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STEPHEN F CHL NICKY OË HANSLIP JOHN BUTT ARR SPENCE

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org TENOR VIOLIN AN an DISC ONE DISC TWO Kenneth Leighton (1929-1988) Six Fantasies on Hymn Tunes, Op. 72 (1975) 1. Festival Fanfare (1968) [6:08] Complete Organ Works 1. Helmsley [3:20] 2. Aus der Tiefe (Heinlien) [3:57] Et Resurrexit (Theme, Fantasy & Fugue), 3. Lumetto: Little canonic variations on Op. 49 (1966) ‘Jesus bids us shine’ [2:57] 2. Theme: Sostenuto, lontano e religioso [2:39] 4. St Columba (Erin) [2:56] 3. Fantasy: Largo alla marcia [5:22] 5. Veni Emmanuel [6:10] 4. Fugue: Andante sostenuto [7:58] Stephen Farr organ & harpsichord 6. Toccata on Hanover [3:08] 5. These are Thy Wonders (A Song of 7. Martyrs: Dialogues on a Scottish Renewal), Op. 84 (1981) * [8:04] with Psalm-tune, Op. 73 (1976) [12:19] for tenor and organ organ Disc 1, track 7 for organ duet John Butt 6. Veni Creator Spiritus (1987) [7:00] Disc 3, tracks 4-8 Chloë Hanslip violin 8. Improvisation in Memoriam Maurice Nicky Spence tenor Disc 2, track 5 de Sausmarez (1969) [6:41] Prelude, Scherzo and Passacaglia, Op. 41 (1963) Missa de Gloria (Dublin Festival Mass), 7. Prelude: Largo sostenuto [4:26] Op. 82 (1980) 8. Scherzo: Allegro molto, ritmico e chiaro [3:08] The Rieger Organ of St Giles’ Cathedral, Edinburgh Disc 1 & Disc 3, tracks 1-3 & 9-11 9. Kyrie [4:35] 9. Passacaglia: Adagio sostenuto [8:25] The Klais Organ of Symphony Hall, Birmingham Disc 2 10. Gloria [8:24] The Henry Willis Organ of St Paul’s Church, Knightsbridge, London Disc 3, tracks 4-8 11. Credo [7:55] 12. Sanctus [5:39] Total playing time [53:16] 13. Agnus Dei [5:57] 14. Ite, Missa Est [4:28]

Total playing time [78:31]

‘Indeed, it is the sheer musical quality of Farr’s playing and his obvious sensitivity towards the rhythmic and textural detail of Leighton’s music which makes this a hugely impressive release’ Gramophone (Editor’s Choice)

‘[...] unimpeachable performances and sound’ * world premiere recording Classical Ear DISC THREE Kenneth Leighton (1929-1988): was completed in 1963 following a 1. Paean (1966) [4:56] Complete Organ Works commission from Bryan Hesford (1930-96), then organist of Wymondham Abbey in 2. Elegy (1965) [8:07] Like all great gifts of God, music is a Norfolk. Initially, the organ was not an mysterious and paradoxical thing which instrument for which Leighton felt particularly 3. Ode (1977) [3:48] can be used or misused, and which compelled to write, or even with which he encompasses every part of our being, Fantasy on a Chorale body, mind and soul. felt particularly comfortable, turning to it only ‘Es ist genug’, Op. 80 (1979) Kenneth Leighton in his mid-thirties. He was most concerned for violin and organ overall with the instrument’s architectural 4. Es ist genug [6:27] As a treble chorister from 1938, many of possibilities, at various times lamenting how 5. Herr, wenn ed dir gefällt [3:48] Kenneth Leighton’s formative musical the lack of clarity in the organ bothered him. 6. So spanne mich doch aus [6:27] experiences were accompanied by the As late as 1979 in a published interview, 7. Ich fahre sicher hin mit Frieden [6:17] 1905 Abbott and Smith organ of Wakefield Leighton stated how he ‘[...] found the 8. Es ist genug [3:04] Cathedral, in the West Yorkshire city where organ frustrating, there’s very little good he was born and educated. As well as music to play on it anyway apart from Bach’. 9. Rockingham (1975) [3:09] informing his writing for both organ and While it seemed to present a significant choir, Leighton repeatedly praised the 10. Fanfare (1966) [2:15] challenge for him to overcome, however, importance of his time in the choir stalls his solo organ music constitutes a significant 11. Veni Redemptor throughout his life, stating ‘My whole part of his output as a whole. Indeed in (A Celebration), Op. 93 (1985) [10:21] background is choral church music. I the same 1979 article he also goes on think one’s early background is terribly to say how ‘[...] I’ve found writing for the Improvisations important’ and ‘[...] my career as a Cathedral organ very exciting recently and I’ve kept ‘De profundis’, Op. 76 (1977) * chorister left some of the most vivid on at it’. for harpsichord impressions in my mind of that time of 12. Molto adagio e con fantasia [2:46] life [...] what a marvellous musical training.’ The earliest of the four works contained on 13. Allegro e ritmico [4:04] Given this musical upbringing that left the first disc, Improvisation in Memoriam 14. Presto e leggiero [1:00] such a mark, it was perhaps inevitable 15. Appassionato [5:24] Maurice de Sausmarez was composed 16. Più sostenuto e molto espressivo [6:37] that Leighton would go on to write a great during November and early December of 17. Molto statico e misurato [3:00] deal of choral music, mostly liturgical, 1969 – six years after the Prelude, Scherzo as well as works for the organ. and Passacaglia, and during his second, and final, academic year as a Fellow of Total playing time [76:19] Most of Leighton’s solo organ works were Worcester College, Oxford. It was some written to commission, the first of which, years earlier, while a Gregory Fellow in music the Op. 41 Prelude, Scherzo and Passacaglia, at the University of Leeds in the mid-1950s that Leighton had first met the artist Lionel dedicated to Herrick Bunney (1915-1997), a Maurice de Sausmarez (1915-1969), who close friend and the organist of St Giles’ held the post of Head of Fine Art at the Cathedral in Edinburgh for an incredible same university from 1951-1959. In 1964, fifty years from 1946 to 1996. Written de Sausmarez commissioned Leighton to some five years following Leighton’s write his Seven Variations for String Quartet, appointment as the Reid Professor of Op. 43, in memory of the artist’s mother, Edinburgh University’s Faculty of Music, Jessie Rose de Sausmarez. the Six Fantasies are representative of the considerable mellowing of his musical Writing about the Improvisation, Leighton style that occurred during this decade, as states that it ‘[...] was composed towards well as demonstrating Leighton’s interest in the end of the 1969 for the memorial all forms of hymnody. Indeed, Leighton was service [...] for the artist, teacher and one of the music consultants – as well as dear friend, Maurice de Sausmarez, who contributing five new hymn tunes – for the died an early death in the same year.’ The third edition of The Church of Scotland’s The organist at the first performance, which Church Hymnary, first published in 1973. took place on 15 December 1969 was Nicholas Cleobury, himself a former This magnificently constructed and student under Leighton at Worcester contrasted collection of hymn Fantasies College. From the outset the Improvisation begins with a strident Fantasy on the Advent is a work of great anguish, and is dark hymn tune ‘Helmsley’ (‘Lo! he comes with and deeply foreboding. Leighton further clouds descending’), marked by the composer describes the work as expressing ‘[...] a as ‘Exultant and fast’. The second Fantasy is mood of mourning and protest symbolised based on the Lutheran chorale ‘Aus der Tiefe’, in the conflict between lyrical counterpoint, from the Nürnbergisches Gesangbuch of 1676 and an ostinato (subject to variation) and mostly associated with the Lenten hymn consisting of three chord clusters which ‘Forty days and forty nights’ in the Anglican persist throughout the piece. The clusters tradition, and is much more chromatic and reach a climax of intensity in a chord searching. The characterful Fantasy on containing all the notes of the chromatic ‘Lumetto’ follows, which is subtitled ‘Little scale’. canonic variations on ‘Jesus bids us shine’’, which consists of four clear short variations The Six Fantasies on Hymn Tunes, Op. 72, of differing textures. were written during August 1975 and Associated with the text ‘The King of love my liked to compose and during the winter of and soft counterpoint closely based on overtly obvious in most cases, and is quite Shepherd is’, the fourth Fantasy is based on 1975-76 he decamped to the island to write material from the psalm-tune. The work is seamlessly integrated into Leighton’s musical the Irish hymn tune ‘St Columba’. A the first act of his only full-scale opera, characterised by constantly accumulating style. decorated version of the tune is heard in Columba, Op. 77, based on the life of the tension in the two extended parts of the canon, beginning calmly before growing in Irish saint and early Christian missionary. work all leading up to the epic and fully The opening ‘Kyrie’ contains a brooding intensity before an elated climax. Based on The significant organ duet Martyrs was harmonised final declaration of the atmosphere, described by Leighton as ‘Intense the hymn ‘Veni Emmanuel’ (‘O come, O also composed during this period in January psalm-tune, which is interspersed with and mainly contrapuntal movement based come, Emmanuel’) the fifth and most and February of 1976. triumphant fanfares. on oscillating major and minor thirds’. The substantial Fantasy uses the melody of the ‘Gloria’ is contrasting, beginning optimistically Advent hymn adapted from a French The influences on Martyrs are inevitably At some thirty-five minutes in length, with '[...] introductory fanfare-like sections’, Missal by Thomas Helmore (1811-1890), linked to his other activities through this Missa de Gloria, Op. 82, is Leighton’s after which ‘[...] the music closely follows beginning darkly and chromatically before time, in particular his work on Columba. magnum opus for the instrument. Begun in the plainsong in the manner of a toccata.’ going through a series of variations, In many ways the bleakness of the winter October 1979 and completed on 22 March A softer section, representing the text growing once again to a climax, before a on Arran is echoed throughout the duet 1980, it was written for the first Dublin ‘Agnus Dei qui tollis peccata’, follows in sudden soft and serene ending. The final alongside his interest in hymnody and, in International Organ Festival; the world which the plainsong is more decorated, Fantasy is the vigorous ‘Toccata on Hanover’ this case, Scottish metrical psalm-tunes. premiere was given in St Patrick’s Cathedral, before returning to the toccata of the (‘O worship the King all-glorious above’) Leighton states how ‘The power of a Dublin, by the organist Gerard Gillen on opening, which is now ‘[...] more developed that is reminiscent of the jubilation of the great hymn tune is immortal – it spans 29 June 1980. John Birch gave the UK [...] and culminates in a fugal coda on opening Fantasy on ‘Helmsley’. the centuries and crams into a few premiere of the work in July the following the word Amen.’ notes the spiritual experience of a whole year at St Michael’s Church, Cornhill in Commissioned by The Organ Club for its civilization, this is perhaps why I seem London. Leighton describes the ‘Credo’ as ‘[...] fiftieth anniversary in 1976, the organ duet to be using them more and more as a mostly calm and meditative’, and asks in the Martyrs: Dialogues on a Scottish Psalm-tune, focus and inspiration to my own ideas.’ Subtitled the ‘Dublin Festival Mass’, the score for ‘frequent changes of colour’ in Op. 73, was first performed in Westminster Leighton’s fascination in this area also Missa de Gloria was described by Leighton the registration. The chant is most obviously Abbey on 15 July the same year by its extended to the haunting and seemingly to be the first of his works ‘[...] to be almost stated throughout the ‘Credo’, surrounded dedicatees, brothers Nicholas and Stephen bizarre Gaelic methods of congregational entirely inspired by plainsong’. While by varying and often rich harmonic textures, Cleobury. Furthering the influence of hymn psalm singing, which is found in churches the ‘Kyrie’ is free and doesn’t employ which are often improvisatory in nature, tunes found in the Six Fantasies, Martyrs is in the Scottish islands in particular. The this influence, each of the remaining and suggestive of the twentieth-century based on the metrical psalm-tune of the original psalm-tune, Martyrs, is in itself movements of the organ mass features and French organ music that interested him – same name that was first published in the an austere but robust psalm-tune, and is is based on elements from the twelfth- Messiaen in particular. Leighton continues: Scottish Psalter of 1615. Leighton was a heard in full at the beginning of the work. century Sarum chant for use on Easter Day. ‘The chant speaks for itself, but the frequent visitor to the Scottish Isle of Arran, Densely chromatic and inventive variations While Leighton clearly marks where the treatment becomes gradually more which was also destined to become his final follow, the dialogue taking place between representation of each section of text comes decorated towards the end.’ resting place. It was also a place where he the two organ parts beginning with slow throughout the score, the chant is not always The ‘Sanctus’ opens with a brilliant The Prelude, Scherzo and Passacaglia was him roughly how an organ worked, what completed in 1974. Most of Leighton’s fanfare, ‘[...] a slow swing in great chordal itself begun during 1962, a year in which made it tick, and gave him scores of music scherzos are similar in nature, style and and polytonal texture’ while the central choral works were dominant in Leighton’s by [Marcel] Dupré, for example, for him to approach, often providing a conflict between ‘[...] Pleni sunt caeli is soft and dance-like’. output. The anthem Give me the wings of take away and look at and see how those a playful and anxious mood. The soft ‘Hosanna’ leads into the ‘Benedictus’, faith, an arrangement of a traditional French fellows wrote for the instrument. […] lo and a bitonal duet, ‘[...] slow and mystical’ while carol O leave your sheep and the Missa Sancti behold, fairly soon after that he produced While not being strictly twelve-tone in its ‘a brief reference to the dance says Hosanna.’ Thomae, Op. 40, were all penned in 1962, the Prelude, Scherzo and Passacaglia […] construction the main ‘Passacaglia’ theme is The chromatic and contrapuntal fantasia the latter composed for Canterbury Cathedral which showed instant mastery of the idiom.’ a twelve-tone row. Leighton was interested section that begins each ‘Agnus Dei’ is to celebrate the 800th anniversary of St in the concept of twelve-tone techniques as punctuated with a more chordal ‘miserere’ Thomas Beckett’s consecration as Archbishop Indeed, Leighton’s ability to write idiomatic used by composers such as Alban Berg, Béla while ‘The final Agnus Dei and Dona nobis of Canterbury. The only other composition music effectively for the instrument was Bartók and Luigi Dallapiccola, and was prone pacem are soloistic and triadic in conception.’ completed in that year was the fairly short evident from this early organ work, which to using elements of these methods within The closing dismissal ‘Ite Missa Est’ Festive Overture for small orchestra, written demonstrates his particular gift to sustain tonal boundaries, which is here underlined is highly virtuosic: ‘A brilliant toccata with young players in mind. Leighton completed tension and interest for extended periods by the resounding C major that ends the ending with a massive acclamation.’ no other works during 1963, the remainder while inviting the individual organist to work. (The Nine Variations, Op. 36, for solo of which was taken up with work on his supply his own thoughts on registration. piano provide a rare example of Leighton The first of Kenneth Leighton’s oeuvre of brooding and dramatic Symphony No. 1, The work is brimming with compositional composing stricter twelve-tone music). The organ works is also one of his most enduring Op. 42, of which the Prelude, Scherzo ideas, although the main melodic material ‘Passacaglia’ is often both dense and dark, compositions for the instrument – the and Passacaglia is a vivid precursor. of the work is slight, based mostly around the tension provided initially by an intensely Prelude, Scherzo and Passacaglia, Op. 41. the ambiguity between major and minor austere recurring passacaglia theme in the For a first foray into composition for solo When Leighton began the Prelude, Scherzo heard in the first bars of the ‘Prelude’. This pedals. As the movement continues, the organ it is ambitious and conceived on a and Passacaglia, his experience of writing ambiguity, punctuated by the alternating theme becomes developed and distorted relatively large scale at approximately twenty for the organ was entirely limited to major and minor of the pesante pedal part, in increasingly more rapid, energetic and minutes over three movements. It was accompaniment writing for choral works, leads directly on to a growth of tension that virtuosic variations. A short improvisatory commissioned by the organist Bryan Hesford, and Herrick Bunney (then organist of St is both organic and deeply chromatic while section ensues before six relentless who was newly-appointed as organist of Giles’ Cathedral, Edinburgh and Edinburgh loaded with counterpoint. statements of the passacaglia theme, now Brecon Cathedral in Wales at the time of the University Organist) later recalled how returned to the pedal, precede a declamatory work’s completion in January 1963. Hesford Leighton ‘[…] came to me and said, “I want The ‘Scherzo’ is typical of a reasonable C major resolution. himself premiered the work on 24 October to write something for the organ, but I don’t number of scherzos that Leighton wrote, that same year at the organ of Norwich know anything about the organ. Can you some of the most notable being the All of Leighton’s works for solo organ were Cathedral in a recital that also contained help me?” So then we sat down together ‘Toccata’ from the Concerto for Organ, written to commission, and the completion works by François Couperin, François at a console at the concert hall organ at Strings and Timpani, Op. 58 (1970), and and publication by Novello of Prelude, d’Agincour, Felix Mendelssohn and Jean the University, at the McEwan Hall, one of the two scherzos contained in the Scherzo and Passacaglia led on to a number Langlais. those big, Romantic machines, and I showed Symphony No. 2 ‘Sinfonia Mistica’, Op. 69 of commissions for solo organ works soon

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Photography: Rudi Wells written to be used before a service, American violinist Jean Harmon, and was Based on chant from the Sarum Antiphoner, for many years and prepared an edition of Leighton provides a composition of some first performed on 4 May 1980 in Chevy Veni Redemptor, Op. 93, was composed in Improvisations for publication by Maecenas scale and substance that invites the player to Chase Presbyterian Church, Washington July of 1985. Subtitled ‘A Celebration’ it in 1996, states how ‘Improvisations was make full use of the instrument’s range. DC, by Jean Harmon and organist Kenneth was written for the North Wales written at a time of some unhappiness, Composed in an arch-shaped form, much Lowenberg. Written in May of the previous International Music Festival that same stress and upheaval for the composer’ the of the musical material is derived from a year, Leighton dedicated the work to the year. It is dedicated to the organist influence of which is clearly evident from chromatic four note theme heard at memory of his father. The Fantasy makes John Scott (1956-2015) – himself born in the opening bars of this monumental work. the very beginning of the work. A dark extensive use of the chorale by J.G. Ahle Wakefield and a former chorister of Wakefield Composed in one movement (and without and unsettled piece, it is also characterised previously used (Leighton notes) by J.S. Cathedral – who gave the first performance commission), Leighton described the work by long and deeply lyrical threads of Bach in his cantata O Ewigkeit, du of the work in St Asaph Cathedral on 20 as ‘[…] a set of constant variations […] It counterpoint, which reach a dramatic climax Donnerwort, BWV 60, and by Alban Berg September 1985. Leighton describes how: tries to use for the most part the lyrical before a gradual return to the softness of in his last completed work, the Violin ‘[…] the music takes its starting point from and contrapuntal potentialities of the the opening. Concerto of 1935. Leighton goes on to the great plainsong melody Mode I which is harpsichord and is meant to be played on describe how ‘The tritone plays an usually sung to St Ambrose’s hymn ‘Veni an instrument of eighteenth century design.’ Originally entitled ‘Heroic Ode’ in important part, both melodically and Redemptor Gentium’ (‘Come, thou The instrument used in this recording is a manuscript sketches, Ode was written for harmonically, in the development of the redeemer of the earth’), a celebration copy of the two-manual Pascal Taskin Oxford University Press’s A Second Album Fantasy, which is in one movement but divided of Christmas which gives expression to harpsichord of 1769 housed in the of Preludes and Interludes and is among into five sections based on the five different awe and majesty as well as to joy and Raymond Russell Collection in St Cecilia’s six works by British composers penned for phrases of the chorale. The music tries to brightness.’ Hall in Edinburgh, where Leighton himself this organ volume. Composed in November illuminate the words of the chorale’. gave the premiere of Improvisations on 1977, it represents the first of a number of Completing this set is Leighton’s sole work 7 June 1978. shorter organ works commissioned for Fanfare and Rockingham provide two of the for solo harpsichord – Improvisations (De various compilations published by Novello most approachable of Leighton’s organ Profundis), Op. 76, begun in 1976 and © 2017 Adam Binks and Oxford University Press. Leighton slowly works composed in 1966 and 1975 completed in August of 1977. As well as builds tension and the dynamic through this respectively, both composed for Oxford being a pianist of considerable ability, short work with dense textures, punctuated University Press publications – Volume 1 Leighton had some affinity with the with a pesante pedal line, leading to a of Easy Modern Organ Music (Fanfare), and harpsichord, both as a soloist and continuo triumphant C major conclusion. Chorale Preludes on English Tunes player, which was further enhanced with (Rockingham). The two works are completely the presence in Edinburgh of the Raymond Fantasy on a Chorale (Es ist genug), Op. 80, contrasting in mood, the first a solemn yet Russell Collection of Early Keyboard is Leighton’s only foray into the rarely heard straightforward fanfare, while the second Instruments, bequeathed to the university combination of violin and organ, and is one provides a gently lilting chorale prelude on in 1964 during Leighton’s time as of his most substantial works in a single the familiar hymn tune to ‘When I survey the a senior lecturer. Giles Easterbrook, who movement. It was commissioned by the wondrous cross’. worked with Leighton’s publisher Novello

DISC TWO [But while I grow in a straight line, 5. These are Thy Wonders Still upwards bent, as if heaven were mine own, (A Song of Renewal), Op. 84 Thy anger comes, and I decline: What frost to that? what pole is not the zone How fresh, oh Lord, how sweet and clean Where all things burn, Are thy returns! even as the flowers in spring; When thou dost turn, To which, besides their own demean, And the least frown of thine is shown?] The late-past frosts tributes of pleasure bring. Grief melts away And now in age I bud again, Like snow in May, After so many deaths I live and write; As if there were no such cold thing. I once more smell the dew and rain, Who would have thought my shriveled heart And relish versing. Oh, my only light, Could have recovered greenness? It was gone It cannot be Quite underground; as flowers depart That I am he To see their mother-root, when they have blown, On whom thy tempests fell all night. Where they together All the hard weather, [These are thy wonders, Lord of love, Dead to the world, keep house unknown. To make us see we are but flowers that glide; Which when we once can find and prove, These are thy wonders, Lord of power, Thou hast a garden for us where to bide; Killing and quickening, bringing down to hell Who would be more, And up to heaven in an hour; Swelling through store, Making a chiming of a passing-bell. Forfeit their Paradise by their pride.] We say amiss This or that is: Thy word is all, if we could spell. The Flower by George Herbert (1593-1633) (stanzas 5 & 7 not set) Oh that I once past changing were, Fast in thy Paradise, where no flower can wither! Many a spring I shoot up fair, Offering at heaven, growing and groaning thither; Nor doth my flower The Klais Organ of Symphony Hall, Birmingham (2001) Want a spring shower, Photography: Bob Hall (Creative Commons - flickr.com) My sins and I joining together. Specification of the 1992 Rieger Organ 38. Plein Jeu VI-VIII 2 2/3 50. Choral Bass 4 St Giles’ Cathedral, Edinburgh 39. Basson 16 51. Flute 4 40. Trompette 8 52. Mixture V 2 2/3 Great (Manual II) 41. Hautbois 8 53. Bombarde 32 1. Bourdon 16 42. Voix humaine 8 54. Bombarde 16 2. Principal 8 43. Clairon 4 55. Fagotto 16 3. Stopped Diapason 8 Glocken 56. Posaune 8 4. Harmonic Flute 8 Tremulant 57. Clarion 4 5. Octave 4 Glocken 6. Nachthorn 4 Positive (Manual I) 7. Quint 2 2/3 15. Gedackt 8 Compass: manuals C-a3 (58 notes) 8. Superoctave 2 16. Salicional 8 pedals C-f1 (30 notes) 9. Mixture VI 2 17. Principal 4 Couplers: III/I, I/II, III/II, I/P, II/P, III/P 10. Mixture IV 1 1/3 18. Chimney Flute 4 Combinations: 11. Cornet V 8 19. Octave 2 12 generals 12. Trumpet 16 20. Recorder 2 6 individuals per division on 13. Trumpet 8 21. Sesquialtera II 2 2/3 16 memory levels 14. Trumpet 4 22. Larigot1 1 1/3 Sequencers Tremulant 23. Mixture IV 1 General Crescendo 24. Rankett 16 Tutti Swell (Manual III - enclosed) 25. Cromorne 8 26. Bourdon 16 Tremulant General cancel 27. Diapason 8 28. Souffle 8 Pedal 29. Flûte à cheminée 8 44. Untersatz 32 30. Gambe 8 45. Principal 16 31. Voix Céleste 8 46. Open Wood 16 32. Prestant 4 47. Sub Bass 16 33. Flûte pointue 4 48. Octave 8 34. Nazard 2 2/3 49. Gedackt 8 35. Quarte de Nazard 2 36. Tierce 1 3/5 37. Sifflet 1 Specification of the 2001 Klais Organ of 24. Quinte 2 2/3 Chamade to Swell Right Echo on Positiv Symphony Hall, Birmingham 25. Superoctave 2 Chamade to Solo Left Echo on Great 26. Mixtur V 2 Positiv (Manual I) 27. Cymbel III 1/2 Solo (Manual IV - enclosed) Pedal 1. Quintadena 16 28. Cornet V 49. Salicional 8 67. Openflute 32 2. Praestant 8 29. Trompete 16 50. Cor de nuit 8 68. Untersatz 32 3. Voce humana 8 30. Trompete 8 51. Traversflöte 8 69. Principal 16 4. Gedackt 8 31. Clairon 4 52. Céleste 8 70. Violon 16 5. Principal 4 Positiv to Great 53. Viola 4 71. Subbass 16 6. Koppelflöte 4 Swell to Great 54. Rohrflöte 4 72. Octave 8 7. Nasat 2 2/3 Solo to Great 55. Waldflöte 2 73. Cello 8 8. Octave 2 Chamade to Great 56. Baryton 16 74. Gedackt 8 9. Terzflöte 1 3/5 57. Clarinette 8 75. Superoctave 4 10. Sifflöte 1 1/3 Swell (Manual III - enclosed) Tremulant 76. Hohlflöte 4 11. Scharff V 1 1/3 32. Bourdon 16 58. Trompette en chamade 8 77. Mixtur IV 2 2/3 12. Dulzian 16 33. Flûte harmonique 8 59. Trompette en chamade 4 78. Contrabombarde 32 13. Trompette 8 34. Gamba 8 Sub-octave Chamade to Chamade 79. Bombarde 16 14. Cromorne 8 35. Voix céleste 8 Chamade on Solo 80. Fagott 16 Tremulant 36. Rohrflöte 8 Chamade on Great 81. Trompete 8 Swell to Positiv 37. Principal 4 Chamade on Positiv 82. Clairon 4 Solo to Positiv 38. Flûte octaviante 4 Positiv to Pedal Chamade to Positiv 39. Nasard 2 2/3 Right-hand Echo Division (enclosed; Great to Pedal 40. Octavin 2 inside reverberation chamber) Swell to Pedal Great (Manual II) 41. Tierce 1 3/5 60. Unda maris I-II 8 Solo to Pedal 15. Praestant 16 42. Sifflet 1 61. Trombone 16 Chamade to Pedal 16. Principal 8 43. Plein jeu 2 62. Trumpet 8 17. Flaut major 8 44. Basson 16 63. French Horn 8 Great & Pedal Combinations Coupled 18. Gambe 8 45. Trompette harmonique 8 19. Bordun 8 46. Hautbois 8 Left-hand Echo Division (enclosed; Manual compass: C-c4 20. Quinte 5 1/3 47. Voix humaine 8 inside reverberation chamber) Pedal compass: C-g1 21. Octave 4 48. Clairon harmonique 4 64. Tuba 8 22. Nachthorn 4 Tremulant 65. Cor anglais 8 798 combinations & sequencer 23. Terz 3 1/5 Solo to Swell 66. Tuba clarion 4 General Crescendo roller pedal Specification of the Henry Willis Organ of 26. Fifteenth 2 Couplers St Paul’s Church, Knightsbridge, London 27. Sesquialtera IV Swell to Pedal 28. Trombone 16 Swell to Great Pedal 29. Tromba 8 Swell to Choir 1. Resultant Bass 32 30. Clarion 4 Swell octave 2. Open Wood 16 Swell suboctave 3. Violone 16 Swell (Manual III - enclosed) Swell unison off 4. Bourdon 16 31. Lieblich Bourdon 16 Choir to Great 5. Dulciana 16 32. Open Diapason 8 Choir to Pedal 6. Octave Wood 8 33. Lieblich Gedact 8 Choir octave 7. Flute Bass 8 34. Salcional 8 Choir suboctave 8. Ophicleide 16 35. Vox Angelica 8 Choir unison off 36. Gemshorn 4 Great to Pedal Choir (Manual II - enclosed) 37. Lieblich Flute 4 Solo to Pedal 9. Contra Dulciana 16 38. Flageolet 2 Solo to Great John Butt 10. Violoncello 8 39. Mixture IV Solo to Swell 11. Claribel Flute 8 40. Contra Hautboy 16 Solo to Choir 12. Dulciana 8 41. Cornopean 8 Solo Octave 13. Concert Flute 4 42. Hautboy 8 Solo Sub Octave 14. Viola 4 43. Clarion 4 Solo Unison Off 15. Nasard Harmonique 2 2/3 44. Tremulant 16. Piccolo 2 Accessories 17. Corno di Bassetto 8 Solo (Manual IV - enclosed) 10-channel piston system with 45. Flute Bouchee Harmonique 8 generous provision of thumb pistons Great (Manual I) 46. Gamba 8 I still feel I’m a Yorkshireman – very much 18. Double Open Diapason 16 47. Flute Harmonique 4 Manual compass: C-a3 so – because I have all the natural 19. Open Diapason I 8 48. Clarinet 8 Pedal compass: C-f1 qualities of one. I think this of my music 20. Open Diapason II 8 49. Vox Humana 8 too, because of a certain directness and a 21. Stopped Diapason 8 50. Tremulant common-sense attitude. I’m also very 22. Claribel Flute 8 51. Tuba 8 much a romantic basically; there’s a very 23. Principal 4 emotional attitude behind it all, which I 24. Flute Harmonique 4 think is characteristically Yorkshire actually. 25. Twelfth 2 2/3 Kenneth Leighton, 1979

Stephen Farr He has a particular commitment to contemporary music, and has been involved Stephen Farr pursues a varied career as a in premieres of works by composers including soloist and continuo player, activities which Patrick Gowers, Francis Pott and Robert he combines with the post of Director Saxton; he also collaborated with Thomas of Music at St Paul’s Church, Knightsbridge. Adès in a recording of Under Hamelin Hill, He was Organ Scholar of Clare College, part of an extensive and wide-ranging Cambridge, graduating with a double discography. first in Music and an MPhil in musicology. . He then held appointments at Christ His concerto work has included engagements Church, Oxford, and at Winchester with the Bournemouth Symphony Orchestra, and Guildford Cathedrals. In 2014 he Ulster Orchestra and the London Mozart completed a PhD on the organ and Players; he made his debut in the Amsterdam harpsichord works of Judith Bingham. Concertgebouw in 2005. In the 2015 BBC Proms he performed Jón Leifs rarely heard A former student of David Sanger and a organ concerto with the BBC Symphony prizewinner at international competition Orchestra and Sakari Oramo. He has also level, he has an established reputation as worked with many other leading ensembles one of the leading recitalists of his including the Berlin Philharmonic (with whom generation, and has appeared in the UK he appeared in the premiere of Jonathan in venues including the Royal Albert Hall Harvey’s Weltethos under Sir Simon Rattle (where he gave the premiere of Judith in October 2011), Florilegium, the Bach Bingham’s The Everlasting Crown in the Choir, Holst Singers, BBC Singers, Polyphony, BBC Proms 2011); Bridgewater Hall; The English Concert, London Baroque Soloists, Symphony Hall, Birmingham; Westminster City of London Sinfonia, City of Birmingham Cathedral; King’s College, Cambridge; Symphony Orchestra, Royal Philharmonic St Paul’s Celebrity Series; and Westminster Orchestra, Wallace Collection, Endymion Abbey: he also appears frequently on BBC Ensemble, the Philharmonia, Academy of Radio 3 as both performer and presenter. Ancient Music, Britten Sinfonia and He has performed widely in both North Orchestra of the Age of Enlightenment. and South America (most recently as guest soloist and director at the Cartagena www.stephenfarr.co.uk International Music Festival), in Australia, and throughout Europe. Nicky Spence pieces and most notably, works by Jonathan Dove and the lead role in Nico Muhly’s opera Hailed by The Daily Telegraph as ‘a voice of Two Boys for ENO and The Metropolitan Opera. real distinction,’ Nicky Spence is fast emerging as ‘one of our brightest young On the recital platform, Nicky enjoys tenors.’ An artist of great integrity, Nicky collaboration with leading artists of art song Spence’s unique skills as a singing actor such as Malcolm Martineau, Julius Drake, and the rare honesty in his musicianship Roger Vignoles, Iain Burnside, William Vann, are steadfastly earning him a place at the Simon Lepper and Joseph Middleton. His top of the profession. Having trained at discography includes a recital disc of the Guildhall School and the National Opera French Melodié, Shakespeare Settings Studio, he took his place as an inaugural (both with Maritineau) and works by Harewood Artist at the ENO in 2011. Leoncavallo, Schumann, Britten and premieres of Jonathan Dove, Pavel Haas, Nicky has enjoyed great operatic success in Alun Hoddinott and Mark-Anthony the UK which has led to important Turnage. International debuts in houses such as Opera de Paris, La Monnaie, Opera Frankfurt, In 2015, Nicky was nominated for Young De Nederlandse Opera and The Metropolitan Singer of the Year by the International Opera Opera, New York. He works regularly with Awards and The Times Breakthrough Artist conductors such as Edward Gardner, Sir Award at the South Bank Sky Arts Awards. Mark Elder, Phillipe Jordan, Carlo Rizzi, Andris Nelsons, Maurizio Benini, Donald www.nickyspence.com Runnicles and Mark Wigglesworth in roles which include David (Die Meistersingers von Nürnberg), Števa (Jenůfa), Alwa (Lulu), Andres (Wozzeck), Janek (The Makropoulos Case), Steuermann (Der Fliegender Holländer), Tamino (Die Zauberflöte), Don Ottavio (Don Giovanni), Iago (Otello – Rossini), Baron

Lummer (Intermezzo), Chevalier de la Force Photography: Raphaelle Photography (Les Carmélites), Tom Rakewell (The Rake’s Progress) and Quint (The Turn of the Screw). He has created and premiered many new Chloë Hanslip Chloë has an extensive discography, including Violin Concertos by Vieuxtemps (Royal Flemish Chloë Hanslip (b. 1987) has already Philharmonic Orchestra/Brabbins), York established herself as an artist of distinction Bowen Sonatas (Danny Driver), on the international stage. Prodigiously Glazunov/Schoeck Concertos and Medtner talented, she made her BBC Proms debut Violin Sonatas. Other notable recordings in 2002 and her US concerto debut in 2003, include Bruch Concertos with the London and has performed at major venues in the Symphony Orchestra (Warner Classics) for UK (Royal Festival Hall, Wigmore Hall), which she won the Echo Klassik Award for Europe (Vienna Musikverein, Hamburg ‘Best Newcomer’ (2002) and ‘Young British Laeiszhalle, Paris Louvre and Salle Gaveau, Classical Performer’ at the Classical St Petersburg Hermitage) as well as BRITS (2003), and a highly acclaimed Carnegie Hall, Metropolitan Arts Space recording of John Adams Violin Concerto in Tokyo and the Seoul Arts Centre. with the Royal Philharmonic Orchestra/Slatkin.

Her performances have included, among Hanslip’s wide-ranging repertoire spans others, the Symphonieorchester des Concertos by Britten, Beethoven, Bayerischen Rundfunks, Philharmonia Brahms, Korngold, Shostakovich, Barber, Orchestra, Royal Philharmonic Orchestra, Bernstein, Delius, Mendelssohn, Elgar and London Philharmonic, Bremen Philharmonic, Sibelius. With a particular passion for Royal Liverpool Philharmonic, Lahti contemporary repertoire, in recent years she Symphony, Moscow State Symphony, has performed works by Adams, Glass, Vienna Tonkünstler Orchester, Czech Corigliano, Nyman, Huw Watkins, Peter National Symphony and the Royal Flemish Maxwell Davies and Brett Dean. Philharmonic. Further afield her engagements include the Detroit Symphony, Chloë studied for ten years with the Russian Tokyo Metropolitan Symphony, Adelaide pedagogue Zakhar Bron. She has also worked Symphony, Auckland Philharmonia and with Christian Tetzlaff, Robert Masters, Ida the Singapore Symphony Orchestra. She Haendel, Salvatore Accardo, and Gerhard has collaborated with conductors such as Schulz. Sir Neville Marriner, Sir Andrew Davis, Mariss Jansons, Paavo Järvi, Charles Dutoit, She plays a Guarneri del Gesu made in 1737. Michail Jurowski and Jeffrey Tate. www.chloehanslip.com

Photography: © Benjamin Ealovega More titles from Resonus Classics John Butt with Modernity, was published in 2010, and explores the ways in which Bach’s J.S. Bach: Clavier-Übung III John Butt is Gardiner Professor of Music at passion settings relate to some of the Stephen Farr (organ) the University of Glasgow and musical broader concepts of modernity, such as RES10120 director of Edinburgh’s Dunedin Consort. As subjectivity and time consciousness. an undergraduate at Cambridge University, John Butt’s conducting engagements with ‘[...] one can simply enjoy Farr’s rock steady he held the office of organ scholar at King’s the Dunedin Consort (since 2003) have rhythmic playing, crisp articulation and commanding overview. His approach is refreshingly unfussy and College. Continuing as a graduate student included major Baroque repertory and quirk free, and he draws on an unfailingly interesting working on the music of Bach he received several new commissions. His recording of palette of tonal colours [...] In a strong field this his PhD in 1987. He was subsequently a Messiah in its first performed version performance must be in the top three.’ lecturer at the University of Aberdeen and (Dublin, 1742) was released in 2006 and Gramophone a Fellow of Magdalene College Cambridge, received the Gramophone Award in the joining the faculty at UC Berkeley in 1989 Baroque Vocal Category in 2007 and the Judith Bingham: The Everlasting Crown as University Organist and Professor of MIDEM award for Baroque Music in 2008. Stephen Farr (organ) Music. In autumn 1997 he returned to Linn released his recording of Bach’s Matthew RES10108 Cambridge as a University Lecturer and Passion in March 2008, and Handel’s Acis Fellow of King’s College, and in October and Galatea in November 2008. His recording ‘[Farr’s] breadth of vision, intense sense of purpose 2001 he took up his current post at Glasgow. of Bach’s Mass in B Minor was released in and brilliant technique combine to make this a May 2010. He has been guest conductor with recording which, every bit as much as Bingham’s His books have been published by the Philharmonia Baroque Orchestra, the music itself, deserves repeated listening.’ Gramophone Cambridge University Press: these include Göttingen Handel Festspiele, the Berkeley Bach Interpretation (1990), a handbook Festival, the RSAMD Chamber Orchestra and on Bach’s Mass in B Minor (1991), Music Chorus and the Irish Baroque Orchestra and

Education and the Art of Performance in the Orchestra of the Age of Enlightenment. © 2017 Resonus Limited the German Baroque (1994). Playing with è 2017 Resonus Limited History (2002) marked a new tack, John Butt also continues to be active as a Recorded in St Giles’ Cathedral, Edinburgh on 9-10 September 2013 (Disc 1) & 20 Aprll 2016 (Disc 3, tracks 1-3 & 9-11); examining the broad culture of historically solo organist and harpsichordist. Eleven Symphony Hall, Birmingham on 27-28 August 2014 (Disc 2); St Paul’s Church Knightsbridge, London on 1 October 2015 (Es ist genug); and St George’s Church, Chesterton, Cambridge on 18 June 2016 (Improvisations ‘De Profundis’). informed performance and attempting to recordings on organ, harpsichord and Producer, Engineer & Editor: Adam Binks explain and justify it as a contemporary clavichord have been released by Harmonia Recorded at 24-bit / 96kHz resolution (DDD) phenomenon. He is also editor or joint Mundi. As conductor or organist he has Cover image: Edinburgh by Yiannis Theologos Michellis (Creative Commons – Flickr.com) editor of both the Cambridge and Oxford performed throughout the world, including RESONUS LIMITED – UK Companions to Bach and of the Cambridge recent trips to Germany, France, Poland, Israel History of Seventeenth Century Music (2005). and Korea. [email protected] His book on Bach’s Passions, Bach’s Dialogue www.resonusclassics.com RES10178