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Mendelssohn dominates this period of mid- 19th-century organ composition but, on the basis of recordings such as this, perhaps we should pay more attention to the sonatas of Ritter. The writing is every bit as inventive, especially in the fugues, and more in line with the romanticism of Ritter’s contemporaries Liszt and Wagner. The organ chosen for this recording is historically interesting but the rather unrefined tutti struggles with more complex textures and is emphasised by the close recording and dry acoustics. At least Harris’s spirited playing makes up for the otherwise quite dark qualities of this 1868 Ladegast instrument.

RUPERT GOUGH Read the full review on Agora Classica


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