One aspect of this interpretation and recording that strikes me immediately is the extent to which organist John Scott Whiteley goes out of his way to delineate and fully throw into relief the amazing counterpoint that lies at the heart of the Organ Trio Sonatas by Johann Sebastian Bach. The composer could easily have titled these "Three Part Studies" or "Triple Counterpoint Exercises", since they were initially composed to help his eldest son Wilhelm Friedemann learn and master the pipe organ. Nonetheless, Bach's genius shines through these rudimentary pedagogical pieces which have since been regarded as one of the high points in organ literature. And despite having been conceived as study material, they are very difficult to play as both hands and feet always have a distinctive part to play within the contrapuntal logic.

The Andrew Pennells Organ of the Phipps Concert Hall in the University of Huddersfield was built by the firm of Walkers, as a replica of Baroque instruments from North Germany and Holland, and certainly befits this music well. It's a mechanical action, 26 stop organ encased in oak. It's graced with a clean and articulate, almost mordant tone that helps to draw a distinction between the lines. And John Scott Whiteley uses this to his advantage. 16' pedal stops are used sparingly to allow for a constantly coherent sound, where the leading voice is always in plain sight, and with its counterpoint still in focus. The Andante of No. 4 and the Largo of No. 5 are great examples of that here. Add to this the fact that Whiteley's touch is always slightly detached, plus the natural ambience of a top-notch recording, and clarity is in order.

Highly recommended for those of you who like to see how all the gears and tumblers click into place within Johann Sebastian Bach's mind to create music of genius.