"Learning and performing the Clavierubung III is one of the most thankless tasks an organist can undertake. Many of its sections are enormously difficult, and without the gratifying razzle-dazzle of the Preludes & Fugues. This is some of Bach's most thoroughly intellectual music; it was designed to turn the listeners' thoughts inward, not sweep them off their feet. The possible pitfall is obvious: in the hands of the wrong organist this can be very dry, unloveable stuff.
I was a bit worried after listening to the St. Anne Prelude, the opening work of this set. Joan Lippincott's interpretation on this disc of the St. Anne is a bit stodgy and airless. This work needs zip and plenty of long breaths. If this mood were to carry into the chorales, well, it could spell disaster. Fortunatley, however, she turns it around and gives beautiful, heartfelt readings of the chorales, especially the big ones (which are truly massive indeed). Her somewhat daring registration for the pedal chorale "Christ, unser herr, zum Jordan kamm" is a stroke of absolute genius. (Ms. Lippincott, if you read this, would you care to share your registration for this piece with us? It is truly miraculous.) And the chorale that follows it, "Aus tiefer Not", is as grimly stirring as anything by Mahler, and given its full justice here. Hats off to you, Ms. L! This is one of the most difficult pieces in organ literature.
There is an additional delight to this recording, which is the organ itself. Any organist fortunate enough to be acqainted with an instrument by Paul Fritts will know what I mean. It is a miracle how an organ can sound velvety, round, silvery, and crystalline, all at the same time! This apparently contradictory description is exactly what a Fritts organ delivers. What a treat to hear a Fritts organ on a major recording! (No, I do not work for them.) Whoever is responsible for making this choice of organ for this disc is to be commended."