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DDD Also available in this series: English Choral Music 8.555795 LEIGHTON Sacred Choral Music An Easter Sequence • Crucifixus pro nobis Choir of St John’s College, Cambridge Christopher Robinson

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Kenneth Leighton (1929-1988) Sacred Choral Works Kenneth Leighton was born in the northern English city Leighton’s first setting of the Magnificat and Nunc Also available in this series: of Wakefield and started composing at the age of eight. dimittis is subtitled Collegium Magdalenae Oxoniense He gained many formative musical experiences while a being composed for the choir of Magdalen College in chorister at Wakefield Cathedral, before he went up to 1959 and dedicated to its choirmaster Bernard Rose. In Queen’s College, Oxford, where he read Classics, and both canticles the organ part is elaborate, providing a then the BMus. At Oxford his composition teacher was buoyant texture that underpins the words. The Bernard Rose, and after being awarded the Magnificat is bright and joyous with its sections bound Mendelssohn Scholarship, he studied with Goffredo together by the two-bar organ call to attention at the Petrassi in Rome. During his career he held several opening. Its Gloria ends fervently with the words university appointments at Leeds, Edinburgh and ‘world without end’ as an exultant descending phrase Oxford, and in 1970 returned to Edinburgh as Reid punched out by the voices. In the Nunc dimittis the Professor of Music until his untimely death. organ part becomes more and more elaborate until it Leighton’s compositions include three symphonies. reaches its full glory in the triumphant Gloria. The first of these (1964), a purely orchestral essay, was Give Me the Wings of Faith was composed in 1962 followed by two including voices (1974, 1984). He was to a commission from the church of St John the Baptist, drawn to writing for virtuosi which resulted in several Leytonstone, for its Patronal Festival. It is written for concertos. There are three of these for piano (1951, soloists, choir and organ and within its short span 1960, 1969), and, amongst others, concertos for violin Leighton achieves a variety of sonorities and moods, (1952), cello (1956) and organ (1970). His choral music which culminate in a sonorous unison melody. includes the large-scale The Light Invisible (1958), and An Easter Sequence was commissioned by the the well-known carol Lully, lulla, thou little tiny child Berkshire Boy Choristers of the United States for their (1948). He wrote an opera, Columba (1978), as well as service in St Severin, Paris, on Low Sunday 1969. For vocal and chamber music, and a fine body of piano his texts Leighton used the Propers for the Sundays after 8.555794 works that reflect his skills as a pianist. Characteristics Easter, the Antiphon at First Vespers on Ascension Day of his music are its lyricism, rhythmic energy, virtuoso and Psalm 23. It is scored for two-part boys’ or female writing, and a penchant for instrumental colour. voices, organ and trumpet. The music of the Introit is The legacy of Leighton’s experience at Wakefield vigorous, built around fanfare-like figures for trumpet Cathedral was profound, and accounts for the reason and voices as if heralding the risen Lord. Gently rocking why he was drawn to compose for the church voices begin the Gradual over which a solo treble throughout his career. As he commented: ‘Any natural intones Christ’s prophecy. His words ‘Peace be to you’ composer is a product of his background, experience are cast as a benign descending spread chord, which is and training … With my upbringing and my boyhood as followed by joyful Alleluias. The organ takes over the a cathedral chorister this is perhaps why I respond rocking figure in the Offertory, as the Angel greets the emotionally to Christian subjects and texts … church women in the garden, and a paean of dancing praise music is undoubtedly a channel of communication for bursts out with trumpet and voices echoing each other me … early experiences are of immense and suggesting the perpetually ecstatic voices of the 8.555255 fundamental importance in musical as in all other kinds heavenly host. For At the Communion, an organ solo of development and I therefore speak as one who comes marked by florid writing forms a prelude to a serene from inside the church’. setting of Psalm 23, whilst the linked Communion is

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built around an exquisite oscillating melodic fragment. typical of Leighton’s music at this time; its musical and Another organ solo with chord clusters leads to a final emotional catharsis is reserved for Fletcher’s Hymn allegro in which the trumpet returns and the voices unite with its soothing harmonies and affecting vocal line. Also available in this series: for a flowing melody of affirmative strength. Throughout his life Leighton found inspiration in In the last decade of his life Leighton was striving hymns, chorales and plainsong chants which were to compose music that spoke more directly to the quarried as musical material for pieces. An example is listener, music that was, he suggested, ‘more static, but Veni creator spiritus for organ composed for the perhaps more varied and relaxed, with greater emphasis Dunfermline Abbey Festival in 1987. The ancient on colour and harmony’. An example of this tendency is melody is used in the manner of a Bachian chorale the motet What Love is This of Thine? composed in prelude, as is the hymn tune Rockingham, composed in 1985 for Dennis Townhill to mark his 25 years as 1975 to a commission by Oxford University Press for organist and master of the choristers at St Mary’s inclusion in their collection Chorale Preludes on Cathedral, Edinburgh. It is written for unaccompanied English Hymns. The tune is set to the familiar words chorus with soloists and exemplifies Leighton’s superb When I survey the wondrous Cross, which is heard skill at word-setting in the context of melody and against a haunting, lilting rhythm that creates a mood of harmony that colours and heightens the text, as, for hushed awe. instance, the mellifluous blossoming of the choral Leighton’s second setting of the evening canticles, textures at the words ‘O matchless love’. The Second Service, dates from 1971 and was During his thirties and forties much of Leighton’s commissioned by the Cathedral Organists Association. music was austere in mood, using a highly chromatic It was dedicated to the memory of Brian Runnett, the harmonic language. Such dark astringency is apparent outstanding, organist and choirmaster of Norwich in the cantata Crucifixus pro nobis, a masterpiece in Cathedral, who died tragically at the age of 35 in a car miniature, composed in 1961 for David Lumsden and accident. Cushioned by gentle note clusters, the lyrical, the Choir of New College, Oxford. Its four movements melismatic melody of the trebles floats above them, and 8.555792 are, in effect, a concentrated, intense Passion, scored for is extended to the other voices. A dance-like tenor, choir and organ. The metaphysical seventeenth- accompaniment for organ is established, recalling that century texts, three by Patrick Carey and the last by Leighton used to insist that in performance his music Phineas Fletcher, are redolent with vivid imagery to should be made to dance, and over its syncopated which the composer was manifestly drawn. A stark, rhythms the voices have long-limbed melodies that are chill organ motif heard at the opening recurs as a often sung in unison. The peaceful Gloria is built from unifying element within the cantata, and the raw melody the opening motif and particularly effective is the of the tenor evokes the wintry images of Christ in the overlapping descending phrase at the words ‘world Cradle. In Christ in the Garden the chorus portrays the without end’. A sombre mood characterizes the Nunc emotion of the Lord in the garden of Gethsemane in dimittis, as its opening words so aptly befit the work’s impassioned music that reflects words in the text such dedication, as do the tolling bells in the accompaniment as ‘flame’ and ‘fire’. For Christ in his Passion the tenor that commence at the word ‘peace’. It concludes with a and chorus are combined, and its central six-part section consoling ‘Amen’. 8.557277 rises to an anguished, dissonant climax as it dwells on the agony of the crucifixion. The almost unbearable build up of tension of the successive movements is Andrew Burn

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The Choir of St John’s College, Cambridge (Where roses grew). But only John He’s frozen everywhere: Stands by to sigh, Mary to shed a tear. St John’s College was founded in 1511 and is one of the Colleges All th’heat he has of the University of Cambridge. The College Choir, which has a Joseph, alas, Why did he shake for cold? world-wide reputation for its unique sound and for the quality of Gives in a groan; or Mary in a tear. Why did he glow for heat? its music-making, has had as its main duty since the 1670s the Dissolve that frost he could, singing of the daily services in the College chapel during the Patrick Carey, d. 1651 He could call back that sweat. University Term. The Services follow the Church of England Those bruises, stripes, bonds, taunts, Cathedral Tradition with Evensong six times a week and a Sung @ Christ in the Garden Those thorns, which thou didst see, Eucharist on Sunday mornings. Those nails, that cross, The all-male Choir consists of fourteen Choral Students and Look how he glows for heat! His own life’s loss, seventeen Choristers. The alto, tenor and bass parts are taken by What flames come from his eyes! Why, oh, why suffered he? Choral Students who are admitted as undergraduates to the ‘Tis blood that he does sweat. ‘Twas for thy sake. College to study a variety of subjects. Apart from its liturgical Blood his bright forehead dyes: Thou, thou didst make commitments, the Choir gives a number of concerts each year both See, see! It trickles down; Him all those torments bear: in the United Kingdom and overseas. Recent tours have taken the Look, how it showers amain! If then his love Choir to Australia, South Africa, Canada, the United States, Holland, Belgium, Sweden and Japan. Through every pore Do thy soul move, The repertoire of the Choir stretches from the fifteenth century to the present day. Many highly acclaimed His blood runs o’er, Sigh out a groan, weep down a melting tear. recordings have been made and these are available world-wide. The Advent Carol Service, the Lent Meditation, And empty leaves each vein. and Evensong on Ash Wednesday (when Allegri’s Miserere is sung) are broadcast annually on BBC Radio 3. This His very heart Patrick Carey is the choir’s ninth recording in an English Choral Music series to be issued on the Naxos label. The series, Burns in each part; including discs of Howells (Winner of the Cannes Classical Award 2001), Britten (nominated for a Gramophone A fire his breast doth sear: $ Hymn Award 2000), Tavener (nominated for a Classical Brit Award and a Gramophone Award 2001), Rubbra For all this flame, (nominated for a Gramophone Award 2001) Walton (nominated for a Gramophone Award 2002), Finzi and To cool the same Drop, drop, slow tears, Lennox Berkeley, has sold more than 100,000 copies to date. Many composers have written for the Choir, He only breathes a sigh, and weeps a tear. And bathe those beauteous feet including Tippett, Howells, and Langlais; more recently works have been commissioned from Francis Grier, Which brought from Heaven Andrew Gant, John Tavener and Judith Bingham. Patrick Carey The news and Prince of Peace: Cease not, wet eyes, # Christ in his Passion His mercy to entreat: Christopher Robinson CVO, CBE To cry for vengeance What bruises do I see! Sin doth never cease Christopher Robinson retired as Organist and Director of Music at St John’s College, Cambridge, in 2003 after What hideous stripes are those! In your deep floods twelve years’ service. His expertise as a choral and orchestral conductor is well known following his time at St Could any cruel be Drown all my faults and fears: John’s, and previously at St George’s Chapel, Windsor Castle (1975-91) and at Worcester Cathedral (1963-74), Enough, to give such blows? Nor let His eye where the Three Choirs’ Festival provided opportunities to plan programmes, conduct large-scale repertoire, and Look, how they bind his arms See sin, but through my tears commission new works. He was conductor of the Oxford Bach Choir from 1977 to 1997 and City of Birmingham And vex his soul with scorns, Choir from 1964 to 2002. He was then the longest serving regular conductor of the City of Birmingham Symphony Upon his hair Phineas Fletcher, 1582 - 1650 Orchestra and has conducted most of the other major British orchestras. Throughout his career he has contributed They make him wear steadily to the record catalogues, culminating in the widely acclaimed English Choral Music series of ten discs for A crown of piercing thorns. Naxos. Through hands and feet Sharp nails they beat: And now the cross they rear: Many look on; 8.555795 4 9 8.555795 555795 bk Leighton US 12/01/2004 13:16 pm Page 8

Jesus stood in the midst of his disciples, and said: 0 What love is this of thine? In his retirement from St John’s College Christopher pursues an active life conducting, accompanying and training ‘Peace be to you.’ Alleluia. choirs. Recently he conducted the Cambridge University Festival Chorus in a performance of Berlioz’s Messe What love is this of thine that cannot be Solennelle in King’s College Chapel and he will conduct the Philharmonia Orchestra at the Gloucester Three 6 Offertory In thine infinity, O Lord, confined? Choirs Festival in 2004, as well as undertaking work in Canada. He enjoys having more time to pursue his love of Unless it in thy very person see performing chamber music. An angel of the Lord descended from heaven Infinity and finity conjoined? and said to the women: What! Hath thy Godhead as not satisfied Christopher Robinson was elected an honorary member of the Royal Academy of Music in 1980 and was President ‘He whom ye seek is risen, as he said.’ Married our manhood, making it its bride? of the Royal College of Organists from 1982 to 1984. He holds honorary degrees from Birmingham University and Alleluia. Oh, matchless love! the University of Central England and was awarded a Lambeth Doctorate in 2002 in recognition of his contribution Filling Heaven to the brim! to Church music in this country and abroad. 7 At the Communion O’er running it, all running o’er beside this world! Nay, over-flowing hell, wherein In 1992 the Queen honoured him with appointment as Commander of the Royal Victorian Order in recognition of The Lord is my Shepherd, For thine elect there rose a mighty tide, his work at Windsor Castle. He was appointed CBE in the New Year’s Honours in 2004 in recognition of his therefore can I lack nothing. That there our veins might through thy person bleed services to music. He shall feed me in a green pasture, To quench those flames that else would on us feed! and shall lead me forth beside the waters of comfort. Oh, that thy love might overflow my heart, He shall convert my soul, To fire the same with love! St John’s College Choir, 2001/2002 and shall bring me forth in the paths of For love I would. righteousness, for His Name’s sake. But oh, my straitened breast! Choristers Choral Students Yea, though I walk through My lifeless spark! the valley of the shadow of death, My fireless flame! Theo Bamber Altos I will fear no evil: for Thou art with me, What, chilly, love, and cold? Quintin Beer Aaron Burchell Thy rod and Thy staff comfort me. In measure small? Hugh Bushell Peter Crawford But Thy loving kindness and Thy mercy shall follow In manner chilly? Thomas Curran Iestyn Davies me all the days of my life, See! Lord, blow the coal, Benjamin Durrant Lester Lardenoye and I will dwell in the house of the Lord for ever. Thy love inflame in me. Joseph Gardom James Geidt Tenors Alleluia. Edmund Taylor, c. 1642 - 1729 Jamie Budgett Michael Anderson I am the good shepherd, Julian Gregory Alastair Brookshaw I know my sheep, and my sheep know me. Crucifixus pro nobis Simon Horner Allan Clayton Alleluia. Benjamin Howson Stephen Shorter ! Christ in the Cradle Alexander Jones Andrew Staples 8 Sortie Nicholas Morton Look, how he shakes for cold! Joshua O’Connor Basses God is ascended, How pale his lips are grown! Brindley Wallis James Birchall God is ascended in Jubilee Wherein his limbs to fold Thomas Welham Ronan Collett and the Lord in the sound of the trumpet, Yet mantle has he none. George Humphreys Alleluia! His pretty feet and hands Gareth Jones Rejoice to God our helper: (Of late more pure and white Organ Scholars Oliver Wright Sing aloud to the God of Jacob. Than is the snow That pains them so) Christopher Whitton Have lost their candour quite. Jonathan Vaughn His lips are blue 8.555795 8 5 8.555795 555795 bk Leighton US 12/01/2004 13:16 pm Page 6

Magnificat and Nunc Dimittis ‘Collegium Magdalenae Oxoniense’ 1 & ^ Magnificat 3 Give me the wings of faith 1 Magnificat 5:06 My soul doth magnify the Lord: 2 Nunc Dimittis 3:12 and my spirit hath rejoiced in God my Saviour. Give me the wings of faith to rise For he hath regarded Within the veil, and see 3 Give me the wings of faith 4:52 the lowliness of his hand-maiden. The Saints, how great their joys For behold from henceforth How bright their glories be. An Easter Sequence all generations shall call me blessed. 4 Introit (for the First Sunday after Easter) 0:57 For he that is mighty hath magnified me, Once they were mourning here below, 5 Gradual (for the First Sunday after Easter) 1:22 and holy is his Name. And wet their couch with tears; And his mercy is on them that fear Him They wrestled hard, as we do now, 6 Offertory (for the First Sunday after Easter) 2:25 throughout all generations. With sins and doubts and fears. 7 Communion (for the Second Sunday after Easter) 4:51 He hath showed strength with his arm; 8 Sortie (Antiphon at First Vespers of Ascension Day) 4:08 he hath scattered the proud I ask them whence their victory came; 9 Veni creator spiritus 5:03 in the imagination of their hearts. They, with united breath, he hath put down the mighty from their seat, Ascribe their conquest to the Lamb, 0 What love is this of thine? 6:17 and hath exalted the humble and meek. Their triumph to his death. he hath filled the hungry with good things, Crucifixus pro nobis, Op. 38 and the rich he hath sent empty away. They marked the footsteps that he trod, ! Christ in the Cradle 3:27 he remembering his mercy His zeal inspired their breast, @ Christ in the Garden 3:37 hath holpen his servant Israel, And following their incarnate God, as he promised to our forefathers, Possess the promised rest. # Christ in his Passion 6:04 Abraham and his seed, for ever. $ Hymn 2:13 Our glorious Leader claims our praise % Rockingham: Chorale Prelude on ‘When I survey the wondrous Cross’ 3:12 Glory be to the Father, and to the Son, For his own pattern given; and to the Holy Ghost: While the long cloud of witnesses Magnificat and Nunc Dimittis (The Second Service), Op. 62 as it was in the beginning, is now, Show the same path to heav’n. and ever shall be; ^ Magnificat 6:36 world without end. Amen. Isaac Watts & Nunc Dimittis 4:02 An Easter Sequence 2 & & Nunc Dimittis Lord, now lettest thou thy servant depart in peace, 4 Introit according to thy word; For mine eyes have seen thy salvation, Alleluia! Alleluia! which thou hast prepared before the face Rejoice to God our helper: of all people, Sing aloud to the God of Jacob. To be a light to lighten the Gentiles, and to be the glory of thy people Israel. 5 Gradual Glory be to the Father, and to the Son, and to the Holy Ghost: Alleluia! as it was in the beginning, is now, On the day of my resurrection, saith the Lord and ever shall be; I will go before you into Galilee. world without end. Amen. After eight days, the door being shut, 8.555795 6 7 8.555795 555795 bk Leighton US 12/01/2004 13:16 pm Page 6

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DDD Also available in this series: English Choral Music 8.555795 LEIGHTON Sacred Choral Music An Easter Sequence • Crucifixus pro nobis Choir of St John’s College, Cambridge Christopher Robinson

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Kenneth Leighton’s distinctive compositional voice is characterized by rich, lush harmonies, subtle AXOS dissonance, rhythmic energy and a lilting, angular lyricism. Pithy thematic ideas and syncopated rhythms are allied to a brilliant mastery of counterpoint and a unique sense of melody borne of a lifelong love of hymns, chorale and chant. This collection features the two contrasting Canticle Settings, the

8.555795 Easter Sequence scored for boys’ voices, organ and trumpet (played here by Crispian Steele-Perkins) and Crucifixus pro nobis, the austere, miniature masterpiece of a Passion setting for tenor, choir and organ DDD which climaxes with one of English choral music’s remarkable icons “Drop, drop, slow tears”. 8.555795

Kenneth LEIGHTON: Playing Time LEIGHTON 67:25 (1929-1988) Magnificat and Nunc Dimittis ‘Collegium Magdalenae Oxoniense’ 8:18 1 Magnificat 5:06 2 Nunc Dimittis 3:12 3 Give me the wings of faith 4:52 ardChoral Music Sacred 4-8 An Easter Sequence†º 13:44 9 Veni creator spiritus 5:03 0 What love is this of thine?º 6:17

!-$ Crucifixus pro nobis* 15:21 www.naxos.com Made in Canada Includes sung texts Booklet notes in English h & Sacred Choral Music % Rockingham: Chorale Prelude on ‘When I survey the wondrous Cross’ 3:12 g

Magnificat and Nunc Dimittis (The Second Service) 10:38 2004 Naxos Rights International Ltd. ^ Magnificat 6:36 & Nunc Dimittis 4:02 Choir of St John’s College, Cambridge • Christopher Robinson James Oxley, Tenor* • Crispian Steele-Perkins, Trumpet† • Christopher Whitton, Organ Gareth Jones, Baritone Solo† • Benjamin Durrant, Treble Soloº LEIGHTON: Recorded at St John’s College Chapel, Cambridge, UK, 9th - 11th July 2002 Producer: Andrew Walton (K&A Productions Ltd.) • Sound Engineer: Eleanor Thomason Post-Production: Andrew Walton • Booklet Notes: Andrew Burn

Publishers: 1-3, 9, 10, 11-14 Novello, 4-8, 16 & 17 OUP, track 15 unknown • MCPS 8.555795 This recording has been recorded at 24bit resolution Cover Picture: Library, watercolour by John Doyle (reproduced by permission of Contemporary Watercolours Ltd.)

AXOS A full track listing can be found on page 6 of the booklet N