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Nancarrow’s Player Piano Study No. 11 (played with characteristic flair by MacGregor) are highlighted all the more when followed by the suspended-time meditation of Howard Skempton’s Even Tenor. There are also cultural contrasts, with prepared-piano exotica such as Cage’s Balinese-inspired Sonata No. 5,

The organ is excellently recorded, distant enough to create three-dimensional depth as well as stereo breadth, yet within earshot of the characterful ‘chiff ’ of its quiet flue pipes. Not so the harpsichord which occupies the second disc, which is close, assertive and has a hard metallic edge to the tone, though the instrument boasts a fine pedigree – a Taskin copy by David Rubio. Jackson plays with uninhibited spirit, effective in the Chromatic Fantasia which opens the disc, though frenetic, even wearisome, in the heavily registered fugue. Two bonuses are Jackson’s own imaginative completion of the fugue of BWV 906 together with a ‘new’ Fantasia and Fughetta, realised from a Bach figured bass. George Pratt PERFORMANCE

SOUND (Organ)

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