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Penguin Guide, January 2009

The Epistle Sonatas derive their name from the fact that they were intended to be heard between the Epistle and Gospel in the Mass. Admittedly they are not great music or even first-class Mozart; however, played with relish they make a strong impression. The final Sonata, K. 263, becomes a fully fledged concerto.

While it is understood that, apart from No. 16 in C, K. 329, which has a specific solo part, the organ is not intended as a solo instrument in these Chiesa Sonatas, it seems perverse to balance the instrument so that it blends in completely with the orchestral texture, as the Naxos engineers have done. Otherwise these alert, polished and nicely scaled performances could hardly be improved on and, apart from the controversial matter of the relationship of the organ to the orchestra, the recording is first class.



American Record Guide

"The small ensemble of Hungarian musicians gives us performances difficult to criticize that sparkle and bubble with verve and effervescence, and the recorded sound is wonderfully live"



Gramophone

"bright glad-hearted playing"



Organists Review

"These are engaging performances"





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