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The language of the organ pieces represented here owes much to French masters of the late 19th and early 20th century, but with little more to set it in its 21st-century context. While employing rhythmic drive here and contemplative Franckian idiom there, the pieces are mainly self-contained and short, leaving little scope for development. The Fantasia (with harp) and the Prelude & Fugue (with horn) are lengthier and better for it. The dialogue of the two instruments creates more interest, though the balance with harp might be hard to achieve in a concert situation. There are some discrepancies in intonation between horn and organ, though the performances are generally well done.

MATTHEW POWER Read the full review on Agora Classica

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