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This period recording (1974) reveals the expressive energy and persuasive intent of Pierre Labric’s playing on the 1890 IV/64 Cavaillé-Coll at Saint-Ouen. The tonal palette of wide-scaled fluework and mighty reeds can seem to turn Mendelssohn into Franck, but to reject some of the finest instruments built on the basis of nationalistic identity would be musically irresponsible. François Sabatier writes a persuasive essay on the subject in the otherwise minimal sleeve notes. It is touching to note that the registration assistant at the original session was a youthful François Carbou, now co-owner and -producer of the Solstice label.

MATTHEW POWER Read the full review on Agora Classica


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