, emotional
themes presented display a wide range.

The Trio Sonatas do share some common traits:

1.  Each Sonata has three movements with two fast movements framing a slow
movement.

2.  Each of the fast movements has three sections with the middle section
providing the basic contrast.

3.  First movements use the pedal mainly for bass support, while the third
movements give the pedal a greater thematic element.

4.  The circle of keys follows the tonic pattern.

Kay Johannsen is entering middle age and recorded the Trio Sonatas for
Hanssler in 1997; the disc was released in 1998.  Mr.  Johannsen has been
recorded by Hanssler in other Bach organ works including the German Mass
and has received many complimentary reviews.  He plays the Trio Sonatas on
the Organ of the municipal church of Stein am Rhein (Switzerland) built in
1992 by Metzler/Dietikon.  The disc's catalog number is 92099 and playing
time is a whopping 78:01.

Joan Lippincott is the Principal Organist at Princeton University and
Professor of Organ at Wetminster Choir College of Rider University.  Her
Trio Sonata disc is from Gothic, a recording company from sunny California
well known for its solo organ releases.  The disc was issued last year;
Lippincott plays the Taylor & Boody organ at the Saint Thomas Church in New
York.  This Gothic disc has a catalog number of 49116 and playing time must
be ascertained by adding up the times of each movement - about 74 total
minutes.

The most pronounced differences in tempo between the Johannsen and
Lippincott discs takes place in the middle/slow movements where Johannsen
tends to be significantly slower in five of the six Sonatas.  In addition
to comparing the two discs to one another, I'll also be using comparisions
from other recordings such as Koopman on Archiv, Rogg on Harmonia Mundi,
Bowyer on Nimbus, Jacob on EMI, Johnstone on ASV, Preston on DG, Herrick
on Hyperion, and others.

Trio Sonata No. 1 in E flat major, BWV 525 - The first movement does not
have an indicated tempo, but every performance I've heard plays it quickly.
The primary theme consists of a rising triad which stretches up to a sixth.
The music is cheerful, possesses strong drive, a graceful nature, and
swirling motions.  I find that a healthy rhythmic bounce is essential;
otherwise, the music can tend toward a melancholy and dreary atmosphere.
That's not the way to go, especially given the melancholy nature of the
second movement.  But Werner Jacob takes the relatively lifeless route to
the music's disadvantage.  Koopman's version displays a different problem;
he prefers a degree of "chop" which damages the grace of the movement.
Bowyer and Rogg are excellent; they have all the rhythmic vitality inherent
in the music and give uplifting interpretations.  Bowyer is the more
graceful of the two; Rogg the more vivacious.  I should caution that Rogg
has moments when intonation does not sound secure.

The above sets the stage for the Lippincott and Johannsen performances.
Lippincott is not bad at all; she provides a fine rhythmic vitality and
much grace.  I do notice three problems which reduce the pleasure of the
reading.

One is that the bass is not sufficiently distinct; the music's foundation
is somewhat weak.  Second, her pulse never changes in the slightest.  In a
way, that reminds me of a Gulda or Leonhardt performance.  However, they
provide strong inevitability while Lippincott ultimately meanders through
the movement.  Third, I don't feel that Lippincott achieves full unity
of the three parts; at times she sounds rather disheveled.  Although the
movement only lasts about three minutes, I'm quite ready to move on to
another version or movement well before Lippincott is finished.  I suppose
I feel that an element of boredom does set in.

Kay Johannsen is a much better proposition.  Bounce, vitality, and
good emotions are more prevalent than with Lippincott.  Unison is fully
developed, and the bass's foundation is strong.  Overall, Johannsen's
reading is at least the equal of the Bowyer and Rogg issues and possesses
the best virtues of each.

The second movement is a beautifully sad and reflective Adagio in C minor
which conveys the spirit of a lament.  The initial theme is inverted at the
start of the second section and then repeated toward the conclusion.  What
I find most interesting about this movement is the immediate repeating of
the final phrase of the initial theme.  These types of repeats are not
typical of Bach but it works wonderfully, almost a magical moment.  Timings
range from Rogg's four minutes to over eight minutes for Jacob, and I'll
choose Jacob easily.  His rhythmic pulse is absorbing, expressiveness is
delectable, and his final phrase repeat gets to me every time.

Lippincott, at about 5 1/2 minutes, is a great alternative to Jacob.
She's much better than in the first movement.  Although quick, there is
no sacrifice of emotional depth.  On the contrary, Lippincott's is a very
uplifting and incisive performance.  Johannsen is on the solemn side but
has neither the irresitability of Jacob's pacing nor Lippincott's depth and
variety of expression.

The third movement Allegro is exuberant and exciting with an octave jumping
theme.  Jacob, as in his first movement, is a good example of low energy
and excitement.  In comparision, Koopman is a whirlwind of acitivity with
a fast paced and adrenelin pumping performance.  Bowyer is even better; he
provides the excitement but also adds a dignified stature, and fantastic
bass foundation.  Johannsen reminds me of Bowyer's performance, but
Johannsen is lower on excitement, stature, and foundation.  I'd swear he's
trying to play like Bowyer but can't quite get there.  Lippincott does
well, but I again feel that she's a little lacking in unison among the
parts.

Trio Sonata No.  2 in C minor, BWV 526 - The first movement, Vivace,
has four primary sections with many secondary avenues.  Bach's swirling
elements can create a strong sensation of excitement and urgency.  Lionel
Rogg brings out these feelings in an exceptional performance which
perfectly blends the sections together while providing distinction among
them; the most swirling passages sound like all energy is being sucked up
by the man.  Joan Lippincott doesn't provide the wealth of expressiveness
of Rogg, but hers is the most exciting version I've heard; in her swirling
passages, she's whipping up a frenzy.  After Rogg and Lippincott, Kay
Johannsen's slowish performance sounds rather sedate and surface-bound.

The second movement is a gorgeous Largo which starts out in E flat major
with weeping motifs.  The bass foundation is strong, and all themes are
closely bound to it.  The best versions I've heard possess a flowing legato
such as from Koopman and the much slower Jacob.  Johannsen doesn't bring
out the lyricism as thoroughly as they do, but his is a fine and fluid
performance as good as most.  Lippincott is quick and angular; the music's
beauty is in low supply, and the foundation could have been much more
comforting and encompassing.

The third movement Allegro has two fugue subjects in ABABA form.  The
first is an allabreve Renaissance theme; the second fugue is in the baroque
concerto form.  Hans Otto's incisive performance on Berlin Classics is
quite slow and possesses a strong urgency and inevitability.  Taking a
faster route, Koopman provides much excitement without any loss of poetry.
Lionel Rogg's equally quick version places greatest priority on optimism
and satisfaction.  Joan Lippincott's tempo is right in the middle between
Otto and Koopman/Rogg; the performance is excellent with healthy amounts of
excitement, poetry, satisfaction, and inevitability - a version for all
seasons.  Johannsen is just slightly faster than Lippincott and stresses
the music's optimism as much as Rogg.  Ultimately, I prefer Lippincott for
her more emotionally diverse reading.

Update:  Both Lippincott and Johannsen have given very fine performances up
to this point.  I initially though that Lippincott would be problematic in
the outer movements, but she bounced back splendidly in the C minor Trio
Sonata.  The main difference I'm noting between the two artists is that
Lippincott tends to use greater angularity than Johannsen; I have found
this tendency to be both favorable and disadvantageous.  Neither set of
performances has been revelatory, but they certainly hold up well to
alternative recordings.

Don Satz
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