![\"\"](\"https:\/\/wp-media.patheos.com\/blogs\/sites\/109\/2013\/05\/bach.jpg\" "\\"bach\\"")
<\/a>I\u2019ve always been fascinated by the aural \u00a0and emotional differences between \u201cThe Big Three\u201d<\/a> keyboard instruments \u2014 the organ, piano, and harpsichord.<\/p>\n The organ\u2019s ability to serve as a sort of mini-orchestra<\/a>\u00a0is astonishing. The harpsichord\u2019s tintinnabulatory clarity is\u00a0wonderfully suited to the continuios (continuii?)<\/a> that underpin so many of my Baroque favorites. And my personal experience on the piano has always given it a special place in my musical heart<\/a>. In fact, the three bring such distinct strengths to the musical table that I often find myself forgetting that they\u2019re from the same (roughly)\u00a0instrumental family.<\/p>\n Which is why I love finding pieces that are performed on all three instruments, like the following versions of Bach\u2019s\u00a0Sarabande con Partite in C major, BWV 990. (According to David Schulenberg\u2019s \u201cThe Keyboard Music of J.S. Bach,\u201d<\/a> Bach\u2019s authorship of this particular work is open for debate<\/a>. The \u201cwide-spanning scales and arpeggiation in several of the variations\u201d suggest a later compositional birth date than the piece bears, apparently. One thing is certain: it\u2019s wonderful music, whether Bach or no.)<\/p>\n First, Andreas Liebig on the organ:<\/p>\n