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"The six trios for keyboards, which are grouped by their numbering, are among the best works of fire my dear father. They still ring very well today, and give me a lot of pleasure, although they are more than fifty years old. There are some adagios here that we can not compose today in a more singular way." "[...] in addition to other organ trios, there are six for two keyboards and pedals that are known, which are composed so gallantly that they still sound very good today, that they do not will not age, but will survive on the contrary to all the revolutions of fashion in music." Reading these two praises offered as an opening, a common idea emerges: Johann Sebastian Bach was modern, knew how to use the gallant style that was then all new, in a writing so perfect that it does not suffer from the time that passes. It is true that the six sonatas in trio are almost an exception in his organ production, mainly composed for the Lutheran liturgy, in a style often much more severe, sometimes in real gap with the taste of his time. And yet, here, all the ingredients of gallant style come together: the suppleness and singing of melodic lines, the purity and apparent simplicity of three-part harmony, not to mention the three-movement form. In this regard, it is interesting to note that only this series of sonatas is written systematically according to this "bright - slow - bright" plan then freshly imported from Italy. Performed here by Benjamin Righetti - Concertist and pedagogue; the titular organist of Saint-François in Lausanne; and professor of organ of the Conservatory and the High School of Music (HEMU) of Lausanne - these sonatas are given fresh life.