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Kenneth Leighton (1929-1988) Six Fantasies on Hymn Tunes, Op

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Kenneth Leighton (1929-1988) Six Fantasies on Hymn Tunes, Op KENNETH LEIGHTON COMPlete ORGAN WORKS STEPHEN FARR ORGAN JOHN BUTT organ CHLOË HANSLIP VIOLIN 10178 NICKY SPENCE TENOR RES 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.
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