In the second half of the 20th century, historical informed performance practice became the leading way in rendering “early” organ music. In advance to this development a so called modern approach had been presented, documented with “almost authentic Bach playing á la Straube” by Straube's student Käte van Tricht in her 1945 to 1992 recordings.
Since, the historical informed performance practice appears to be less definitive; Van Tricht is forgotten. Could it be possible to develop a type of performance that respects both developments? The newly obtainable perspective would thereby interestingly require and re-generate the artist's personal responsibility. With Van Tricht's heritage as a starting point, we can begin to ask: how can I play Bach today by „feeling how it must have been like back then“ and, co-instantaneously, not forgetting the results of the research on Bach and keeping in mind Ligeti's volumina? The next step would be to ask these questions respecting other music, old and new.
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