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The tonal language of Pantcheff’s music is accessible and possesses a modality which lends itself well to the organ. The Tonbridge School Marcussen speaks into relatively dry acoustics and Iain Farrington’s playing lends some verve to what is otherwise a rather unremarkable collection of pieces, traditional in style in the sense of mid-20th-century English church music. Many tend toward improvisations in form. Most successful are those specifically liturgical pieces (interludes, processionals, hymn preludes), where Pantcheff’s expression is at its best.

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