Re-listening to quick movements of my first and second series of interpretations of Bach's trio sonatas, recorded with the sound of the organs in Arlesheim and Tholen respectively, it occurred to me that in a possible third series I would take slightly slower tempi in order give more space to subtleties of expression which can't be realized in quicker tempi. Ideally, this would lead to a more detailed expression without losing the overall pace (in Dutch: "zonder de grote lijn te verliezen"). This kind of detailed and very sensitive expression is what I admire in the playing of, as I mentioned before, the oboist Marcel Ponseele and the bansuri player Hariprasad Chaurasia.
While it is very common and understandable to compare the interpretation of Bach's organ sonatas to his sonatas for other instruments, it seems to me that we should go one step further and return to the possibilities of the organ itself, in particular specific qualities that other instruments do not have. Consequently, I should say that while giving full attention to the texture of baroque trios in general, as organists we should explore the organ fully while playing Bach's trio sonatas, in such a way that other instrumentalists would like to learn from us.
