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LEIGHTON, K.: Missa de Gloria / Et Resurrexit / Hymn Fantasies (Morris)

Composer(s):Leighton, Kenneth
Artist(s) Morris, Greg, organ
Period(s) 20th Century
Genre Classical Music
Category Instrumental
Catalogue 8.572601
Label Naxos
Quality   320kbps
Album Price
 
MP3
USD 6.99
 

 


Kenneth Leighton was one of Britain’s most important 20th-century composers, best known for his organ, choral and orchestral works. His style is a distinctive mix of melodic lyricism, masterly counterpoint and dynamic rhythmic energy. Et Resurrexit builds into a cataclysmic climax, symbolizing the soul’s struggle for belief in Christ’s resurrection, while his Hymn Fantasies abound in fascinating polyphony. Missa de Gloria ‘Dublin Festival Mass’, based on an ancient plainchant from the Sarum rite for Easter Sunday, uses the full resources and colours of the solo organ to express the drama and mystery of the Catholic liturgy. Greg Morris, Associate Organist at London’s Temple Church, performs widely throughout the United

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Review By Tim Rogerson,Cathedral Music,November 2012

Like César Franck and Herbert Howells, Kenneth Leighton had a distinctive compositional style such that his music is almost always recognisable as his and the music presented here is no exception. The most well-known music on this disc will be the Three Fantasias on Hymn Tunes (in this case St Columba, Veni Emmanuel, and Hanover). Less well known will be Et resurrexit and Missa de Gloria. The former was written in 1966 and is (in the composer’s own words) “an attempt to give musical expression to the individual’s struggle for belief in the miracle of the Resurrection”. The Mass setting was commissioned for the Dublin International Organ Festival of 1980 and is based on plainsong chants of the twelfth-century Sarum rite. The

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Review By William J Gatens,American Record Guide,September 2011

…the strings sound rather chilly to me, but that often suits the severity of Leighton’s quieter writing, as does the plaintive quality of the soft reeds. Morris’s playing is authoritative and more than equal to Leighton’s virtuosic demands. Furthermore, this is clearly an instrument the artist knows well and can use to the greatest effect.

To read the complete review, please visit American Record Guide online.



Review By William J Gatens,American Record Guide,September 2011

…the strings sound rather chilly to me, but that often suits the severity of Leighton’s quieter writing, as does the plaintive quality of the soft reeds. Morris’s playing is authoritative and more than equal to Leighton’s virtuosic demands. Furthermore, this is clearly an instrument the artist knows well and can use to the greatest effect.

To read the complete review, please visit American Record Guide online.



Review By William J Gatens,American Record Guide,September 2011

…the strings sound rather chilly to me, but that often suits the severity of Leighton’s quieter writing, as does the plaintive quality of the soft reeds. Morris’s playing is authoritative and more than equal to Leighton’s virtuosic demands. Furthermore, this is clearly an instrument the artist knows well and can use to the greatest effect.

To read the complete review, please visit American Record Guide online.



Review By William J Gatens,American Record Guide,September 2011

…the strings sound rather chilly to me, but that often suits the severity of Leighton’s quieter writing, as does the plaintive quality of the soft reeds. Morris’s playing is authoritative and more than equal to Leighton’s virtuosic demands. Furthermore, this is clearly an instrument the artist knows well and can use to the greatest effect.

To read the complete review, please visit American Record Guide online.



Review By William J Gatens,American Record Guide,September 2011

…the strings sound rather chilly to me, but that often suits the severity of Leighton’s quieter writing, as does the plaintive quality of the soft reeds. Morris’s playing is authoritative and more than equal to Leighton’s virtuosic demands. Furthermore, this is clearly an instrument the artist knows well and can use to the greatest effect.

To read the complete review, please visit American Record Guide online.



Review By William J Gatens,American Record Guide,September 2011

…the strings sound rather chilly to me, but that often suits the severity of Leighton’s quieter writing, as does the plaintive quality of the soft reeds. Morris’s playing is authoritative and more than equal to Leighton’s virtuosic demands. Furthermore, this is clearly an instrument the artist knows well and can use to the greatest effect.

To read the complete review, please visit American Record Guide online.



Review By William J Gatens,American Record Guide,September 2011

…the strings sound rather chilly to me, but that often suits the severity of Leighton’s quieter writing, as does the plaintive quality of the soft reeds. Morris’s playing is authoritative and more than equal to Leighton’s virtuosic demands. Furthermore, this is clearly an instrument the artist knows well and can use to the greatest effect.

To read the complete review, please visit American Record Guide online.



Review By William J Gatens,American Record Guide,September 2011

…the strings sound rather chilly to me, but that often suits the severity of Leighton’s quieter writing, as does the plaintive quality of the soft reeds. Morris’s playing is authoritative and more than equal to Leighton’s virtuosic demands. Furthermore, this is clearly an instrument the artist knows well and can use to the greatest effect.

To read the complete review, please visit American Record Guide online.



Review By William J Gatens,American Record Guide,September 2011

…the strings sound rather chilly to me, but that often suits the severity of Leighton’s quieter writing, as does the plaintive quality of the soft reeds. Morris’s playing is authoritative and more than equal to Leighton’s virtuosic demands. Furthermore, this is clearly an instrument the artist knows well and can use to the greatest effect.

To read the complete review, please visit American Record Guide online.



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