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Brian Wigman
Classical Net, December 2014

…Hindemith’s compositional skill is evident in every bar. There’s a wealth of color and expression here, aided by some fascinating harmonics.

Naxos talks up the three Organ Sonatas most of all, and they are indeed special. The inventive use of various stops is captivating; I love the different moods and tones that the composer conjures. …these are quite symphonic works in nature, without being especially flashy.

Kirsten Sturm proves an able soloist on the very fine organ at Rottenburg Cathedral. She makes the Sonatas particularly interesting…Very good sound completes a desirable, if rather specialist package. © 2014 Classical Net Read complete review

Michael Unger
American Record Guide, November 2014

German organist Kirsten Sturm approaches these works with clarity and poise. Her understanding of their architecture is thorough and shines through in her finely nuanced interpretations. There are moments of well-shaped lyricism, particularly in the slower moments of the sonatas. © 2014 American Record Guide Read complete review on American Record Guide

Marc Rochester
Gramophone, November 2014

Hindemith’s often sparse textures demand great clarity of articulation and for the most part Kirsten Sturm manages well…She delivers Hindemith’s crisp rhythms with considerable incisiveness which relaxes just enough…[and] her readings have an invigorating sense of purpose. © 2014 Gramophone Read complete review on Gramophone

David Denton
David's Review Corner, August 2014

Creeping into the organist’s repertoire in recent years, Hindemith’s Three Organ Sonatas have now found a place among the instrument’s major 20th century works. Often cited as a cold and aloof composer, his First Sonata is full of passion, often created from powerful chordal themes. It is also characterized by lyric passages…With a sudden change of mood the Second Sonata bursts onto the scene, its vitality in contrast to the gently lilting opening to the second movement, and proving his organ credentials, a complex and robust fugue closes the work. The Third came three years later, a quite short piece in four cameo movements, and is one of his happiest scores. Two Organ Pieces from his twenty-third year were intended to fascinate by the range of sounds you can obtain. Pupils of Wolfgang Rubsam make the most of Naxos’ organ discs, and she has the fine Sandtner Organ in Rottenburg Cathedral to demonstrate her keyboard agility and technical brilliance. Bold and detailed sound recording. © 2014 David’s Review Corner

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