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There have been a number of recent experiments using the organ in a less traditional role: jazz, pop, or here in a crossover with the folk culture of the Sami people. Kristina Shtegman provides all the arrangements here, including two interesting organ-only pieces. Shtegman takes clever advantage of the mechani- cal action and, once one gets beyond the simplistic harmony of these traditional songs, the effects to maintain rhythmic energy and the folk/pop idiom impress. This is a fascinating experimental insight into the folk music of this arctic region, but if you are not a fan of the new-age approach to folk singing, it will grate.

RUPERT GOUGH Read the full review on Agora Classica

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