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A graduate of The Curtis Institute of Music and Westminster Choir College, where she was a student of Alexander McCurdy, she also studied at Union Theological Seminary and Princeton Theological Seminary. She is on the Advisory Board of The American Bach Society, an honorary member of Sigma Alpha Iota, and has received the Alumni Merit Award, the Distinguished Merit Award, and an Honorary Doctorate from Westminster Choir College.
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The Fisk organ of Old West Church in Boston is an ideal match for the lyrical sounds of Mozart. Certain stops from older organs were incorporated into the instrument giving it an antique sound that is unique in Fisk's works.
Joan Lippincott plays some of Mozart's best known works, and a few that rarely heard on organ. Includes notes of Mozart and the organ.
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The virtuoso brass ensemble, Philadelphia Brass join organist Joan Lippincott at the large Mander organ of Princeton University Chapel in this grand recording, animated by a large acoustical space.
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The large Flentrop organ of Duke University Chapel is the venue for the latest in Lippincott's Bach organwork series. Those works entitled "Toccata" are among Bach's most famous and best loved works. Notes by Bach scholar George Stauffer, and a description with complete stoplist of the Flentrop organ are included in the booklet.
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When Bach died in 1750, he left behind an incomplete manuscript that was perhaps being prepared for future publication. The intent of the collection, or the organizational scheme are difficult to discern, but Bach may have been planning something on the same scale as Clavierübung III (the "German Organ Mass"). Whatever the intent, these enlargements and revisions of earlier chorale preludes contain some of Bach's most sublime musical moments.
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Not all great organ music is big and bombastic—as these sonatas prove! Requiring flawless technique on the part of the player, these three-movement chamber works are delightful pieces on the surface; deeper analysis reveals marvelously constructed compositions that could only spring from the mind of J.S. Bach.
Lippincott plays the perfectly-suited Taylor and Boody organ at St Thomas Church, NY. Extensive notes by Bach scholar, George Stauffer.
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Bach concertos for organ and orchestra? Joan Lippincott makes a compelling and logical case for constructing organ concertos from the "organ sinfonias" of Bach's cantatas. Booklet includes essay on these organ solo+orchestra pieces by noted Bach scholar, George Stauffer.
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Of the many musical forms that J.S. Bach cultivated during his lifetime, none has enjoyed more lasting influence than the prelude and fugue. In this recording, Joan Lippincott provides us with a beautifully rounded survey of Bach's mature preludes and fugues, from the Pièce d'Orgue, BWV 572, one of his boldest independent preludes, to the Prelude and Fugue in E Minor ("Wedge"), BWV 548, one of his most ambitious compostions for the organ. To round out the recording, Lippincott also includes the Canonic Variations on Vom Himmel hoch, a very late work, written at the same time Art of Fugue and the Musical Offering
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Joan Lippincott continues her Bach series with two of the most substantial collections published during Bach's lifetime. The Clavierübung III follows Book I (Italian Concerto) and Book II (Goldberg Variations) and precedes Book IV (Art of Fugue), and altogether represents Bach’s highest achievements in the art of writing for the keyboard. Clavierubung III, sometimes called “The Organ Mass” begins with settings of the Kyrie and Gloria, but is structured after the German Lutheran catechism. Included in this recording are both the large chorales, the alternative chorales for manuals only and the four duetti. Bach’s collection of cantata movement transcriptions for organ published by Schübler in 1742 includes the famous “Wachet Auf!”, and rounds out this two-CD collection.
Program notes by noted Bach scholar, George Stauffer.
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Joan Lippincott plays "The Bach Legacy," a program based on music by Bach and those inspired by him, on this new Taylor and Boody organ of Bower Chapel in Naples, Florida. Named for organist and scholar Fenner Douglass in November 2006, this three-manual organ is perfectly voiced for the beautiful acoustics of the chapel, and Lippincott’s registrations demonstrate some of the organ’s most compelling sounds.
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This out-of-print recording has recently become available once again. State of the art recording technology, superb acoustics, a landmark organ and two American titans of Bach organ performance (Joan Lippincott and George Ritchie) tackle an unusual repertoire. You may think you know these works, but these versions are different – sometimes significantly different– from the versions most often recorded. A delightful recording that is well done in every aspect.
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Bach's prelude and fugue compositions reached an extraordinary peak of sophistication and virtuosity during his tenure as court organist in Weimar (1708-1717). Joan Lippincott plays the Paul Fritts organ in a highly reverberant room that is not unlike the court chapel in Weimar.
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This unusual recording celebrates 30 years of Joan Lippincott's Bach recordings on Gothic, and includes her own dazzling transcription of the Bach/Vivaldi concerto for four harpsichords.
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If you love to sing along with the great classical hymns of the church, this CD is for you! "Ye Watchers and Ye Holy Ones", "Guide Me, O Thou Great Jehovah," "For All the Saints," "Holy, Holy, Holy" and many others. Also included are some of the choir's favorite anthems, including the Vaughn Williams setting of Old Hundreth ("The Doxology").
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The Complete Joan Lippincott on Gothic! Includes all ten albums.
Find the Broadcasts online from:
KING-FM Seattle's Classical Choice — Sundays at 10:00 PM
And
OREGON: KWAX-FM and the University of Oregon radio network — Sundays at 8:00 AM and 6:00 PM
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