Whittonst Johnsrobinson - Leighton: Sacred Choral Music, An Easter Sequence, Crucifixus pro nobis [CD]

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Kenneth Leighton (1929-1988)Sacred Choral WorksKenneth Leighton was born in the northern English city ofWakefield and started composing at the age of eight. He gained many formativemusical experiences while a chorister at Wakefield Cathedral, before he went upto Queen's College, Oxford, where he read Classics, and then the BMus. AtOxford his composition teacher was Bernard Rose, and after being awarded theMendelssohn Scholarship, he studied with Goffredo Petrassi in Rome. During hiscareer he held several university appointments at Leeds, Edinburgh and Oxford,and in 1970 returned to Edinburgh as Reid Professor of Music until his untimelydeath.Leighton's compositions include three symphonies. The firstof these (1964), a purely orchestral essay, was followed by two includingvoices (1974, 1984). He was drawn to writing for virtuosi which resulted inseveral concertos. There are three of these for piano (1951, 1960, 1969), and,amongst others, concertos for violin (1952), cello (1956) and organ (1970). Hischoral music includes the large-scale The Light Invisible (1958), and thewell-known carol Lully, lulla, thou little tiny child (1948). He wrote anopera, Columba (1978), as well as vocal and chamber music, and a fine body ofpiano works that reflect his skills as a pianist. Characteristics of his musicare its lyricism, rhythmic energy, virtuoso writing, and a penchant forinstrumental colour. The legacy of Leighton's experience at Wakefield Cathedral wasprofound, and accounts for the reason why he was drawn to compose for thechurch throughout his career. As he commented: 'Any natural composer is aproduct of his background, experience and training ... With my upbringing and myboyhood as a cathedral chorister this is perhaps why I respond emotionally toChristian subjects and texts ... church music is undoubtedly a channel ofcommunication for me ... early experiences are of immense and fundamentalimportance in musical as in all other kinds of development and I thereforespeak as one who comes from inside the church'.Leighton's first setting of the Magnificat and Nunc dimittisis subtitled Collegium Magdalenae Oxoniense being composed for the choir ofMagdalen College in 1959 and dedicated to its choirmaster Bernard Rose. In bothcanticles the organ part is elaborate, providing a buoyant texture thatunderpins the words. The Magnificat is bright and joyous with its sectionsbound together by the two-bar organ call to attention at the opening. ItsGloria ends fervently with the words 'world without end' as an exultantdescending phrase punched out by the voices. In the Nunc dimittis the organpart becomes more and more elaborate until it reaches its full glory in thetriumphant Gloria. Give Me the Wings of Faith was composed in 1962 to acommission from the church of St John the Baptist, Leytonstone, for itsPatronal Festival. It is written for soloists, choir and organ and within itsshort span Leighton achieves a variety of sonorities and moods, which culminatein a sonor

Magnificat

Nunc Dimittis

Give Me The Wings Of Faith

Introit (For The First Sunday After Easter)

Gradual (For The First Sunday After Easter)

Offertory (For The First Sunday After Easter)

Communion (For The Second Sunday After Easter)

Sortie (Antiphon At The First Vespers Of Ascension Day)

Veni Creator Spiritus

What Love Is This Of Thine?

Christ In The Cradle

Christ In The Garden

Christ In His Passion

Hymn

Rockingham: Chorale Prelude On 'When I Survey The Wondrous Cross'

Magnificat

Nunc Dimittis