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Few organ works written in the last 100 years leave themselves as open to differing interpretation as Hindemith’s. The remarkable strength of writing means that the limpid textures can endure all sorts of registrations, from thoroughly romantic to starkly neo-baroque. Kirsten Sturm often plays with opposing orchestral sounds (strings contrasting with woodwind, etc.), finding characterful organ stops to deliver a cohesive narrative. In a similar vein to the three Organ Sonatas are the Eleven Interludes, which transfer well to the organ thanks to a good degree of charm and wit on behalf of the performer. With their warm, late-romantic lyricism, the two early pieces (from 1918) provide welcome contrast.

RUPERT GOUGH Read the full review on Agora Classica


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