I suspect Keith John and Jean Guillou (on Dorian/Conifer) are using the same edition of the score, but differences in their respective approach to Reubke's powerful Sonata abound. Unlike Guillou, John remains mostly faithful to what is written; not for him wild outbursts of frenzied excitement or virtually uncontrollable urgency (underlined by a three-and-a-half minute discrepancy between playing times). This is not to say that John doesn't display his own brand of breath-taking virtuosity (imagine the sheer technical skill needed to articulate the semiquavers in the Fugue with such absolute precision) or demonstrate an equally intense commitment to the essential character of the piece. Here we have an archetypally British performance—clear-sighted, self-assured and keening a tight rein on ail emotion—up against one full of Gallic fire and overwhelming passion.
I find the generous coupling of a cleverly-chosen cross section of Bach at his best rather less attractive than Guillou's choice of Reubke's little-known Piano Sonata. I do have reservations in the Toccata, Adagio and Fugue; the rhythmic freedom of the opening two pages seems rather mannered and the registration effects, particularly in the pedal solo and the Fugue are overdone. But elsewhere John shows his profound understanding of line and style and his playing (most notably in the final movement of the trio sonata, taken at a true vivace) has its customary brilliance.
As on their previous visit to Zurich's magnificent new organ (works by Alain and Mussorgsky on (CD) PRCD262, 4/89) Priory have produced a fine recording (although three different pairs of speakers still have failed to yield up to me a properly focused pedal line) and the Reubke is furnished with generous cues.'