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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.

MATTHEW POWER Read the full review on Agora Classica


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