Kenneth Leighton: A Bio-bibliography (Bio-Bibliographies in Music)

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KENNETH LEIGHTON

Photo courtesy of Mrs. Kenneth Leighton.

KENNETH LEIGHTON A Bio-Bibliography Carolyn J. Smith

Bio-Bibliographies in Music, Number 94 Donald E. Hixon, Series Adviser

PMEGER

"^""ESS London

Library of Congress Cataloging-in-Publication Data Smith, Carolyn J. Kenneth Leighton : a bio-bibliography / Carolyn J. Smith. p. cm. — (Bio-bibliographies in music, ISSN 0742-6968 ; no. 94) Includes index. ISBN 0-313-30515-3 (alk. paper) 1. Leighton, Kennetli—Bibliography. 2. Leighton, Kenneth—Discography. Series. ML134.L466S65 2004 016.780'92—dc22 2004045939 British Library Cataloguing in Publication Data is available. Copyright © 2004 by Carolyn J. Smith All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2004045939 ISBN: 0-313-30515-3 ISSN: 0742-6968 First published in 2004 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America

The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48-1984). 10 987654321

I. Title. EL

Contents Preface

vii

Biography

1

Works and First Performances

9

Discography

67

Bibliography Articles and Reviews Books, Theses, and Dissertations

135 214

Chronological List of Compositions

221

Index

229

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Preface In keeping with the intent of the series Bio-Bibliographies in Music, this work is intended as a guide to resources for those wishing to do further research. It is organized into the following sections: 1. Biography. A brief biography of Kenneth Leighton, concentrating on his development as a composer and the history of his compositions. 2. List of Works and First Performances. This section has an entry for each of Leighton's compositions. Entries are arranged alphabetically by title of work, and each entry is assigned an identifying number prefixed with CW\ In listing the titles of works, I append the opus number where one has been assigned, and otherwise I give the year of composition in parentheses. Each entry consists of a description of the work (instrumentation, etc.); information concerning its date of composition, first performance (if known), publication (if published), and location of its manuscript, to the extent that I have been able to determine them. Following this information there are (in most cases) two lists of references, one to the Discography and one to the Bibliography. Discography references, which appear on a line beginning with the tag 'RECORDINGS:', are the numbers of entries in the Discography, that is, numbers prefixed with 'D'. References to the Bibliography appear on a line beginning with 'SEE:', and each is the number of an item in the Bibliography, beginning with 4B\ These lines are omitted for works for which there are no recordings or no associated bibliography references. 3. Discography. Following the Works and First Performances is a Discography, again arranged alphabetically by title of composition. Following each work title is a series of recordings that contain it, arranged chronologically. For each recording, I provide recording company, number, date, and format. I then

viii

Preface

list the names of the performers, the title of the album, and the couplings. In the case of recordings containing more than one work by Leighton, I repeat the entry under the title of each work for convenience of use, but I usually give the full list of couplings only the first time a recording is listed, with references to that listing elsewhere. 4. Bibliography. The Bibliography is arranged alphabetically by name of author (if known), title, and date of publication (anonymous works appear at the beginning, alphabetically by title). Each item is assigned a unique 'B' number to facilitate reference from the Works and First Performances. I provide a brief summary of the content of each item except in a few cases (e.g., the article in the New Grove) where that is obvious. Essays and articles by Kenneth Leighton appear in the Bibliography in their normal alphabetical location. 5. Chronological List of Compositions. This is a list of works in order of composition (to the extent that I have been able to determine), accompanied by dates of first performances. A word of explanation is in order about this list and its relationship to Leighton's opus numbers. Leighton was an extremely methodical composer, and he kept a record of all the music he wrote in composition books that go back to July 1945, when he was a fifteen-year-old schoolboy. The composition books make it possible to see his development as a composer in unusual detail. Leighton also began assigning opus numbers to his works with his first published pieces, Sonatina No. 1 for Piano, Op. la (composed in 1946) and Sonatina for Piano, No. 2, Op. 1. (composed in 1947). Leighton did not assign opus numbers casually, and he sometimes reassigned one work's opus number to another work. For example, Winter Scenes: Suite for Piano (composed in 1953) was originally designated Opus 24, but Leighton reassigned this number to Fantasia Contrappuntistica: Homage to Bach in 1956 and left Winter Scenes with no number. In addition, Leighton published a substantial number of works without assigning opus numbers to them. This is true of some of his most widely-performed works, for example the organ pieces Paean (1966), Preces and Responses (1964) and Fanfare for Organ (1966), or the anthems Let All the World in Every Corner Sing (1965) and What Love Is This of Thine? (1985). In addition, not all works with opus numbers have (as of this writing) been published (for instance Hippolytus, Op. 8, Sonata for Piano No. 3, Op. 27, and Laudes Animantium, Op. 71). Leighton Manuscripts. The majority of Kenneth Leighton's manuscripts are held by the Special Collections Department of the University of Edinburgh Library. For additional information about manuscripts and other materials concerning Kenneth Leighton, including correspondence and the composition books, contact Ms. Jo Leighton, 38 McLaren Road, Edinburgh EH9 2BN, Scotland (UK telephone 0131-667-3113; email [email protected]).

Preface

ix

Acknowledgements. I am indebted to many persons for assistance in completing this book. I acknowledge with thanks the generous help of Mrs. Jo Leighton, Mrs.Lydia Leighton, Robert Leighton, and Dr Dennis Townhill; Jeremy Upton, Morley Whitehead, and the staff of the Reid Music Library; Ms. Sheila Noble and the staff of the University of Edinburgh Library, Special Collections Department. I am also grateful to the Texas A&M University Libraries for support for my work, to Dr. Colleen Cook, Interim Dean of Libraries, and especially to Dr. Stephen Atkins for his support and encouragement. My research in Edinburgh would not have been possible without an International Research and Travel Grant from Texas A&M University. I thank the staff and student workers of the Gifts Department, Texas A&M University Library, for their patience in tolerating me during the writing of this book. Finally, I thank my husband Robin, for his help with the final formatting and copy editing and for his constant reassurance and support.


Biography Kenneth Leighton was born October 10, 1929, in Wakefield, West Yorkshire, to a family of modest circumstances. Even as a very young child, it was clear to his parents that he was exceptional. They recalled how, when they were rolling him to a band concert in his pram, he would begin moving his arms and legs in time to the music even before they could hear it. In 1932, at the age of three, Leighton was enrolled in Holy Trinity Boys' School in 1932. He also became a Chorister at Wakefield Cathedral, like his brother Donald before him. His father also sang in the Trinity Church choir. Leighton's experience as a chorister was one of the most important influences on him as a musician. He was strongly affected by Newell S. Wallbank (organist and choirmaster at Wakefield Cathedral from 1930 until 1945). Wallbank gave his choristers a thorough grounding in the Anglican liturgical tradition, but he also had them perform an extremely broad range of work, from the Renaissance through contemporary composers. Leighton described Wallbank as one of the most important influences on him as a composer: "Of all the musicians I've known, Tosh Wallbank was one of the most extraordinary—not a great musician perhaps—but a man with an unusual ability to inspire even small boys with a sense of the power of music. Hardly a practice passed without a few heads being banged together...and all this was the expression of a profound conviction that music and particularly Church music mattered. ... As for the repertoire, it was pretty wide for those days...and we also sang what was then the latest thing—Darke in F—a most exciting experience—Warlock carols, and even a piece of Britten... It is perhaps only in the light of experience that one realises how fundamental and important a part the Church music tradition —which is after all the only unbroken musical tradition in this country, stretching right to the middle ages—plays in the musical life of

2

Biography

Britain as a whole. I am personally and immensely grateful for this." ("Church Music Today," unpublished lecture given in Wakefield Cathedral, Oct. 19, 1984; quoted from B351, pp. 3-4). The Provost of the Cathedral, Noel Hopkins, himself an accomplished pianist, also took a great interest in Leighton's musical abilities. In 1940, Leighton received a scholarship to Queen Elizabeth Grammar School in Wakefield. One of the strengths of this school was the Classics, and Leighton displayed exceptional ability in ancient languages. The performing arts were not nearly so well-served. Ronald Chapman, Leighton's history master, recalled that there was at that time one man who taught all music, art, and carpentry. The masters at the school all recognized at once that Leighton was exceptionally talented. In 1941, E. J. Baggaley came to the school as geography master, accompanied by his wife Sylvia, who had had a career as a professional pianist priot to her marriage. Leighton studied counterpoint with Mrs Baggaley, who quickly recognized that her new student was a prodigy at the piano. She arranged for him to study with Claude Pollard in London and encouraged him towards a career as a performer. In 1946, gained his LRAM (Licentiate of the Royal Academy of Music) in piano performance at the early age of 15. While at the Queen Elizabeth School, Leighton also began composing music of his own. In July 1945, he began keeping records of his compositions in composition books, a practice he continued throughout his life that provides valuable insight into his development. According to the composition books, his first efforts were settings for voice and piano of poetry by Masefield, Byron, Stevenson, and other British authors. Leighton wrote nearly twenty of these while still in school at Wakefield. By mid-1946, he was also composing works for solo piano and as well. Donald Chapman recalls that the Headmaster of Queen Elizabeth School began asking Leighton to provide musical performances to the school at morning assemblies, and these included some of his own compositions. In fact, Leighton's first two published works were actually completed during his Wakefield years: Sonatina for Piano No. I, Op. la (December 1946) and Sonatina for Piano No. 2, Op. 1 (August 1947). Leighton also wrote an orchestral piece, Festival Overture (1946), for a Wakefield Pageant for Youth (perhaps performed in January 1947). At this period in his career, he was most influenced by Vaughan Williams, Walton and Britten. Leighton always remembered his Yorkshire background and regarded it as an important source of his compositional style. Years later, he would write, Any natural composer is the product of his background, experience, and training, and I like to think that my music has the characteristic Yorkshire qualities, which have been described (with reference to my music) as 'vigour, forthrightness, and emotionalism tempered by common sense." (B337, p. 8)

Biography

3

In 1947, Leighton went up to Queen's College, Oxford, on a Hastings Scholarship in Classics. He followed through on his study of Classics and was awarded his AB degree in 1950. However, he also studied composition with Bernard Rose of Queen's College. Music soon came to be his primary interest, and he added a BMus. to his AB early in 1951. During his Oxford years, Leighton continued to compose song settings, some of which he performed with Bernard Rose, and solo piano works. However, he broadened his repertory of forms to encompass chamber ensembles, choral music, incidental music for theatrical productions, and orchestral pieces. About thirty works date from Leighton's years in Oxford, among them Sonata for Piano No. 1, Op. 2; Symphony for Strings, Op. 3; Sonata for Violin and Piano No. 1, Op. 4; Elegy for Cello and Piano, Opus 5; and Hippolytus, Op. 8. Also dating from this period are two choral settings that would later be published as parts of Three Carols, Op. 25: Star Song, Op. 25c and one of Leighton's most widelyperformed pieces, Lully, Lulla, Thou Little Tiny Child, Op. 25b. Through Bernard Rose, Leighton was also introduced to composer Gerald Finzi, who became an enthusiastic admirer and supporter of his work. Finzi conducted the premiere performance of Symphony for Strings on Dec. 10, 1949. Another milestone of Leighton's Oxford days was one of the most striking of his early works, Veris Gratia ("For the sake of Spring"). The inspiration for this work was a collection of medieval Latin lyric poetry edited by Helen Waddell. Early in 1950, Leighton began work on this, conceived a cantata based on excerpts from Waddell's collection. However, he first completed an instrumental version, Veris Gratia: Suite for Cello, Oboe, and Strings, Op. 9, which he dedicated to Gerald Finzi. He then finished a version for tenor, chorus, and small orchestra {Veris Gratia, Op. 6) at the end of 1950. During the process, he reworked the second movement as a two-piano piece that was later revised as Scherzo, Op. 7, and he wrote Two Fragments of Catullus (1950) as a preparatory study for the cantata. The first performance of the Veris Gratia Suite, Op. 9, was May 5, 1951, at the Guildhall in Shaftsbury. The Newbury String Players performed, with Anthony Danby as oboist, Jeanne Fry as cellist, and Finzi conducting. After Finzi's death in 1956, Leighton dedicated this work to his memory. The choral version was premiered a month later in Oxford under the direction of Bernard Rose, to whom it was dedicated. In 1951, Leighton was awarded the Mendelssohn Scholarship for Symphony for Strings, Op. 3, and the dramatic cantata Hippolytus, Op. 8, coming in first among a field of 87 competitors (despite the fact that Hippolytus had been given a failing grade when Leighton submitted it as an exercise in composition at Oxford). The Scholarship enabled him to spend six months in Rome studying with Goffredo Petrassi at the Conservatorio Santa Cecilia. This resulted in a major widening of Leighton's musical horizons. Up until this time, he had been most strongly influenced by British composers Vaughan Williams, Britten, and

4

Biography

Walton, as well as Finzi and his teacher Bernard Rose. With Petrassi, he studied the composers of the Second Viennese School (Schoenberg, Webern, and especially Berg), Hindemith, and Dallapiccola. While in Rome, Leighton also met Lydia Vignapiano, who would later become his wife. One product of Leighton's time in Italy was the orchestral overture Primavera Romana, Op. 14, first performed at the Liverpool Festival on August 4, 1951, under the direction of Leopold Stokowski (to whom Finzi had recommended it). Other works of this period include Napoli: Rhapsody on Neapolitan Themes, dedicated to Lydia Vignapiano, in two versions (orchestral and piano with orchestra); Concerto 1 in D Minor for Piano, Op. 11; and Concerto for Viola, Harp, Timpani and Strings, Op. 15. When Leighton returned from Rome, he took up the position of Professor of Music Theory at the Royal Naval Music School at Deal in Kent. The comparative isolation of Deal was a sharp contrast to the cultural and intellectual environment of Rome. Nevertheless, Leighton took to his work, arranging Bach fugues for band and teaching counterpoint to Royal Marine bandmasters. At the same time, he maintained his pace of composing, writing (among other works) Concerto for Violin and Orchestra, Op. 12 (premiered in a BBC Third Program broadcast on May 5, 1953); Sonata for Piano No. 2, Op. 17; and the orchestral suite Sao Paolo (originally assigned opus number 18, though Leighton subsequently discarded this work). In 1953, Leighton was offered a three-year Gregory Fellowship at the University of Leeds as composer in residence. Though this meant leaving a continuing position for a temporary one, Leighton made the decision to leave Deal for Leeds, where his Gregory Fellowship supported him from Oct. 1, 1953 to Sept. 30, 1956. He made very good use of his time: some sixteen compositions date from these three years. He wrote a number of solo piano works and chamber music, including Five Studies, Op. 22; Winter Scenes (assigned Opus 24 but later withdrawn); Sonata for Piano No. 3, Op. 27; Variations, Op. 30 (dedicated to his daughter Angela, who was born in 1954); String Quartet No. 1, Op. 32 and Sonata for Violin and Piano No. 2, Op. 20. Two further Leeds compositions won him prizes: Fantasia Contrappuntistica: Homage to Bach, Op. 29, won First Prize in the Busoni competition in 1956, and Fantasia on the Name of Bach, Op. 29 (for viola and piano) won the Harry Danks Prize for a New Work for Viola in 1956. A work of larger scale was the Concerto for Cello, Op. 31, first performed by Florence Hooton and the Halle Orchestra conducted by Sir John Barbirolli at the Cheltenham Festival, July 20, 1956. The Birds, Op. 28, a setting of eight poems concerning birds for SSAATTBB chorus, tenor and soprano soloists, and instrumental accompaniment, was written in 1954 but did not see its first performance until April 24, 1960, when it won the Award of the National Federation of Music Societies.

Biography 5 A Christmas Carol, Op. 21 (for solo baritone and chorus with instrumental accompaniment) was first performed in Wakefield, December 18, 1954. During his student days, Leighton had written four-part settings of medieval carols, including The Star Song and Lully, Lulla, Thou Little Tiny Child (both composed in 1948). He combined these with a setting of Robert Herrick's "An Ode on the Birth of Christ Our Saviour" and published them as Three Carols, Op. 25. As at Oxford, Leighton also continued to write incidental music for dramatic performances, composing music for University of Leeds performances of Beaumont and Fletcher's Knight of the Burning Pestle and Shakespeare's Othello, and for two BBC Radio Plays by Colin Shaw, The Persian War and Ivory Tower. At the end of his Gregory Fellowship in 1956, Leighton took up the position of Lecturer in Music (Counterpoint) at the University of Edinburgh. Though his Gregory Fellowship had provided hm with abundant time to compose, he had learned that he found more stimulation as a composer in an environment that included teaching. He became Senior Lecturer in 1963 and Reader in 1967. In 1968, he took the position of University Lecturer and Fellow of Worcester College, Oxford. However, his stay at Oxford was brief, and in 1970, he returned to Edinburgh as the Reid Professor of Music. He held this position for the rest of his career, also serving as Dean of the Reid School of Music. While at Edinburgh, he involved himself intensely in the teaching of music as well as in composition. He was also a frequent performer of his own works as well as the works of others, playing with a highly dynamic style and with virtuoso skill, and conducted a variety of orchestras and ensembles. Leighton developed a compositional style that was both conservative and highly distinctive. He absorbed the principles of serial composition, but he incorporated them into his work in a distinctive and original way, developing a version of serialism that was almost tonal in character. Leighton was always disdainful of innovation pursued only for the sake of innovation and regarded music as a craft. In some respects, Kenneth Leighton was a composer after the preRomantic model, and quite deliberately so. Though he valued music as a medium for self-expression, he thought that if it became an end in itself, selfexpression was self-defeating. In his words, "When self-expression becomes a primary purpose, then method or language becomes a by-product of selfexpression. And so by aiming prmarily at self-expression, the artist may lose sight of the necessity for comunication." He was fond of citing John Ruskin's remark that "originality is not newness but genuineness" and agreed with Hindemith's disdain for "the most antiquated of all manias: the rage to be modern" (see B351, pp. 1, 11). Leighton approached his work instead with the attitude of a craftsman, an attitude he tried to instill in his students. He wrote a large proportion of his works to fit with the purpose of a particular occasion. One example of this is the background music he wrote for dramatic performances at Oxford and Leeds and for BBC broadcast productions. More

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Biography

generally, a very large number of his works (on the order of eighty) were written to commissions, and commissions of an extraordinarily wide variety: examination pieces; teaching pieces; works for inclusion in anthologies and albums; works commissionsed by performers, such as Neil Mackie and Peter Wallfisch; major works for orchestras; works for festivals; and a wide range of liturgical music and music commissioned by churches. Leighton enjoyed the challenge of writing a work to meet specific needs, since this accorded well with his crafstmanly approach to composition, and he displayed remarkable versatility. In an interview in 1970, he said, "it is highly desirable that the composer should make his work serve an exterior purpose—that he should write for children, for the Church, for particular performers, and that he should be willing to accept the limitations that such activities may impose" (see Bl 14, p. 26). He believed that "music thrives on limitations, and the rewards more than compensate for the restrictions" (B337, p. 8). Given that his first introduction to music was as a chorister at Wakefield Cathedral, it is perhaps not surprising that Leighton produced a substantial amount of church music, including anthems, hymns, and liturgical pieces. He produced Anglican and Catholic liturgical music, a wide range of anthems and other pieces for ecclesiastical performance, several hymn settings for the third edition of the Scottish Hymnary. He also made use of themes from church music in a number of instrumental works. These cover the entire span of his career. The carol setting Lully, Lulla, Thou Little Tiny Child, Op. 25b, one of his most frequently performed and recorded works, dates from his Oxford years; among the very last works he completed was Missa Christi (1988). The composition book entry for the latter bears the poignant notation "My last setting of the mass." Among his long list of church music, mention might be made of God's Grandeur (1957), Give Me the Wings of Faith (1962), Let All the World in Every Corner Sing (1965); Morning Canticles (1967), O God, Enfold Me in the Sun (1967); Solus ad Victimam (1968); Sequence for All the Saints, Opus 75 (1977); Awake, My Glory, Op. 79 (1979); Lift Up Your Heads, O Ye Gates (1966); Quam Dilecta! (1967); Magnificat and Nunc Dimittis (Collegium Magdalenae Oxonienses) (1959); Missa Sancti Thomae, Op. 40 (1962); Missa Brevis, Op. 50 (1967); Missa Sancti Petri (1987); The World's Desire: a Sequence for Epiphany, Op. 91; The Second Service: Magnificat and Nunc Dimittis, Op. 62 1971: Missa Christi (1988) During the 1960s, Leighton also began writing frequently for the organ. Though he had no formal background in the instrument, he had an excellent understanding of what works well for it, as attested by the popularity of several of his works among organists, most notably Paean (1966). Elegy for Organ (1965); Fanfare for Organ (1966), Festival Fanfare (1968); Et Resurrexit: Theme, Fantasy, and Fugue, Op. 49 (1966); and Prelude, Scherzo, and Passacaglia, Op. 41 (1963). Other works for solo organ include Improvisation in Memoriam Mau-

Biography

7

rice de Sausmarez (1969) (written for a memorial service for Leighton's friend); Concerto for Organ, Opus 58 (1970); Rockingham: Chorale Prelude on "When 1 Survey" (1975); Six Fantasies on Hymn Tunes, Opus 72 (1975); Martyrs (Dialogues on a Scottish Psalm-Tune), Opus 73 (1976); Fantasy on a Chorale (Es 1st Genug), Opus 80 (1979); Ode (1977); Missa De Gloria, Op. 82 (1980); Veni Redemptor: Celebration for Organ, Opus 93 (1985); Veni Creator Spiritus: Prelude for Organ (1987). He also made use of organ esemble pieces and included the organ as an instrument in his second Symphony. He continued to write works for chamber ensemble throughout his career in Edinburgh, including Passacaglia, Chorale and Fugue, Op. 18 (1957); String Quartet No. 2, Op. 33 (1957); Burlesque for Orchestra, Op. 19 (1957); Piano Quintet, Op. 34 (1959); Partita, Op. 35 (for cello and piano, 1959); Nocturne (1959), for violin and piano; Seven Variations for String Quartet, Op. 43 (1964); Piano Trio, Op. 46 (1965), which won the Bernard Sprengel Prize (Hanover) for Chamber Music; Metamorphoses, Op. 48 (violin and piano, 1966); Sonata for Cello Solo, Op. 52 (1967); Fantasy on an American Hymn Tune, Op. 70 (clarinet, cello, and piano, 1974); Alleluia Pascha Nostrum, Op. 85 (cello and piano, 1981); Fantasy-Octet: Homage to Percy Grainger, Op. 87 (string octet, 1982); and Concerto for Harpsichord, Recorder and Strings, Op. 88 (1982). Leighton added solo works for other instruments, including Sonata for Cello Solo, Op. 52 His works for solo piano include Nine Variations, Op. 36 (1959); Pieces for Angela, Op. 47 (1966), dedicated to his daughter Angela; Conflicts: Fantasy on Two Themes for Piano, Op. 51 (1967); Six Studies (Study-Variations), Op. 56 (1969); Sonata for Piano, Op. 64 (1972); Household Pets, Op. 86 (1981); Sonata for Piano Duet, Op. 92 (1985). Three of his last works are for solo piano: Four Romantic Pieces, Op. 95 (1987); Prelude, Hymn and Toccata, Op. 96 (1987); and Preludes for Piano (1988). In 1964, Leighton wrote his first true Symphony, Symphony No. 1, Op. 42, a work for which he received a prize from the City of Trieste. Symphony No. 2, "Sinfonia Mistica", Op. 69, written in 1974, was conceived as a 'Requiem' for his mother, who had died in 1973. This work called for massive forces: soprano solo, chorus, organ, and piano in addition to orchestra. The last Symphony he completed, Symphony No. 3, "Laudes Musicae", Op. 90, which calls for tenor soloist as well as orchestra, is a hymn in praise of music, written in 1984 for the BBC Scottish Symphony Orchestra. In the last months of his life, Leighton had begun to develop plans for a fourth Symphony, but he did not live to complete it. Leighton began work on his opera, Columba, Opera in Three Acts, Op.77, in 1975, when he began working with Edwin Morgan, the librettist. He composed the first act in the winter of 1975-76 while on the Isle of Arran, a favorite retreat, and completed an abbreviated version of the score by May 1978. The full score

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Biography

was finishd by August 1980, and the work was given a performance by students of the Royal Scottish Academy of Music and Drama in Glasgow on June 16, 1981. A professional performance followed five years later at Glasgow Cathedral. Columba was followed by Columba Mea (text from the Song of Songs) for soloists, strings, harpsichord, and celeste, dedicated to his second wife, Josephine Anne Prescott,whom he married in 1981. In April 1988, Leighton learned that he had developed an untreatable cancer of the esophagus. He retired from teaching at the end of the spring term, but he continued to compose, spending much of his time in his vacation cottage in Gattonside, overlooking Melrose and the Tweed. He died on August 24, 1988. Despite his untimely death, Leighton produced an extremely large body of work: over a hundred published works, with many others that received premiere performances, often in distinguished venues, that were not subsequently published. Counting all the works that were either published of that have known premiere performances, the total is at least 150; the total number of his compositions is well beyond two hundred. Following his death, his widow and other friends and colleagues established the Kenneth Leighton Trust to encourage performance of his works, especially the orchestral and instrumental works that have been less widely known than the choral works and works for organ. A fitting memorial to Leighton's career is The Kenneth Leighton Memorial Album, compiled by Gary Sieling (Banks Music Publications, 1998), is a commemorative volume assembled by Leighton's friends and colleagues on the tenth anniversary of his death. In recognition of his extensive contributions to the sacred repertoire and to organ literature, the Album contains organ compositions by Philip Moore, Richard Lloyd, Stanley Vann, Gary Sieling, Alan Riout, Francis Jackson, Arthur Wills, John Joubert, and Jonathan Bielby.

Works and First

Performances

Wl. Ad Honorem B. W. G. Rose, Mus. Doc. (1957) Part-song for SATB. Composed: April, 1957. Publication: Unpublished. Premiere: Unknown. Manuscript: Unknown. W2. AdventateDeo (1970) Anthem for SATB chorus and organ.. Words by John Addington Symonds (1840-1893). Commissioned by David Patrick and the Choir of the Barnet Parish Church. Composed: December, 1970. Publication: Novello 20001, Novello Church Music 36. Premiere: Unknown Manuscript: Kenneth Leighton Archives. SEE: B330 W3.

Alleluia Amen (Festival Anthem) (1961) Anthem for baritone solo, SATB chorus and organ. Words from the Revelation of St. John. Commissioned for the 50th anniversary of St. Nicholas' Parish Church, Coventry, 1962. Composed: April—June, 1961. Publication: Novello 290414, (new no. NOV 281416, printed on demand), Vocal Score.

10

Works and First Performances Premiere: Unknown. Manuscript: Kenneth Leighton Archive.

W4.

Alleluia Pascha Nostrum for Cello and Piano, Opus 85 Meditations on plainsong melodies from the 12th century Salisbury Chant for Easter Day. Commissioned by Raphael Wallfisch and Richard Markham. Composed: August, 1981. Publication: Novello (score and part) No. 12057409, (New No. 120574—printed on demand). Premiere: Manchester, Royal Enchange, February 25, 1982; Raphael Wallfisch, cello and Richard Markham, piano. Manuscript: Kenneth Leighton Archive. RECORDINGS: Dl SEE: B46,B202,B212,B229,B268

W5.

Animal Heaven, Opus 83 Diptych set to words by Walt Whitman and James Dickey. Score for Soprano solo, Recorder, Cello and Harpsichord. Commissioned by the Legrand Ensemble for the Manchester Organ Festival with funds the North West Arts. Composed: May, 1980. Publication: Novello NOV 360099 (printed on demand). Premiere: Manchester Organ Festival, July 24, 1980; Honor Sheppard and the Legrand Ensemble. Manuscript: Kenneth Leighton Archives. RECORDINGS: D2 SEE: B132, B261,B295, 329

W6.

Awake My Glory, Opus 79 Soprano solo, SATB chorus and organ. Words by Christopher Smart. Commissioned by the Cathedral Church of St. Mary, Edinburgh, for its centenary celebrations with funds provided by the Scottish Arts Council. Composed: March, 1979. Publication: Novello No. 07043805, score. Premiere: Edinburgh, St. Mary's Episcopal Cathedral, October 30, 1979 by the Choir of St. Mary's Cathedral, accompanied by Kenneth Leighton. Manuscript: Kenneth Leighton Archive. RECORDINGS: D3, D4 SEE: B273,B330


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W7. Beauty (1946) Song for baritone and piano. Text by John Masefield. A reworked version of this song is included in Six Songs of Spring (See W173 for details.) Composed: May, 1946. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W8.

The Beauty of Holiness, Festival Anthem, (1988) For SATB chorus, mezzo-soprano solo (or semichorus of boys and./or girls) and organ. Commissioned by the Presbyterian Association of Musicians to celebrate the 200th anniversary of the General Assembly of the Presbyterian Church in America. Composed: April, 1988. Publication: Novello No. 290635, score. Premiere: Unknown Manuscript: Kenneth Leighton Archives. RECORDINGS: D5 SEE: B330

W9. The Birds, Opus 28 Suite of 8 poems for soprano and tenor soloists with SSAATTB chorus, 2 pianos, timpani and percussion (or string orchestra, piano and percussion). Texts by Aristophanes, Hardy, Vautor, Shelley, De La Mare, and Tennyson. Composed: September-December 1954 Publication: Novello 1842 (Vocal score). Full score for Hire. Premiere: Great Yarmouth Musical, April 24, 1960: April Cantelo accompanied by the Capriol Orchestra conducted by the Kenneth Leighton. Leighton won the Award of the National Federation of Music Societies for this work. Manuscript: Unknown. SEE: B233,B234 W10. Burlesque for Orchestra, Opus 19 Scored for 2 (pic) 223/4330/timp.2 perc/strings. Composed: Spring-Summer of 1957. Publication: Novello, [1960] Full Score. Score and parts for hire. Premiere: Broadcast performance during a Promenade Conceit from the Royal Albert Hall, the BBC Symphony Orchestra conducted by the composer, September 3, 1959. Manuscript: Kenneth Leighton Archive.

12

Works and First Performances SEE: B14,B111

Wll.

A Christmas Carol, Opus 21 Scored for baritone solo, SATB chorus and organ. Words by Robert Herrick. A version of this was arranged to be accompanied by strings and piano by the composer. Composed: August -September 1953 (original version); March 1954 (arrangement) Publication: Novello NOV 310579 (vocal score); Chorus/Ensemble version, hire only. Premiere: Wakefield, Jubilee Hall, December 18, 1954. Performed by the Thornesian Guilde of Singers directed by Margaret Markland. (Chorus/Ensemble Version). Manuscript: Unknown.

W12.

Columba, Opera in Three Acts, Opus 77. Libretto by Edwin Morgan. Composed for four soloists, chorus and orchestra. Composed: First act composed winter, 1975-76, on the Isle of Arran. Completed a "short" version of the score in May, 1978. The full score was finished between June and August, 1980. Publication: Novello, score and parts, for hire only. Premiere: The Glasgow Theatre Royal, June 16, 1981, by the opera class of the Royal Scottish Academy of Music & Drama, conducted by Roderick Brydon. First professional performance was at Glasgow Cathedral, February 5, 1986 by Neil Mackie, Alan Oke, Neil Jenkins and Christine Cairns, with the BBC Symphony Orchestra conducted by Graeme Jenkins. That production was revived in 1990 as part of the European City of Culture celebrations in Glasgow. Manuscript: Kenneth Leighton Archive. SEE: Bl, B16, B74, B86, B108, B118, B171, B182, B190, B194, B203, B204, B226, B279, B283, B287, B312, 340

W13. Columba Mea, Opus 78 Text from the Song of Songs. Scored for tenor and alto soli, SATB chorus, harpsichord, celesta (or piano) and strings. Commissioned by the John Currie Singers with funds provided by the Scottish Arts Council. Dedicated to Jo Leighton. Composed: September, 1978 Publication: Novello 070440 (vocal score). Full score/parts, for hire. Premiere: SNO Centre, Glasgow, February 5, 1979. Soloists Linda Ormiston and Paul Hindmarsh, the John Currie Singers and Orchestra conducted by John Currie.


13

Manuscript: Kenneth Leighton Archive. Mrs. Jo Leighton. SEE: B239 W14. Communion Service in D, Opus 45 For unison voices, SATB choir and organ. Commissioned by the Church Music Society and published by Oxford University Press, 1965. Composed: January, 1965 Publication: Oxford University Press CMS01 (vocal score); CMS01A (Congregational part). Premiere: Unknown Manuscript: Kenneth Leighton Archive. RECORDINGS: D6 SEE: B330 W15. Concerto for Cello, Opus 31 In three movements, for cello and orchestra. Composed: September, 1955—March, 1956. Publication: Novello 120086 (cello part with piano reduction, arranged by the composer). Score and parts, hire only. Premiere: Cheltenham Festival, July 20, 1956. Performed by Florence Hooton, cello and the Halle Orchestra conducted by Sir John Barbirolli. Manuscript: Kenneth Leighton Archive. RECORDINGS: D7 SEE: B6, B101, B105, B107, B126, B129, B170, B192, B252 W16. Concerto for Harpsichord, Recorder (or Flute) and Strings, Opus 88 In three movements. Commissioned by John B. Turner (recorder), Alan Cuckston (harpsichord) and the Northern Chamber Orchestra with funds provided by North West Arts, Composed: November, 1982. Publication: Novello, score and parts, hire only. Premiere: Warrington, Parr Hall, February 14, 1983. John B. Turner, recorder, Alan Cuckston, harpsichord, and the Northern Chamber Orchestra conducted by Nicholas Smith. Manuscript: Kenneth Leighton Archive. RECORDINGS: D8 SEE: B55,B86,B167,B324 W17. Concerto for Oboe and Strings, Opus 23 For oboe and strings. Composed: October—December, 1953.

14

Works and First Performances Publication: Maecenas Music, Maecenas Contemporary Composers Elite Edition, MM0402C, score. Score and part for hire. Premiere: Millennium Three Choirs Festival, Hereford, August 23, 2000. Performed by Virginia Shaw, oboe, and the Bournemouth Symphony Orchestra conducted by Paul Daniel. Manuscript: Kenneth Leighton Archive. RECORDINGS: D9 SEE: B73,B92,B151,B246,B256, B258

W18. Concerto for Organ, Opus 58 For organ, timpani and string orchestra. Composed: March—August, 1970. Publication: Novello NOV 090528, score; Novello NOV 090528 0301 organ part. Score and parts, hire only. Premiere: Cambridge, King's College Chapel, August 4, 1971. Performed by Robert Munns, organ and the London Chamber Soloists conducted by David Willcocks. First broadcast performance, May 6, 1972, Robert Munns and the BBC Scottish Symphony Orchestra. First London performance All Souls Church, Langham Place, February 5, 1981, John Birch, organ, with the Trinity College of Music Chamber Orchestra conducted by Meredith Davies. Manuscript: Kenneth Leighton Archive, Box 5. RECORDINGS: D10,D11 SEE: B80,B176,B203,B289, B294 W19. Concerto No. 1 in D minor for Piano, Opus 11 For piano and orchestra. Composed: April—September, 1951; May—July, 1959, rescoring and revision. Publication: Novello, score and parts for hire only. Premiere: Broadcast performance, March 7, 1958; Peter Wallfisch and the BBC Scottish Symphony Orchestra conducted by Kenneth Leighton. First concert performance November 3, 1961, revised version, Edinburgh, Reid School of Music, the Reid Orchestra conducted by Professor Sidney Newmann, Peter Wallfisch, piano. Manuscript: Kenneth Leighton Archive. SEE: B38,B115,B134,B149,B342 W20.

Concerto No. 2 for Piano, Opus 37 For piano and orchestra. Composed: 1952; September, 1960. Publication: Novello, score and parts, hire only.


15

Premiere: Broadcast premier, January 18, 1960, Geoffrey Buckley, piano and the BBC Northern Symphony Orchestra conducted by George Hurst. Manuscript: Kenneth Leighton Archives. SEE: B19, B53, B64, B67, B68, B69, B157, B342 W21.

Concerto No. 3 for Piano (Concerto Estivo), Opus 57 For piano and orchestra. Commissioned by the Feeny Trust for the City of Birmingham Symphony Orchestra. Composed: January—August, 1969. Publication: Novello , score and parts, hire only. Premiere: Birmingham Town Hall, March 10, 1970, with Kenneth Leighton, piano and the City of Birmingham Symphony Orchestra conducted by Louis Fremaux. Wolverhampton Town Hall, March 11, 1970, same performers. Manuscript: Kenneth Leighton Archives. SEE: B178,B185,B228,B342

W22. Concerto for String Orchestra, Opus 39 For string orchestra. Composed: Begun in 1960, completed April—June, 1961. Publication: Novello NOV 19276 (miniature score); Score and Parts for hire only. Premiere: London, Wigmore Hall, Harvey Phillips String Orchestra conducted by Harvey Phillips, June 19, 1962. Manuscript: Unknown. RECORDINGS: D12 SEE: B9,B148,B326 W23. Concerto for Two Pianos, Timpani and Strings, Opus 26 For two pianos, string orchestra, and timpani. Composed: June—September, 1954. Manuscript includes a note, " for the Hovingham Festival." Publication: Unpublished Premiere: The Hovingham Festival, July 31, 1955, Margaret Kitchen and Kenneth Leighton, pianos and the Lemare Orchestra. Mitchell and Poultin list the first performance as a broadcast performance on June 28, 1959 with Joan and Valerie Trimple, pianos and the London Chamber Orchestra conducted by Anthony Bernard. Manuscript: Kenneth Leighton Archive. SEE: B65 W24. Concerto for Viola, Harp, Timpani and Strings, Opus 15 In three movements: Prelude, Nocturne and Finale.

16

Works and First Performances Composed: May—June, 1952. Publication: Novello, score and parts, hire only. Premiere: BBC Broadcast, September 5, 1954 by Frederick Riddle, viola, Renata Scheffel-Stein, harp and the Harvey Phillips String Orchestra conducted by Harvey Phillips. The composer's program notes indicate the piece was premiered in 1953 by the same performers as the broadcast premiere but I can find no confirmation of this. Manuscript: Kenneth Leighton Archive.

W25.

Concerto for Violin and Orchestra, Opus 12 In four movements: Allegra con Brio (Molto ritmico); Intermezzo: Moderato con Moto; Scherzo: Allegro molto e nervoso; Epilogo: Lento sostenudo ed intenso. Dedicated to Lydia Vignapiano. Composed: February—April, 1953. Publication: Novello 18101, Novello 120035, score (piano reduction arranged by Leighton) and part; score and parts hire only. Premiere: Broadcast premiere, BBC Third Program, May 5, 1953, by Frederick Grinke, violin and the St. Cecelia Orchestra conducted by Trevor Harvey. First concert performance, London, Albert Hall, September 1, 1954, Frederick Grinke, violin and the BBC Symphony Orchestra conducted by Malcolm Sargent. Manuscript: Brotherton Library, Leeds University. SEE: B158,B215

W26. Conflicts: Fantasy on Two Themes for Piano, Opus 51 For piano solo. Composed: May—August, 1967. Publication: Novello NOV 100189, score. Premiere: Manchester Institute of Contemporary Arts, February 1, 1968, Kenneth Leighton, piano. Manuscript: Kenneth Leighton Archive. RECORDINGS: D13 SEE: B89,B91,B253,B263 W27. The Cow (1945) Solo song for baritone and piano, Text by Robert Louis Stevenson. Composed: December, 1945. Publication: Unpublished Premiere: Unknown Manuscript: W28. Crucifixus Pro Nobis, Opus 38


17

Cantata for tenor or soprano soloist, SATB chorus and organ. Words by seventeenth-century poets Patrick Carey and Phineas Fletcher. Written for David Lumsden and the Choir of New College, Oxford. Composed: 1960—February 1961, Publication: Novello NOV 19023, study score; NOV 070190, vocal score. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. RECORDINGS: D14, D15, D16, D17, D18, D19, D20, D21, D22, SEE: B30, B47, B50, B90, B100, B120, B248, B250, B262, B264, B278,B286, B341,B347 W29. Daffodils (1945) Solo song for baritone and piano. Text by William Wordsworth. Composed: December, 1945. Publication: Unpublished Premiere: Unknown Manuscript: W30. Dance Overture, Opus 60 For orchestra. Commissioned by the Scottish National Orchestra to celebrate its 21 st Anniversary. Composed: March—June 1971. Publication: Novello, score and parts, hire only. Premiere: Edinburgh, Usher Hall, October 1, 1971 by the Scottish National Orchestra conducted by Kenneth Leighton. Manuscript: Kenneth Leighton Archive. SEE: B237 W31. Dance Suite No. 1 in D, Opus 53 For orchestra. Commissioned by the Corporation of Glasgow Schools' First Orchestra. Composed: From 1967—March 1968. Publication: Novello NOV090097, study score. Premiere: Dunoon Grammar School, July 10, 1968 by the Glasgow Schools' First Orchestra conducted by Lawrence Leonard. Manuscript: Unknown. SEE: B10 W32. Dance Suite No. 2, Opus 59 For orchestra. Commissioned by the Parents Association of Tiffin School for the Farnham Festival, Composed: October, 1970.

18

Works and First Performances Publication: Novello, score and parts,hire only. Premiere: Famham Parish Church, May 12, 1971 by the Tiffin School Orchestra conducted by Dennis Bloodworm. Manuscript: Kenneth Leighton Archive. SEE: B218,B284

W33. Dance Suite No. 3 (Scottish Dances), Opus 89 In three movements, Introduction and Reel; Romance; Variations, Jog and Reel. Commissioned by the Edinburgh Symphony Orchestra and the Friends of the Edinburgh Symphony Orchestra with additional funds from the Scottish Arts Council to celebrate the 21 st anniversary of the Edinburgh Symphony. Composed: June—September, 1983. Publication: Novello, score and parts, hire only. Premiere: Edinburgh, the Queens Hall, February 21, 1984, by the Edinburgh Symphony Orchestra conducted by Kenneth Leighton. Manuscript: Kenneth Leighton Archive. SEE: B20,B103,B155,B299 W34. Down By the Sally Gardens (1951) Solo song for baritone and piano. Text by William Butler Yeats. Composed: September, 1951. Publication: February—March, 1951. Premiere: Unknown Manuscript: Kenneth Leighton Archive. W35. Drop, Drop Slow Tears (from Opus 38) From W28: Crucifixus Pro Nobis, Opus 38. For SATB chorus, unaccompanied. Text by Patrick Carey and Phineas Fletcher (15821650). Composed: From 1960—February 1961. Publication: Novello NOV 290316, vocal score. Premiere: Unknown in this version. Manuscript: See W28. RECORDINGS: D19, D20, D21, D22 SEE: B23,B98 W36. Earth, Sweet Earth...Laudes Terrae, Opus 94. Solo cantata of seven songs for tenor and piano. Text by Ruskin and Hopkins. Commissioned by Neil Mackie in memory of Peter Pears. 1. Prelude—There is no thought in any of us... (Ruskin) 2. Inversnaid (Hopkins) 3. Contemplation in the snow. (Hopkins)


19

4. Ths Ash Tree (Hopkins) 5. Binsey Poplars (Hopkins) 6. Hurrahing in Harvest (Hopkins) 7. Ribblesdale (Hopkins) Composed: From 1984—July 1985. Publication: Novello NOV 361100, score. Premiere: Cheltenham Festival, July 6, 1987 by Neil Mackie, tenor and John Blakely, piano. Manuscript: Kenneth Leighton Archive. RECORDINGS: D23 SEE: B189,B318 W37.

An Easter Sequence, Opus 55 For boys or female voices (SA) and organ with optional trumpet. Words are liturgical and taken from Psalm 23. Commissioned by the Berkshire Boy Choristers. Composed: December, 1968. Publication: Oxford University Press: vocal score (0-19-33736-1); chorus part (0-19-337363-7); vocal parts and trumpet solo part, hire only-#C7634. Premiere: Paris, Church of St. Severin, Low Sunday, 1969. Manuscript: Kenneth Leighton Archive. RECORDINGS: D24, D25, D26, D27 SEE: B24,B271,B278,B286

W38. Eclogue for piano (1947) For solo piano. Across the top of the piece is written in the composer's hand the following: "I lament, Adonis, the beautiful Adonis has perished, the lovers lament him." (Bion) in Greek. Composed: July—August, 1947. Publication: Unpublished Premiere: Unknown Manuscript: Kenneth Leighton Archive. W39. Elegy for Cello and Piano, Opus 5 For cello and piano. This is based on the slow movement of W187: Sonata for Viola and Piano, the remainder of which was discarded. To Jeanne Fry. Composed: December, 1949. Publication: Lengnick Premiere: Cambridge University Music School, March 4, 1950. Manuscript: Kenneth Leighton Archives. RECORDINGS: D28, D29 SEE: B7,B106,B216,B260

20


W40.

Elegy (1994) Version for solo cello and small orchestra by Edward Harper of W39: Elegy for Cello and Piano. Composed: 1994. Publication: Lengnick, score and parts, hire only. Premiere: Edinburg, Reid Conceit Hall, Edinburgh University with soloist Alison McGillivray, conducted by Edward Harper. Manuscript: Contact Edward Harper, University of Edinburgh.

W41. Elegy for Organ (1965) For organ solo. Commissioned by Bryan Hesford for inclusion in the album, Music Before Service: five modern pieces for organ, published by Novello in 1969. Composed: March—April, 1965. Publication: Novello. Premiere: Cambridge, Kings College Chapel, January 31, 1970. Manuscript: Kenneth Leighton Archive. RECORDINGS: D30.D31 SEE: B336,B341 W42. Et Resurrexit: Theme, Fantasy and Fugue, Opus 49 For organ. Composed: August, 1966. Publication: Novello NOV 620032, score. Premiere: London, Brompton Parish Church, November 16,1966, Robert Munns, organ. Manuscript: Kenneth Leighton Archive. RECORDINGS: D33, D34, D35 SEE: B2, B26, B104, B202, B291, B336,. B341 W43.

Etude in F for Piano (1945) For piano solo. Composed: October, 1945. Publication: Unpublished. Premiere: Unknown Manuscript: Unknown

W44. An Evening Hymn (1979) For soprano solo and SATB chorus unaccompanied. Words by Sir Thomas Browne. Commissioned by the Chichester Festival. Composed: March, 1979. Publication: Novello NOV 290500.


21

Premiere: Chichester Cathedral, July 17, 1979. The Choir of Chichester Cathedral conducted by John Birch. The London premiere, Purcell Room, November 21, 1979. Manuscript: Kenneth Leighton Archive. RECORDINGS: D36 SEE: B18,B133 W45. Fanfare for Organ (1966) For organ solo. Commissioned by Oxford University Press for inclusion in the album Easy Modern Organ Music, Oxford University Press, 1967. Composed: January, 1966. Publication: Included in the album, Easy Modern Organ Music: Six Pieces by Modern Composers (Oxford University Press, 1967). Also included in: A Leighton Organ Album (Oxford University Press, 2002). (ISBN 193222922). Premiere: Unknown Manuscript: Kenneth Leighton Archive. RECORDINGS: D37, D38, D39 SEE: B336,B341 W46. Fanfare on Newtoun (1983) For double brass quartet (4 trumpets and 4 trombones), and small SATB chorus and organ. Words by William Cowper,from the Scottish Psalter 1635. Commissioned by the University of Edinburgh for its 400th anniversary. Composed: April, 1983. Publication: Novello, score and parts for hire only. Premiere: University of Edinburgh, McEwan Hall, June, 1983, conducted by Kenneth Leighton. Manuscript: Kenneth Leighton Archive. W47. Fantasia Contrappuntistica: Homage to Bach, Opus 24 For piano solo. Awarded the Feruccio Busoni prize, Bolzano, 1956. Composed: June, 1955-January, 1956. Publication: Ricordi, 1958, No. 129470; republished by Novello, 1981, NOV 100243. Premiere: June, 1956, by pianist Maurizio Pollini (age 14), in Bolzano, Italy. Manuscript: Kenneth Leighton Archive. RECORDINGS: D40,D41 SEE: B67,B116,B179,B249,B341 W48. Fantasia for Piano No. 2 (1948)

22

Works and First Performances For solo piano. Composed: May-June, 1948. Publication: Unpublished. Premiere: None. Manuscript: Unknown.

W49. Fantasia on the Name of Bach, Opus 29 For viola and piano. Winner of the 1955 Harry Danks Prize for a new work for viola. Composed: January—April, 1955. Publication: Novello NOV 120944, score and part. Premiere: London, Society for the Promotion of New Music concert at the Arts Council, July 6, 1956, Watson Forbes, viola, and Kenneth Leighton, piano. Manuscript: Unknown. RECORDINGS: D42 SEE: B117,B128,B200 W50. Fantasy-Octet: Homage to Percy Grainger, Opus 87 For 4 violins, 2 violas and 2 cellos. Commissioned by the Scottish Baroque Ensemble with funds from the Scottish Arts Council, for an Edinburgh Festival concert to celebrate Percy Grainger's centenary. Composed: June, 1982. Publication: Novello, 1982, for hire only. Premiere: Edinburgh, Queen's Hall, August 29, 1982, the Scottish Baroque Ensemble conducted by Leonard Friedman. Manuscript: Kenneth Leighton Archive. RECORDINGS: D43 SEE: B4,B166,B242,B285 W51. Fantasy on a Chorale (Es 1st Genug), Opus 80 For violin and organ. Commissioned by Jean Harmon, a violinist, Washington, D.C. Composed: May—July, 1979. Publication: Novello NOV 220487, score and part. Premiere: Washington, D. C , Chevy Chase Presbyterian Church, May 4, 1980; Jean Harmon, violin, and Kenneth Lowenberg, organ. United Kingdom premiere, Edinburgh, Reid Concert Hall, November 13, 1980, Daphne Godson, violin and Peter Williams, organ. London premiere, Merchant Taylor's Hall, May 14, 1985; Miranda Fullylove, violin and Adrian Lenthall, organ. Manuscript: Kenneth Leighton Archive, Box 18, first sketch, violin part, autograph full score with some alterations.


23

W52. Fantasy on an American Hymn Tune, Opus 70 For clarinet, cello and piano. Commissioned by Gervase de Pyer, William Pleeth and Peter Wallfisch with funds provided by the Arts Council of Great Britain. Composed: May—September, 1974. Publication: Novello NOV 120490, 1 score and 2 parts. Premiere: The Cheltenham Festival, July 8, 1975; Gervase de Peyer, William Pleeth and Peter Wallfisch. Manuscript: Kenneth Leighton Archive, Box 12,first sketch, second sketch, cello part (photocopy). RECORDINGS: D44 SEE: B221, B230, B259, B268, B272, B293, B319 W53. Far in a Western Brookland (1951) Solo song for baritone and piano. Text by A. E. Houseman. Composed: February—March, 1951. Publication: Unpublished Premiere: Unknown Manuscript: Kenneth Leighton Archive, Autograph score. W54. Festival Fanfare (1968) For organ. Commissioned for the West Riding Cathedrals Festival, 1968. Composed: August, 1968 Publication: Carl Fischer P3179 (part of the Carl Fischer Contemporary Organ Series). Premiere: West Riding Cathedrals Festival 1968, by organist Percy Saunders. Manuscript: Unknown RECORDINGS: D45, D46, D47, D48 SEE: B172,B336,B341 W55. Festive Overture (1962) For small orchestra. Commissioned by Novello for the Music for Today series (this is No. 7 in the series). Composed: May—September, 1962. Publication: Novello Nov 950397 score; score and parts for hire only. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. SEE: B81,B213 W56. Festival Overture (1946) Written for the Wakefield Pageant for Youth. Composed: November, 1946. Publication: Unpublished.

24

Works and First Performances Premiere: Unknown Man uscript: Kenneth Leighton Archive.

W57. Five Shakespeare Songs (1951) For baritone and piano. Includes: 1. Fear No More the Heat of the Sun. 2. Shall I Compare Thee to a Summer's Day? 3. Sigh No More, Ladies. 4. Come Away, Death. 5. Under the Greenwood Tree. Composed: February—March, 1951. Publication: Unpublished. Premiere: Oxford, 1951, Bernard Rose and Kenneth Leighton. Manuscript: Kenneth Leighton Archive. W58.

Five Songs of James Joyce (1947) For baritone and piano. Originally included six songs but the composer cut the original no. 4 (When the Shy Star Goes Forth in Heaven). Listed in the composition book as Five Songs. Includes: 1. From Dewey Dreams, My Soul 2. O Cool is the Valley Now. 3. What Counsel has the Hooded Moon. 4. Bright Cap and Streamers, He Sings in the Hollow. 5. Memories: Rain Has Fallen All the Day.... Composed: December, 1947. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive.

W59. Five Studies, Opus 22 For piano solo. Originally included a sixth study Composed: September—October, 1953. Publication: Novello NOV 18154, NOV 10088, score. Premiere: London, Wigmore Hall, March 7, 1957. Manuscript: Unknown. RECORDINGS: D49, D50 SEE: B8,B231 W60. Four Romantic Pieces, Opus 95 For piano solo. The Four Movements include 1. Molto Moderato; 2. Presto Capriccioso; 3. Adagio Molto; 4. Allegro Molto e con brio. Composed: December, 1986. Publication: Novello NOV 100343, score.


25

Premiere: Birmingham, BBC, Pebble Mill, November 21, 1987, by Kenneth Leighton; Scottish premiere, Edinburgh, Reid Conceit Hall, November 24, 1987, by Kenneth Leighton; New York, Weill Recital Hall at Carnegie Hall, Saturday, October 4, 2003, Christopher Ungerer. Manuscript: Kenneth Leighton Archive. RECORDINGS: D51D52 SEE:B31,B110,B179 W61. Fugue in A Minor (1947) For piano. Composed: December, 1947 Publication: Unpublished Premiere: Unknown Manuscript: Kenneth Leighton Archive. W62. Fugue in B flat Minor (1947) For piano solo. Composed: December, 1947. Publication: Unpublished Premiere: Unknown Manuscript: Kenneth Leighton Archive. W63. Fugue in D Minor (1947) For piano solo. Composed: July, 1947. Publication: Unpublished Premiere: Unknown W64. Give Me the Wings of Faith (1962) Anthem for soprano and baritone solo, SATB chorus and organ. Text by Isaac Watts. Commissioned for the Patronal Festival of the Church of St. John the Baptist, Leytonstone, London, June, 1962. Composed: January-February, 1962. Publication: Novello NOV 290416, vocal score. Premiere: June, 1962 Manuscript: Kenneth Leighton Archive. RECORDINGS: D53, D54, D55, D56, D57, D58, D59 SEE: B30,B50,B120,B341 W65. Gloria in Excelsis (1969) For unison voices and organ. Commissioned by Oxford University Press for inclusion in the Scottish Church Hymnary, 3 RD edition. Composed: January, 1969.

26

Works and First Performances Publication: Oxford University Press, 1973. Premiere: Unknown Manuscript: Unknown.

W66. Go, Lovely Rose (1948) Solo song for baritone and piano. Text by E. Waller. Composed: September, 1948. Publication: Unpublished. Premiere: Unknown Manuscript: Kenneth Leighton Archive. W67. Golden Slumbers (1945) Solo song for baritone and piano. Words, anonymous. Composed: July, 1945. Publication: Unpublished. Premiere: Unknown Man uscript: Kenneth Leighton Archive. W68. God's Grandeur (1957) Motet for SSAATTBB, unaccompanied. Words by Gerard Manley Hopkins. Composed: June, 1957. Publication: Novello NOV 290575, vocal score. Premiere: Unknown Manuscript: Unknown. RECORDINGS: D60,D61,D62 SEE: B50,B168,B278,B313, B330 W69. A Good Boy (1945) Solo song for baritone and piano. Text by Robert Louis Stevenson. Composed: December, 1945. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W70. The Grasshopper (1947) Solo song for baritone and piano. Text by Anacreon (from the Greek Anthology). Composed: December, 1947. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive.


27

W71. Hippolytus, Opus 8 Dramatic cantata for soloists, orator, chorus, piano and orchestra. Libretto from Euripides (translated by Gilbert Murray). In 1951, Leighton was awarded the Mendelssohn Scholarship for this composition. Composed: September, 1949—March, 1950. Publication: Unpublished. Premiere: Unknown Manuscript: Kenneth Leighton Archive. SEE: B336 W72. Household Pets: Suite for Piano, Opus 86 Suite of seven pieces for piano solo: 1. Cat's Lament; 2. Jolly Dog; 3. Goldfish; 4. White Rabbit; 5. Bird in a Cage; 6. Squeaky Guinea-pig; 7. Animal Heaven. Composed: January, 1981: Numbers 1, 2, 3; March, 1981, number 4; May, 1981, number 5; October, 1981, work completed, including numbers 6, 7, and 8. Publication: Novello NOV 100254, score. Premiere: London, Wigmore Hall, November 24, 1982,Eric Parkin, piano. London, Horneman Conservatory, Sunday, September 26, 1999, arr. for wind quintet by Mark Underwood. Performers were Mark Underwood, flute; Byrony Otaki, oboe; Graeme Vinalli, clarinet, Jane Thomas, horn, Glyn Williams, bassoon. Manuscript: Kenneth Leighton Archive. RECORDINGS: D63, D64 SEE: W73. Hymn to Matter, Opus 74 For baritone solo, chorus, strings, piano and percussion. Words from Teilhard de Chardin. Commissioned by Heriott-Watt University with funds provided by the Scottish Arts Council, to celebrate the opening of the new Chaplaincy. Composed: July-August, 1976. Publication: Roberton Publications 3045, vocal score with accompaniment arranged for piano, 1998; vocal score reproduced from holograph, 1976. Premiere: May 14,1978, Heriott-Watt University Choir and orchestra conducted by Kenneth Leighton.

28

Works and First Performances Manuscript: Kenneth Leighton Archive. RECORDINGS: D65 SEE: B82,B112,B311

W74. Hymn to the Nativity (1960) For soprano solo and SATB chorus, unaccompanied. Words by Richard Crashaw. Composed: January, 1960. Publication: Novello, NOV 290575, vocal score. Premiere: Unknown Manuscript: Kenneth Leighton Archive. RECORDINGS: D66, D67 SEE: B207,B330 W75. Hymn to the Trinity (1974) Anthem for SSATB chorus. Text is anonymous. Written for Mairi Rolland and the Kinghorn Singers to celebrate their 21 st anniversary. Composed: February-March, 1974. Publication: Oxford University Press, Anthems for Choirs 4. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W76. Hymn Tunes (1969-1970) Commissioned for the Scottish Church Hymnary, 3rd Edition, Oxford University Press, 1973. The 5 tunes are as follows: 1. Dunoon: (Most Glorious Lord of Light) 2. Mayfield: (Christ Who Knows All His Sheep); 3. Colinton: (O Christ, Who Sinless Art Alone); 4. Blackford: (Teach Me to Serve Thee, Lord); 5. Headington: (Lover of Souls). Composed: August, 1968—January, 1969. Publication: Oxford University Press, 1973. Premiere: Unknown. Manuscript: Unknown. W77.

I Vow to Thee, My Country (1945) Song for voice (unspecified) and piano. Text by Cecil Spring-Rice. Composed: July, 1945. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive.

W78. I Will Make You Brooches (1946)


29

For baritone and piano. Text by Robert Louis Stevenson. Composed: April, 1946. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W79.

If You Were the Only Girl in the World (1950) Arranged as a part song by the composer. Dedicated to the Back Quad Glee Singers of Queen's College. Set from a tune of Nat Dayer for piano and male voices (counter tenor, tenor, bass I and bass II). Composed: August, 1950. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive.

W80. If You Were the Only Girl in the World Arranged for piano duet by the composer. Composed: January, 1951 (Manuscript indicates 1948). Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W81. Improvisations: De Profundis, Opus 76 For harpsichord (double-manual). Composed: August, 1977. Publication: Published by Maecenas Music in association with the Kenneth Leighton Trust, 1995, Maecenas MM0106. Premiere: Edinburgh, St. Cecilia's Hall, June 7, 1978, by Kenneth Leighton. Manuscript: Kenneth Leighton Archive. SEE: B297 W82. Improvisation in Memoriam Maurice de Sausmarez (1969) For organ. Music in memory of Maurice de Sausmarez. Composed: November—December, 1969. Publication: Novello NOV 010137, score. Premiere: London, St. Paul's Cathedral, Covent Garden, December 15, 1969, by Nicholas Cleobury, in a Memorial Service for Maurice de Sausmarez. Manuscript: Kenneth Leighton Archive. RECORDINGS: D68, D69 SEE: B336 W83. In the Dark Pinelock (1949)

30

Works and First Performances Solo song for baritone and piano. Text from James Joyce. Composed: June, 1949. Publication: Unpublished Premiere: Unknown. Manuscript: Kenneth Leighton Archive.

W84. It Is Good to Be Out on the Road (1946) Solo song for baritone and piano. Text from John Masefield. Composed: April, 1946. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive.. W85. Jack-in-the-Box (1959) For piano solo. Commissioned by Ricordi for inclusion in Modern Festival Pieces (London: G. Ricordi & Company, ed. by Lionel Salter, 1960) Composed: April, 1959. Publication: Ricordi, 1960. Premiere: Unknown Manuscript: Unknown. W86. Just Now the Lilac Is in Bloom, Opus 10 Cantata for baritone and string orchestra. Text from Rupert Brook, "From the Old Vicarage" Granchester. Composed: March, 1951. Publication: Kenneth Leighton Trust. Premiere: Edinburgh, St. Mary's Cathedral, Palmerston Place, November 29, 2000. Mark Wood, baritone and the Edinburgh String Orchestra conducted by Matthew Owen. Manuscript: Kenneth Leighton Archive. W87. Lament for Guitar (1974) For solo guitar. Commissioned by Oxford University Press to be included in the volume, Easy Modern Guitar Music: Ten Pieces by British Composers, edited by Hector Quine. London: Oxford University press, 1976. Composed: March, 1974. Publication: Easy Modern Guitar Pieces. (OUP, 1976). Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W88. Laudate Pueri, Opus 68


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For triple SATB chorus, A Cappella. Text, Psalm 112 from the Vulgate. Commissioned by the Norwich Triennial Festival with funds from the Arts Council of Great Britain. Composed: March-April, 1973. Publication: Novello NOV 360117,vocal score; score and parts for hire only. Premiere: Norwich Cathedral, October 13, 1973; the choirs of Ely, Peterborough, and Norwich Cathedrals, conducted by Michael Nicholas. Manuscript: Kenneth Leighton Archive. RECORDINGS: D70 SEE: B50 W89. Laudes Animantium, Opus 61 A sequence of animal poems for SAT soli, ATB/SATB and boy's choir. 1. Prelude (Walt Whitman) 2. Scherzo (Edward Lear) 3. The Nightingale (Joshua Sylvester) 4. The Lamb (William Blake) 5. TheKraken (Alfred Lord Tennyson) 6. The Grey Squirrel (Humbert Wolfe) 7. The Tiger (William Blake) 8. Every Living thing (Michael Drayton and the Benedictus). Composed: 1970-August, 1971. Publication: Unpublished. Premiere: London, Purcell Room, June 13, 1973; Elizabethan Singers conducted by Herrick Bunney. Manuscript: Kenneth Leighton Archive. SEE: B220 W90. Laudes Montium: A Sequence of Psalms, Opus 71 For baritone solo, chorus, semi-chorus and orchestra. Commissioned by St. Andrews University for the Centenary of its Musical Society. Composed: June, 1975. Publication: Novello, score and parts, hire only. Premiere: St. Andrews, Younger Hall, March 2, 1976; Ronald Morrison, baritone, St. Andrews Musical Society Choir and Orchestra conducted by Christopher Field. Manuscript: Kenneth Leighton Archive. SEE: B42 W91. Lazy-Bones (1965) For piano solo. Commissioned by Trinity College of Music, London, for the piano examinations syllabus.

32

Works and First Performances Composed: April, 1965. Publication: Trinity College of Music, Grade 5 pieces, Book A. Premiere: Unknown. Manuscript: Unknown.

W92. Let All the World in Every Corner Sing (1965) For SATB chorus and organ. Commissioned by the Church of St. Matthew's, Northhampton. Text by George Herbert. Composed: April—May, 1965. Publication: Novello, NOV 290154. Premiere: Northampton, St. Matthew's Church, St. Matthew's Eve, September 20, 1965, Choir of St. Matthew's Church, directed by Michael Nicholas. Manuscript: Kenneth Leighton Archive. RECORDINGS: D71, D72, D73, D74, D75, D76, D77, D78, D79, D80, D81 SEE: B121,B169,B264,B335 W93. Lift Up Your Heads, O Ye Gates (1966) Anthem for SATB chorus, unaccompanied. Text, Psalm 24, vv. 9-10. Commissioned by Christ's Hospital, Horsham, for a Service of Thanksgiving in Westminster Abbey. Composed: April-May, 1966. Publication: Novello NOV290418, vocal score. Premiere: London, Westminster Abbey, October 7, 1966; Choir of Christ's Church Hospital. Manuscript: Kenneth Leighton Archive. W94. The Light Invisible : Sinfonia Sacra, Opus 16 For tenor solo, SSAATTBB chorus, and orchestra. Text from the Old Testament and T. S. Elliot's The Rock. Written for the Hereford Three Choirs' Festival. Composed: July 1957—June 1958. Publication: Novello NOV 18660, vocal. Score and parts for hire only. Premiere: The Three Choirs Festival in Hereford, September 9, 1958, with David Guliver, tenor, and the London Symphony Orchestra conducted by Douglas Guest. Manuscript: Kenneth Leighton Archive. SEE: B63, B66, B72, B222, B247, B276 W95. Little Suite (1961) For 2 violins. Carol; Elegy; March. For Nina Martin. Composed: October-November, 1961.


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Publication: Unpublished. Premiere: Unknown. Manuscript: W96. London-Town (1968) Part-Song for soprano and tenor soloists, SATB Chorus. Text by John Masefield. Commissioned by the New London Singers. Composed: December, 1968. Publication: Kenneth Leighton Trust, 2003. Premiere: London, Purcell Room, December 10, 1969; New London Singers directed by Donald James. Manuscript: Kenneth Leighton Archive.. SEE: B60,B193 W97. Lord, When the Sense of Thy Sweet Grace (1977) Motet for soprano solo and SATB chorus. Words by Richard Crashaw. Commissioned by Ampleforth Abbey for the Schola Cantorum of Ampleforth. Composed: January, 1977. Publication: Hinshaw Music (USA), HMC-287. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W98. Lully, Lulla, Thou Little Tiny Child, Opus 25b For soprano solo and SATB chorus, unaccompanied. (See W207: Three Carols, Opus 25). Text from the 15th century Coventry Pageant of Shearmen and Tailors. Composed: December, 1948. Publication: Novello NOV 290251. Also published in Sing Nowell, NOV050001; Noel! Carols and Anthems for Advent, Christmas and Epiphany, NOV 310800. Premiere: Unknown. Manuscript: Unknown. RECORDINGS: D190, D191. D192, D193, D194, D195, D196, D197, D198, D199, D200, D201, D202, D203, D204, D205, D206, D207, D208, D209, D210, D211, D212, D213, D214, D215, D216, D217 SEE: B144,B214 W99.

Magnificat and Nunc Dimittis (Collegium Magdalenae Oxonienses) (1959) For SATB chorus and organ. Written for Bernard Rose and the Choir of Magdalen College, Oxford. Composed: September, 1958—April, 1959. Publication: Novello, NOV 290416,vocal score.

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Works and First Performances Premiere: Unknown. Manuscript: Kenneth Leighton Archive. RECORDINGS: D82, D83, D84, D85, D86, D87, D88, D89, D90, D91 SEE: B214,B286

W100. Marcia Capriccio (1969) For flute and piano. Commissioned by Oxford University Press to be included in the volume Modern Flute Music. Composed: September, 1969. Publication: Oxford University Press, Modern Flute Music: Book 1, 1971. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W101. Martyrs (Dialogues on a Scottish Psalm-Tune), Opus 73 For organ duet. Commissioned by the Organ Club for its 50th anniversary with funding from the Arts Council of Great Britain. Dedicated to Stephen and Nicholas Cleobury. Composed: 1976. Publication: Novello NOV 010147. Premiere: London, Westminster Abbey, July 15, 1976; Stephen and Nicholas Cleobury, organ. Manuscript: Kenneth Leighton Archive. RECORDINGS: D92, D93, D94, D95 SEE: B58, B87, B139, B197, B202, B255, B269, B275 W102. Mass, Opus 44 Mass for double choir, unaccompanied (organ in the Credo only). Written for Herrick Bunney and the Edinburgh University Singers. Composed: September, 1964. Publication: Oxford University Press, vocal score, 1966. Novello NOV 950116, vocal score; score and parts, hire only. Premiere: Edinburgh, St. Giles Cathedral, February 10, 1966. Edinburgh University Singers conducted by Herrick Bunney. Manuscript: Kenneth Leighton Archive. RECORDINGS: D96, D97, SEE: B l l , B50, B135, B136, B141, B145, B146, B183, B210, B227, B264,B301 W103. Mass for Ampleforth, Opus 67 For unison voices, SATB chorus and organ. Commissioned by Ampleforth Abbey, Yorkshire. Text is the Roman Catholic Vernacular.

Works and First Performances Composed: February—March, 1973. Publication: Unpublished. Premiere: Ampleforth Abbey, Yorkshire, June 16, 1974. Ampleforth Abbey directed by David Bowman. Manuscript: Kenneth Leighton Archive.

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Choir of

W104. Meditation in Two Parts (1947) For piano solo. Composed: April, 1947. Listed in Composition Book, 1947. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W105. Metamorphoses, Opus 48 For violin and piano. Commissioned by the Barnes Music Club in collaboration with Watney Mann Ltd. Composed: 1965-June, 1966. Publication: Novello NOV 120333, piano score and violin part. Premiere: Barnes Music Club, October 25, 1966; Francis Mason, violin and Ashley Lawrence, piano. First broadcast performance by the same performers, January 10, 1967. Manuscript: Kenneth Leighton Archive. RECORDINGS: D98 SEE: B109, B211, B216, B274, B294, B334 W106. Missa Brevis (1949) For SATB chorus. Includes: 1. Kyrie (Dorian Mode) 2. Gloria 3. Credo 4. Sanctus 5. Benedictus 6. Agnus Dei Composed: August, 1949. Publication: Unpublished. Premiere: Unknown. Manuscript: Unknown. W107. Missa Brevis, Opus 50 Written for SATB chorus, unaccompanied. Commissioned by Liverpool Cathedral. Composed: April, 1967. Publication: Novello NOV 860002, vocal score. Premiere: Unknown.

36

Works and First Performances Manuscript: Kenneth Leighton Archive. RECORDINGS: D99, D100, D101

W108. Missa Christi (1988) For soprano, tenor and bass soloists, SATB chorus and organ. Commissioned by Christ Church Cathedral, Indianapolis, Indiana, USA, to celebrate their 150th Anniversary. Text from the American Episcopal Liturgy, Rite A, (note in composition book reads "My last writing of the Mass"). Composed: 1987—March, 1988. Publication: Novello NOV 290673, vocal score. Premiere: Indianapolis, Indiana,USA, June 12, 1988, the Choir of Christ Church Cathedral, conducted by Frederick Burgomaster. Manuscript: Kenneth Leighton Archive. SEE: B22,B76,B163 W109. Missa Cornelia, Opus 81 For SSA chorus and organ. Commissioned by St. Leonard's-Mayfield School, East Sussex. Words from the Roman Catholic Vernacular. Composed: July-September, 1979. Publication: Novello NOV 360031. Premiere: St. Leonard's Church, Mayfield, East Sussex, June 20, 1980 by the St. Leonard's-Mayfield School. London premiere at the Church of Our Lady of Dolours, May 9, 1981, by the St. Leonard'sMayfield School. Manuscript: Kenneth Leighton Archive. WHO. Missa De Gloria (Dublin Festival Mass), Opus 82 For organ solo. Commissioned by the Dublin International Organ Festival with funding from Irish Life Ltd. Composed: October, 1979-March, 1980. Publication: Novello NOV 010180, score. Premiere: Dublin, St. Patrick's Cathedral, June 29, 1980; Gerard Gillen, organ. U.K. premiere, London, St. Michael's Church, Cornhill; July 20, 1981, John Birch, organ. Same performance was first broadcast in the U.K., May 17, 1982. Manuscript: Kenneth Leighton Archive. RECORDINGS: D102 SEE: B45,B202 W i l l . Missa Sancti Petri (1987)


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For STB soloists, SATB chorus and organ. Words from the Anglican Liturgy, Rite B. Commissioned by Peterborough Cathedral for their 750th Anniversary with funding from the Eastern Arts Council. Composed: January—March, 1987. Publication: Novello NOV290692, score. Premiere: Peterborough Cathedral, October 4, 1987; Choir of Peterborough Cathedral directed by Christopher Gower. Manuscript: Kenneth Leighton Archive. W112. Missa Sancti Thomae, Opus 40 For SSAATTBB chorus and organ. Commissioned by the Friends of Canterbury Cathedral. Dedicated to St. Thorns Beckett to mark the 800th anniversary of his consecration as Archbishop of Canterbury, 1162. Composed: January-March, 1962. Publication: Novello NOV 19424, score and parts, hire only.. Premiere: Canterbury Cathedral, 1962, directed by Allan Wicks. Manuscript: Kenneth Leighton Archive. SEE: B341 W113. Morning Canticles (1967) For unison voices or SATB chorus and organ. In three parts, each may be performed separately: 1. Jubilate Deo; 2. Te Deum; 3. Venite. Words from the revised Psalter. Commissioned for the Centenary Thanksgiving Service of the Monkton Combe School (near Bath). Composed: March, 1967. Publication: Novello NOV 860005-01 (Venite); NOV 860006 (Te Deum) NOV 860007 (Jubilate Deo). Premiere: London, St. Paul's Cathedral, May 8, 1968; Monkton-Combe School. Manuscript: Kenneth Leighton Archive. RECORDINGS: D103,D104 SEE: B290 W114. Movement in D Minor (1946) For piano solo. Listed in the Composition Book. Composed: August, 1946. Publication: Unpublished Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W115. Music for Farquar's The Beaux Stratagem (1949) Incidental music scored for 2 flutes, bassoon, horn, and string orchestra. Composed for the Eglesfield Players, Oxford.

38

Works and First Performances Composed: April, 1949. Publication: Unpublished. Premiere: Oxford, Queen's College Fellow's Garden, May, 1949, conducted by Kenneth Leighton during a performance by the Eglesfield Players. Manuscript: Kenneth Leighton Archive.

W116. Music for Shakespeare's Othello (1955) For flute, string quartet, and recorder trio. For a production of the play by the University of Leeds, produced by Wilson Knight. Composed: January, 1955. Publication: Unpublished. Premiere: Leeds University Production of the play, 1955, by Wilson Knight. Manuscript: Kenneth Leighton Archive. W117. Music for Shakespeare's Twelfth Night (1949) For solo flute and string quartet. Incidental music for the Eglesfield Players production. Composed: March-April, 1948. Publication: Unpublished. Premiere: Oxford, Queen's College Fellows' Garden, May, 1948. Manuscript: Kenneth Leighton Archive. W118. Music for The Ivory Tower (1956) Music for the BBC Radio play produced by Colin Shaw. Composed: April, 1956 (Listed in the Composition Books). Publication: Unpublished. Premiere: Unknown. Manuscript: Unknown. W119. Music for The Knight of the Burning Pestle (1954) For 2 flutes, horns and string orchestra. For Leeds University. Text, Beaumont and Fletcher. Composed: February-March, 1954. Publication: Unpublished. Premiere: University of Leeds, 1954. Manuscript: Kenneth Leighton Archive. W120. Music for The Life and Death of Sir John Falstaff (1958) For wind quintet, string quartet, 3 trumpets and percussion. For two BBC TV series produced by Ronald Eyre, adapted from Shakespeare's History Plays.


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Composed: September-November, 1958 Publication: Unpublished. Premiere: BBC television, March 3, 1959. Manuscript: BBC Archives. W121. Music for The Persian War (1955) For brass, strings, harp and percussion. For two BBC Radio plays. Composed: July, 1955. Publication: Unpublished. Premiere: BBC Radio produced by Colin Shaw, 1955. Manuscript: Kenneth Leighton Archive. W122. Nativitie (1956) For SSATTB chorus, unaccompanied. Text by John Donne. Composed: November—December, 1956. Publication: Carl Fischer CM 7734. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W123. Napoli: Rhapsody on Neapolitan Themes for Piano and Orchestra (1952) For piano and orchestra. Originally designated Opus 11 A, then changed to Opus 13. This was later dropped. Dedicated to Lydia Vignapiano. Composed: September, 1951—January, 1952. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W124. Napoli: Rhapsody on Neapolitan Themes for Orchestra (1952) For orchestra. Designated Opus 1 IB, later dropped. Dedicated "A Lydia Vignapiano". Composed: June-July, 1952. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W125. Nine Variations, Opus 36 For piano solo. Composed: 1958—October, 1959. Publication: Novello NOV 100181. Premiere: Edinburgh, National Gallery of Scotland, November 25, 1959, performed by Kenneth Leighton. Manuscript: Kenneth Leighton Archive. SEE:B70,B209,B317

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W126. Nocturne (1959) For violin and piano. Dedicated to violinist Frederick Grinke. Composed: December, 1959 Publication: Novello NOV 120034, score and one part. Premiere: BBC "Music At Night" program, June, 1960; Frederick Grinke, violin and Kenneth Leighton, piano. Manuscript: Kenneth Leighton Archive. SEE: B274, B294, B334 W127. O Be Joyful in the Lord (Jubilate Deo) (1966) For SATB chorus and organ. Commissioned by Oxford University Press. Composed: September, 1966. Publication: Oxford University Press. Premiere: Unknown. (May have been October 12, 1968 by the Louis Halsey Singers and Allan Wicks, organ.) Manuscript: Kenneth Leighton Archive. RECORDINGS: D105 W128. O God, Enfold Me in the Sun (1967) For SATB chorus and organ. Text by Jacqueline Froom. Commissioned by the Church of St. Philip & St. James, York. Composed: 1966—January, 1967. Publication: Oxford University Press. Oxford Church Anthem A240. Prem iere: Unknown. Manuscript: Kenneth Leighton Archive. RECORDINGS: D106 SEE: B245,286 W129. O Leave Your Sheep (1962) Old French Carol arranged for soprano solo, SATB chorus and organ. Commissioned by Novello for inclusion in the volume Sing Nowell. Composed: January—March, 1962. Publication: Novello NOV 950305, vocal score; NOV 050001, Sing Nowell; NOV 291643, Leigton, Kenneth. Carols & Anthems: English Sacred Music of the Twentieth Century, vol. 2, Novello, 2002. Premiere: Unknown. Manuscript: Unknown. RECORDINGS: D107, D108, D109, DUO W130. O Sacrum Convivium (1975) Motet for soprano solo, SS chorus and organ. For the boys of Ampleforth Abbey. Composed: October, 1975.


41

Publication: Basil Ramsey. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. RECORDINGS: D i l l , Dl 12 SEE: B30,B120,B177,B271 W131. Ode (1977) For organ. Commissioned by Oxford University Press for inclusion in A Second Album of Preludes and Interludes: Six Pieces by Contemporary British Composers. London, Oxford University Press, 1979. ISBN 0193751097. Composed: November, 1977. Publication: Oxford University Press, 1979. (see above) Also included in: A Leighton Organ Album. Oxford: Oxford University Press, 2002. (ISBN 0193222922). Premiere: Unknown. Manuscript: Kenneth Leighton Archive. RECORDINGS: D113 W132. Ode on the Birth of Our Saviour, Opus 25c For SATB chorus, unaccompanied. Text by Robert Herrick. W207: Three Carols, Opus 25. Composed: January, 1956 Publication: Novello NOV 310605, vocal score. Premiere: Unkown. Manuscript: Kenneth Leighton Archive. RECORDINGS: D218

From

W133. Of a Rose is All My Song (1970) Christmas carol for soprano solo and SATB chorus, unaccompanied. Text from: Stone, Brian. Medieval English Verse. Commissioned by Oxford University Press. Composed: March, 1970. Publication: Oxford University Press. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. RECORDINGS: D114 SEE: B207 W134. Oh! Breathe Not His Name (1946) Solo song for Baritone and piano. Text by Moore? Composed: March, 1946. Publication: Unpublished. Premiere: Unknown.

42

Works and First Performances Manuscript: Kenneth Leighton Archive.

W135. Overture Fantasie (from Shakespeare's Romeo and Juliet by Peter Tchaikovsky) (No Date). Transcribed by the composer for organ. Composed: Unknown. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W136. Paean (1966) For organ. Commissioned by Oxford University Press for inclusion in one of their organ albums. Composed: July, 1966. Publication: Oxford University Press: Modern Organ Music, Vol. 2, 1965-1974; Oxford University Press: A Leighton Organ Album. 2002. (ISBN 0192322922). Premiere: London, Royal Festival Hall, January 25, 1967; Simon Preston, organ during a recital to celebrate the 40th anniversary of the Organ Club. Manuscript: Kenneth Leighton Archive. RECORDINGS: D115, D116, D117, D118, D119, D120, D121, D122, D123, D124, D125, D126, D127, D128, D129 SEE: B29, B48, B95, B136, B214, B277, B290, B335, B336, B341 W137. Partita, Opus 35 For cello and piano. Composed: 1958-September, 1959. Publication: Novello, 1963. Premiere: London, Wigmore Hall, February 12, 1963; Florence Hooton, cello and Willfred Parry (first public performance). Manuscript: Unknown. RECORDINGS: D130 SEE: B109,B130,B152,B216 W138. Passacaglia, Chorale and Fugue, Opus 18 For orchestra. Composed: October, 1956—January, 1957. Publication: Novello, score and parts, hire only. Premiere: BBC broadcast, May 23, 1959; the BBC Symphony Orchestra conducted by Kenneth Leighton. Manuscript: Kenneth Leighton Archive.


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SEE: B3,B67 W139. Pater Noster (1949) For SATB choir. Composed: August, 1949. Publication: Unpublished. Premiere: Unknown (recorded in 2003: see D131). Manuscript: Kenneth Leighton Archive. RECORDINGS: D131 WHO. Piano Quintet, Opus 34 For piano and string quartet. In 4 movements. Commissioned by the BBC for the Cheltenham Festival. Composed: September, 1958—April, 1959. Publication: Novello NOV 120216, score and set of parts. Premiere: Cheltenham Town Hall, July 15, 1959, London String Quartet and Kenneth Leighton, piano. Manuscript: Kenneth Leighton Archive. RECORDINGS: D132 SEE: B5, B12, B28, B156, B281, B303, B305 W141. Piano Trio, Opus 46 For violin, cello and piano. Awarded the Bernard Sprengel Prize for Chamber Music , Hanover, 1965. Composed: April-September, 1965. Publication: Novello NOV 120313, score and parts. Premiere: Milan, February 6,1968, Trio de Trieste. Manuscript: Kenneth Leighton Archive. RECORDINGS: D133,D134 SEE: B2, B13, B37, B109, B236, B263, B314, B315, B321, B334 W142. Pieces for Angela, Opus 47 For piano. The 8 pieces in this works are each under 3 minutes in length and include: 1. A Clockwork Doll. 2. The Swan. 3. Little Minx 4. Cradle Song 5. A Sad Folk-Song. 6. Leap Frog. 7. Lament. 8. Final Fanfare. Composed: Between 1965-1966; completed in April, 1966.

44

Works and First Performances Publication: Novello NOV 100089, score. Three pieces are included in: A Century of Piano Music: Thirty-Three British Piano Works of the Twentieth Century, Grades 1-4. London: Bosworth BOE E005125, 2000 ( A Sad Folk-Song; The Swan; Clockwork Doll); A Century of Piano Music: Twenty-One British Piano Works of the Twentieth Century, Grades 5-7. London: Bosworth BOE 0050126, 2000 (CradleSong). Premiere: BBC Radio 3, October 12, 1967, performed by Kenneth Leighton. Manuscript: Kenneth Leighton Archive. RECORDINGS: D135 SEE: B179

W143. Preces and Responses (1964) For SATB chorus., unaccompanied. Written for Dennis Townhill and the choir of St Mary's Episcopal Cathedral, Edinburgh. Composed: December, 1964. Publication: Novello NOV 290290, vocal score. Premiere: Edinburgh, St. Mary's Episcopal Cathedral, the choirs of Carlisle, Newcastle and Edinburgh Cathedrals during the Northern Cathedrals Three Choirs Festival, June 19?, 1965. Manuscript: Kenneth Leighton Archive. RECORDINGS: D136,D137 SEE: B142 W144. Prelude and Fugue in G (for organ) by J. S. Bach Arranged for piano. Composed: Unknown but appears to be very early. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W145. Prelude, Hymn and Toccata, Opus 96 For two pianos. Commissioned by Richard Markham and David Nettle (the Nettle-Markham Piano Duo) with funding from the Lincolnshire and Humberside Arts. Composed: June-October, 1987. Publication: Novello NOV 100353, 2 scores. Premiere: October 12, 1988, Nettle-Markham Duo, place not available. Manuscript: Kenneth Leighton Archive. RECORDINGS: D138 W146. Prelude, Scherzo and Passacaglia, Opus 41


45

For organ. Commissioned by Bryan Hesford. Composed: 1962-January, 1963. Publication: Novello NOV 620017, score. Premiere: Norwich, Norwich Cathedral, October 24, 1963; Bryan Hesford, organ. First broadcast performance, Edinburgh, St. Mary's Cathedral, Dennis Townhill, organ, January 5, 1964. Manuscript: Kenneth Leighton Archive. RECORDINGS: D139, D140, D141, D142, D143, D144, D145, D146, D147 SEE: B25, B47, B49, B61, B85, B195, B196, B198, B202, B235, B291, B296,B336,B341 W147. Preludes for Piano (1988) For piano. Five preludes, originally planned as a set of 24 Preludes. Kenneth Leighton was only able to complete these five before his death. They include: 1. Prelude in D Minor. 2. Prelude in C Major. 3. Prelude I D Minor (numbered "5"). 4. Prelude in D Major (numbered "6"). 5. Prelude in E Flat Minor (numbered "7"). Composed: 1988, Publication: Kenneth Leighton Trust, 2000. Premiere: Piano works Festival, 1999, October 20-24, Stephen Coombs, piano. Manuscript: Kenneth Leighton Archive. RECORDINGS: D148 W148. Primavera Romana, Opus 14 Overture for orchestra. Composed: April—June, 1951. Publication: Lengnick, score and parts, hire only. Premiere: Liverpool, Liverpool Festival, August 4, 1951; Liverpool Philharmonic Orchestra conducted by Leopold Stokowski. First broadcast performance, conducted by Gerald Schwarz, January 30, 1955. Manuscript: Kenneth Leighton Archive. SEE: B140,B161,B232 W149. QuamDilecta!(1967) Motet for soprano solo and SATB chorus, unaccompanied. Text from Psalm 84, w . 1-9, 12 and 13. Composed: January, 1967. Publication: Novello NOV 290419, vocal score.

46

Works and First Performances Premiere: Unknown. Manuscript: Kenneth Leighton Archive.

W150. Quartet in One Movement (Contrasts and Variants), Opus 63 Written for piano quartet (violin, viola, cello, and piano). Commissioned by the Richards Piano Quartet with funding from the Arts Council of Great Britain. Composed: January—June, 1972. Publication: Novello NOV 120486,score and parts. Premiere: London, Purcell Room, October 13, 1972, the Richards Piano Quartet. Manuscript: Kenneth Leighton Archive. RECORDINGS: D149, D150, D151 SEE: B96, B97, B99, B147, B150, B159, B191, B219, B224, B238, B243,B304,B316,B334 W151. Quintet for Piano and Strings (1948) For string quartet and piano. Composed: July-August, 1948. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W152. Remembrance (1946) For piano solo. Composed: June, 1946. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W153. Requiem (1946) Song for baritone and piano. Words by Robert Louis Stevenson. Composed: April, 1946. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W154. Rhapsody (1946) For piano. Composed: July, 1946. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive.


47

W155. Rhodanthe (1948) Song for baritone and piano. Text from Agathias. Composed: January, 1948. Publication: Unpublished Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W156. Roadways (1946) Solo song for baritone and piano. Composed: February, 1946 Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W157. Rockingham: Chorale Prelude on "When I Survey" (1975) For organ. Commissioned by Oxford University Press for an album. Composed: Early 1975. Publication: Chorale Preludes on English Tunes. London: Oxford University Press, c. 1977; Leighton, Kenneth: A Leighton Organ Album. Oxford: Oxford University Press, 2002. (ISBN 0193222922). Premiere: Unknown. Manuscript: Kenneth Leighton Archive. RECORDINGS: D152 SEE: W158. Sad Folksong (196?) For piano. From W142: Pieces for Angela, Opus 47. Composed: 1965-66. Publication: A Century of Piano Music: Grades 1-4. Bosworth, 2000. Premiere: Unknown. Manuscript: Unknown. W159. Sanctus, Benedictus, and Memorial Acclamation (1973) For congregation, choir and organ. Commissioned by Geoffrey Chapman publishers for Sing the Mass. London: Geoffrey Chapman, 1975— ISBN 0225659840. Composed: January, 1973. Publication: Sing the Mass. London: Geoffrey Chapman, 1975 ISBN 0225659840. Premiere: Unknown. Manuscript: Unknown.

48


W160. Sao Paolo: Symphonic Suite for Large Orchestra. (1953) For orchestra. Assigned the number Opus 18. Later, this version was discarded. Composed: August, 1952—June, 1953. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W161. Sarum Mass, Opus 66 For SSAATTBB soloists and chorus and organ. Commissioned by the Southern Cathedrals Festival, 1973. Text is the Anglican Rite, Series 3. Composed: September—October 1973. Publication: Novello NOV 290642. Premiere: Salisbury Cathedral, July 27, 1973; combined choirs of Salisbury, Winchester and Chichester Cathedrals directed by Richard Steal. Manuscript: Kenneth Leighton Archive. RECORDINGS: D153,D154 SEE: B23,B98 WT62. Scherzo Festivo for Full Orchestra (1948) For orchestra. Composed: 1948. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W163. Scherzo, Opus 7 For two pianos. This work was revised by the composer in 1953. It is an arrangement of the second movement of W225: Veris Gratia. Composed: April, 1950. Revised, April-September, 1951. Publication: Lengnick 3764, 2 piano scores. Premiere: Unknown. Manuscript: Unknown SEE: B32 W164. Sea Fever (1945) Song for baritone and piano. Text by John Masefield. manuscript includes the name "Malvern". Composed: August, 1945 Publication: Unpublished. Premiere: Unknown.

Notation in


49

Manuscript: Kenneth Leighton Archive. W165. The Second Service: Magnificat and Nunc Dimittis, Opus 62 For SATB choir and organ. Commissioned by the Cathedral Organist's Association in memoriam Brian Runnett. Composed: September—October, 1971. Publication: Royal School of Church music, 1972; Reissued by Oxford University Press for the Church Music Society, 1994? Premiere: Unknown. Manuscript: Kenneth Leighton Archive. RECORDINGS: D155, D156, D157, D158, D159, D160, D161, D162, D163 SEE: B30, B57, B120, B244, B250 W166. Sequence de Sancto Michaelo (1948) Song for voice and piano. Composed: January, 1948. Publication: Unpublished. Premiere: Unknown. Manuscript: Unknown. W167. Sequence for All the Saints, Opus 75 For baritone solo, SATB chorus, congregation and organ. Words from the English Hymnal No. 731. Commissioned by the West Riding Cathedrals' Festival with funding from the Arts Council of Great Britain. The Five parts include: 1. Introit 2. Gradual 3. Offertory 4. Communion. 5. Finale. Composed: April-June, 1977. Publication: Roberton 3035, score. Premiere: Wakefield, Wakefield Cathedral Choir, October 14, 1978; the Choirs of Wakefield, Bradford and Sheffield Cathedrals conducted by Jonathan Bielby. Manuscript: Kenneth Leighton Archive. RECORDINGS: D164,D165 SEE: B87,B302 W168. Serenade in C, Opus 19a For flute and piano. For Gustav Born. Composed: July, 1949; revised June, 1953.

50

Works and First Performances Publication: Maecenas Music MM0056, score and part, published in association with The Kenneth Leighton Trust. Preface by Giles Easterbrook. Premiere: Oxford University Music Club & Union, June 13, 1950, Gustav Born, flute and Kenneth Leighton, Piano. Revised version, Winchester College, December 3, 1992, Thomas Morris, flute and Robert Bonne, piano. Manuscript: Kenneth Leighton Archive. RECORDINGS: D166,D167 SEE: B208,B254

W169. Seven Joys of Mary (1948) For SATB chorus. Was originally listed as the second carol of W207: Three Carols, Opus 25. Composed: December, 1948. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W170. Seven Variations for String Quartet, Opus 43 For string quartet. Commissioned by Maruice de Sausmarez for the Arriaga Quartet, in memory of Jessie Rose de Sausmarez. Composed: February-April, 1964. Publication: Novello NOV 120161, score and NOV 120161-01, set of parts. Premiere: Ryan Shaw School of Art, June 13, 1964, Arriaga Quartet. First broadcast performance, April 3, 1968, Arriaga Quartet. Manuscript: Kenneth Leighton Archive. SEE: B153,B280,B298,B322,B334 W171. Six Elizabethan Lyrics, Opus 65 For SSAA women's chorus, unaccompanied. Commissioned by Miss Porter's School, Farmington, Connecticut, USA. The six parts include: 1. Flourish (Thomas Nashe) 2. Dirge (Ben Jonson) 3. Madrigal (John Fletcher) 4. Canon (William Shakespeare) 5. Nocturne (Thomas Middleton) 6. Fanfare (Thomas Heywood). Composed: July-August, 1972. Publication: Novello Nov 160198, score. Premiere: Unknown.


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Manuscript: Kenneth Leighton Archive. W172. Six Fantasies on Hymn Tunes, Opus 72 For organ. The tunes include: 1. Helmsley 2. Aus der Tiefe 3. Lumetto 4. St. Columba (Erin). 5. Veni Emmanuel 6. Hanover (Toccata) Composed: August, 1975. Publication: Basil Ramsey, score. Numbers 4 and 6 are also included in the volume: A Leighton Organ Album. Oxford: Oxford University Press, 2002 (ISBN 0193222922). Premiere: Edinburgh, St. Giles Cathedral, May 24, 1976, Herrick Bunney, organ. Manuscript: Kenneth Leighton Archive. RECORDINGS: D168, D169, D170, D171, B138 SEE: B122,B202 W173. Six Songs of Spring (1951) For baritone and piano. The songs include: 1. The Cherry Tree (A. E. Houseman) 2. O Cool is the Valley Now (James Joyce) 3. To the April Moon (Walter de la Mare) 4. A May Burden (Francis Thompson) 5. Beauty (John Masefield) 6. Spring Sorrow (Rupert Brooke) Composed: January, 1951. Publication: Unpublished. Premiere: Oxford, 1951, Bernard Rose, baritone and Kenneth Leighton, piano. Manuscript: Kenneth Leighton Archive. W174. Six Studies (Study-Variations), Opus 56 For piano. Composed: 1968-March, 1969 Publication: Novello NOV 100198, score. Premiere: Edinburgh, Freemasons' Hall, January 11, 1972, Colin Kingsley, piano. Manuscript: Kenneth Leighton Archive. RECORDINGS: D172 SEE: B21,B54,B84,B123,B180,B230

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W175. Sleep, Holy Babe (1948) For SATB chorus, unaccompanied. Text by E. Cassall. Composed: December, 1946. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W176. So, We'll Go No More A Roving, (1945) Song for [baritone] voice and piano. Text by Lord Byron. Composed: July, 1945. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W177. Solus ad Victimam (1968) For SATB chorus and organ. Commissioned by Oxford University Press for Book 1 of Anthems for Choirs. Words by Peter Abelard translated by Helen Waddell. Composed: August, 1968. Publication: Oxford University Press, Anthems for Choirs I; also published in The New Church Anthem Book. Published as a separate octavo Oxford Anthems, A 309. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. RECORDINGS: D173, D174, D175, D176, D177, D178, D179, SEE: B30,B138 W178. Sonata for Cello Solo, Opus 52 For solo cello. Composed: August-September, 1967. Publication: Novello NOV 120342 Premiere: Edinburgh, National Gallery of Scotland, December 6, 1967, by cellist Joan Dickson. Broadcast premiere. Manuscript: Unknown SEE: B79,B102,B265,B323 W179. Sonata for Piano (1947) For piano solo. Discarded as a whole. Some material used for other piano works. Composed: February—March, 1947. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive.


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W180. Sonata for Piano in D Major (1950) For piano solo. Dedicated to Isabel Pollard. Withdrawn by the composer "after second thoughts." Composed: August-September, 1950. Publication: Lengnick (subsequently withdrawn). Premiere: Unknown. Manuscript: Kenneth Leighton Archive. SEE: B27 W181. Sonata for Piano in G Minor (1950) For piano. At top of first page of the 3rd movement is written: "Never let the Fancy Roam.. .Measure never is at home" (Keats). Composed: 1950 Publication: Lengnick, Later withdrawn with "second thoughts". Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W182. Sonata for Piano No. 1, Opus 2 For piano solo. Composed: September—December, 1948. Publication: Lengnick, 1950. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. SEE: W183. Sonata for Piano No. 2, Opus 17 For piano solo. Dedicated to Eric Parkin. Composed: January—March, 1953. Publication: Lengnick, 1954. Premiere: Broadcast premiere, BBC, February 10, 1956, Eric Parkin, piano. Manuscript: Kenneth Leighton Archive. SEE: B17,B35,B173 W184. Sonata for Piano No. 3, Opus 27 For piano solo. In four movements. Composed: July-October, 1954. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W185. Sonata for Piano, Opus 64 For piano solo. Written for Peter Wallfisch. Composed: 1971—July, 1972.

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Works and First Performances Publication: Novello NOV 100294, score. Premiere: Edinburgh Festival, February 1974, Peter Wallfisch, piano. Manuscript: Kenneth Leighton Archive. RECORDINGS: D180 SEE: B44,B51,B254,B268,B294

W186. Sonata for Piano Duet, Opus 92 For piano duet. Commissioned by the Markham/Nettle Duo with financial assistance from the West Midland Arts. Composed: September, 1984-March, 1985. Publication: Novello NOV 100349, piano duet score. Premiere: Shropshire, Ellesmere College, January, 1986, by Richard Markham and David Nettle. Manuscript: Kenneth Leighton Archive. RECORDINGS: D181,D182 SEE: B154,B188 W187. Sonata for Viola and Piano (1949) For viola and piano. Discarded. Composed: July, 1949. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W188. Sonata for Violin and Piano (1949) For violin and piano. Composed: July, 1949. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W189. Sonata for Violin and Piano No. 1, Opus 4 For violin and piano. Composed: March—April, 1949. Publication: Lengnick 3702, one score and part. Premiere: Bordeaux, France, Grande Theatre, July 1949, Christopher Strode, violin, and Kenneth Leighton, piano. Manuscript: Kenneth Leighton Archive, Box 7, folder cover reads, "Violin part—autograph, given to Reid by dedicatee Christopher Strode" ; also, "Autograph violin part: presented by Dr. Christopher Strode, the dedicatee of the sonata. February, 1996." Also includes the full autograph score. SEE: B34,B251,B334


55

W190. Sonata for Violin and Piano No. 2, Opus 20 For violin and piano. Composed: June-September, 1953. Copy on Reid says "April—August, 1953. Publication: Lengnick, NO. 3852, score and 1 part. Premiere: The Octagon, Bath, November 20, 1954, Frederick Grinke, violin and Kenneth Leighton, piano. Manuscript: Kenneth Leighton Archive, Box 7, full autograph score with many corrections; full autograph score, photoreproduction, and original full autograph score, also photoreproduction. SEE: B67,B71,B174,B184,B192,B199 W191. Sonata Quasi Fantasia (1948) For violin and piano. Composed: March-April, 1948. Publication: Unpublished. Premiere: Unknown Manuscript: Kenneth Leighton Archive, full autograph score. W192. Sonatina for Piano No. 1, Opus la For piano. Composed: December, 1946. Publication: Lengnick NO. 3664, score. Premiere: Unknown. Manuscript: Kenneth Leighton Archive, Box 8, full autograph score with Lengnick stamp on title page. This copy dated December 24, 1946. Another copy dated December, 1947. RECORDINGS: D183 SEE: W193. Sonatina for Piano No. 2, Opus 1 For piano. Composed: August, 1947. Publication: Lengnick, NO. 3665. Premiere: Unknown. Manuscript: Kenneth Leighton Archive, Box 8, full autograph score (marked OP. 1 on the title page); another full autograph score is included with Sonatina for Piano No. 1. RECORDINGS: D184 SEE: B179 W194. Star Song, Opus 25a From W207: Three Carols, Opus 25. See that entry for particulars. Composed: 1948.

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Works and First Performances Publication: Novello 310604 Premiere: Manuscript: RECORDINGS: D218,D219 SEE:

W195. String Quartet (1948) For string quartet. Composed: June-July, 1948. Publication: Unknown. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W196. String Quartet (1951) For string quartet. "Rome" is written in the Composition Book. Composed: May-July, 1951. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W197. String Quartet No. 1, Opus 32 For string quartet. Commissioned by the BBC to celebrate the 10th anniversary of the Third Programme. Composed: June-July, 1956. Publication: Lengnick NO. 3938, study score; also issued 4 parts under the same number. Premiere: BBC Third Programme, October 3, 1956, the Aeolian String Quartet. Manuscript: Kenneth Leighton Archive. SEE: B36, B40, B62, B78, B306, B334 W198. String Quartet No. 2, Opus 33 For string quartet. Composed: February-June, 1957. Publication: Lengnick NO.4013, miniature score. Premiere: Edinburgh, Reid School of Music, October 23, 1957, the New Edinburgh Quartet. Manuscript: Kenneth Leighton Archive. SEE: B131,B300 W199. Study (1965) For piano. Commissioned by Trinity College of Music, London, for the piano examination syllabus, Grade 5 Studies, Book A.


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Composed: April, 1965. Publication: Trinity College of Music? Premiere: Unknown. Manuscript: Unknown W200. Symphony for Strings, Opus 3 For string orchestra. Composed: December, 1948-March, 1949. Publication: Lengnick, score and parts, hire only. Premiere: Enborne Church, December 10, 1949, Newbury String Orchestra conducted by Gerald Finzi. Manuscript: Unknown. SEE: B43,B124,B223,B336 W201. Symphony No. 1, Opus 42 For orchestra. Awarded the First Prize in the 1965 City of Trieste International Competition for a New Symphonic Work. Composed: 1963-March, 1964. Publication: Novello, NOV 8203, score; full score and parts for hire only. Premiere: Trieste, Giuseppe Verdi Theatre, May 31, 1966; Orchestra of the Verdi Theatre conducted by Aldo Ceccato. British premiere, Liverpool, October 17, 1967, Royal Liverpool Philharmonic Orchestra conducted by Sir George Grove. Manuscript: Kenneth Leighton Archive. SEE: B13, B15, B160, B187, B240, B294, B325 W202. Symphony No. 2, "Sinfonia Mistica", Opus 69 For soprano solo, SATB chorus and organ, orchestra, piano and strings. Composed as a "Requiem" for the composer's mother, who died in 1973. The Six parts include: 1. Sonnet (John Donne) 2. Scherzo I (13th century English) 3. Meditation (Traherne) 4. Elegy (George Herbert) 5. Scherzo 2 (Henry King) 6. Finale (Rev. Herbert Lowrey (author of Shining River) and John Donne). Composed: 1973—May, 1974. Publication: Novello, study score; full score and parts hire only. Premiere: Edinburgh, Usher Hall, March 4, 1977, Felicity Palmer, Scottish National Orchestra chorus and Scottish National Orchestra conducted by Gary Bertini. Manuscript: Kenneth Leighton Archive. SEE: B186, B241, B307, B310, B339, B351 W203. Symphony No. 3 "Laudes Musicae", Opus 90

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Works and First Performances For tenor soloist and orchestra. Words by Sir Thomas Browne, Elizabeth Barrett Browning (A Musical Instrument), and Shelly {"Music, when soft voices die... "). Commissioned by the BBC. Composed: September, 1983-March, 1984. Publication: Novello, score and parts, hire only. Premiere: Glasgow, Scottish National Orchestra Centre, March 15, 1985, Neil Mackie, tenor and the BBC Scottish Symphony Orchestra conducted by Vernon Handley. First Broadcast performance, Glasgow, from Henry Wood Hall, Neil Mackie, and the BBC Scottish Symphony Orchestra conducted by Vernon Hadley. Manuscript: Kenneth Leighton Archive. RECORDINGS: D185,D186 SEE: B41, B107, Bl 19, B188, B257, B282, 347

W204. Te Deum Laudamus (1964) For soprano and baritone soloists, SATB chorus and organ. Commissioned by the St. Cecilia Festival, London for the Festival Service in honour of St. Cecilia. Composed: June, 1964. Publication: Novello NOV 290417, vocal score. Premiere: London, Church of St. Sepulcre, Holborn, for the Festival Service in honour of St. Cecilia, November 24, 1964. Manuscript: Kenneth Leighton Archive. RECORDINGS: D187,D188 SEE: B133,B142,B248,329 W205. Te Deum Laudamus (Orchestral Version, 1966) For soprano and baritone soloists and SATB chorus and orchestra. For the Oxford Bach Choir. Composed: June, 1966. Publication: Novello NOV 290417, vocal score; full score and parts, hire only. Premiere: Oxford, Sheldonian Theatre, November 20, 1966, Oxford Bach Choir, conducted by Bernard Rose. Manuscript: Unknown. SEE: B2 W206. These Are Thy Wonders (A Song of Renewal), Opus 84 For soprano or tenor soloist and organ. Text by George Herbert. Commissioned by Neil Mackie for the St. Magnus Festival to 70th birthday of Peter Pears. Composed: April-May, 1981. Publication: Novello NOV 950529, score.


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Premiere: Kirkwall, Orkney, St. Magnus Cathedral, June 23, 1981 Manuscript: Kenneth Leighton Archive. SEE: B286 W207. Three Carols, Opus 25 For soprano solo and SATB chorus unaccompanied. 1. The Star Song, Opus 25a, (words by Robert Herrick) 2. Lully, Lulla, (words from the 15th Century Covetry Pageant of Shearman and Tailors) 3. An Ode on the Birth of Christ our Saviour (words by Robert Herrick). Composed: December, 1948-January, 1956. Publication: Novello, NOV 18326. Premiere: Unknown. Manuscript: Unknown. RECORDINGS: D189, D190, D191, D192, D193, D194, D195, D196, D197, D198, D199, D200, D201, D202, D203, D204, D205, D206, D207, D208, D209, D210, D211, D212, D213, D214, D215, D216, D219,D218,D219 SEE: B67 W208. Three Psalms, Opus 54 For male chorus, TTBB and five solo voices. Words from Psalms 42, 23, 249, and 98. Commissioned by the Baccholian Singers for the Brompton Festival, 1968. Parts include: 1. Like as the Hart; 2. The Lord is My Shepherd; 3. O Sing Unto the Lord a New Song. Composed: June-July, 1968. Publication: Novello NOV 860034, vocal score. Premiere: London, Holy Trinity Church, Brompton, October 23, 1968, the Baccholian Singers. Manuscript: Kenneth Leighton Archive. SEE: B93 W209. Three Songs from Compania (1946) For piano. Inspired by Virgil's Eclogues. Composed: December, 1946. Publication: Unpublished. Premiere: Unknown. Manuscript: Unknown. Listed in Composition Book. 1. W210. Time, You Old Gypsy Man (1945) Solo song for Baritone and piano. Words by Ralph Hodgson. Composed: December, 1945. Publication: Unpublished.

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Works and First Performances Premiere: Unknown. Manuscript: Kenneth Leighton Archive

W211. To Daisies (1945) Song for [baritone] and piano. Word by Robert Herrick. Composed: December, 1945. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W212. To Spring (1947) For piano. Composed: April, 1947. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W213. Toccata in Three Movements (1947) For piano solo. Composed: April-December, 1947. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W214. Toccata Brasiliana (1952) For two pianos. Composed: August, 1952. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W215. Twelve Days of Christmas (1948) For mixed chorus. Composed: December 1948—March, 1949. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W216. Two Anglican Chants for Psalm 10 (1982) Written for the Chamber Choir of Kingston Polytechnic. Composed: June, 1982. Publication: Unpublished. Premiere: Unknown.


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Manuscript: Kenneth Leighton Archive. W217. Two Fragments of Catullus (1950) For tenor, flute and strings. Used as part of the Cantata version of W225: Veris Gratia. Composed: August, 1950. Publication: Unpublished. Premiere: Unknown. Manuscript: See: W225: Veris Gratia. W218. Two Pieces for Oboe (1975) For oboe and piano. Commissioned for the Associated Boards. Composed: August-September, 1975. Publication: Unknown. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W219. Two Preludes for Piano (1947) For piano solo. Composed: January, 1947. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W220. Two Single Chants for Psalm 99 (1965) For the Borders Cathedral Festival. Composed: April, 1965. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W221. Under the Moon (No Date) Song. Words by E. Waller. Title page shows the following: "Words and Music by Kenneth James." [Kenneth Leighton] Composed: Unknown. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W222. Variations, Opus 30 For piano solo. For Angela. Composed: March-May, 1955. Publication: Novello NOV 100090

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Works and First Performances Premiere: London, Arts Council of Great Britain, October 24, 1955, Kenneth Leighton, piano. First broadcast performance, June 18, 1958, Peter Wallfisch, piano. Manuscript: Kenneth Leighton Archive. RECORDINGS: D220 SEE: B94, B102, B127, B201, B206, B268

W223. Veni Creator Spiritus: Prelude for Organ, (1987) For organ solo. Commissioned by the Dunfermline Abbey Festival. Composed: May-June, 1987. Publication: Novello, NOV 010233. Premiere: Dunfermline Abbey, June 21, 1987, Andrew Armstrong, organ. Manuscript: Kenneth Leighton Archive. RECORDINGS: D221,D222 W224. Veni Redemptor: Celebration for Organ, Opus 93 For organ solo. Commissioned for the North Wales Music Festival with funds provided by the Welsh Arts Council. Composed: July, 1985. Publication: Novello NOV 010233, score. Premiere: St. Asaph Cathedral, September 2, 1985, John Scott, organ. Manuscript: Kenneth Leighton Archive. RECORDINGS: D223 SEE: B172,B202 W225. Veris Gratia, Opus 6 Cantata for tenor solo, flute, chorus, timpani and strings. Words inspired by Catullus and Helen Waddell's Medieval Latin Lyrics. Written for Bernard Rose and the Eglesfield Musical Society. Composed: December, 1950. Publication: University of Edinburg/Kenneth Leighton Trust. Premiere: Queen's College, Oxford, June, 1951, the Eglesfield Musical Society, David Gulliver, Delia Ruhrn, and the Kalmar Orchestra conducted by Bernard Rose. Manuscript: Kenneth Leighton Archive. SEE: B292 W226. Veris Gratia, Suite for Oboe, Cello and Strings, Opus 9 In four movements. Dedicated to Gerald Finzi and inspired by Helen Waddell's Medieval Latin Lyrics. Composed: March, 1950.


63

Publication: Novello NOV. 12037, study score; full score and parts, hire only. Premiere: Shaftsbury, Guildhall, May 5, 1951, Anthony Danby, oboe, Jeanne Fry, cello, the Newbury String Players, conducted by Gerald Finzi. Manuscript: Unknown. RECORDINGS: D224, D270 (SEE ALSO B338) SEE: B33, B75, B83, B125, B327, B332, B338 W227. The Visitant (1947) For voice and piano. Originally No. 3 of Six Songs of James Joyce, but later omitted. Composed: December, 1947. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W228. Wassail All Over the Town (1964) Gloucestershire Wassail arranged for Soprano solo and SATB chorus, unaccompanied, for the publication, Sir Cristemasl: Six secular carols for Christmas: newly arranged for mixed chorus.... Composed: February, 1964. Publication: Novello NOV19370, album; NOV 050020, octavo score of carol only. Premiere: Unknown. Manuscript: Unknown. RECORDINGS: D225 W229. The West Wind (1946) For baritone and piano Words by John Masefield. Composed: February, 1946. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W230. What Love Is This of Thine? (1985) Motet for SATB chorus with divisions, unaccompanied. Words by Edward Taylor (1642-1729). Commissioned by the Provost of St. Mary's Episcopal Cathedral, Edinburgh, to celebrate the 25th anniversary of Dennis Townhill as Organist and Choirmaster of the Choristers. Composed: August, 1985. Publication: Novello NOV 290596, vocal score.

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Works and First Performances Premiere: Edinburgh, St. Mary's Episcopal Cathedral, October 5, 1986, Choir of St. Mary's Cathedral conducted by Kenneth Leighton. Manuscript: Kenneth Leighton Archive. RECORDINGS: D226, D227, D228, D229 SEE: B50

W231. Where Go the Boats (1945) For baritone and piano. Words by Robert Louis Stevenson. Composed: November, 1945. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W232. The Willow Song (No Date) From Shakespeare's Othello. For Mezzo-Soprano and Piano. Composed: Unknown. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W233. Winter Scenes: Suite for Piano[,Opus 24] For piano solo. In seven parts: 1. Landscape 2. The Wind 3. Mist 4. Woodsprites 5. By the Fireside 6. Snowflakes 7. Carol. Opus 24 was later reassigned to Fantasia Contrapuntistica. Composed: December, 1953. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive. W234. The World's Desire: a Sequence for Epiphany, Opus 91 For soloists, SATB chorus, organ and congregation, ad. lib. Words from the New Testament, the Russian Orthodox Liturgy (translated by David Craig), Bishop R. Heber (1783-1826), Richard Crashaw, and G. K. Chesterton. Commissioned by the BBC for the BBC Northern Singers and their conductor, Stephen Wilkenson. Composed: October, 1984. Publication: Novello NOV 290624, vocal score.


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Premiere: Broadcast performance. January 6, 1985, Alison Barlow, soprano, James Bowman, counter-tenor, Robin Leggate, tenor and David Thomas, bass; Margaret Phillips, organ and the BBC Northern Singers conducted by Stephen Wilkinson. First public performance, Stockport, St. George's Church, February 25, 1985. The BBC Northern Singers conducted by Stephen Wilkinson. Manuscript: Kenneth Leighton Archive. W235. You're So Far Away (1951) Song for voice and piano. Words and music by Kenneth James [Kenneth Leighton]. Composed: April-September, 1951. Publication: Unpublished. Premiere: Unknown. Manuscript: Kenneth Leighton Archive.


Discography Alleluia Pascha Nostrum, Op. 85 Dl.

Chandos CHAN 9132 / CD /1993 Raphael Wallfisch, cello and Peter Wallfisch, piano. Album Title: Kenneth Leighton: Piano Sonata, Op. 64; Chamber Works. Includes: Fantasy on an American Hymn Tune, Op. 70; Variations, Op. 30; Piano Sonata, Op. 64.

Animal Heaven (Diptych), Op. 83 D2.

Metier MSV CD92036 / 2000 / CD Alison Wells, soprano, John Turner, Recorder, Keith Elcombe, harpsichord, and Jonathan Price, 'cello. Album Title: Animal Heaven. Includes: Edward Harper: Lights Out: Four songs After Poems by Edward Thomas; Lyle Cresswell: Preyer to appease the Spirit of the Lamb; Sally Beamish: Four Findfrinny Songs; Roger Williams: 01 Mr. Lear; David Johnson: God, Man and the Animals.

Awake My Glory, Op. 79 D3.

Lammas LAMM 106D / CD / 1998

68

Discography The Choirs of Jesus College, Cambridge, accompanied by organ scholars Greg Morris and Julian Thomas. Album Title: Awake My Glory. Includes: Benjamin Britten: Te Deum in C; Herbert Howells: Like as the Hart Desireth the Waterbrooks; Kenneth Leighton: Collegium Magdalenae Oxoniense: Magnificat and Nunc Dimittis; Michael Tippett: Five Negro Spirituals from "A Child of Our Time": Steal Away; Nobody Knows; Go Down, Moses, By and By; Deep River; John Tavener: Two Hymns to the Mother of God: In You, O Woman Full of God; O Ye Apostles; Benjamin Britten: Rejoice in the Lamb.

D4.

Priory PRCD 251 / CD /1988 Priory PRC 251 / Cassette /1988 Choir of St. Mary's Cathedral, Edinburgh, Orchestra of St. Mary's School, Peter Backhouse, organ, conducted by Dennis Townhill, Album Title: My Beloved Spake. Includes: Henry PurcelkMy Beloved Spake, Chacony in G Minor for String Orchestra; Edward C. Bairstow: Save Us O Lord; Lord, Thou Hast Been our Refuge; Francis Jackson: Benedicte in G Major; Te Deum in D Major; Dennis Townhill: I Heard a Voice From Heaven; Lo, God is Here; Kenneth Leighton: What Love of This is Thine?

The Beauty of Holiness (1988) D5.

Priory PRCD 436 / CD / 1992 The Chapel Choir of St. Catherine's College, Cambridge, directed by Rupert Jeffcoat, Andrew Reid, organ. Album Title: Choral Works by Kenneth Leighton. Includes: Magdalen Service: Nunc Dimittis; Awake My Glory; Three Carols, op. 25: The Star-Song; Lully, Lulla, Thou Little Tiny Child; An Ode of the Birth of Our Saviour; O God, enfold Me in the Sun; Drop, Drop, Slow Tears; The Beauty of Holiness; The Second Service: Nunc Dimittis; Let All the world in Every Corner Sing

Communion Service in D, Op. 45 D6.

Lammas LAMM 035D / CD / 2001

Discography

69

The Choir of St. Nicholas, Harpenen, directed by Robert Crowley, Eric Pask, organ. Album Title: Praise Ye the Lord. Includes: Charles Wood: Glorious and Powerful God; Charles Villiers Stanford: Jubilate Deo in B Flat; Samuel SebastianWesley: Choral Song; Henry Purcell: Evening Service in G Minor: Magnificat; Nunc Dimittis; Hunphrey Clucas: Almighty Maker of My Frame; Ben Burrows: Chorale Prelude on "Leoni"; C. Hubert Parry: I Was Glad; Robert Evans: Mine Eyes for Beauy Pine; Chrstopher Te: Praise Ye the Lord, Ye Children; G. M. Moore: Pelude on an Old French Carol; John Joubert: O Lorde, the Maker of al Thing; Charles Collins: Agnus Dei; Kenneth Grange: Chorale Prelude on "Nun Danket"; Charles Villiers Standford: Te Deum Laudamus in B Flat; Maurice Greene: Lord, Let Me Know Mine End; E. D. Gaylor Mason; Finale; Andrian Baten: O Sing Joyfully; John Rutter: The Lord Bless You and Keep You.

Concerto for Cello and Orchestra, Op. 31 D7.

Chandos CHAN 8741 / CD / 1989 Chandos ABRD 1380 / LP /1989 Chandos ABTD 1380 / Cassette /1989 Raphael Wallfisch, cello, and the Scottish National Orchestra conducted by Bryden Thomson. Album Title: Kenneth Leighton: Cello Concerto. Includes: Kenneth Leighton, Symphony No. 3 "Laudes Musicae" for tenor solo and orchestra, op. 90.

Concerto for Harpsichord, Recorder and Strings, Op. 88 D8.

ASV White Line CD WHL 2143 / CD / 2002 John Turner, recorder, Keith Elcombe, harpsichord, the Royal Ballet Sinfonia conducted by Gavin Sutherland. Album Title: English Recorder Concertos. Includes: John Gardner: Petit Suite, Op. 254; John McCabe: Domestic Life; Peter Lawson: Song of the Lesser Twayblade; Philip Lane: Suite Champetre; Wilfrid Mellers: Aubade; Robin Milford: Two Pipe Tunes; Norman Kay: Mr.Pittfield's Pavane; Stephen Didgson: Concerto Chacony.

70

Discography

Concerto for Oboe and Strings, Op. 23 D9.

ASV CDWHL 2130 / Cd / 2001 Jill Crowther, Oboe with the English Northern Philharmonia conducted by Alan Cuckston. Album Title: English Oboe Concertos Includes: Michael Hurd: Concerto da Camera; William Blezard: Two Celtic Pieces; John Gardner: Concerto for Oboe and Strings, Op. 193; Philip Lane: Three Soanish Dances (1981).

Concerto for Organ, Timpani, and Strings, Op. 58 D10.

Hyperion A66097 / LP /1984 Christopher Rathbone, organ, Janos Keszei, timpani, Southern Pro Arte conducted by Charles Peebles. Album Title: Concerto for Organ, String Orchestra and Timpani op. 58. Includes: Michael Berkeley: Uprising: Symphony in One Movement; The Romance of the Rose.

Dll.

Musicon QCM 1 / LP /1981 Gillian Weir playing the organ of the Queensland Conservatorium of Music. Album Title: Gillian Weir Plays the organ of the Queensland Conservatorium of Music. Includes: Nicholas Bruhns: Prelude and Fugue in E Minor; J. S. Bach: Sei Gegrusset, Jesu Gutig, BWV 768: Chorale and XI Variations; Domenico Zipoli:, Ojfertorio in C Major.

Concerto for String Orchestra, Op. 39 D12.

Pye TPLS 13005 / LP /1967 London Philharmonic Orchestra conducted by John Snashall. Album Title: Concerto for String Orchestra, op. 39 Includes: Adrian Cruft: Divertimento for String Orchestra, op. 43; John McCabe: Symphony, op. 40, 1965.

Conflicts: Fantasy on Two Themes for Piano, Op. 51

Discography D13.

71

Abacus ABA 402-2 /1988 / CD Eric Parkin, piano. Album Title: Kenneth Leighton, Piano Music, Vol. 1. Includes: Kenneth Leighton, Sonatina No. 1; Five Studies, op. 22; Household Pets, op. 86; Fantasia Contrappuntistica, op. 24.

Crucifixus Pro Nobis, Op. 38 D14.

Abbey ABY 702 / LP /1970? The Choir of New College, Oxford, conducted by David Lumsden, Murray Sommerville, organ. With soloists Dara Carroll, treble, and Bram Wiggins, trumpet. Album Title: Music of Kenneth Leighton. Includes: God's Grandeur; An Easter Sequence; Paean.

D15.

Hyperion CD A 66849 / CD /1992 The Choir of St. Paul's Cathedral, with Neil Mackie, tenor, conducted by John Scott, Andrew Lucas, organ. Album Title: Cathedral Music by Kenneth Leighton. Includes: For Couplings, see D69.

D16.

Chandos CHAN 9485 / 1997 / CD The Finzi Singers, James Oxley, tenor solo, directed by Paul Spicer, Andrew Lumsden, organ. Album Title; Leighton: Choral Works. Includes: What Love of This is Thine?; Give Me the Wings of Faith; Crucifixus Pro Nobis, op. 38 (James Oxley, tenor); Lully, Lulla, Thou Little Tiny Child, op. 25b; Mass, op. 44; Laudate Pueri, op. 68.

D17.

Manor Records MRLO 191 / CD / 2000 Schola Cantorum of Oxford, conducted by John Mark Ainslie, John Mark Ainslie, tenor, Clive Driskill-Smith, organ. Album Title: Crucifixus: Sacred Choral Music by Leighton and Vaughan Williams. Includes: Ralph Vaughan Williams: Prayer to the Father of Heaven; Lord, Thou Hast Been Our Refuge; Kenneth Leighton; Lully, Lulla,Thou Little Tiny Child; Ralph Vaughan Williams: Mass in G Minor.

D18.

Naxos / CD / Forthcoming 2004 The Choir of St. John's College, Cambridge, directed by Christopher Robinson, and Christopher Steele-Perkin, trumpet.

72

Discography Album Title: Kenneth Leighton: Sacred Choral Music (English Choral Music series). Includes: Second Service: Magnificat and Nunc Dimittis, Op. 62; Give Me the Wings of Faith (1962); What Love of This is Thine (1985); Magdalen Service: Magnificat, (1959); Crucifixus Pro Nobis, Op. 38; Veni Creator Spiritus: Prelude for Organ (1987); Rockingham: Chorale Prelude on "When 1 Survey", 1975.

Crucifixus Pro Nobis, Op. 38: Drop, Drop Slow Tears D19.

Regis RRC 2031/4 CD Set / 1983-1989 Magdalen College Choir, Oxford, conducted by Dr. John Harper, with organists Geoffrey Weber and Magnus Williamson. Album Title: The English Anthem Collection Vol. 2. Includes: CD 1: Stanford: The Lord's My Shepherd; Glorius and Powerful God; Parry: My Sould There a Country; Wood: O Thou, the Central Orb; Hail Gladdening Light; Expectans Expectavi; Bairstow: Blessed City, Heavenly Salem; Let All Mortal Flesh Keep Silence; Ireland: Greater Love Hath No Man; Vaughan Williams: Whitsunday Hymn; Finzi: Sweet and Sacred Feast; Hoist: The Evening Watch; Howells: Like as the Hart; CD 2: Walton: Set Me as a Seal Upon Thine Heart; Stewart: King of Glory, King of Peace; Rose: Praise Ye the Lord; Joubert: O Lord, the Maker ofAl Thing; Britten: Hymn to St. Peter; Harris: Bring us, O Lord God; Harvey: Come, Holy Ghost; The Tree; Howells: Thee Will I Love; Come, My Soul; Berkeley: Thou Hast Made Me; John Tavener: Hymn to the Mother of God; Bennett: Verses I: Verses II; Verses III; Harper: Salve Regins; Ubi Caritas; Leighton: Give Me the Wings of Faith.

D20.

Priory PRCD 436 / CD /1992 The Chapel Choir of St. Catherine's College, Cambridge, directed by Rupert Jeffcoat, Andrew Reid, organ. Album Title: Choral Works by Kenneth Leighton. Includes: (See D5 for couplings).

D21.

York Ambisonic York CD 141 / CD /1998 The Choir and Organ of St. Giles Cathedral, Edinburgh, Michael Harris, Organist and Master of Music, John Harris, Assistant Organist. Album Title: Sounds of St. Giles'.

Discography

73

Includes: J.S.Bach: Prelude and Fugue in G, BWV 541; Benjamin Britten: Jubilate Deo in C; J.S.Bach: Wachet Auf Und Ruft Die Stimme, BWV 645; John Taverner: God is With Us—A Christmas Proclamation; Andre Fleury: Variations sur un Noel Bourguignon; Cesar Franck: Piece Heroque; J.S. Bach: An Wasserflussen Babylon, BWV 653; O Mensch, Bewein'Dein'Sunde Gross, BWV 622; Jean Langlais: Incantation Pour Un Jour Saint; Felix Mendelssohn: Heilig; Ralph Vaughan Williams: O, Clap Your Hands; Henri Mulet: Tu Es Petrus. D22.

Lammas LAMM 147D / CD / 2002 The Girls and Men of Sheffield Cathedral Choir conducted by Neil Taylor, with Organist Peter Heginbotham, Album Title: Crux Fidelis. Includes: Henry Purcell: Hear My Prayer; John Sanders: The Reproaches; John Blow: Salvator Mundi; William Walton: A Litany; Edward Bairstow: The Lamentation; Pablo Casals: O Vos Omnes; John IV, King of Portugal: Crux Fidelis; Antonio Lotti: Crucufixus; G. F. Handel: Since by Man Came Death; Deodat de Severac: Tantum Ergo; Francis Poulenc: Litanies a la Vierge Noire; French, Michael Nicholas, arr: Love is Come Again; Durch, Charles Wood, arr.: This Joyful Eastertide; William Byrd: Haec Dies; John Scott: Easter Anthems; Richard Shephard: Ye Choirs of New Jersulaem.

Earth, Sweet Earth...Laudes Terrae, Op. 36 D23.

Abacus ABA 109-2 /1988 / CD Neil Mackie, tenor, and John Blakely, piano. Album Title: Earth, Sweet Earth. Includes: Hans Werner Henze: Three Auden Songs; Judith Weir: Scotch Minstrelsey.

An Easter Sequence, Op. 55 D24.

Priory PRCD 666 /1998 / CD Bath Abbey Choir of Boys and Men, Marcus Sealy, organ; Bath Abbey Girls' Choir, Richard Dunster-Sigtermans, organ. Album Title: Music For an Abbey's Year, Vol. 2. Includes: Vatican Plainsong: Te Deum; William Byrd: Rorate Coeli; Anthony Piccolo: Magnificat; Traditional: Gaudate; Felix Mendelssohn: When Jesus Our Lord; Maurice Greene:

74

Discography Lord, Let Me Know Mine End; Robert Parsons: Ave Maria; Sir William Walton: A Litany; Sir William Harris: Come Down, 0 Love Divine; Sir Charles Stanford: How Beauteous Are Their Feet; Samuel Sebastian Wesley: Thou Wilt Keep Them in Perfect Peace; Sir Hubert Parry: Hear My Words, Ye People.

D25.

Abbey ABY 702 / LP /1970? The Choir of New College, Oxford, conducted by David Lumsden, Murray Sommerville, organ. With soloists Dara Carroll, treble and Bram Wiggins, trumpet. Album Title: Music of Kenneth Leighton. Includes: Crucufixus Pro Nobis; God's Grandeur; Paean.

D26.

Lammas LAMM 107D / CD / 1996 The Choristers of Lichfield Cathedral directed by Andres Lumsden with organist Robert Sharpe. Album Title: Begone Dull Care. Includes: George Dyson: Magnificat (Service in c Minor); Jean Francois Lallouette: O Mysterium Ineffabile; L. J. White: A Prayer of St. Richard of Chichester; John Ireland: Ex Ore Innocentium; Ralph Vaughan Williams: The Song of the Tree of Life; George Dyson: Nunc Dimittis (Service in c minor); Benjamin Britten: Friday Afternoon (Andrew Lumsden, piano); The Salley Gardens; Oliver Cromwell.

D27.

Naxos / CD / Forthcoming 2004 The Choir of St. John's College, directed by Cambridge, Christopher Robinson, and Christopher Steele-Perkin, trumpet. Album Title: Kenneth Leighton: Sacred Choral Works. (English Chorale Music series). Includes: Second Service: Magnificat and Nunc Dimittis, Op. 62; Give Me the Wings of Faith (1962); What Love Is This of Thine? (1985); Magdalen Service: Magnificat, (1959); Crucifixus Pro Nobis, Op. 38; Veni Creator Spiritus: Prelude for Organ (1987); Rockingham: Chorale Prelude on ''When I Survey" (1975).

Elegy for Cello and Piano, Op. 5 D28.

ASV CD WHL 2103 /1996 / CD Bernard Gregor-Smith, cello; Yolande Wrigley, piano. Album Title: Cello Romance

Discography

75

Includes: Alexander Borodin, Serenade; Gabriel Faure, Sicilienne, from Pelleas et Melisande; Serge Rachmaninov, Vocalise, op. 34, no. 14 (transcribed by Rose); Traditional, Irish Tune from County Derry; Enrique Granados, Spanish Dance no. 5, "Andaluza"; Gabriel Faure, Apres un Reve, op. 7, no. 1 (transcribed by Pablo Casals); Claude Debussy, Romance (transcribed by Alexander Grechaninov, edited by Gregor Piatigorsky); Nikolai RimskyKorsakov, Song of India from Sadko (revised by Pejitsik); Peter Ilych Tchaikovsky; Valse Sentimentale, op. 51 no. 6 (edited by Rose); Dimtry Shostakovich, Romance from The Gadfly (arranged by Otty);C\aude Debussy, Christmas of the Homeless Children (Noel des Enfants qui n 'ont Plus de Maison , arranged by Young); Alexander Glazunov, Elegie, op. 17 "Une Pensee a Franqois Liszt"; Traditional, Three Northumbrian Folk Songs, 11 In Memory of Kathleen Ferrier" (arranged b y Wright): Billy Boy; Blow the Wind Southerly; The Keel Row; Alexander Glazunov, Spanish Serenade, op. 20, no. 2 (edited by Rose); Maurice Ravel, Piece en Forme D 'Habanera (transcribed by Bazalaire); Camille Saint-Saens, The Swan from "The Carnival of the Animals"; Anton Rubenstein, Melody in F, op. 3, no. 1; Reinhold Gliere, Albumblatt, op. 51, no. 1. D29.

Dutton CDLX 7118 / CD / 2002 Andrew Fuller, cello, Michael Dussek, piano. Album Title: Kenneth Leighton: Piano Trio, Op. 46 Includes: Kenneth Leighton; Piano Trio, Op. 46; Partita for Cello and Piano, Op. 35; Metamorphoses for Violin and Piano, Op. 5.

Elegy for Organ (1965) D30.

Priory PRCD 326 / 3 CDs /1995 Dennis Townhill playing the organ of St. Mary's Cathedral, Edinburgh. Album Title: The Complete Organ Works of Kenneth Leighton. Includes: :Kenneth Leighton: Elegy; Fanfare; Paean; Et Resurrexit (Theme, Fantasy, and Fugue): Festival Fanfare; Improvisation—In Memoriam Maurice de Sausmarez; Choral Prelude on Rockingham; Six Fantasies on Hymn Tunes, Op. 72; Martyrs, Op. 73; Ode; Missa De Gloria, Op. 82; Veni Redemptor, Op. 93; Veni Creator Spiritus—Prelude.

D31.

Abbey LPB 790 / LP /1977

76

Discography George McPhee playing the organ of Paisley Abbey. Album Title: Paisley Abbey Organ Played by George McPhee. Includes: Charles M. Widor: Allegro (from Smphony No. VI); John Black: Ane Lessone Upone the Feiftie Psalme; Rory Boyle: Toccata; John Black: Ane Lessone Upone the Secund Psalme; Jean Francais Dandrieu: Noel: Joseph est Bien Marie; Charles M. Widor: Toccata (from Symphony No. V).

Et Resurrexit: Theme, Fantasy and Fugue, Op. 49 D32.

Virtuoso Series TLPS 13022 / LP / 1968 Robert Munns playing the organ of Huddersfield Town Hall, England. Album Title: Et Resurrexit, op. 49, by Kenneth Leighton Includes: John Cook: Fanfare for Organ; Robert Cundick: Sonatina for Organ; Myron Roberts: Homage to Perotin.

D33.

Wealden WS 145 / LP /1974 James Parsons, Organist. Album Title: Organ Music From the Blundell's School. Includes: Gerog Bohm: prelude and Fugue in C; J. S.Bach: Sonata No. 6 in G, BWV 530; Robin Orr: Three Preludes on Scottish Psalm Tunes: Martyrs; Selma; Balfour; Marcel Dupre: Prelude and Fugue in B, Op. 7; Sigfrid Karg-Elert: Chorale Prelude on 'Von Himmel Hoch'.

D34.

Priory PORCD 326 / 3 CDs / 1995 Dennis Townhill playing the organ of St. Mary's Cathedral, Edinburgh. Album Title: The Complete Organ Works of Kenneth Leighton. Includes : See D30 for couplings.

D35.

Lammas LAMM 113D / CD / 1998 Jamie Hitel, organ. Album Title: For the Fallen. Includes: Edward Elgar: For the Fallen; Richard Farrant: Call to Remembrance; Alastair Stout: Darkening Skies; Maurice Greene: Lord Let Me Know Mine End; Ernest Bullock: Give Us the Wings of Faith; Douglas Guest: For the Fallen; Herbert Sumsion: They Who Go Down to the Sea In Ships; John Ireland: Greater Love Hath No Man; Kenneth Leighton: Nunc

Discography

77

Dimittis from The Second Service, Op. 62; Johannes Brahms: How Lovely are Thy Dwellings.

An Evening Hymn (1979) D36.


Fanfare for Organ (1966) D37.

Wealden WS 139 / LP /1974 Malcolm McKelvey playing the organ of Christ's Hospital. Album Title: The Organ of Christ's Hopsital. Includes: Giovanni Gabrieli: "La Spiritata" ; Felix Mendelssohn: Prelude and Fugue No. 1 in C Minor; Ralph Vaughan Williams: Prelude on "Rhosymidre"; C.S.Lang: Prelude on "Leoni"; Jan Peeterszoon Sweelinck: Variations on the Secular Melody: EstCe Mars?; C. H. H. Parry: Chorale Prelude on "Rockingham "; J. S. Bach: Prelude and Fiddle' Fugue in D Minor; Pierre du Mage: Recit and Bass de Trompette; John Blow: Toccata for Double Organ.

D38.

Priory PRCD 326 / 3 CDs /1995 Dennis Townhill playing the organ of St. Mary's Cathedral, Edinburgh. Album Title: The Complete Organ Works of Kenneth Leighton. Includes: See D30 for couplings.

D39.

Raven OAR-560 / CD / 2001 Peter Latona performing at the organs of the Basilica of the National Shrine of the Immaculate Conception, with the Washington Symphonic Brass. Album Title: An Organ Pilgrimage Includes: Alexandre Guilmant: Sonata No. 1 in D minor, Op. 42; Jean Langlais: Huit Piece Modales: Mode de Re; Mode de La; Dietrich Buxtehude: Praeludium, in F# minor, BuxWV 146; Johannes Brahms: Eleven Chorale Preludes, Op. 22: Schmucke Dich, No. 5; Gott du Frommer Gott, No. 7; Egil Hovland: Nu La Oss Takke Gud; Jakob Johann Froberger: Libro Quattro:

78

Discography Toccata XI1; Carlo Francesco Po llarolo: Fuga in D minor; Giovanni Gabrieli: Canzon in Echo (a 12, basso generate); Gaston Litaize: Cortege.

Fantasia Contrappuntistica: Homage to Bach, Op. 24 D40.

Abacus ABA 402-2 / 1988 / CD Eric Parkin, piano. Album Title: Kenneth Leighton, Piano Music, Vol. 1. Includes: Kenneth Leighton, Sonatina No. l;Comflicts, op. 51; Five Studies, op. 22; Household Pets, op. 86.

D41.

Chandos CHAN 9818 / 2000 / CD Margaret Fingerhut, piano. Album Title: Leighton: Piano Music. Includes: : Five Studies, Op. 22; Fantasia Contrappuntistica, Op. 24; Pieces for Angela, Op. 47; Four romantic Pieces, Op. 95.

Fantasia on the Name of Bach, Op. 29 D42.

Afka SK 556 / CD / 2003 The Phillips Academy Chamber Ensemble: Hilary Cumming, violin; Holly Barnes, viola, Elizabeth Aureden, cello, and Christopher Walter, piano. Album Title: Music of Kenneth Leighton. Includes: Kenneth Leighton: Preludes for Piano; Quartet in One Movement, Op. 63.

Fantasy-Octet: Homage to Percy Grainger, Op. 87 D43.

Chandos CHAN 9346 / CD / 1995 Academy of St.. Martin-in-the Fields Chamber Ensemble with Martin Sears, baritone. Album Title: Themes of Grainger. Includes: Percy Grainger, Molly on the Shore; Shallow Brown (with Martin Sears, baritone); Shepherd's Hey!; Sussex Mummers' Carol; Handel in the Strand; Irish Tunes from County Derry; The Immovable Do; My Robin Is to the Greenwood Gone; Mock Morris.

Discography

79

Fantasy on an American Hymn Tune, Op. 70 D44.

Chandos CHAN 9132 / CD /1993 Janet Hilton, clarinet, Raphael Wallfisch, cello, and Peter Wallfisch, piano. Album Title: Kenneth Leighton: Piano Sonata, Op. 64; Chamber Works. Includes; Alleluia Pascha Nostrum, Op. 85; Variations, Op. 30; Sonata for Piano, Op. 64.

Festival Fanfare (1968) D45.

Vista VPS 1034 / LP /1974 Jonathan Bielby performing on the organ of Wakefield Cathedral. Album Title: The Organ of Wakefield Cathedral. Includes: Craig Sellar Lang: Tuba Tune; Louis Vierne: Prelude for Organ, op. 31, no. 5; Alexandre Guilmant: Sonata No. 3 in C Minor, op. 56; Pietro A. Yon: Toccatina for Flute; Richard Rodney Bennett: Alba; C. Hubert H. Parry: Toccata and Fugue, The Wanderer.

D46.

Gothic 78624 / LP /1987 Gothic 78624/CD/1987 Gothic 78624 / Cassette /1987 Joan Lippincott playing the organ in the Cathedral of St. John the Divine, New York City. Album Title: Music for a Cathedral Includes: Eugene Gigout: Grand Choeur Dialogue; Louis Vierne: Final from Organ Symphony No. 1; Cesar Franck: Finale from Pieces for Organ (1862); Henry Walford Davies: Solemn Melody; Charles-Marie Widor: "Toccata"from Symphonie V, Op. 42, in F Minor.

D47.


D48.

GEMA/CD/2001 Gabriel Dessauer an die Mayer-Orgel von St. Bonaventure, Wiesbaden. Album Title: Orgel-Feuerwerk III

80

Discography Includes: Porter Heaps: Swinging Bach: Toccata und Fuge dmoll?; Marco Enrico Bossi: Scherzo g-moll, op. 49/2; Scott Joplin: The Entertainer( Orgelbearbeitung: G. Dessauer); Pietro Alessandro Yon: Toccatina for the flute: "L'Organo Primitivo"; Gerald Hendrie: Toccata und Fuge (uas: Le Tombeau de Marcel Dupre; Noel Rawsthorne: Hornpipe Humoresque: A Nautical Extravaganza; Camil Van Hulse: Fantasie— toccata sur le "Dies Irae", op. 83/2; Julius Reubke: Sonate cmoll "Der 94 Psalm ".

Five Studies, Op. 22 D49.

Abacus ABA 402-2 / 1988 / CD Eric Parkin, piano. Album Title: Kenneth Leighton, Piano Music, Vol. 1. Includes: Kenneth Leighton, Sonatina for Piano No. 1, Op. la; Conflicts, Op. 51; Household Pets, Op. 22; Fantasia Contrappuntistica, Op. 24.

D50.

Chandos CHAN 9818/ 2000 / CD Margaret Fingerhut, piano. Album Title: Leighton: Piano Works. Includes: For couplings, see D41.

Four Romantic Pieces, Op. 95 D51.

BMS CD 408R / CD / 1988 BMS 408 /Cassette/ 1988 Kenneth Leighton and Colin Kingsley, piano. Album Title: Kenneth Leighton Piano Music. Includes: Kenneth Leighton: Sonata for Piano Duet, Op. 92.

D52.

Chandos CHAN 9818/ 2000 / CD Margaret Fingerhut, piano. Album Title: Leighton: Piano Music. Includes: For couplings, see D41.

Give Me the Wings of Faith (1962) D53.

EMI HQS 1350 / LP /1966

Discography

81

The Choir of Chichester Cathedral conducted by John Birch, Richard Seal, organ. Album Title: Chichester Cathedral—900 Years. Includes: See D202 for couplings. D54.

His Master's Voice CLP 3585 / LP /1966 His Master's Voice CSD 3588 (Stereo) / LP /1966 The Choir of Chichester Cathedral conducted by John Birch, Richard Seal organ. Album Title: Treasury of English Music Vol. 5: 1900-1965. Includes: Charles Villiers Stanford: Beati Quorum Via; Charles Wood: Sanctus and Benedictus (from Short Communion Service in the Phyrigian Mode); Ralph Vaughan Williams: O Taste and See; Edward C. Bairstow: Let All Mortal Flesh Keep Silence; Martin Shaw: The Creed; Gustav Hoist: Turn Back, O Man; John Ireland: Greater Love Hath No Man; Herbert Howells: Magnificat (Collegium Regale); William Walton: Set Me As a Seal Upon Thine Heart; Peter Maxwell Da vies: Ave Maria.

D55.

Alpha CDC A 915/ CD /1990 Choir of Magdalen College, Oxford, John Harper, conductor, Geoffrey Webber, organ (works 2 and 5), Magnus Williamson, organ (works 3 and 13). Album Title: The English Anthem, Volume 5: Modern Anthems Since 1960. Includes: Jonathan Harvey: Come, Holy Ghost; The Tree; Herbert Howells: Thee Will I Love; Come, My Soul; Lennox Berkeley: Thou Hast Made Me; John Tavener: Hymn to the Mother of God; Richard Rodney Biennett: Verses; John Harper: Salve Regina; Ubi Caritas; Kenneth Leighton: Drop, Drop Slow Tears (from Op. 38).

D56.

Chandos CHAN 9485 /1997 / CD The Finzi Singers directed by Paul Spicer, Andrew Lumsden, organ. Album Title: Leighton: Choral Music. Includes: For couplings, see D16.

D57.

Hyperion CDA67087 /1999 / CD The Choir of St. Paul's Cathedral, London, John Scott conductor, Huw Williams, organ. Album Title: The English Anthem, vol. 7. Includes: Sir Charles Villiers Stanford; How Beauteous are the Feet; Sir John Goss: If We Believe That Jesus Died; Hubert Sumsion: They That Go Down to the Sea and Ships; John Rut-

82

Discography ter: God Be in My Head; Sir Edward C. Bairstow: Lord, Thou Hast Been Our Refuge; Sir William Walton: A Litany; Sir C. Hubert Parry: Never Weatherbeaten Sail; Thomas Attwood: Turn Thy Face from My Sins; Herbert Howells: O Pray for the Peace of Jerusalem; Benjamin Britten: Hymn to St. Peter; Geraint Lewis: The Souls of the Righteous; Charles Wood: Oculi Omnium; Philip Moore: Lo! God is Here!.

D58.

Regis RRC 2031 / 2 CD set /19 Magdalen College Choir, Oxford, conducted by Dr. John Harper, with organists Geoffrey Webber and Magnus Williamson. Album Title: The English Anthem Anthology Vol. 2. Includes: For Couplings see D19.

D59.

Naxos / CD / Forthcoming 2004 The Choir of St. John's College, Cambridge, directed by Christopher Robinson and Christopher Steele-Perkin, trumpet. Album Title: Kenneth Leighton: Sacred Choral Works (English Choral Music series). Includes: See D18 for couplings.

God's Grandeur (1957) D60.

Abbey ABY 702 / LP /1970? The Choir of New College, Oxford, conducted by David Lumsden, Murray Sommerville, organ. With soloists Dara Carroll, treble and Bram Wiggins, trumpet. Album Title: Music of Kenneth Leighton. Includes: Crucifixus Pro Nobis; An Easter Sequence; Paean.

D61.

Meridian CDE 84123 / CD / 1994 The Choir of New College, Oxford, directed by Edward Higginbottom. Album Title: Ralph Vaughan Williams-Mass in G Minor With Choral Works by Leighton, Howells, Rose, Harris and Harvey. Includes: Ralph Vaughan Williams, Mass in G Minor; Herbert Howells, Take Him, Earth, for Cherishing; Bernard Rose, Feast Song for Saint Cecilia; William Harris, Faire is the Heaven; Jonathan Harvey, I Love the Lord.

D62.

Chandos CHAN 9485 / 1997/CD The Finzi Singers directed by Paul Spicer, Andrew Lumsden, organ.

Discography

83

Album Title: Leighton: Choral Music. Includes: What Love Is This of Thine? (1985); Give Me the Wings of Faith (1962); Crucifixus Pro Nobis, Op. 38 (James Oxley, tenor); Lully, Lulla, Thou Little Tiny Child, op. 25b; Mass, Op. 44; Laudate Pueri, Op. 68.

Household Pets: Suite for Piano, Op. 86 D63.

Abacus ABA 402-2 /1988 / CD Eric Parkin, piano. Album Title: Kenneth Leighton, Piano Music, Vol. 1. Includes: Kenneth Leighton, Sonatina for Piano No. 1, Op. la; Conflicts, Op. 51; Five Studies, Pp. 22; Fantasia Contrappuntistica, Op. 24.

Household Pets, Op. 86: Cat's Lament D64.

Centaur CRC 2511 / CD / 2001 Noel Lester, piano, Edward Crafts, baritone, Deidra Palmour, soprano, Nancy Roldan, piano. Readings by Edward Crafts and Deidra Palmour. Album Title: Purrfectly Classical. Includes: Geoffrey Chaucer: Reading. Mice Before Milk; Aaron Copland: The Cat and the Mouse; Gabriel Faure: Kitty Valse from Dolly Suite; John Cage; little four paws; Anonymous; reading: St. Jerome's Cat; Domenico Scarlatti: The Cat Fugue; C. E. F. Weyse: Cat Cavatina: Elie Siegmeister: Our Cat; Carlos Guastavino: Gato; Algernon Charles Swinburne: Reading: To a Cat; Samuel Barber: The Monk and His Cat; Frederic Chopin: The Cat's Waltz, Op. 34/3; William Brightly Rands: Reading: The Cat of Cats; Bohuslav Martinu: March of the Cats in the Midnight Solstice; Hugo Wolfe: Mouse-Catching Rhyme: Anonymous: Reading: The Wonder of the Cat; Alan Hovaness: Cat Dreaming; Maurice Ravel: Cat Duet from L Enfant et les Sortileges; Emily Dickson: Reading: She Sights a Bird; Gabriel Fauree Mi-a-ou from Dolly Suite; Ketzel: Piece for Piano Four Paws; Anonymous: Reading: Cats Are Wonderful Friends; Ernst von Dohnanyi: Cats on the Roof; William Wordsworth: Reading: The Kitten and the Falling a Leaves; Georges Bizet: Puss in the Corner from Children's Games; Erik Satie: Song of the Cat; George Antheil: The Dog-Cat Polka; Anonymous: The Cats of Kilkenny; Peter I. Tchaikovsky: Puss-in-Boots and The White Cat, from Sleeping Beauty; Benjamin Britten:

84

Discography Britten: For I Will Consider My Cat Jeoffrey; W. Salmonov: The Hungry Cat and the Weil-Fed Cat; Ben King: Reading: The Cat; Aaron Copland, arr.: I Bought Me a Cat; Zez Confrey: Kitten on the Keys; Gioacchino Rossini: The Cat Duet.

Hymn to Matter, Op. 74 D65. N Y C o S C D l / C D / 1 9 9 9 NYCoSCl /Cassette/1999 The National Youth Choir of Scotland and the Royal Scottish National Orchestra conducted by Christopher Bell. Album Title: A Burns Sequence Includes: John Gardener: A Burns Sequence; John McEwen: Six Songs for Female Voices.

Hymn to the Nativity (1960) D66.

St. Olaf Records E-646 / LP /1980 St. Olaf Records E-646CD / CD /1987 The St. Olaf Choir, directed by Kenneth Jennings. Recorded in the Grieg Hall at the Bergen International Festival. Album Title: Reflections of Norway. Includes: Jean Berger: Brazilian Psalm; Trad: I'm Going Home; Undine Smith Moore (arr.): I Believe This Is Jesus; R. Melius Christiansen (arr.): Praise to the Lord; Waldemar Ahlen (arr.): Sommersalm (The Earth Adorned); Hugo Alfven: Och Jungfrau Hon gar i Ringen; Alfred Paulsen: Norge, Mitt Norge; Edvard Grieg: Hvad Est Du Dog Skjon; Knut Nystedt: O Crux; Charles William Forsberg: Exultation of Christ.

D67.

WCCA Audio WCCA-CD-2 / CD /1999 The Choir of Wakefield Cathedral, directed by Jonathan Bielby, Sean Farrell and Louise March, Assistant Organists. Album Title: English Twentieth Century Church Music. Includes: Ralph Vaughan Williams: Let All the World; Jonathan Bielby: Gathering Prayer; John Rutter: The Lord Bless You and Keep You; Jonathan Bielby: Let the Roaring Organ Loudly Play; Jonathan Bielby: Anima Christi; Bryan Kelly: Magnificat in C: Nunc Dimittis in C; Jonathan Bielby: Psalm 103 (verses 17-end); John Sanders: The Reproaches; Jonathan Bielby: Exsultet; Herbert Howells: Like As the Hart; Jonathan Bielby: Love's Endeav-

Discography

85

our, Love's Expense: Edward Bairstow: Magnificat in G: Nunc Dimittis in G; Jonathan Bielby: Te Deum.

Improvisations In Memoriam Maurice de Sausmarez (1969) D68.


D69.

Wealden WS 137 / LP /1975 The Choir of Marlborough College, directed by Roy Wilkinson, Christopher Rathbone, organ. Album Title: The Organ and Choir ofMalborough College. Includes: Franz Liszt: Prelude and Fugue on B-A-C-H: Herbert Howells: Siciliano for a High Ceremony; William Walton: Set Me As a Seal Upon Thine Heart; Norman Cocker: Tuba Tune; H. Balfour Gardener: Evening Hymn; J. S. Bach: Chorale Prelude: Das Alte Jahr Vergangen 1st; Olivier Messiaen: Joie et Clarti des Corps Glorieux.

Laudate Pueri, Op. 68 D70.

Chandos CHAN 9485 / 1997 / CD The Finzi Singers directed by Paul Spicer, Andrew Lumsden, organ. Album Title: Leighton: Choral Works. Includes: For couplings, see D16.

Let All the World in Every Corner Sing (1965) D71.

Abbey611/LP/1967 The Choir of Worcester Cathedral, Christopher Robinson, Master of the choristers and organist, Harry Bramma, assistant organist. Album Title: Music from Worcester Cathedral. Includes: Handel; Let the Bright Seraphim; Byrd: Exsurge Domine; Topkins: My Shepherd Is the Living Lord; Wise: Prepare Ye the Way; Schubert: The Lord Is My Shepherd; Elgar: The Spirit of the Lord Is Upon Me; Wickens: O Vos Onmes;

86

Discography Robinson: Magnificat in C; Rachmaninoff: Hymn of the Cherubim.

D72.

Abbey LPB 663 / LP / 1970 Liverpool Cathedral Choir directed by Ronald Woan, Noel Rawsthorne, organ. Album Title: Liverpool Cathedral Sings. Includes: William Mathias: Make a Joyful Noise; Gregor Aichinger: Regina Coeli; Orlando Di Lasso: Adoramus Te; Charles Wood, arr.: This Joyful Eastertide; William Sterndale Bennett: God Is a Spirit; William Crotch: Lo, Star-Led Chiefs; Patrick Hadley: My Beloved Spake; Giovanni Gabrieli: Jubilate Deo; Thomas Weelkes: Hosanna to the Son of David; Giovanni Pierluigi da Palestrina: Recordata; J.S. Bach: O Jesu So Meek; Christians Shout for Joy; John Joubert: Lord, Thou Hast Been Our Refuge; William Byrd: Ave Verum Corpus; Henry Ley: The Strife Is O 'er.

D73.

Abbey LPB 669 / LP /1970 The Choir of the Parish Church of St. James, Great Grimsby, directed by Robert Walker, Terence Albright, organ. Album Title: The Choir of the Parish Church of St. James, Great Grimsby. Includes: Charles Villiers Stanford: Te Deum in B Flat; Thomas Attwood: Teach Me O Lord; Samuel Sebastian Wesley: Thou Wilt Keep Him in Perfect Peace; Charles Wood: O Thou Central Orb; Expectans Expectavi; Olivier Messiaen: O Sacrum Convivium; Henry Purcell: Hear My Prayer, O Lord; William Byrd: Sing Joyfully; John Gardner; O How Amiable Are Thy Dwellings; William Harris: Faire Is the Heaven; Terence Allbright: O Jesu Blessed Lord.

D74.

EMI ASD 3450 / LP / 1978 King's College Choir, Cambridge conducted by Philip Ledger. Album Title: Music For Holy Week. Includes: Antonio Lotti: Crucifixus; William Horsley: There is a Green Hill Far Away; Tomas Luis de Victoria: O Vos Omnes; Thomas Morley: Nolo Mortem Peccatoris; Orlando de Lasso: Moduli Modulatorum vol. 2: Tristes Est Anima Mea; John IV, King of Portugual: Crux Fidelis; Tomas Luis de Victoria: Videte Omnes Populi; Orlando Gibbons: Drop, Drop, Slow Tears; Samuel Webbe: O Salutaris Hostia (arr. Miller); John Taverner: Dum Transisset Sabbatum; John Sheppard: Haec

Discography Dies; tide.

87

Trad.: Jesus Christ is Risen Today; This Joyful Easter-

D75.

Alpha ACA 564 / LP /1987 Rippon Cathedral Choir conducted by Ronald Perrin, Robert Marsh, organ. Album Title: Sing Joyfully Includes: Ronald Perrin: Miganificat; Nunc Dimittis; William Byrd: Sing Joyfully; Herbert Sumsion: By the Waters of Babylon; Joseph Haydn: Insanae et Vanae Curae; Edward C. Bairstow: Though I Speak With the Tongues of Men; Derek Holman: Jesus Christ the Apple Tree; Ronald Perrin: Chant: Psalm 32; William Mathias: Lift Up Your Heads; John Ireland: Ex Ore Innocentium; Ronald Perrin: Te Deum in C

D76.

Cantus CAN 310-2 / CD /1988 The Finzi Singers conducted by Paul Spicer, Andrew Lumsden, organ, Stephen Coombs and Christopher Scott, piano. Album Title: The Hussey Legacy Includes: Benjamin Britten: Rejoice in the Lamb; John Taverner: The Call; Herbert Howells: One Thing Have I Desired of the Lord; Gordon Crosse: The Covenant of the Rainbow; Brian Judge: Ambrosian Prayer; Gerald Finzi: Lo, the Full Final Sacrifice.

D77.


D78.

Priory PRCD 436 / CD / 1992 The Chapel Choir of St. Catherine's College, Cambridge, directed by Rupert Jeffcoat, Andrew Reid, organ. Album Title: Choral Works of Kenneth Leighton. Includes: (See D5 for couplings).

D79.

EMI Classics CDC 7 54418 2 /1993 / CD The Choir of King's College, Cambridge, Conducted by Stephen Cleobury, Christopher Hughes, organ. Album Title: English Anthems. Includes: Charles Wood: Hail, Gladdening Light; Edgar Bainton: And I Saw a New Heaven; John Ireland: Greater Love Hath No Man; William Harris: Faire in the Heaven; Edward Naylor:

88

Discography Vox Dicentis: Clama; Herbert Howells: Like As the Hart Desireth the Waterbrooks; William Walton: Set Me As a Seal Upon Thine Heart; Lennox Berkeley: The Lord Is My Shepherd; Benjamin Britten: A Hymn of St. Columba (Regis Regum Rectissimi); Jonathan Harvey: / Love the Lord; Judith Weir: Ascending into Heaven; Nicholas Maw: One Foot in Eden Still, I Stand.

D80.

EMI Classics 7243 5 65103 / CD /1994 EMI His Master's Voice ASD 3450 /1978 / LP Choir of King's College, Cambridge, Philip Ledger, director, Thomas Trotter, organ. Album Title: Music for Holy Week Includes: Thomas Tallis, Lamentations of Jeremiah I and II; O Nata Lux; Salvator Mundi; If Ye Love Me; Antonia Lotti, Crucifixus a 8; William Horsley, There Is a Green Hill Far Away; Tomas Luis de Victoria, O Vos Omnes; Thomas Morley, Nolo Mortem Peccatoris; Orlande de Lassus, Tristis Anima Mea; John IV, King of Portugal, Crux Fidelis; Tomas Luis de Victoria, Videte Omnes Populi; Orlando Gibbons, Drop, Drop Slow Tears; Hymn, When I Survey the Wondrous Cross (Rockingham); John Taverner, Dum Transisset Sabbatum; Hymn, Jesus Christ Is Risen Today (arranged by Charles Wood); Hymn, This Joyful Eastertide; John Shephard, Haec Dies.

D81.

Lammas Records LAMM 155D / CD / 2003 St. Albans Abbey Girls Choir and the Lay Clerks of St. Albans Cathedral Choir, directed by Simon Johnson, with organist James McVinnie. Album Title: Lo, the Full, Final Sacrifice. Includes: Benjamin Britten: Rejoice in the Lamb; Lennox Berkeley: A Festival Anthem; Gerald Finzi: Lo, The Full Final Sacrifice; Richard Rodney Bennett: Five Carols: There Is No Rose; Out of Your Sleep; That Younge Child; Sweet Was the Song; Susanni.

Lully, Lulla Thou Little Tiny Child, Op. 25b See Three Carols, Op. 25

Discography

Magnificat and Nunc Dimittis (Collegium Oxonienses) (1959) ("Magdalen Service")

89

Magdalenae

D82.

Lammas Records :AMM 106D / CD / 1998 The Choirs of Jesus College, Cambridge, accompanied by organ scholars Greg Morris and Julian Thomas. Album Title: Awake My Glory. Includes: Bejamin Britten: Te Deum in C; Herbert Howells: Like as the Hart Desireth the Waterbrooks; Michael Tippett: Five Negro Spirituals from "A Child of Our Time": Steal Away; Nobody Knows; Go Down, Moses; By and By; Deep River; John Tavener: Two Hymns to the Mother of God: If You, O Woman Full of Grace; O Ye Apsotles; Benjamin Britten: Rejoice in the Lamb.

D83.

Priory PRCD 505 /1994 / CD The Lichfield Cathedral Choir, directed by Andrew Lumsden, Mark Shephard, organ. Album Title: Magnificat and Nunc Dimittis, vol. 3. Includes: Sir Charles Villiers Stanford: Magnificat and Nunc Dimittis in A; Sidney Watson: Magnificat and Nunc Dimittis in E; Grayson Ives: Magnificat and Nunc Dimittis (from the Edington Service); Orlando Gibbons: Magnificat and Nunc Dimittis (from the Short Service); Herbert Howells: Magnificat and Nunc Dimittis in G; Sir George Dyson: Magnificat and Nunc Dimittis in D.

Magdalen Service: Magnificat D84.

Cathedral CRL 758 / LP /1970, 1974 Norwich Cathedral Choir, conducted by Brian Runnett, Graham Barber, organ. Album Title: Twentieth Century Church Music Includes: Sidney Campbell: Praise to God in the Highest; John Joubert; O Lorde, The Maker of al Thing; Heathcote Statham; O Come, Thou Spirit Divinest; Peter Hurford: Litaney to the Holy Spirit; Benjamin Britten: Hymn to St. Peter; Olivier Messiaen: O Sacrum Convivium; William Walton: Set Me As a Seal Upon Thine Heart; Herbert Howells: O Pray for the Peace of Jerusalem.

D85.

Wealden WS 227 / LP /1985 Keble College Choir, Jeremy Filsell, conductor, Simon Over, organ. Album Title: Music From Kebel College, Oxford.

90

Discography Includes: John Taverner: Dum Transisset Sabbatum; Thomas Tallis: Lamentations, Pt. 1; Herbert Howells: Master Tallis's Testament from Pieces for Organ; Carol-Anthem-Spotless Rose; Edward C. Bairstow: Let All Mortal Flesh Keep Silent; Edward Elgar: The Apostles: Spirit of the Lord; Kenneth Leighton: Nunc Dimittis from Collegium Magdalenae Oxonienses; Edgar Bainton: And I Saw a New Heaven; Percy W. Whitlock: Plymouth Suite: Finale.

D86.

Priory PRCD 421 / CD / 1992 The Choir of Bath Abbey, Peter King, director of music and Marcus Sealy, organ. Album Title; Music for an Abbey's Year Includes: C. Hubert Parry: / Was Glad When They Said Unto Me; Herbert Howells: Magnificat in G; William Byrd: Vigilate; Anthony Piccolo: / Look From Afar; Haldane Campbell Stewart: On This Day, Earth Shall Ring; Orlando Gibbons: Nunc Dimittis (Second Service); Anton Bruckner: Ave Maria; John Ireland: Greater Love Hath No Man; Trad. English: Come Faithful People; Thomas Weelkes: Hosanna to the Son of David; Franz Joseph Haydn: Benedictus (Little Organ Mass); 18th Century Dutch: This Joyful Eastertide; Maurice Durufle: Tu Es Petrus; H. Walford David: Psalm 121; William Harris: O What Their Joy.

D87.

Priory PRCD 436 / CD / 1992 The Chapel Choir of St. Catherine's College, Cambridge, directed by Rupert Jeffcoat; organ, Andrew Reid. Album Title; Choral Works by Kenneth Leighton Includes: Magdalen Service: Nunc Dimittis; Awake My Glory, Op. 79; Three Carols, op. 25: The Star-Song; Lully, Lulla, Thou Little Tiny Child; An Ode of the Birth of Our Saviour; O God, enfold Me in the Sun (1967); Drop, Drop, Slow Tears (from Op. 38); The Beauty of Holiness (1988); The Second Service, Op. 62: Nunc Dimittis; Let All the World in Every Corner Sing (1965).

D88.

Naxos / CD / Forthcoming 2004 The Choir of St. John's College, Cambridge, directed by Christopher Robinson and Christopher Steele-Perkin, trumpet. Album Title: Kenneth Leighton: Sacred Choral Music (English Choral Music series). Includes: See D18 for couplings.

Discography

91

Magdalen Service: Nunc Dimittis D89.

Argo ZRG 722 / LP /1973 The Choir of Magdalen College, Oxford, directed by Dr. Bernard Rose, Jeremy Suter, organ. Album Title: Music at Magdalen, Record 1: The XX Century. Includes: Geoffrey Bush: Magnificat, Hugo Cole: Nunc Dimittis; Gregory Rose: God's Strange Ways; David Wulstan: Let my Prayer Come Up; Bernard Rose: We Will Rejoice: Tony Hewitt-Jones: Magnificat; H.C.Stewart: Veni Sancte Spiritus; Robert Sherlaw-Johnson: Dum Merium Silentium; Bernard Rose: Magnificat and Nunc Dimittis; William McKie: We Wait for Thy Loving Kindness; Herbert Howells: Nunc Dimittis.

D90.

Wealden WS 227 / LP /1985 Keble College Choir, Jeremy Filsell, conductor, Simon Over, organ. Album Title: Music From Kebel College, Oxford. Includes: John Taverner: Dum Transisset Sabbatum; Thomas Tallis: Lamentations, Pt. 1; Herbert Howells: Master Tallis 's Testament from Pieces for Organ; Carol Anthem—Spotless Rose; Edward C. Bairstow: Let All Mortal Flesh Keep Silent; Edward Elgar: The Apostles: Spirit of the Lord; Kenneth Leighton: Magnificat from Collegium Magdalenae Oxonienses; Edgar Blainton: And I Saw a New Heaven; Percy W. Whitlock: Plymouth Suite: Finale.

D91.

Priory PRCD 436 / CD /1992 The Chapel Choir of St. Catherine's College, Cambridge, directed by Rupert Jeffcoat, Andrew Reid, organ. Album Title: Choral Works by Kenneth Leighton Includes: For Couplings see. D5.

Martyrs: Dialogues on a Scottish Psalm-Tune, Op. 73 D92.

Sono-REM S-120833D / CD /1992 Sylvie Poirier and Philip Crozier, organists, performed on the Aurele Laramee organ, Chapel of the Maison Provinciale des Fres Maristes, Iberville, Quebec. Album Title: Duo pour Orgue Includes: Samuel Wesley: Duet for Organ; Johann Georg Albrechtsberger: Praeludium und Fuge, B-dur; Gustav Merkel: Sonata in D-moll, op. 30; Franz Schubert: Fuge in E-Moll, op. post. 152; Franz Lachner: Introduction und Fuge in D-moll, op.

92

Discography 62; Ralf Bolting: "HE.L.M.U.T").

Toccata

Francaise

(sur

le

nom

D93.

SP 2 8222 / CD /1994 Sylvie Poirier and Philip Crozier, organists, perofrming on the Orgue Aurele Laramee, Iberville (Quebec) Canada. Album Title; Duos pour Orgue (Organ Duets). Includes: Samuel Wesley: Duet for Organ; Johann Georg Albrechtsberger: Praludium und Fuge in B dur: Sonate in D-moll, op. 30; Franz Schubert: Fuge in E-moll, op. Post. 152; Franz Lachner: Introduction und Fuge in D-moll, op. 62; Ralf Bolting: Toccata Francaise (sur le Nome de "H.E.L.M. U. T").

D94.

Priory PRCD 326 / 3 CDs /1995 Dennis Townhill playing the organ ofST. Mary's Cathedral, Edinburgh. Album Title: The Complete Organ Works of Kenneth Leighton. Includes: See D30 for couplings.

D95.

OxRecs Digital OXCD-65 / CD / 1996 Clive Driskill-Smith, Christopher Hughes, Paul Plummer and Robert Quinney, organists, playing the Schnetzler Chamber Organ and the Hill Organ of Eton College Chapel. Album Title: The Organs of Eton College, Vol. 1 Includes: William Byrd: Fantasia in G; Orlando Gibbons: Fancy in Gamut Flatt; Healey Willan; Chorale Prelude on Gelobt Sei Gott; C. Hubert Parry: Fantasia and Fugue in G; Patrick Gowers: Toccata; Percy Whitlock: Fidelis; John Ireland: Elegiac Romance; Marcel Dupre: Evocation (Allegro Deciso); Grayston Ives: Intrada; Louis Vierne: Fantomes: Maria Theresia von Paradis: Sicilienne.

Mass, Op. 44 D96.

Chandos CHAN 9485 /1997 / CD The Finzi Singers directed by Paul Spicer, Andrew Lumsden, organ. Album Title: Leighton: Choral Works. Includes: For couplings, see D16.

Mass, Op. 44: Gloria

Discography D97.

93

Saint Giles Cathedral STG 008 / CD / 1996 The choir of St. Giles' Cathedral, Edinburgh, directed by Eric Ibler, Herrick Bunney, organ. Album Title: The Choir of St. Giles's Cathedral, Edinburgh, Herrick Bunney CVO, Organist and Master of Music, 1946-1996, A Celebration. Includes: Orlando Gibbons: O Clap Your Hands; William Byrd: Laudibus in Sanctis; Giovanni da Palestrina: Tu Es Petrus; Antonio Lotti: Crucifixus; Ludovico da Viadana: Exsultate Justi; Herrick Bunney: Psalm 121; Johann Sebastian Bach: Singet dem Herrn: Charles Villiers Stanford: Justorum Animae; Herbert Howells: Like As the Hart; Eric Ibler: What Eye Beholds the Spring; Benjamin Britten: Te Deum Laudamus; Hubert Parry: / Was Glad.

Metamorphoses for Violin and Piano, Op. 48 D98.

Dutton CDLX 7118 / CD / 2002 Lorraine McAslan, violin, Michael Dussek, piano. Album Title: Kenneth Leighton: Trio, Op. 46. Includes: Kenneth Leighton: Piano Trio, Op. 46; Partita for Cello and Piano, Op. 35; Elegy for Cello and Piano, Op. 5.

Missa Brevis, Op. 50 D99.

Hyperion CDA 66489 / CD /1992 The Choir of St. Paul's Cathedral, with Neil Mackie, tenor, conducted by John Scott, Andrew Lucas, organ. Album Title: Cathedral Music by Kenneth Leighton. Includes: Kenneth Leighton: Missa Brevis, Op. 50; Lully, Lulla (The Coventry Carol) (from Op. 25); Crucifixus Pro Nobis, Op. 38; Second Service (Magnificat and Nunc Dimittis), Op. 62; An Evening Hymn (1979); Let All the World in Every Corner Sing (1965).

Missa Brevis, Op. 50: Gloria in Excelsis Deo D100.

St. Giles Cathedral STG 007 / after 1992 / CD The Choir of St. Giles' Cathedral, Edinburgh, directed by Herrick Bunney with Eric Von Ibler and Benjamin Saunders. Album Title: The Choir of St. Giles Cthedral, Edinburgh: Music for Choir and Organ.

94

Discography Includes: J.S. Bach: Toccata and Fugue in D Minor (BWV 565); Palestrina: Tu Es Petrus; Herrick Bunney: Chant: Psalm 121; C.V. Stanford: Gloria in Excelsis Deo; Benjamin Britten: Gloria in Excelsis Deo; Lennox Berkeley: Gloria in Excelsis Deo; John Tavener: Carol: The Lamb; Neil Mackay: Praeludium on "Puer Nobis Natus Est"; Thomas Weelkes: Hosanna to the Son of David; W. A. Mozart: Ave Verum Corpus; Kenneth Leighton: Solus Ad Victimam; Hubert Parry: / Was Glad; J.S.Bach: Fugue in E Flat (BWV 552).

Missa Brevis, Op. 50: Kyrie and Gloria D101.

Abbey LPB 718 / LP /1972 The Choir of the Cathedral of the Holy and Undivided Trinity, Norwich, directed by Michael Nicholas, Bernard Nurrell, organist and Stephen Westrop, assistant organist. Album Title: 'In Quires and Places' No. 9: Cathedral and Collegiate Choir of Europe No. IV: Norwich. Includes: Richard Ayleward: O Worship the Lord in the Beauty of Holiness; Zachariah Buch: Chant: Psalm 32; Heathcote Statham: Magnificat in F Minor: Nunc Dimittis; Josef Haydn: Insanae et Vanae Curae: Richard Farrant: Call to Remembrance^ Lord; Thomas Tallis: O Sacrum Convivium; William Boyce: The Sorrows of My Heart Are Enlarged; Charles Villiers Stanford: Beati Quorum Via; Edward Bairstow: Let All Mortal Flesh Keep Silent; John Blow: Salvator Mundi.

Missa De Gloria (Dublin Festival Mass), Op. 82 D102.

Priory PRCD 326 / 3 CDs /1995 Dennis Townhill playing the organ of St. Mary's Cathedral, Edinburgh. Album Title: The Complete OrganWorks of Kenneth Leighton. Includes: See D30 for couplings.

Morning Canticles (1967) Morning Canticles (1967): Te Deum D103.

News Sound Production: St. Paul's Cathedral / LP /1968

Discography

95

The Choir of the Monkton Combe School, Christopher Herrick, organist. Album Title: The Monkton Combe School: The Centenary Service of Thanksgiving and Dedication, St. Paul's Cathedral, 8th May, 1968. Includes: Charles Villiers Stanford: Psalm 150; Hymn: Praise to the Lord; Lobet den Herren; Hymn: Lord of Creation, to Thee Be All Praise; Alan Gibbs: Thy Word Is Truth; Olivier Messiaen: Transports de Joie (from L 'Ascension). Dl 04.

NUMBER OF THIS Paisley Abbey Choir conducted by George McPhee, John Langdon, organ. Album Title: In Quires and Places...No. 24: Paisley Abbey Choir. Includes: Gerald Finzi: God Is Gone Up With a Triumphant Shout; Anonymous: Descendi in Hortum Meum; Cedric Thorpe Davis: Come Holy Ghost, The Maker; Anton Bruckner: Christus Factus Est Pro Nobis; Charles Wood: Hail Gladdening Light; Patrick Hadley: My Beloved Spake, and Said Unto Me; Richard Dering: Duo Seraphim Clambant; Giovanni Pierluigi da Palestrina: Dum Complerentur Dies Pentecostes; Martin Dalby: O Be Joyful in the Lord.

O Be Joyful in the Lord (Jubilate Deo) (1966) D105.

Priory PRCD 786 / CD / 2002 The Choir of Ripon Cathedral directed by Kerry Beaumont, Andrew Bryden, organ. Album Title: Te Deum and Jubilate Includes: Herbert Sumsion: Te Deum Laudamus in G; Grayston Ives: Canterbury Te Deum; William Walton: Jubilate in Bflat; Benjamin Britten: Jubilate Deo in E flat; T. Tertius Noble: Te Deum and Jubilate (from the Morning, Communion and Evening Service in B minor, Op. 13; Kenneth Leighton: Te Deum Laudamus (1964); George Dyson: Te Deum Laudamus in D; Jubilate Deo in D; Philip Wilby: Te Deum Laudamus (world premier recording); Jubilate Deo (worldpremier recording).

O God, Enfold Me in the Sun (1967) D106.

Priory PRCD 436 / CD /1992

96

Discography The Chapel Choir of St. Catherine's College, Cambridge, directed by Rupert Jeffcoat, Andrew Reid, organ. Album Title: Choral Works by Kenneth Leighton. Includes: (See D5 for couplings).

O Leave Your Sheep (1962) D107.

Argo RG 399 / LP /1963 The Elizabethan Singers conducted by Louis Halsey, Simon Preston, organ. Album Title: Sing Nowell: Carols for Christmas and other Festivals Newly Composed and Arranged. Includes: John Joubert: God Rest You Merry, Gentlemen; Edmund Rubbra, arr: Infant Holy; Peter Racine Fricker: A Babe Is Born; Malcolm Williamson, arr.: Ding! Dong!; Hugh Cole: Away in a Manger; John Gardner: When Christ Was Born of Mary Free; Benjamin Britten: The Holly and the Ivy; Richard Rodney Bennett, arr: Salutation Carol; Bernard Naylor, arr.: Shepherds! Shake off Your Drowsy Sleep; Arthur Oldham: Remember, O Thou Man; Malcolm Williamson: Good King Wenceslas; Alan Ridout, arr.: The Old Year Now Away Is Fled.

D108.

Argo ZRG 5446 / LP / 1965 Boston Skyline BSD 124 / CD / 1994 The Elizabethan Singers, Louis Halsey, conductor. Album Title: Sir Cristemas: Carols Newly Composed and Arranged. Includes: Simon Preston (arr.): / Saw Three Ships Come Sailing In; Peter Racine Fricker: The First Christmas; Hugo Cole (arr.): Deck the Halls; Richard Rodney Bennett: Dormi Jesu; John Joubert: Here We Come A-Wassailing; Thomas Eastwood: Unto Us Is Born a Son; John Joubert: There Is No Rose of Such Virtue; John Gardner: We Wish You a Merry Christmas; Franz Gruber (arr. by Alan Ridout): Silent Night; Malcolm Williamson (arr.): The Boar's Head; Louis Halsey: Balulalow; Anthony Milner: Bernard Naylor: Ecce Puer; William Walton: What Cheer?; Basil Ramsey: From Heaven Winging; Peter Maxwell Davies: Welcome Yule!; John Gardner (arr.); The First Nowell; Peter Wishart: Alleluya, a New Work is Come on Hand; John Gardner: When Christ Was Born of Mary Free; Arthur Oldham: Remember, O Thou Man; Malcolm Williamson, arr.; Ding'.Dong!.

Discography

97

D109.

Priory PRCD 436 / CD / 1992 The Chapel Choir of St. Catherine's College, Cambridge, directed by Rupert Jeffcoat, Andrew Reid, organ. Album Title: Choral Works by Kenneth Leighton. Includes: (See D5 for couplings).

DUO.

Orpheus Choir ORPHCD 001 / 1996 / CD The Orpheus Choir of Toronto, conducted by Brainerd Blyden- Taylor. Album Title: The Mystery of Bethlehem. Includes: David Carney: The Angel Gabriel; Malcolm Williamson: Mary's Aria; Arthur Oldham: Remember, O Thou Man; Malcolm Williamson (arr.): Ding, Dong Merrily on High; Francis Poulenc: Hodie Christus Natus Est: O Magnum Mysterium; Healey Willan: What is this Lovely Fragrance; Wilford Davies: O Little Town of Bethlehem; Healey Willan: Here Are We in Bethlehem; Malcolm Williamson: The Shepherds' Chorus: The World at the Manger (from The World at the Manger).

O Sacrum Convivium (1975) Dill.

Priory PRCD 612 /1997 / CD Norwich Cathedral Girls' Choir, directed by Neil Taylor, Simon Johnson, organ. Album Title; Glory Be to God on High. Includes: William H. Ferguson: Glory Be to God in the Highest ("Cuddesdon "); Gabriel Faure: Ave Verum Corpus; Sir Edward Bairstow: Mass in E Flat; Jean Lalouette; O Mysterium Ineffabile; Andrew Carter: Missa Brevis; Colin Mawby: I Will Lift Up Mine Eyes; David Thorne: Mass of St. Thomas; Arthur Wills: Ave Verum Corpus; Malcolm Archer: Christchurch Mass.

D112.

Lammas LAMM 11 ID / CD / 1998 St. Alban's Abbey Girls Choir and Lay Clerks of the Cathedral and Abbey Church of St, Alban's, directed by Andrew Parnell, with organist Simon Bell. Album Title: Awake My Soul. Includes: John Rutter: All Things Bright and Beautiful; J. F. Lallouette: O Mysterium Ineffabile; Arthur Wills: Ave Verum Corpus; Charles Villiers Stanford: Magnificat in D; Nunc Dimittis; Heathcote Statham: Drop Down Ye Heavens from Above; Harold Darke: Jubilate in F; Sterndale Bennett: God

98

Discography Is a Spirit; Jean Langlais: Sanctus et Benedictus (Missa in Simplicitate); Agnus Dei (Missa in Simplicitate); Boris Ord (Barry Rose, arr.): Adam Lay Ybounden; George Dyson: Let All the World; Charles Villiers Stanford: A Song of Wisdom; O For a Closer Walk with God; Derek Holman: Jesus Christ the Apple Tree; Andrew Parnell; Dear Lord and Father of Mankind; Simon Lindley: Ave Maria; Simon Lole: The Father's Love; Peter Hurford: Litany to the Holy Spirit; L. J. White: A Prayer of St. Richard of Chichester; Colin Mawbry: I Will Lift up Mine Eyes Unto the Hills.

Ode (1977) D113.


An Ode on the Birth of Our Saviour, Op. 25c (See Three Carols, Op. 25) Of a Rose Is All My Song (1970) D114.

Continuum CCD1043 / CD / 1991 The Elysian Singers of London, Hugh Webb, harp, Mathew Morley, organ, directed by Matthew Greenall. Album Title: Child of Light: Music for Christmas Includes: Benjamin Britten: A Ceremony of Carols; Peter Maxwell Davies: Ave Rex Angelorum; Judith Weir: Illuminare Jerusalem; Robert Saxton: The Child of Light; John Tavener: A Nativity; William Walton: All This time; JohnByrt: All and Some; Lennox Berkeley: In Wintertime; Francis Poulenc: Four Christmas Motets: O Magnum Mysterium; Quern Vidistis Pastores Dicite; Videntes Stellam; Hodie Christus Natus Est.

Discography

99

Paean (1966) D115.

Argo ZRG 528 / LP /1967 Argo 414 647-1 / LP / 1986 Argo 414 647-4 / Cassette /1986 Simon Preston , organ, performing at the organ in Colston Hall, Bristol. Album Title: English Organ Music (1967 recording); Organ Sonata (1986 recording). Includes: Edward Elgar: Sonata for Organ, Op. 28; Frank Bridge: Adagio in E Major from Pieces for Organ; Herbert Howells: Rhapsody No. 3 in C Sharp Minor; Michael Tippett: Preludio al Vespro di Monteverdi; Benjamin Britten: Prelude and Fugue on a Theme of Vittoria.

D116.

Abbey ABY 702 / LP /1970? The Choir of New College, Oxford, conducted by David Lumsden, Murray Sommerville, organ. With soloists Dara Carroll, treble and Bram Wiggins, trumpet. Album Title: Music of Kenneth Leighton. Includes: Crucifixus Pro Nobis, Op. 38; God's Grandeur (1957); An Easter Sequence, Op. 55.

Dl 17.

Polydor 2460 225 / LP /1974 Francis Jackson performing on the organ at York Minster. Album Title: Organ Music From York Minster. Includes: Norman Cocker: Tuba Tune; Francis Jackson; Trumpet Tune and Almand; James Nares: Introduction and Fugue; Francis Jackson: Division on Nun Danket; Theodor Dubois: Toccata in G; Alexandre Guilmant: Pieces dans Differents Styles, op. 19: Allegretto; Eugene Gigout: Scherzo; Henri Mulet: Carillon-Sortie.

D118.

Hyperion A66018 / LP / !980 St. Alban's Cathedral Choir and organist Andrew Parnell, directed by Stephen Darlington (organist in organ solo works). Album Title: English Music of the 20th Century Includes: Sir Edward Elgar: The Spirit of the Lord from The Apostles, op. 49; Bryan Kelly: Te Deum; Frank Bridge: Adagio in E Major from Pieces for Organ; Sir Edward C. Bairstow: Lord, I Call Upon Thee; Herbert Howells: Rhapsody in C sharp minor, op. 17, no. 3; Sir Charles Villiers Stanford: Oh, For a Closer Walk With Thee, op. 113, no. 6; Herbert Howells: I Love All Beauteous Things.

100

Discography

D119.

Priory PR 169 / LP / 1985 Stephen Cleobury playing the organ of King's College, Cambridge. Album Title: British Organ Music From King's. Includes: C. Hubert Parry: Fantasia and Fugue in G; Sir Walter Alcock: Introduction and Passacaglia; William Mathias: Partita; Benjamin Britten: Prelude and Fugue on a Theme of Vittoria.

D120.

Priory PRCD 345 / CD /1990 John Scott playing the organ of Loretto School Chapel, Musselburgh, East Lothian. Album Title: Great Postludes Includes: Alfred Hollins: A Trumpet Minuet; John Stanley: Voluntary in A, Op. 6 no. 2 (from Voluntaries for Organ); Henry Smart: Postlude in C; Dietrich Buxtehude: Prelude in C, BuxWV 137; J.S. Bach: Chorale Prelude: Meine Seele Erhebt den Herren; Prelude and Fugue in E minor; Louis Vierne: Naiades (from Pieces de Fantasie, no. 4); Jean Sibelius: Finlandia (arr.); Louis Vierne: Andantino (from Pieces de Fantasie, no. 1); Henri Mulet: Tu Es Petra (from Esquisses Byzantines); Jan Sweelinck: Mein Junges Leben Hat ein End; Guy Bovet: Hamburger Totentanz.

D121.

Guild / GMCD 7101 / 1994 / The Girl Choristers, The Boy Choristers and The Lay Vicars of Salisbury Cathedral, Richard Seal, director, David Halls, organ. Album Title: Canticum Novum Includes: C. Herbert Parry, My Soul There is a Country; Philip Moore, All Wisdom Cometh From the Lord; John Gardner, Tomorrow Shall Be My Dancing Day; Herbert Howells, Psalm Preludes, for organ, set 2, no. 1; Francis Poulenc, Motets Pour le Temps de Noel: Quem Vidistis Pastores Dicite; Videntes Stellam; Richard Shephard, Old Order Changeth; Robert Chilcott, Even Such Is Time; Malcolm Arnold, When I Survey the Wondrous Cross; Richard Lloyd, Magnificat; Benjamin Britten, Hymn to the Virgin; Percy W. Whitlock, Sketches for Organ, Book 1, Pastorale; Sir Walford Davies, Psalm 23; Barry Rose, Love's Endeavour, Love's Expense; Richard Shephard, Ye Choirs of New Jerusalem.

D122.

Chandos CHAN 6602 / CD /1994 Francis Jackson and Michael Austin, playing the organs of York Minster and Birmingham Town Hall. Album Title: Pipes of Splendour.

Discography

101

Includes: Norman. Cocker: Tuba Tune; Henry Purcell: Trumpet Tune and Almand; James Nares: Introduction & Fugue; Francis Jackson: Division on 'Nun Danket'; Theodore Dubois: Toccata in G; Alexandre Guilmant: Allegretto in B. Minor, Op. 19; Eugene Gigout: Scherzo in E; Henri Mulet: Carrilon-Sortie; Max Reger: Toccata and Fugue in D Minor and Major, Op. 50, nos. 5-6; Marcel Dupre: Prelude and Fugue in B, Op. 7; Cesar Franck: Final in B Flat, No. 6. D123.


D124.

Priory PRCD 005 /1996 / CD Stephen Cleobury playing the organ of King's College, Cambridge. Album Title: British Organ Music from King's Includes: C. Hubert Parry, Fantasia and Fugue in G; Walter Alcock, Introduction and Passacaglia; William Mathias, Partita.

D125.

Personal PR 005 / CD /1996 Stephen Cleobury, organ. Album Title: Atlantic Years 1973-1974. Includes: Sir Hubert Parry: Fantasia and Fugue in G; Sir Walter Alcock; Introduction and Passacaglia; William Mathias; Partita; Benjamin Britten: Prelude and Fugue on a Theme of Vittoria.

D126.

Ethereal Recordings ER 119 / CD /1998 Andrew Shenton plays the Skinner/Mander organ at Princeton University Chapel. Album Title: Virtuoso Includes: Nigel Ogden: Scherzo for the White Rabbit; Georg Bohm: Ach Wie Nichtig, Ach Wie Fliichtig; Felix Mendelssohn: Sonata in A Major, Op. 65, No. 3; J.S. Bach: Toccata and Fuge in D-Moll, BWV 565; Fantasia Super 'Nun Komm, der Heiden Heiland,' BWV 659a; Georg Mushel: Toccata; Joe Utterback: Balm in Gilead (Ballad); Swing Low (Blues for Manuals); Joseph Bonnet: Variations de Concert, Op. 1.

D127.

Priory PRCD 748 / CD / 2000 James Lancelot, Keith Wright, and Daniel Hyde playing the organ of Durham Cathedral.

102

Discography Album Title: Melody and Medley. Includes: J. S. Bach: Toccata and Fugue in D Minor, BWV 565: Liebster Jesu, Wir Sind Hier, BWV 731; Thomas Tompkins: Fancy for Two to Play; F.J. Haydn: Two Pieces for Flute-Clock; Cesar Franck: Cantabile; Theodore Dubois: Fiat Lux; Joseph Jongen: Chant de Mai; Robert Schumann: Sketch in D-Flat for Pedal-Piano; Petr Eben: Lied des Leiermannes; Percy Whitlock: Andante Tranquillo: Scherzo (from Five short Pieces): Fanfare (from Four Extemporisations); Zsolt Gardonyi: Mozart Changes; Edward Elgar: Sonata in G for Organ, op. 28: First Movement; Leon Boellmann: Prier a Notre-Dame: Toccata (from Suite Gothique); P. Tchaikovsky: The Dance of the Sugar Plum Fairy.

D128.

Griffin GCCD 035 / CD / 2002 Christ Church Cathedral Choir, Oxford, conducted by Stephen Darlington, Clive Driskill-Smit, organ. Album Title: An Oxford Evensong. Includes: Sir Hubert Parry: Chorale Preludes, Set 1; Evening Service in D; Sydney Watson: How Sweet the Name of Jesus Sounds; Bernard Rose: Preces; Sir John Stainer: There's a Wideness in God's Mercy; Sir Frederick Arthur Gore Ouseley: Psalm 12; Sir Walter Parratt: Psalm 13; Sir Thomas Armstrong: Psalm 14; Bernard Rose: Responses, Lord's Prayer and Collects; Sir William Harris: Bring Us, O Lord God; Basil Harwood: Luckington: Let All the World in Every Corner Sing"; Sir William Walton: Coronation Te Deum.

D129.

York Ambisonic YORKCD 173 / CD / 2002 Timothy Noon playing the organ of St. David's Cathedral. Album Title: The Organ of St. David's Cathedral. Includes: Johann Sebastian Bach: Prelude and Fugue un G; Jehan Alain: Variations sur un Theme de Clement Janequin; Le Jardin Suspendu; Litanies; Thomas Tompkins: Fantasia in G; Felix Mendelssohn: Sonata No. 3 in A; Herbert Howells: PsalmPreludes Set 2, No. 1; Henri Mulet: Carillon-Sortie in D; Whelan: Clouds ong and Riverdance.

Partita, Op. 35 D130.

Dutton CDLX 7118 / CD / 2002 Andrew Fuller, Cello, Michael Dussek, piano. Album Title: Kenneth Leighton: Piano Trio, Op. 46.

Discography

103

Includes: Kenneth Leighton: Piano Trio , Op. 46; Metamorphoses for Violin and Piano, Op. 48; Elegy for Cello and Piano, Op. 5.

Pater Noster (1949) D131.

Priory PRCD 787 / CD / 2003 The choir of the Abbey School, Tewkesbury, directed by Benjamin Nicholas, Carleton Etherington, organ. Album Title: Pater Noster: Setting of the Lord's Prayer. Includes: Plainsong: Pater Noster; Giovanni Pierluigi da Palestrina: Pater Noster; Gabriel Jackson: The Lord's Prayer; Old Byzantine, Rimsky-Korsakov, arr.: Pater Noster; John Caldwell: Pater Noster; Bernard Rose: The Lord's Prayer; Igor Stravinsky: Pater Noster; John Stone: The Lord's Prayer; John Taverner: The Lord's Prayer; Charles Villiers Stanford: Pater Noster; John Shephard: The Lord's Prayer; Mozarabic: Pater Noster; Otto Nicholai: Pater Noster; Frank Martin: The Lord's Prayer; Josquin Desprez: Pater Nostre; John Farmer: The Lord's Prayer; Jacob Handl: Pater Noster; Maurice Durufle: Notre Pere; Daniel Locklair: Pater Noster; John Tavener: The Lord's Prayer; Henryck Gorecki: Amen.

Piano Quintet, Op. 34 D132.

Meridian CDE 84465 / CD / 2003 Robert Markham, piano and the Edinburgh Quartet: Suzanne Stanzeleit, Philip Burrin, violin; Michael Beeston, viola; Mark Baily, cello. Album Title: Kenneth Leighton: Piano Quintet, Piano Trio, Piano Quartet. Includes: Keneth Leighton: Trio for Violin, Cello and Piano, Op., 46; Quartet in One Movement (Contrasts and Variants), Op. 63.

Piano Trio, Op. 46 D133.

Dutton Laboratories CDLX 7118 / CD / 2002 Lorraine McAslan, Violin; Andrew Fuller, Cello; Michael Dussek, piano. Album Title: Kenneth Leighton: Piano Trio , Op. 46.

104

Discography Includes: Kenneth Leighton: Partita for Cello and Piano, Op. 45; Metamorphoses for Violin and Piano, Op. 48; Elegy for Piano, Op.. 5.

D134.

Meridian CDE 84465 / CD / 2003 Robert Markham, piano and the Edinburgh Quartet: Suanne Stanzeleit, Philip Burrin, violin; Michael Beeston, viola; Mark Baily, cello. Album Title: Kenneth Leighton: Piano Quintet, Piano Trio, and Piano Quartet. Includes: See D132 for couplings.

Pieces for Angela, Op. 47 D135.

Chandos CHAN 9818/ 2000 / CD Margaret Fingerhut, piano. Album Title; Leighton: Piano Music. Includes: For couplings, see D41.

Preces and Responses (1964) D136.

Abbey LPB 725 / LP /1973 The Choir of New College, Oxford, directed by David Lumsden, Jonathan Rees-Williams and Christopher Tolley, organ. Album Title: Evensong at New College Oxford. Includes: Bach: Chorale Prelude: Jesu Meine Zuversicht, BWV 728; Drayton: Jesu Dulcis Memoria; Martin: Chant: Psalm 139; Stanford: Magnificat: Evening Service in A; Harris: Faire is the Heaven; Ireland: My Song Is Love Unknown; Vierne: Organ Toccata: Pieces de Fantasie.

D137.

Delphian DCD 34017 / CD / NA The Choir of St. Mary's Cathedral, Edinburgh conducted by Matthew Owens. Album Title: Ascension. Includes: James McMillan: Tremunt Videntes Angeli; Olivier Messiaen: L'Ascension; Patrick Gowers: Viri Galilaei; Anonymous: Psalm 108 'O God My Heart Is Ready'; Pslam 47 'O Clap Your Hands'; Traditional: Arise and Hail the Sacred Day; Richard Allain: Exon Service.

Discography

105

Prelude, Hymn and Toccata, Op. 96 D138.

Divine Art CD25024 / CD / 2003 Anthony Goldstone and Caroline Clemmow, pianists. Album Title: Explorations: British 20th & 21st Century Piano Works. Includes: Anthony Hedges: Explorations; Gustav Hoist: Japanese Suite; Anthony Hedges: Sonata for Piano; Ronald Stevenson: Chinese Folk-Songs; Anthony Hedges: Aphorisms.

Prelude, Scherzo and Passacaglia, Op. 41 D139.

Waverly LLP 1033 / LP /1965 Dennis Townhill playing the organ of St. Mary's Episcopal Cathedral, Edinburgh. Album Title: Bach and Leighton Organ Music. Includes: J. S. Bach; Preludes for the Church Year: taken from the Little Organ Book (Orgelbuchlein): Nun Komm' der Heiden Heiland; Vom Himmel Hoch; Das Alte Jahr Vergangen ist; In Dir Ist Freude; Mit Fried' und Freud' Ich Fahr' Dahin; O Lamm Gottes, unschuldig; Christ Lag in Todesbanden; Erstanden Ist der Heil'ge Christ; Heut' Triumphiret Gottes Sohn; Komm, Gott, Schopfer Heiliger Geist.

D140.

GEMA HT 10117 / LP /196? Dr. Hans H. Tillman, organ with John Weaver, and Marianne Weaver, flute. Album Title: Niederlandische, Deutsche und Anglamerikanische Orgelmusik aus dem Munster zu Schwarzach. Includes: Jan Pieterszoon Sweelinck: Variations uber "Mein Junges Leben hat ein End"; Johann Sebastian Bach: Praeludium und Fuge H-Moll; John Weaver: Rhapsodiefur Flote und Orgel.

D141.

RCA Victrola LVL1 5019 / LP /1974 Melville Cook performing on the organ at Hereford Cathedral. Album Title: The Organ of Hereford Cathedral. Includes: John McCabe: Dies Resurrectionis; C. Hubert H. Parry: Chorale Prelude on Melcombe; Herbert Howells: Psalm Prelude op. 32, no. 1; Peter Racine Fricker: Pastorale; Arthur Wills: Introduction and Allegro.

D142.

Gaudeamus XSH 101 / LP / 1975

106

Discography John Rennert playing the Organ of St. John's College, Cambridge. Album Title: The Organ of St. John's College, Cambridge. Includes: Olivier Messiaen: Dieu Parmi Nous; Cesar Franck: Chorale No. 2 in B Minor; Felix Mendelssohn: Sonata No. 3 in A; Marecl Dupre: Triptyque, Op. 51.

D143.

Gothic G49060 / 1993 / CD John Weaver, Schantz organ, East 91 st Street Christian Church, Indianapolis, Indiana. Album Title: John Weaver Performs... Includes: Marcel Dupre, Cortege et Litanie; J.S.Bach, Six Schubler Chorales S. 645-650; Seth Bingham, Roulade; Franz Schubert, Ave Maria, op. 52, no. 6 (arranged by John Weaver); John Weaver, Fantasia for Organ.

D144.

Priory PRCD 516 / CD /1994 Jane Watts performing on the Klais Organ of the Queensland Performing Arts Centre, Brisbsane. Album Title: Great Australasian Organs II Includes: Marcel Dupre: Deuxieme Symphonie, Op. 26; Marcel Dupre: Trois Elevations, op. 12; Flor Peters: Four Pieces, op. 71.

D145.

Priory PRCD 326 / 3 CDs /1995 Dennis Townhill playing the organ of St. Mary's Cathedral, Edinburgh. Album Title: The Complete Organ Works of Kenneth Leighton. Includes: Kenneth Leighton: Elegy for Organ (1965); Fanfare for Organ (1966); Paean (1966); Et Resurrexit: Theme, Fantasy, and Fugue, Op. 49: Festival Fanfare (1968); Improvisation—In Memoriam Maurice de Sausmarez (1969); Choral Prelude on Rockingham (1975); Six Fantasies on Hymn Tunes, Op. 72; Martyrs, Op. 73; Ode (1977); Missa De Gloria, Op. 82; Veni Redemptor, Op. 93; Veni Creator Spiritus—Prelude (1987).

D146.

Priory PRCD 643 / CD / 1998 John Scott on the Mander Organ of St. Ignatius Loyola, New York City. Album Title: Twentieth Century Organ Masterpieces. Includes: Gerald Hendrie: Toccata and Fugue (Le Tombeau de Marcel Dupre); Lionel Rogg: Deux Etudes; Arvo Part: Trivium; Naji Hakim: Variations on Two Themes; Daniel Roth: Final (lTe Deum"; Petr Eben: Tocata & Fugue (Hommage a Buxtehude); Gut Bovet: Ricercare & Toccata Planyaviska.

Discography D147.

107

Priory PRCD 799 AB / 2CD Set / 1999 A selection of music played on twelve different instruments in Edinburgh by Timothy Bryan-Wigfield, John Kitchen, Michael Harris, and Peter Backhouse, who performs the Leighton piece on the organ of St. Giles' Cathedral. Album Title: Twelve Organs of Edinburgh. Includes: CDl: Dietrich Buxtehude: Prelude, Fugue and Chaconne; Francois Couperin: Tierce en Taille, 6th Couplet from Messe Pour les Paroisses; George Frideric Handel: Overture: II Pastor Fido; Adolph Friedrich Hesse: Variations on an Original Theme, Op. 34; Johann Sebastian Bach: Concerto in G, BWV 592; Alfred Hollins: Concert Overture No. 3 in F Minor; Jan Peterszoon Sweelinck: Ballo del Granduca; Camille SaintSaens: Fantasie in E Flat. CD2: Nikolaus Bruhns: Praeludium in E Minor; Johann Ludwig Krebs: Chorale Prelude: O Konig, Deren Majestat; Englebert Humperdinck: Angel-Scene, from the Opera Hansel and Gretel; Felix Mendelssohn-Bartholdy: Sonata No. 4 in B Flat; Johann Pachelbel: Chorale Variations on 'Alle Menschen Miissen Sterben"; Dietrich Buxtehude: Praeludium in D Minor; Thomas Tompkins: Voluntary; William Walond: Voluntary; George Frederic Handel: March, from the Ode for St. Cecilia's Day; Frank Bridge: Adagio in E; Egil Howland: Toccata ilNu la Oss Takke Gud" (Now Thank We All Our God).

Preludes for Piano (1988) D148.

Afka SK 556 / CD / 2003 The Phillips Academy Chamber Ensemble: Hilary Cumming, violin; Holly Barnes, viola; Elizabeth Aureden, cello and Christopher Walter, piano. Album Title: Music of Kenneth Leighton. Includes: See D42 for couplings.

Quartet in One Movement (Contrasts and Variants), Op. 63 D149.

Meridian CDE 84465 / CD / 2003 Robert Markham, piano and the Edinburgh Quartet: Suzanne Stanzeleit, Philip Burrin, violin; Michael Beeston, viola; Mark Baily, cello.

108

Discography Album Title: Kenenth Leighton: Piano Quintet, Piano Trio and Piano Quartet. Includes: See D132 for couplings.

D150.

Afka SK 556 / CD / 2003 The Philips Academy Ensemble: Hilary Cumming, violin; Holly Barnes, viola; Elizabeth, cello and Christopher Walter, piano. Album Title: Music of Kenneth Leighton. Includes: See D42 for couplings.

Rockingham: Chorale Prelude on "When I Survey" (1975) D151.

Priory PRCD 326 / 3 CDs / 1995 Dennis Townhill playing the organ of St. Mary's Cathedral, Edinburgh. Album Title: The Complete Organ Works of Kenneth Leighton. Includes: See D30 for couplings.

D152.

Naxos/CD/ Forthcoming 2004 The choir of St. John's College, Cambridge, directed by Christopher Robinson, Christopher Steele-Perkin, Trumpet. Album Title: Kenneth Leighton: Sacred Choral Music (English Choral Music series). Includes: See D18 for couplings.

Sarum Mass, Op. 66 Sarum Mass, Op. 66: Gloria D153.

Herald HAVPCD 191 / 1996 / CD The Choir of Wellington Cathedral, Philip Walsh, director; Andrew Macmillan, organ. Album Title: A Sound Came From Heaven Includes: Douglas Mews, A Sound Came From Heaven; Peter Hpilips, O Crux Splendidior; Jean Langlais, Kyrie from Messe Solennelle; John Taverner, Dum Transisset Sabbatum; Richard Shephard, Jesu, Dulcis Memoria; Felix Mendelssohn, Heilig; Gabriel Faure, Cantique de Jean Racine; Giovanni da Palestrina, Agnus Dei from Missa Brevis; Thomas Tallis, O Sacrum Convivium; Bryan Hesford, Psalm 90; John Ritchie, Lord, When the Sense; Benjamin Britten, The Sycamore Tree; Henry Purcell, Hear My Prayer, O Lord; Orlando Gibbons, Nunc Dimittis from

Discography

109

Short Service; O Lord, in Thy Wrath; Peter Warlock, Benedicamus Domino; Herbert Howells. Magnificat from St. Paul's Service. Dl 54.

Meridian CDE 84180/1990 / CD Salisbury Cathedral Choir, Richard Seal, director, David Halls, organist. Album Title: Anthems for America Includes: Thomas Weelkes, Hosanna to the Son of David; Peter Philips, Ave Jesu Christe; Heinrich Schutz, Woman, Why Weepest Thou?; The Pharisee and the Publican; William Harris, Faire Is the Heaven; Charles V. Stanford, Coelos Ascendit Hodie; Herbert Howells, A Spotless Rose; Gerald Finzi, God is Gone Up; Thomas Weelkes, Alleluia; William Byrd, Vigilate; Peter Philips, Ecce Vicit Leo; Henrich Schutz, Selig Sind die Toten; Henry Purcell, Jehova, Quam Multi Sunt Hostes Mei; William Harris, Bring Us, O Lord God; Kenneth Leighton, Lully, Lulla, Thou Little Tiny Child (Op. 25b).

The Second Service: Magnificat and Nunc Dimittis, Op. 62 D155.

Abbey LPB 721 / LP /1975 The Choir of the Cathedral and Metropolitan Church of St. Peter of York, Master of Music Francis Jackson, Geoffrey Coffin, Assistant Organist. Album Title: 'In Quires and Places... ' No. 10: Cathedral and Collegiate Choirs ofEurope No. V: York. Includes: William Byrd: Miserere Mei, Deus; Walford Davies: Magdalen at St. Michael's Gate; Elan Gray: What are These that Glow from Afar?; Francis Jackson: Benedicite: Blow Ye the Trumpets in Zion; Thomas Tallis: In Manus Tuas; Ralph Vaughan Williams: Prayer to the Father of Heaven.

D156.

Priory PR 125 / LP / 1982 The Choir of Wakefield Cathedral conducted by Jonathan Bielby, Peter Gould, organ. Album Title: Twentieth Century Church Music. Includes: Kenneth Leighton: Sequence for All the Saints, Op. 75; Petr Eben: Missa Adventus; Sidney Campbell: Sing We Merrily Unto God; Percy Whitlock: Glorious in Heaven.

D157.

Priory PRCD 296 / CD / 1989

110

Discography Durham Cathedral Choir directed by James Lancelot, Ian Shaw, organ. Album Title: Evensong for St. Cuthbert's Day from Durham Cathedral Includes: Jean Langlais: Prelude Modal, op. 61 No. 1; Richard Lloyd: The Windows; Francis Grier: Preces; Charles Lockhart: For All thy Saints, O Lord (Hymn); Walter Parrett, and Thomas Walmisley: Chant: Psalm 104; John Taverner: Ikon of Saint Cuthbert of Lindisfarne; Walter Greatorex and Richard Lloyd (Descant): Hymn: Ring Christ, Ring Mary, Benedict and Bede; Henri Mulet: Carillon-Sortie.

D158.

Priory PRCD 436 / CD / 1992 The Chapel Choir of St. Catherine's College, Cambridge, directed by Rupert Jeffcoat, Andrew Reid, organ. Album Title; Choral Works by Kenneth Leighton. Includes: (See D5 for couplings).

D159.

Hyperion CDA 66849 / CD /1992 The Choir of St. Paul's Cathedral, with Neil Mackie, tenor, conducted by John Scott, Andrew Lucas, Organ. Album Title: Cathedral Music by Kenneth Leighton. Includes: For Couplings, see D69.

D160.

ASV CD CDA 851 / 1993 / CD The Choir of the Queen's College, Oxford, Matthew Owens, director, David Went, organ. Album Title; Howells and Leighton Sacred Choral Music. Includes: Herbert Howells: Chichester Service: Magnificat and Nunc Dimittis; A Hymn for Saint Cecilia; Salve Regina; O Salutaris Hostia; My Eyes for Beauty Pine; Like as the Hart Desireth the Waterbrooks; Kenneth Leighton: Give Me The Wings of Faith (1962); O Sacrum Convivium (1975); Solus Ad Victimam (1968); Crucifixus Pro Nobis, Op. 28: Christ in the Cradle; Christ in the Garden; Christ in His Passion; Drop, Drop Slow Tears.

D161.

Naxos / C D / Forthcoming 2004 The Choir of St. John's College, Cambridge, directed by Christopher Robinson ,and Christopher Steele-Perkin, trumpet. Album Title: Kenneth Leighton: Sacred Choral Works. (English Choral Music series).

Includes: See Dl8 for couplings.

Discography

111

The Second Service: Magnificat and Nunc Dimittis, Op. 62: Magnificat D162.

Priory PRCD 269 / CD /1990 The Durham Cathedral Choir directed by James Lancelot, Ian Shaw, organ. Album Title: Evensong for St. Cuthbert's Day from Durham Cathedral. Includes: Jean Langlais: Prelude modal, Op. 6, No. 1; Richard Lloyd: The Windows; Charles Lockhart: Hymn: For All Thy Saints, O Lord; Walter Parratt: Chants: Psalm 104; Kenneth Leighton: Nunc Dimittis (from Op. 62); John Tavener: Ikon of Saint Cuthbert of Lindisfarne; Walter Greatorex: Hymn: Ring Christ, Ring Mary, Benedict and Bede (descant by Richard Lloyd); Henri Mulet: Carillon-Sortie.

The Second Service: Magnificat and Nunc Dimittis, Op. 62: Nunc Dimittis D163.

Lammas LAMM 113D / CD / 1998 The Choir of Waltham Abbey directed by Jamie Hitel, organist Stuart Nichelson. Album Title: For the Fallen. Includes: Edward Elgar; For the Fallen; Richard Farrant: Call to Remembrance; Alastair Stout: Darkening Skies; Maurice Greene: Lord Let Me Know Mine End; Ernest Bullock : Give Us the Wings of Faith; Douglas Guest: For the Fallen; Herbert Sumsion: They That Go Down to the Sea and Ships; Kenneth Leighton: Et Resurrexit, Op. 49; John Ireland: Greater Love Hath No Man; Johannes Brahms: How Lovely are Thy Dwellings.

Sequence for All the Saints, Op. 75 D164.

Priory PR 125 / LP /1982 The Choir of Wakefield Cathedral conducted by Jonathan Bielby, Peter Gould, organ. Album Title: Twentieth Century Church Music. Includes: Kenneth Leighton: The Second Service: Magnificat and Nunc Dimittis, Opous 62; Petr Eben: Missa Adventus; Sidney Campbell: Sing We Amerrily Unto God; Percy Whitlock: Glorious in Heaven.

Sequence for All the Saints, Op. 75: Finale

112 D165.

Discography WCCA Audio WCCA-CD-1 / CD / 1998 The choir of Wakefield Cathedral directed by Jonathan Bielby, Sean Farrell and Louise Marsh, Assistant Organists. Album Title: Music For All Saints and All Souls. Includes: James Turle: Psalm 19; H. C. Stewart: Psalm 148; Sydney Watson: Magnificat in E: Nunc Dimittis in E; Edgar Bainton: And I Saw a New Heaven; Hymn: Tune: St. Catherine's Court: Hymn: In Our Day of Thanksgiving; Diderik Buxtehude: Ciacona in E Minor; Kenneth Leighton: Sequence for All the Saints, Op. 75: Communion; Jonathan Bielby: Psalm 6; Jonathan Battishill: Psalm 69; T. A. Walmisley: Magnificat in D Minor: Nunc Dimittis in D Minor; Richard Farrant: Call to Remembrance; Jonathan Bielby: Hymn-Anthem: Around the throne of God; Marcel Dupre: Cortege et Litanie.

Serenade in C for Flute and Piano, Op. 19a D166.

ASV CD DCA 862 / 1993 /CD Kenneth Smith, flute and Paul Rhodes, piano. Album Title: The Reed of Pan. Includes: Granville Bantock, Pagan Poem; William Mathias, Sonatina; Eugene Goossens, The Breath of Ney; Howard Blake, Elegy; Gerald Finzi, Five Bagatelles (arr. Smith); Cyril Scott, Lotus Land; William Lloyd Weber, Mulberry Cottage (from Country Impressions); Edwin York Bowen, Sonata, op. 120.

Serenade in C for Flute and Piano, Opua 19a: Romanza, Scherzo, Pastorale D167. Wharf Digital Recordings Ltd. / 1996 / CD Nicola Woodward, flute, Nigel Clayton, piano, Helen Cole, harp, Bernt Simen, cello, Justin Woodward, percussion. Album Title: A Celtic Twilight. Includes: George Macilwham: Celtic Suite; Hamilton Harty: "In Ireland"; Ralph Vaughan Williams: Suite de Ballet; George Macilwham: Lyric Sonata; Traditional arranged by Woodward: "Somerset Lament".

Six Fantasies on Hymn Tunes, Op. 72 D168.

Priory PRCD 326 / 3 CDs / 1995

Discography

113

Dennis Townhill playing the organ of St. Mary's Cathedral, Edinburgh. Album Title: The Complete Organ Works of Kenneth Leighton. Includes: See D30 for couplings. Six Fantasies on Hymn Tunes, Op. 72: Lumero D169.

Duke Street Records DSR 31032 / LP /1987 Duke Street Records DSRC 31032 / Cassette /1987 Eric Robertson, organ. Album Title: Eric Robertson Plays the Casavant Organs of Eleven Churches in Toronto. Includes: Charles Villiers Stanford: Sonata for Organ, No. 4, Op. 153, " St. Patrick's Breastplate"; Eric Robertson: Psalm Prelude on "Caithness"; Einar Traerup Sark: Toccata Primi Toni, Op. 3; Alfred Hollins: A Trumpet Minuet; Healey Willian: "Slane" Prelude for Organ; Michael Corrette: Tierce Entaille: Dialogue, from Livre d'orgue, No. 1, Magnificat du ler Ton; J. S. Bach: Fantasie und Fuge, BWV 542; Franz Schmidt: Prelude in D Minor: Hallelujah; David Ouchterlony: Trumpet Tune; Frederick Silvester: Chorale Prelude on "Rockingham ".

Six Fantasies on Hymn Tunes, Op. 72: Veni Emanuel Dl 70.

Gothic G 49070 /1994 / CD Robert Grogan, organ at the Basilica of the National Shrine of the Immaculate Conception, Washington, DC. Album Title: Times and Seasons: Organ Music for the Liturgy by Twentieth-Century Composers. Includes: Max Reger: Weihnachten; Virgil Thomson: Pastorale on a Christmas Plainsong; Maurice Durufle: Prelude sur ITntroit de I 'Epiphanie; Marcel Dupre: Lumen ad Revelationem; Samuel Barber: Wondrous Love: Variations on a Shape-note Hymn; Ronald Arnatt: Prelude for Passiontide; Wilbur Held: Partita on "O Filii et Filiae"; Larry King: Fanfares on the Tongues of Fire; Jean Langlais: Improvisation (Elevation); Michael Tippett: Preludio al Vespro de Monteverdi; Joseph Jongen: Improvisation sur le "Te Deum ".

D171.

Alpha APA 569 / LP /1987 Choir of Corpus Christi College, Cambridge, Mark Lee, conductor, Tom Taylor, organ. Mark Lee, organ on the Leighton selection. Album Title: Choir of Corpus Christi College, Cambridge.

114

Discography Includes: Charles Villiers Stanford: Three Motets, Op. 38: Justorum Animae; Coelos Ascendit Ho die; Beati Quorum Via; Philip Ledger: / Will Lift Up Mine Eyes; Edward Bairstow: Let All Mortal Flesh Keep Silence; H. Walford Davies: Chant: Psalm 137, Verses 1-6; William Byrd: Ave Verum Corpus, from Gradualia, Liber 1; Thomas Morley; Out of the Deep; Herbert Howells: Here Is the Little Door from Carol-Anthems; Dietrich Buxtehude: Praeludium undFuga in A, BuxWV 153; Benjamin Britten: Hymn to St. Cecilia, OP. 27.

Six Studies (Study-Variations), Op. 56 D172.

Hyperion CDA 67267 / CD / 2002 Stephen Hough, piano. Album Title: Stephen Hough's English Piano Album. Includes: Alan Rawsthorne: Bagatelles; Stephen Reynolds: Two Poems in Homage to Delius; Stephen Hough: Valse Enigmatique Nos. 1 and 2; Edward Elgar: In Smyrna; Stephen Reynolds: Two Poems in Homage to Faure; York Bowen: Reverie d'Amour, Op. 20; Serious Dance, Op. 51 no. 2; The Way to Polden (an ambling tume), Op. 76; Frank Bridge: The Dew Fairy; Heart's Ease.

Solus ad Victimam (1968) D173.

Wealden WS 122 / LP /1976 The Choir of Woodford Parish Church directed by Robert Munns. Album Title: Music from St. Mary's. Includes: John Redford, attr.: Rejoice in the Lord: Thomas Morely: Nolo Mortem Peccatoris; Palestrina: Loquebantur Variis Linguis Apostoli; Maurice Greene: Lord, Let Me Know Mine End; Edgar Bainton: And I Saw a New Heaven; John Ireland: Greater love Hath No Man; Charles Wood: O Thou Central Orb.

D174.

Priory PRCD 436 / CD /1992 The chapel choir of St. Catherine's College, Cambridge, directed by Rupert Jeffcoat, Andrew Reid, organ. Album Title: Choral Works by Kenneth Leighton Includes: For Couplings see, D5.

Discography

115

Dl 75.

Alpha CDCA 963 / 1994 / CD Waltham Abbey Choir, Jamie Hitel, director, Andrew Linn, organ. Album Title: Hark the Glad Sound Includes: Jamie Hitel, Hark the Glad Sound; John Rutter, Christmas Night; Johann Sebastian Bach, Chorale Prelude "In Dulcio Jublio" BWV 608; Alun Hodinott, Puer Natus; Johannes Eccard, When to the Temple Mary Went; William Walton, A Litaney; Orlando Gibbons, O Lord, in Thy Wrath Rebuke Me Not; Hosanna to the Son of David; Thomas Tallis, O Sacrum Convivium; Salvator Mundi; Peter Hurford, arranger, Magdalen Cease From Sighs and Sobs; Charles Villiers Stanford, Ye Choirs of New Jerusalem; Peter Philips, Ascendit Deus; Olivier Messiaen, "Transports de Joie" from L'Asencsion; Thomas Tallis, If Ye Love Me; Giovanni Pierluigi Da Palestrina, In Divers Tongues Spake the Apostles.

D176.

Nimbus Records NI 5440 / CD /1995 Musical Heritage Society MHS515708A / 2000 / CD Christchurch Cathedral Choir, Oxford, directed by Stephen Darlington, Stephen Fair, organ. Album Title: Oxford Church Anthems. Includes: Charles Wood: O Thou, the Central Orb; Orlando Gibbons: Almighty and Everlasting God; Herbert Howells: My Eyes for Beauty Pine; Franz Schubert: Where Thou Reignest; Anton Bruckner: Locus Iste; G.F.Handel: Lord, I Trust Thee; William H. Harris: Holy is the True Light; John Rutter: God be in My Head; C.V. Stanford: Pray that Jerusalem; Johannes Eccard: When to the Temple Mary Went; Henry Purcell: Thou Knowest, Lord; William Byrd: Ave Verum Corpus; J. S. Bach: Awake, thou Wintery Earth; Tomas Luis de Victoria: O Quam Gloriosum; Thomas Morley: Nolo Mortem Peccatoris; John IV, King of Portugal: Crux Fidelis; H. Balfour Gardiner: Evening Hymn.

Bill.Move Digital MCD 066 / CD /1995

The Choir of the Scots's Church, Melbourne, conducted by Douglas Lawrence, Peter Batterham, organist, Miriam Morris and Keren Bruce, Gambas, Gary Ekkel, Recorder and Douglas Lawrence, Harpsichord. Album Title: Praise the Lord His Glories Show Includes: Erik Routley, arr.: Praise the Lord His Glories Show; Arnold Bax: Lord, Thou Hast Told Us; Wolfgang Kelber. arr.: Glorious Kingdom; Lyra Davidica: Jesus Christ is Risen Today; David Lord: Most Glorious Lord of Lyfe; Jester Hairston, arr.: I

Discography Can Tell the World; Purcell, arr. by Ernset Hawkins: Christ is Made the Sure Foundation; William Mathias: Lift Up Your Heads; Ralph Vaughan Williams: 0 Taste and See; 0 How Amiable; Sir Arthur Sommerville: Praise to the Holiest; Praxis Pietatis Melica: Now thank WE All Our God; Wolfgang Amadeus Mozart: Alleluia (from Exultate Jubilate); Johann Sebastian Bach: Master all my Living; Dietrich Buxtehude: Jubilate Domino: Psalm 66; John Goss: Praise my Soul; Robert Stone: The Lord's Prayer; Eric Gritton: Lord, that Descendest; John Rutter: Praise Ye the Lord; W. H. Harris, arr.: Lead, Kindly Light; John Ireland: Jublilate Deo; Alice Parker, arr.: Balm in Gilead; John Rutter: A Gaelic Blessing. d178

St. Giles Cathedral STG 007 / CD /199? The Choir of St. Giles' Cathedral, Edinburgh directed by Herrick Bunney with Eric von Ibler and Benjamin Saunders. Album Title: Music for Choir and Organ Includes: J. S. Bach: Toccata and Fugue in D Minor, BWV 565; Giovanni de Palestrina: Tu es Petrus; Herrick Bunney: Psalm 121—chant; C.V. Stanford: Gloria in Excelsis Deo; Benjamin Britten: Gloria in Excelsis Deo; Kenneth Leighton: Gloria in Excelsis Deo; Lennox Berkeley: Gloria in Excelsis Deo; Neil Mackay: Praeludium for Organ on Tuer Nobis Natus Est'; John Taverner: The Lamb; Thomas Weelkes: Hosana to the Son of David; Wolgang Amadeus Mozart: Ave Verum Aorpus, K618; Hubert Parry: I Was Glad; J.S. Bach: Fugue in E-Flat, BWV 552.

d179.

Priory PRCD 798 / CD / 2002 The Choir of Liverpool Metropolitan Cathedral directed by Mervyn Cousins , Richard Lea, organ. Album Title: Greater Love Hath No Man Includes: Philip Wilby: If Ye Love Me; Orlando Gibbons: Drop, Drop Slow Tears; Louis Vierne: Kyrie Eleison (Missa Solenelle); Tomas Luis de Vittoria: O Vos Omnes; Meirion Wynn Jones: Ave Regina Caelorum; L. J. White: A Prayer of St. Richard of Chichester; Johannes Brahms: Geistliches Lied; Mervyn Cousins: Crux Fidelis; Olivier Messiaen: Le Banquet Celeste; John Ireland: Greater Love; Colin Mawby: Ave Verum; Philip Moore: Magnificat (Leonard Cheshire Evening Canticles); Mervyn Cousins: A Ceremonial Flourish; Alesandro Scarlatti: Exultate Deo; Craig Sellar Lang: Let All the World; Antonio Lotti: Regina Caeli: Ralph Vaughan Wil-

Discography

117

liams: Easter (Five Mystical Songs); Mary Plumstead: A Grateful Heart; Herbert Howells: Jubilate Deo (Collegium Regale Morning Canticles); Flor Peeters: Gloria in Excelsis.

Sonata for Piano, Op. 64 D180.

Chandos CHAN 9132 / CD /1993 Peter Wallfisch, piano. Album Title: Kenneth Leighton: Piano Sonata, Op. 64; Chamber Music. Includes: Fantasy on an American Hymn Tune, Op. 70; Alleluia Pascha Nostrum, Op. 85; Variations for Piano, Op. 30.

Sonata for Piano Duet, Op. 92 D181.

BMS Cd 408R / CD /1988 BMS 408/Cassette/1988 Album Title: Kenneth Leighton Piano Music. Includes: Kenneth Leighton: Four Romantic Pieces, Op. 95.

D182.

ASC Records ASC CS CD12 / CD /1999 The Davies Duo. Album Title: Twentieth Century Piano Duets. Includes: Alan Rawsthorne: The Creel Suite for Piano Duet after Izaak Walton; Lennox Berkeley: Sonatina for Piano Duet; John Joubert: Divertimento for Piano Duet, Op. 2; Peter Melville Smith: Variations on a Theme ofPaganini.

Sonatina for Piano No. 1, Op. la D183.

Abacus ABA 402-2 / 1988 / CD Eric Parkin, piano. Album Title: Kenneth Leighton, Piano Music, Vol. 1 Includes: Kenneth Leighton, Conflicts, Op. 51; Five Studies, Op. 22; Household Pets, Op. 86; Fantasia Contrappuntistica, Op. 24.

Sonatina for Piano No. 2, Op. 1 D184.

Chandos CHAN 9818 / 2000 / CD

118

Discography Margaret Fingerhut, piano. Album Title: Leighton: Piano Works. Includes: Five Studies, Op. 22; Fantasia Contrappuntistica, Op. 24; Pieces for Angela, Op. 47; Four romantic Pieces, Op. 95.

The Star-Song, Op. 25a See Three Carols, Op. 25a Symphony No. 3 "Laudes Musicae", Op. 90 D185.

Chandos CHAN 8741 / CD /1989 Chandos ABRD 1380 / LP /1989 Chandos ABTD 1380 / Cassette /1989 Neil Mackie, tenor and the Scottish National Orchestra conducted by Bryden Thomson. Album Title: Kenneth Leighton: Cello Concerto. Includes: Kenneth Leighton, Concerto for Cello and Orchestra, op. 31.

Symphony No. 3 (Laudes Musicae), Op. 90: III, Adagio Molto—Allegro con Moto D186.

Chandos CHAN 6611 / CD / 2000 Niel Mackie, tenor with the Royal Scottish National Orchestra conducted by Bryden Thomson. Album Title: Byways of British Music. Includes: Sir William Walton: Faqade: Long Steel Grass; Bernard Stevens: Mark of Cain (A. Williams, arr.); Benjamin Frankel: First Movement (from Symphony No. 2); Humphrey Searle: First Movement (from Synphony No. 2); Benjamin Frankel: Carriage and Pair; Sir William Walton: Faqade: Old Sir Folk; Henry V: Touch Her Soft Lips and Part; Christopher Columbus: Gloria; William Alwyn: Lyra Angelica: Concerto for Harp and String Orchestra: Adagio; Odd Man Out: Prelude; Arthur Bliss: Pastoral: Lie Strewn the White Flesh; The Pigeon Siong; Ralph Vaughan Williams: The Lark Ascending.

Te Deum Laudamus (1964)

Discography

119

D187.

Hyperion CDA 66489 / CD /1992 The Choir of St. Paul's Cathedral, with Neil Mackie, tenor, conducted by John Scott, Andrew Lucas, organ. Album Title: Cathedral Music by Kenneth Leighton. Includes: Kenneth Leighton: Missa Brevis, Op. 50; Lully, Lulla, Thou Little Tiny Child, Op. 25b; Crucifixus Pro Nobis, Op. 38; Second Service: Magnificat and Nunc Dimittis, Op. 62; An Evening Hymn (1979); Let All the World in Every Corner Sing (1965).

D188.

Priory PRCD 786 / CD / 2002 The Choir of Ripon Cathedral directed by Kerry Beaumont, Andrew Bryden, organ. Album Title: Te Deum and Jubilate Includes: Herbert Sumsion: Te Deum Laudamus in G; Grayston Ives: Canterbury Te Deum; William Walton: Jubilate in B flat; Benjamin Britten: Jubilate Deo in E flat; T. Tertius Noble: Te Deum and Jubilate (from the Morning, Communion and Evening Service in B minor, Op. 13; Kenneth Leighton: O Be Joyful in the Lord (Jubilate Deo) (1966); Geroge Dyson: Te Deum Laudamus in D; Jubilate Deo in D; Philip Wilby: Te Deum Laudamus (world premier recording); Jubilate Deo (world premier recording).

Three Carols, Op. 25 Three Carols: Lully, Lulla, Thou Little Tiny Child, Op. 25b D189.

Welden WS 153 / LP /1977 The Chapel Choir of Marlborough College, directed by Roy Wilkinson, Christopher Rathbone, organ. Album Title: The Chapel Choir of Marlborough College. Includes: David Willcocks, arr.: Ding, Dong Merrily on High; Patrick Handley: I Sing of a Maiden; John Rutter, arr.: The Coming of Our King; John Stainer: Good King Wenceslas; Edgar Pittman: Gabriel's Message; Traditional: O Come All Ye Faithful; Charles Villliers Stanford: Beata Quorum Via; Thomas Weelkes: Hossanah to the Son of David; Gordon Jacob: Salute to USA, for Brass and Tympani; George Frederick Handel: Coronation Anthem: Zadok the Priest.

D190.

Lammas Records LAMM 073 / LP / 1984

120

Discography St. Alban's Cathedral Choir conducted by Stephen Darlington, Andrew Parnell, organ. Album Title: Carols from St. Albans. Includes: John Gardner: Tomorrow Shall be My Dancing Day; Peter Warlock: The Birds; Lennox Berkeley: Sweet Was The Song; Michael Head: Little Road to Bethlehem; Herbert Howells: A Spotless Rose; Arthur Oldham: Remember O Thou Man; Alan Ridout (arr.): Silent Night; Edward Bairstow: God Who at Sundry Times; David wilcocks (arr.): Quelle est Cette Odeur Agreable; Charles Wood: Mater Ora Filium; Elizabeth Posten: Last Night in the Open Shippen; Malcolm Williamson (arr.): Ding Dong! Merrily on High.

D191.

Collins Classics 12702 /1990 / CD Nicola Jenkin, soprano solo and The Sixteen conducted by Harry Christophers, Margaret Phillips, organ. Album Title: 20f Century Christmas Collection. Includes: William Walton, Make We Joy Now in this Feast; Peter Racine Fricker, A Babe is Born; Edmund Rubra, The Virgin's Cradle Song; Benjamin Britten, A Hymn to the Virgin; John Taverner, The Lamb; Peter Maxwell Davies, O Magnum Mysterium; Herbert Howells, Sing Lullaby; Peter Hayward, Lute Book Lullaby; Herbert Howells, A Spotless Rose; Peter Warlock, Corpus Christi; Balulalow; Benedicamus Domino; John Gardner, Tomorrow Shall Be My Dancing Day.

D192.

Meridian CDE 84180 / CD / 1990 Salisbury Cathedral Choir, Richard Seal, director, David Halls, organist. Album Title: Anthems For America Includes: Thomas Weelkes, Hosanna to the Son of David; Peter Philips, Ave Jesu Christie; Heinrich Schutz, Woman, Why Weepest Thou?; The Pharisee and the Publican; William Harris, Faire Is the Heaven; Charles V. Stanford, Coelos Ascendit Hodie; Herbert Howells, A Spotless Rose; Gerald Finzi, God Is Gone Up; Thomas Weelkes, Alleluia; Willam Byrd, Vigilate; Peter Philips, Ecce Vicit Leo; Heinrich Schutz, Selig Sind die Toten; Henry Purcell, Jehova, Quam Multi Sunt Hostes Mei; William Harris, Bring Us, O Lord God; Kenneth Leighton, Sarum Mass, Op. 66: Gloria.

D193.

Episcopal church of the Advent ECA 1089 / Cassette /1990

Discography

121

Epsicopal Church of the Advent Choir, Birmingham, Alabama, organist and Director of music, Stephen G. Schaeffer, Master of the Cathedral Choir, Thomas Gibbs. Album Title: My Soul Doth Magnify the Lord Includes: McNeil Robinson: Christmas Alleluia; Michael Head: The Oxen; Allen Orton Gibbs: Now Let us All Right Merry Be; William Byrd: O Magnum Mysterium; Karl Korte: Tomorrow Shall Be My Dancing Day; Sergei Rachmaninoff: Ave Maria; Paul Manz: E'en So, Lord Jesus, Quickly Come; Adolphe Adam: Cantique Noel; Herbert Howells: Magnificat and Nunc Dimittis (Collegium Regale); Maurice Durufle: Ubi Caritas; Jack H. Ossewaarde: Draw Us in the Spirit's Tether; Joseph Haydn: Thanksgiving Song to God; Alexis Lvov: To Thy Heavenly Banquet; Jack W. Burnam: Come Away to the Skies; Lee Hoiby: At the Round Earth's Imagined Corners. D194.

Collins Classics 12702 / CD / 1990 The Sixteen, Margaret Phillips, organ, other instrumentalists, conducted by Harry Christophers. Album Title: 20th Century Christmas Collection. Includes: William Walton: Make We Joy Now at This Feast; Peter Racine Fricker: Babe Is Born; Edmund Rubbra: Virgin's Cradle Hymn; Benjamin Britten: A Hymn to the Virgin; John Taverner: The Lamb; Peter Maxwell-Davies: O Magnum Mysterium; Herbert Howells: Sing Lullaby; Peter Hayward: Lute Book Lullaby; Herbert Howells: A Spotless Rose; Peter Warlock: Corpus Christi; Balulalow, arr.; Benedicamus Domino; John Gardner: Tomorrow Shall Be My Dancing Day.

D195.

CRD 3490 / CD / 1994, 1991 The Choir of New College, Oxford, Edward Higginbottom, director, Frances Kelly, Harp. Album Title: A Ceremony of Carols. Includes: Benjamin Britten: A Ceremony of Carols; Herbert Howells: Long, Long ago; Richard Rodney Bennett: Out of Your Sleep; Gustav Hoist: Four Old English Christmas Carols; Peter Warlock: Bethlehem Down; Richard Rodney Bennett: What Sweeter Music Can We Bring; John Joubert: There Is No Rose; H. Diack Johnstone: I Sing of a Maiden; H. K.Andrews: Before Dawn; Andrew Carter: There Is No Rose; Wishart, Peter: Alleluya, a New Work has Come; John Joubert: Torches.

D196.


122

D197.

Discography The Chapel Choir of St. Catherine's College, Cambridge, directed by Rupert Jeffcoat, Andrew Reid, organ. Album Title: Choral Works of Kenneth Leighton. Includes: For Couplings, see D5. Bay Cities BCD1040 / CD /1992 Pacific Chorale, Pacific Children's Chorus, Pacific Brass Ensemble, conducted by John Alexander. Album Title: Sing Noel Includes: Brent Pierce: O Sing Noel; John Rutter, arr.: Deck the Halls; David Willcocks, arr.: O Come, All Ye Faithful; Franz Biebl: Ave Maria (Angelus Domini); Daniel Pinkam: Christmas Cantata (Sinfonia Sacra); David Willcocks, arr.: The First Nowell; Michael Praetorius: Lo, How a Rose E'er Blooming; MackWilberg: Jubilate Deo; Gustav Hoist: Ave Maria; Robert H. Young: There is No Rose of Such Virtue; John Rutter, arr.: Here We Come A-Wassailing; Felix Mendelssohn: Hark the Herald Angels Sing (David Willcocks, arr.); Franz Gruber: Silent Night (Rager Wagner, arr.); Arthur Harris, arr.: We Wish You a Merry Christmas.

D198.

Hyperion CDA 66849 / CD /1992 The Choir of St. Paul's Cathedral, with Neil Mackie, tenor, conducted by John Scott, Andrew Lucas, organ. Album Title; Cathedral Music by Kenneth Leighton. Includes: For Couplings, see D69.

D199.

Gothic G 49071 / CD /1994 The Trinity Church Choir, Boston, directed by Brian Jones with Organist Ross Wood. Album Title: With Heart & Voice. Includes: Charles Villiers Stanford: Te Deum Laudamus in B Flat; F. Melius Chrisiansen, arr.: Beautiful Savior; Cesar Frank: O Lord Most Holy; David Hogan: Magnificat—"St. Alban"; Charles Villiers Stanford: O For a Closer Walk; Patrick Hadley: My Beloved Spake; William L. Dawson, arr.: There is a Balm in Gilead; Charles Villliers Stanford: When Mary Thro' the Garden Went; Andrew Lloyd Webber: Pie Jesu (Requiem); Stephen Adams (Noble Cain, arr.): The Holy City; Horatio Parker: Jam Sol Recedit; Benjamin Britten: Te Deum in C; P. Tschesnokoff: Salvation Is Created; Edward Cuthbert Bairstow: Let All Mortal Flesh Kepp Silence; Ralph Vaughan Williams: Easter (Five Mystical Songs); Charles Hubert Parry: / Was Glad.

Discography

123

D200.

JNS Musiek JNSD 25 / CD /1994 The South African Broadcasting Corporation Chamber Choir directed by Robert Cock. Album Title: Hodie Christus Natus Est. Includes: W. W. Llewellyn: Ding Dong! Merry on High; John Joubert: There Is No Rose of Such Virtue; H. du Plessis: Carol on the Fleur De-Lys; Simon Preston: There Is No Rose; E. Hugo Bosman: Inkosi Jesu; Jan Peeterszoon Sweelinck: Hodie Christus Natus Est; S. O'Reilly: Of a Rose Is All My Song; David Willcocks, arr.: Tomorrow Shall Be My Dancing Day; P. L. van Dijk: Gifts; Ian Humphris: Stille Nacht; John Bertalot: Little Baby Born at Dark Midnight; D.du Plessis: Shepherd's Carol; John Rutter, arr.: Quem Pastores Laudavere; John Bertalot: Calypso Carol; Francis Poulenc: Quem Vidistis Pastores Dicite; Videntes Stellam; Hodie Christus Natus Est; Andrew Carter, arr.: Spanish Carol.

D201.

Priory PRCD 580 / CD /1996 The Choir of Southwark Cathedral directed by Peter Wright, Stephen Layton, organ. Album Title: The Message of Christmas. Includes: Boris Ord: Adam Lay Y-Bounden; Philip Ledger: Adam Lay Y-Bounden; Peter Warlock: Adam Lay Y-Bounden; David Willcocks, arr.: The Lord at First Did Adam Make; Pettman, arr.: Gabriel's Message; Patrick Hadley: I Sing of a Maiden; Lennox Berkeley: I Sing of a Maiden; Anonymous: There Is No Rose; John Joubert: There Is No Rose; John Rutter: Shepherd's Pipe Carol; Harold Darke: In The Bleak Mid-Winter; David Willcocks, arr.: Tomorrow Shall Be My Dancing Day; John Gardner: Tomorrow Shall Be My Dancing Day: Piers Maxim: Lute-Book Lullaby; Peter Cornelius: Three Kings; Herbert Howells: Here Is the Little Door: ^^-Century English: Coventry Carol; Stephen Cleobury: Joys Seven; William Mathias: Wassail Carol; John Tavener: The Lamb; Philip Ledger, arr.; Sussex Carol.

D202.

Virgin Classics 7243 5 61314 2 / CD /1996 Winchester Cathedral Choir, David Hill, director, Stephen Fair, organ. Album Title: A Christmas Celebration. Includes: Anonymous: Chant: Puer Natus Est; David Willcocks, arr.: Of the Father's Heart Begotten: Anonymous: Chant: Laetentur Coeli; William Byrd: Laetentur Coeli; Anonymous;

124

Discography Ave Maria; Robert Parsons: Ave Maria; John Gardner: Tomorrow Shall Be My Dancing Day; Benjamin Britten: A Hymn to the Virgin; Johann Sebastian Bach: In Dulcio Jubilo; David Willcocks, arr.: O Come. O Come Emmanuel; Michael Praetorius: Est Ist Ein Ros' Entsprungen; Tomas Luis de Victoria; O Magnum Mysterium; Anonymous: Chant: Alleluia.

D203.

Chandos CHAN 9485 /1997 / CD The Finzi Singers directed by Paul Spicer, Andrew Lumsden, organ. Album Title: Leighton: Choral Works. Includes: For couplings, see D16.

D204.

Ethereal Recordings ER-110 / CD / 1997 The Choir of St. Bartholomew's Church, New York City, William K. Trafka, conductor, Daniel Moriarty, organist. Album Title: Sing, Choirs of Angels Includes: Davil Willcocks (arr.): O Come, All Ye Faithful; George Malcolm: Kyrie and Gloria (Missa ad Praesepe); David Willcocks, (arr.): Tomorrow Shall Be My Dancing Day; John Rutter: Star Carol; Child in a Manger; I Saw three Ships; George Malcolm: Sanctus; Benedictus; Agnus Dei (Missa ad Praesepe); Herbert Howells: Three Carol Anthems: Here Is the Little Door; Sing Lullaby; A Spotless Rose; Ma;colm Sargent (arr.): Silent Night; David Willcocks (arr.); Hark! The Herald Angels Sing; Leo Sowerby: Postludium on "In Dulce Jubilo ".

D205.

York Ambisonic York CD 152 / CD / 1999 The Choir of St. Giles' Cathedral, Michael Harris, Organist and Master of Music, John Harris, Assistant Organist. Album Title: Christmas at St. Giles. Includes: Michael Praetorius: Psallite Unigenito; Felix Mendelssohn: Hark! The Herald Angels Sing; Benjamin Britten: A Hymn to the Virgin: Dietrich Buxtehude: In Dulci Jubilo; J.S. Bach/Walther, arr.; In Dulci Jubilo; Gustav Hoist: In the Bleak Midwinter; John Taverner: The Lamb; Olivier Messiaen: Les Bergers; Ralph Vaughan Williams, arr.: O Little Twon of Bethlehem; Herrick Bunney, arr.: I Saw Three Ships; Martin Shaw, arr.: Angels From the Realms; Leonard Schroeter: Josef, Lieber Josef Mein; Charles Wood, arr.: Ding Dong Merrily On High; Arthur Sullivan: It Came Upon a Midnight Clear; Richard Rodney Bennett: Susanni; Francis Poulenc: O Magnum Mysterium;

Discography

125

William Mathias: A Babe Is Born; David Willcocks, arr.; O Come All Ye Faithful; Louis-Claude Daquin: Noel Suisse. D206.

Manor Records MRLO 191 / CD / 2000 Schola Cantorum of Oxford conducted by John Mark Ainslie, John Mark Ainsley, tenor, Clive Driskill-Smith, organ. Album Title: Crucifixus: Sacred Choral Music of Leighton and Vaughan Williams. Includes: For couplings see D17

D207.

Lammas LAMM 122D / CD / 2000 The Choir of St. Mary's Cathedral, Edinburgh, conducted by Matthew Owens, with organist Simon Nieminski. Album Title: Angelus ad Virginem. Includes: William Byrd: Rorate Coeli; Orlando Gibbons: This is the Record of John; Hieronymous Praetorius: Magnificat Quinti Toni; Claudio Monteverdi: Ave Maria Stella; John Tavener: Hymn to the Mother of God; Benjamin Britten: Hymn of St.Columba; Howard Skempton: Adam Lay Ybounden; Jan Sandstrom: Det er en Ros Utsprungen; Martin Shaw: Hills of the North Rejoice; Josquin Desprez: Praeter Rerum Seriem; Anon.. (Christopher Stokes, arr.): Angelus ad Virginem; John Joubert: There Is No Rose; Trad. (Philip Ledger, arr.); On Christmas Night (The Sussex Carol); John West: See Amid the Winter's Snow; Jennifer Kelsey (Matthew Owen, harm.): Away in a Manger; Felix Mendelssohn: Hark! The Herald Angels Sing.

D208.

Quilisma QUIL404 /CD /2001 Choir of the Chapels Royal, HM Tower of London, Stephen Tilton, Master of Music, Colm Carey, organist. Album Title: Make We Joy Includes: David Willcocks, (arr.); Of the Father's Heart Begotten; Vaughan Williams, (arr.): The Truth from Above; Palestrina: Matin Responsory; Peter Warlock: Adam Lay Ybounden; Patrick Hadley: I Sing of a Maiden; Hieronymous Praetorius: In Dulcio Jubilo; David Willcocks, (arr.): Once in Royal David's City; 14th Century English: Gaudete; William Byrd: Cradle Song; Gustav Hoist: Lullay My Lyking; Stephen Jackson, (arr.): Noel Nouvelet; Charles-Marie Widor: Andante Sostenuto (from Symphonie Gothique); Francis Poulenc: O Magnum Mysterium; David Willcocks, (arr.): Sussex Carol; Ralph Vaughan Williams, (arr.): Wassail Song; William Walton: Make We Joy

126

Discography Now At This Feast; David Willcocks, (arr.): As With Gladness Men of Old; Felix Mendelssohn: There Shall a Star from Jacob Come Forth; William Byrd: Out of the Orient Crystal Skies; Herbert Howells: Long, Long Ago; Gustav Hoist: Nunc Dimittis.

D209.

Priory PRCD 771 / CD / 2001 Marlborough College Chapel Choir directed by Robin Nelson, Ian Crabbe, organist. Album Title: Advent to Christmas Includes: Vaughan Williams, arr.: This Is the Truth Sent From Above; Boris Ord: Adam Lay Ybounden; French traditional, arr. by Carter: A Maiden Most Gentle; Herbert Howells: A Spotless Rose: Elizabeth Poston, arr.: Gabriel's Message; Robin, Nelson: Out of Your Sleep; John Rutter: There is a Flower; Stephen King, arr.: The Seven Joys of Mary; Arthur Oldham: Remember, O Thou Man; Patrick Hadley: I Sing of a Maiden; Elizabeth Poston: Jesus Christ the Apple Tree; J. S. Bach: In Dulci Jubilo: Gustav Hoist: Lullay My Liking; Robin Nelson: Lute Book Lullaby; Italian, (anon): Ninna-Nanna a Gesu Bambino; John Gardiner: When Christ Was Born; Harold Darke: In the Bleak Midwinter; Pierre Villete: Hymn a la Vierge; Franz Gruber (Barry Rose, arr.): Silent Night; William Mathias: Sir Christemas; Edmund Walters: Iona; Philip Ledger, arr.: On Christmas Night; Peter Cornelius (Ivor Atkins, arr.): The Three Kings: Robin Nelson, arr.: Tomorrow Shall Be My Dancing Day.

D210.

Lammas LAMM 128D / CD / 2001 St. Albans Chamber Choir conducted by David Hansell, with organist Roger Judd Album Title: Christmas Across the Centuries. Includes: Anon (13th Century): Angelus ad Virginem; Tomas Luis da Victoria: Ne Timeas Maria; Anon (15th century): Ther Is No Rose; Plainchant: Ne Timeas Maria; David Willcocks, arr.: Angelus ad Virginem; Luther arr. Michael Praetorius: Vom Himmel Hoch; Luther, arr. by J. S. Bach: Vom Himmel Hoch; Anon (15th Century): Nowel Owt of You Slepe; Plainchant: Hodie Christus Natus Est; Anon (15th century): Alleluya: A Nywe Werk; Francis Poulenc: Hodie Christus Natus Est; Richard Rodney Bennett: Out of Your Sleep; Plainchant: Quem Vidistis Pastores; Anon (13th Century) v. 1 (M. Praetorius, arr), v. 2 (H, Praetorius, arr), v. 3 and v. 4 (M. Praetorius,

Discography

127

arr.): In Dulci Jubilo; Richard Smert: Nowell: Dieus Vous Garde; Anon: (16th Century): The Coventry Carol: Lully, Lulla; Francis Poukenc: Quem Vidistis Pastores; Anon (14th Century and 15th Century); Resonemus Laudibus; J. P. Sweelinck: Hodie Christus Natus Est; Anon (15th Century): Ave Rex Angelorum: William Mathias: Carol Sequence: Ave Rec: 1. Ave Rex Angelorum; 2. Alleluia: A New Work Is Come on Hand; 3. There Is No Rose of Such Virtue; 4. Sir Christemas/ Ave Rec (Reprise); David Willcocks, arr.: Resonemus Laudibus. D211.

Herald HAVPCD 279 / CD / 2002 The Choir of Exeter Cathedral conducted by Andrew Millington and Stephen Tanner, Paul Morgan and Jean Price, organ. Album Title: Dancing Day: Christmas Works from Exeter. Includes: Sir Thomas Armstrong: Office of Grandisson for Christmas; Traditional: Joys Seven; O Little Town of Bethlehem; Away in a Manger; Robert Chilcott: Mid-Winter; John Rutter: Dancing Day; Traditional: Sans Day Carol; Paul Edwards: No Small Wonder; Henry John Gauntlett: Once in Royal David's City; Andrew Millington: Eastern Monarchs; Robert Millington: There Is No Rose; Malcolm Archer: A Child is Born: Traditional: Ding Dong! Merrily on High.

D212.

Lammas LAMM 141D / CD / 2002 Treble Soloist Nicholas Fletcher with Southwell Munster Choir directed by Paul Hale, Philip Rushforth, organ. Album Title: Come, Come My Voice. Includes: Charles Villiers Stanford: Magnificat in G; Johann Sebastian Bach: Come, Let Us All This Day; Come, Come My Voice; My Heart Ever Faithful; J. F. Lallouette: O Mysterium Ineffabile; Gerog Frederick Handel: How Beautiful Are the Feet; I Know That My Redeemer Liveth; Geroge Dyson: Magnificat in F; Ralph Vaughan Williams: The Call; Peter Hurford: Litany to the Holy Spirit; John Ruttter: A Gaelic Blessing; John Dankworth: Light of the World; John Ireland: Ex Ore Innocentium; Herbert Kennedy Andrews: Magnificat in D; Charles Villiers Stanford: A Song of Peace; Felix Mendelsohn: Lord, At All Time I Will Bless Thee; Hear My Prayer.

D213.

Coro COR 16004 / CD / 2003 The Sixteen directed by Harry Christophers. Album Title: Hodie: An English Christmas Collection. Includes: William Walton: Make We Joy Now in this Fest; Peter Racine Fricker: A Babe is Born; Edmund Rubbra: The Virgin 's ;

128

Discography Cradle Song; Benjamin Britten: A Hymn to the Virgin; John Tavener: The Lamb; Benjamin Britten: A Ceremony of Carols; Herbert Howells: Sing Lullaby; Peter Hayward: Lute Book Lullaby; Herbert Howells: A Spotless Rose; Peter Warlock: Corpus Christi; Balulalow; Benedicamus Domino; John Gardner: Tomorrow Shall Be My Dancing Day.

D214.

Collegium Records CSCD 512 / CD / 2003 The Cambridge Singers, City of London Sinfonia directed by John Rutter. Album Title: The Cambridge Singers Christmas Album Includes: H. Wallingford Davis, arr.; The Holly and the Ivy; David Willcocks, arr. ; Blessed Be That Maid Mary; John Ruttter, arr.: Somerset Wassail; Willcocks, arr.: Shepherd, in the Field Abiding; The Infant King; Willan, Healy: What is This Lovely Fragrance?; David Willcocks, arr.: Gabriel's Message; John Rutter, arr.: Still, Still, Still; Quitez, Pasteurs; Un Flambeau, Jeannette, Isabelle; Personet Hodie; Hector Berlioz: The Shepherd's Farewell; Adolphe Adam: O Holy Night; T. L. de Victoria: O Magnum Mysterium; J. P. Sweelinck: Hodie Christus Natus Est; G. F. Handel: For Unto Us a Child is Born; Samuel Scheidt: In Dulci Jubilo; Benjamin Britten: A New Year Carol; Peter Warlock: Balulalow; I Saw a Fair Maiden; John Taverner: The Lamb; Ralph Vaughan Williams: Fantasia on Christmas Carols.

D215.

Hyperion CD NOEL 1 / CD / 2003 Compilation of performances taken from a number of Hyperion recordings, all on the theme of the Christmas, both choral and instrumental. Album Title: Christmas Through the Ages. Includes: Thomas Clark of Canterbury: While Shepherds Watched Their Flocks by Night; Heinrich Schutz: Die Hirten auf dem Felder; Anonmous medieval English: Procendenti Puero; Spanish Traditional: Ri, Riu Chiu: Francisco Guerrero: La Luz de Vuestros Ojos; Guiseppe Valentini: Presto from lSinfonia a Te, per il Santissimo Natale'; Harold Darke: In the Bleak MidWinter; Giovanni Gabrielo: Salvator Noster; Benjamin Britten: In The Bleak Mid-Winter; John Rutter: Carol of the Children; Benjamin Britten: There Is No Rose of Such Virtue; Francis Poulenc: O Magnum Mysterim; Orlando Lassus: Omnes de Saba; Arcangelo Corelli: Allegro from the 'Christmas Concerto '; Felix Mendelssohn: Hark, the Herald Angels Sing; Hec-

Discography

129

tor Berlioz; L 'Adieu des Bergers; Peter Cornelius: De Konige; Traditional, arr. by Andrew Carter: O Come, O Come, Emmanuel; Louis-Claude Daquin: Noel N. 1; Pedro de Cristo: Hodie Nobis de Coelo; Michael Praetorius: Quem Pastores Laudavere; John Tavener: God Is With Us: A Christmas Proclamation. D216.

ASV White Line CD WHL 2150 / CD / 2003 Felicity Lott, soprano, Emily Woolf, Clare Porter, Helen Semple, sopranos; Andy Mackbinder, baritone; Gabriel Woolf, narrator; the Joyful Company of Singers directed by Peter Broadbent. Album Title: Plum Pudding. Includes: Vaughan Williams, arr.: Wassail Song; John Clare: Reading: December; Tomas Luis da Victoria: O Magnum Mysterium; William Byrd: This Day Christ Was Born; From the Wakefield Plays: God's Speech; Rhian Samuel: Reading: Jolly Wat the Shepherd; Anonymous: / Sing of a Maiden; Max Reger, (arr. Peter Broadbent): Virgin Mary's Slumber Song; Peter Cornelius (arr. by Atkins): The Three Kings; T. S. Eliot: reading: Journey of the Magi; Samuel Barber: Twelfth Night; Laurie Lee: Reading: Christmas in Seville (excerpt); Francisco Guerrero: Virgen Sancta; Traditional Spanish, (arr. by Andrew Carter): Esta Noche; Dylan Thomas: Reading: Memories of Christmas; Traditional (arr. by Walford Davies: The Holly and the Ivy; E. V. Lucas: Reading: Christmas Decorations; Traditional Welsh (arr. by Peter Broadbent); Deck the Hall; John Julius Norwich: Reading: The Twelve Days of Christmas; Traditional (arr. by Andrew Carter); The Twelve Days of Christmas; Captain R. J. Armes: Reading: Christmas Truce (A Letter); Leonard Clark: Reading: Singing in the Streets; Franz Gruber (arr. by Peter Broadbent): Silent Night;

Three Carols: Ode on the Birth of Our Savior, Op. 25c D217.

Priory PRCD 436 / CD /1992 The Chapel Choir of St. Catherine's College, Cambridge, directed by Rupert Jeffcoat, Andrew Reid, organ. Album Title: Choral Works by Kenneth Leighton. Includes: For Couplings, see D5.

Three Carols: Star Song, Op. 25a D218.


130

Discography

The Chapel Choir of St. Catherine's College. Cambridge, directed by Rupert Jeffcoat, Andrew Reid, organ. Album Title: Choral Works by Kenneth Leighton. Includes: For Couplings see, D5. D219. Hyperion CDA66925 /1996 / CD Polyphony, Stephen Layton, conductor Album Title: O Magnum Mysterium: Twentieth-Century Carols. Includes: Plainchant: O Radix lesse; Peter Wishart: Alleluya, a New Work is Come at Hand; Herbert Howells: A Spotless Rose; Richard Rodney Bennett: Out of Your Sleep; There Is No Rose; Peter Warlock: As Dew in Aprylle; Plainchant: O Magnum Mysterium; Peter Warlock: Bethlehem Down; Richard Rodney Bennett: That Younge Child; Peter Warlock: / Saw a Faire Maiden; Herbert Howells: Sing Lullaby; Plainchant: Ave Maria; Kenneth Leighton: A Hymn to the Nativity; Peter Warlock (arr. By Andrew Carter): Lullaby My Jesus; Plainchant: Christus Natus Est; John Byrt: All and Some; Kenneth Leighton: An Ode on the Birth of Our Saviour, Op. 25c; Richard Rodney Bennett: Susanni; Plainchant: Puer Natus Est Nobis; Peter Warlock: Benedicamus Domino; A Cornish Christmas Carol; Plainchant: Reges Tharsis; Herbert Howells: Here Is a Little Door; William Walton: What Cheer? Kenneth Leighton: Lully, Lulla, Thou Little Tiny Child. OOp. 25b; Plainchant: Verbum Caro Factum Est.

Variations, Op. 30 D220.

Chandos CHAN 9132 / CD /1993 Peter Wallfisch, piano. Album Title: Kenneth Leighton: Piano Sonata, Op. 64; Chamber Music. Includes: Fantasy on an American Hymn Tune, Op. 70; Alleluia Pascha Nostrum, Op. 85; Piano Sonata, Op. 64.

Veni Creator Spiritus: Prelude for Organ (1987) D221.


Discography

D222.

131

Naxos / CD / Forthcoming 2004 The Choir of St John's College, Cambridge, directed by Christopher Robinson, Christopher Steele-Perkin, trumpet [Organist not identified]. Album Title: Kenneth Leighton: Sacred Choral Music (English Choral Music series. Includes: See D18 for couplings.

Veni Redemptor, Celebration for Organ, Op. 93 D223.

Priory PRCD 326 / 3 CDs / 1995 Dennis Townhill playing the organ of St. Mary's Cathedral, Edinburgh. Album Title: The Complete Organ Works of Kenneth Leighton. Includes: See D30 for couplings.

Veris Gratia, Suite for Oboe, Cello and Strings, Op. 9 D224.

Chandos CHAN 8471 / CD /1986 Chandos ABTD 1182 / Cassette /1986 George Caird, oboe (2nd work), Raphael Wallfisch, cello, and the Royal Philarmonic Orchestra conducted by Vernon Handley. Album Title: Cello Concerto, Op. 40 by Gerald Finzi. Includes: Gerald Finzi: Concerto for Cello, Op. 40.

Wassail All Over the Town (1964) D225.

Exultate Chamber Singers ECS02 / CD /1994 The Exultate Chamber Singers conducted by John Tuttle with the Great Lakes Brass and Ian Sadler, Organist. Album Title: Make We Joy: Music For Christmas. Includes: Daniel Pinkham: Christmas Cantata "Sinfonia Sacra"; Robert B. Anderson (arr.): The Huron Carol; J. S. Bach (Lisa Vageois, arr.); In Dulcio Jubilo; Hugo Distler: Die Weihnachtsgeschichte, Op. 10; W. J. Kirkpatrick (Richard Price, arr.): Away In a Manger; Derek Holman: Christ Keep Us All; Mary is a Lady Bright; Make We Joy Now in This Feast; O My Dear Heart; Howard Cable, arr.: The Holly and the Ivy; John Gardner, arr.: The Holly and the Ivy; Mel Torme (James Wells,

132

Discography arr.): The Christmas Song; Hugh Martin and Ralph Blane, (James Wells, arr.): Have Yourself a Merry Little Christmas.

What Love Is This of Thine? (1985) D226.

Priory PRCD 251 / CD / 1988 Choir of St. Mary's Cathedral, Edinburgh, Orchestra of St. Mary's School, Peter Backhouse, organ, conducted by Dennis Townhill. Album Title: My Beloved Spake. Includes: For Couplings, see D4.

D227.

Chandos CHAN 9485/1997 / CD The Finzi Singers directed by Paul Spicer, Andrew Lumsden, organ. Album Title: Leighton: Choral Music. Includes: For couplings, see D16.

D228.

Guild GMCD 7222 / CD / 2001 The Choir of Queen's College, Cambridge, directed by Owen Rees and Edward Whiting. Album Title: Christ Rising. Includes: Thomas Tallis: Verily, Verily, I Say Unot You; Francis Poulenc: Tristis est Anima Mea; Johann Sebastian Bach: Christe, du Lamm Gottes BWV 619; Francis Poulenc: Vinea Mea Electa; Johann Sebastian Bach: Hilfi Gott, das Mir's Gelinge BWV 624; Benjamin Britten: Yfic of Luve Can; Ye that Pasen by—(Sacred and Profane, Op. 91); Johann Sebastian Bach: Da Jesus an dem Kreuze Stund BWV 621; Orlande de Lassus: Tenebrae Factae Sunt; Tomas luis de Victoria: Vere Languores; William Litany: A Litany; Orlando de Lassus: Sepulto Domino; Thomas Morely: Eheu Sustulerunt Dominum Meum; Johann Sebasitan Bach: Christ Lag in Todesbanden BWV 625; William Byrd: Mass Propers for Easter Day, (Gradualia, 16007): Introit, Gradual, Offertory, Communion; Tomas Luis de Victoria: Surrexit Pastor Bonus; William Byrd: Christ Rising.

D229.

Naxos / CD / Forthcoming 2004 The Choir of St. John's College, Cambridge, directed by Christopher Robinson, and Christopher Steele-Perkin, trumpet.

Discography

133

Album Title: Kenneth Leighton: Sacred Choral Music (English Choral Music series). Includes: See D18 for couplings.


Bibliogr aphy Articles and Reviews Bl. "Academy to Premiere Opera at Theatre Royal." Scottish Opera News (May, 1981) p. 3. Announces the upcoming premiere of Leighton's opera, Columba, which was to receive its first performance on June 16, 1981. Notes that the performances will be the students from the Royal Scottish Academy of Music and Drama and will be conducted by Roderick Brydon. Includes a photograph of Kenneth Leighton and Edwin Morgan, who wrote the libretto for the opera. B2. "Awards and Opportunities." Musical Opinion vol. 90 (November, 1966) p. 73. Includes an announcement that Kenneth Leighton had won the Bernard Sprengel Prize for Chamber Music, 1956/66. The winning work was Leighton's Piano Trio op. 46. Mentions Leighton being awarded the City of Trieste Prize late in the previous year for his Symphony No. 1. Also mentions Leighton's piece for organ, Et Resurrexit was going to be performed by Robert Munns on November 16 of that year while the composer's Te Deum was also to be performed in a new version that included orchestra. B3. "Choral Music from Carissimi to Stravinsky." Times (September 5, 1963).

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Bibliography Review of a concert in Worcester during the 1963 Three Choirs Festival, performed in the afternoon, September 3, 1963. The program included a performance of Leighton's Passacaglia, Chorale and Fugue [Op. 18], conducted by David Wilcocks. The reviewer notes, "This is a well-wrought work... [which] suggests an affinity with Hindemith". Further, he concludes, "it does engage the mind as a piece of musical thought."

B4. "Concerto Notes: Edinburgh Festival." Strad vol.93 (November, 1982) p. 463+. Includes a review of Leighton's Fantasy-Octet: Homage to Percy Grainger when it was premiered at the Queen's Hall, Edinburgh, August 29, 1982, during the Edinburgh Festival. Includes a descriptive analysis of the composition as well as a performance review of the work. Concludes: "With or without the Grainger 'tag', Leighton's Octet is strong enough to prize itself into the repertory." B5. "Development of an Idea." Scotsman (January 14, 1965). Review of a concert by the Edinburgh Quartet in Edinburgh at the Reid School of Music, January 14, 1965. Featured on the program was a performance of Leighton's Quintet for Piano and Strings. [Piano Quintet, Op. 34]. When describing the work the reviewer notes: "This is a tight-knit work constructed from a basic unit of four notes and the interest was held throughout the performance by the varying development of this fundamental idea." B6. "Editorial Notes." Strad vol.68 (October, 1857) p. 197. Article that includes a review of the first London performance of Leighton's Concerto for Cello, op. 31 by cellist Florence Hooton on September 13, 1957. When describing Leighton's work the reviewer notes, "his music shows deep thought and also feeling." However he goes on to say, "it does not seem to have been conceived in terms of its solo instrument." B7. "Elegy." Musical Opinion vol. 76 (March 1953) p. 353. Very brief description of Leighton's Elegy for Cello and Piano [Op. 5], composed in 1959, at the time the score was published by Lengnick. Remarks, "Melodic writing has breadth and warmth...balance between the part." Highly recommends the work.

Articles and Reviews

137

B8. "Five Studies for Piano." Musical Opinion vol. 80 (December, 1956) p. 155. Brief summary and description of Leighton's Five Studies for Piano when the score was published by Novello. The work is described as one which will "certainly help to develop technique." In addition remarks the pieces are "primarily music which will call out the interpretive abilities of the musicians." B9. "Full-Blooded Playing." Times (June 20, 1962). Review of a concert in London at the Wigmore Hall, June 19, 1962, performed by the Harvey Phillips String Orchestra conducted by Harvey Phillips. Included on the program was the premiere of Leighton's Concerto for String Orchestra. Includes a brief description of the music and concludes, "It was refreshing to hear a work by a comparatively young composer in which strong feeling is expressed with skill." BIO. "Full Score, All Sizes." Musical Opinion (December, 1969). Article which includes reviews of a number of newly-published scores by various composers. Included is a mention of Leighton's Dance Suite No. 1, Op. 53, when it was published by Novello. The review notes, "Kenneth Leighton ...wrote his Dance Suite for the Glasgow Education Committee, so presumably he has had to write down to educational requirements...he has succeeded in this threemovement work...[it] should be a feather in his cap." B l l . "Imaginative and Memorable Mass." Times (May 23, 1966). Review of a concert by the Edinburgh University Singers conducted by Herrick Bunney at St. Clements Danes, London. Leighton's composition Mass op. 44 received its London premier. The work is described as "certainly craftsmanlike down to the last detail of textural spacing and formal shape, but it was also imaginative and memorable." Includes a brief, descriptive review of the music. B12. "Isle of Arran Music Society." Arran Banner (November 19, 1985) p. 5. The opening conceit of the Isle of Arran Music Society at Brodick Castle, on November 2,1985 was performed by the Edinburgh String Quartet. The program included a performance of Leighton's Quintet for Piano and Strings [Piano Quintet] in 1956. The composer himself was the pianist in the piece. The review includes high praise of the composer's talent as a performer in his own composition as well

138

Bibliography as in the Schumann Quintet in E-Flat, which was also performed that evening.

B13. "Kenneth Leighton's European Success." Musical Events vol. 21 (November, 1966) p.30. Brief announcement of Leighton's having been awarded the Bernard Sprengel Prize for Chamber Music 1965/66 for the Piano Trio Op 46. Mentions Leighton being awarded the City of Trieste Prize for his Symphony No. 1. B14. "Leighton's Burlesque." Times (September 4, 1959). Review of a Promenade Concert in London by the BBC Symphony Orchestra, September 3, 1959. Included on the program was the first public performance of Leighton's Burlesque, Op. 19, which was composed in 1957. Leighton himself conducted this premiere. Despite the title of the work the reviewer writes, "Sonata form was the composer's chosen mold...working out of the material left no doubt... of his solid academic background. And in conclusion, it is a "piece of traditional thinking rather than.. .a burlesqueing tradition." B15. "Music Award for Edinburgh Man." Scotsman (October 28, 1965). Brief announcement regarding Leighton's being awarded the City of Trieste Music Prize for his composition, Symphony no. 1 op. 42. B16. "Nessie—A Star of Opera." Evening News (June 15, 1981). Article about the next day's premiere of Leighton's opera, Columba, by students from the Royal Scottish Academy of Music and Drama, Glasgow, June 16, 1981. Includes quotes from the composer about the work, including, "I didn't write it for youngsters, I just wrote it." When the writer points out that there will be an appearance in the opera of the Loch Ness Monster, Leighton remarks, "I will be interested to see how they do the monster." B17. "New Music: Piano." Musical Times vol. 95 (December, 1954) p. 660. This article includes a review of Leighton's Sonata No. 2 [for piano] Op. 17 when the score was published by Lengnick. After a very short description of the work the reviewer concludes, "The most successful movement is the last one, a strong and finely made Theme and Variations."


139

B18. "New Music." Somerset Music Maker (Spring, 1983) p.21. Brief review of Leighton's then newly-published composition, An Evening Hymn (Novello). The work, premiered by the Choir of Chichester Cathedral, was commissioned by the Chichester Festival. The review describes the music as "beautifully constructed with marvelously controlled dissonances and a calm feeling of onward movement." B19. " New Piano Concerto." Liverpool Echo (February 3, 1965). Review of a concert by the Liverpool Philharmonic Orchestra under the direction of Charles Groves in Liverpool, February 2, 1965. Included on the program was a performance of Leighton's Piano Concerto No. 2 which featured the composer as piano soloist. About the work the reviewer remarks, "his [Leighton's] second piano concerto. . .revealed him as a force to be reckoned with." B20. "News Section" Composers." Tempo no. 148 (March, 1984)p. 58. Brief article that includes a notice of the premiere of Kenneth Leighton's Dance Suite No. 3, Op. 89, February 21, 1984 in Edinburgh, the Queen's Hall, by the Edinburgh Symphony Orchestra conducted by Kenneth Leighton. B21. "Norman Beedie: Un Athlete du Clavier tout d'interiorite." La Republique (July 25, 1983). Review of a recital by the pianist Norman Beedie late July, 1983 at the Conservatoire Americaine. Included on the progra, was a performance of Leighton's Six Study Variations, op. 56. The work is described as very "athletic". B22. "Obituaries." American Organist vol. 22 no. 12 (December, 1988 P. 52. Includes an obituary of Kenneth Leighton following his death, August 24, 1988. It gives a brief description of his life and works. Mentions his then recent commission by Christ Church Cathedral, Indianapolis, Indiana, the Missa Christi (1988), which was intended to celebrate the 150th anniversary of the Cathedral. Also remarks, "The composer was best known for a personal style of composition based on the foundations of Hindemith, Vaughan-Williams, and Walton."

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Bibliography

B23.

"Organ and Church Music Notes." Musical Opinion (October 1973) p. 50. An account of an Anglican Communion Service at Salisbury Cathedral, part of the Southern Cathedrals Festival, July 27, 1973. Three combined choirs, those of Chichester, Salisbury and Winchester Cathedrals, were conducted by Richard Seal, Choirmaster and Organist at Salisbury, with organist Michael Smith. Leighton's Sarum Mass [Op. 66], which was commissioned for the event, received its premiere. During the Communion the choirs performed Leighton's anthem, Drop, Drop Slow Tears [Op. 38]. Does not include a review of the music.

B24. "Organ and Church Music Reviews." Musical Opinion vol. 94 (March 1971) p. 315. Description of Leighton's An Easter Sequence, Op. 55, composed in 1955. The work was commissioned by the Berkshire Boy Choristers, and was premiered in a conceit version in Rouen, France at the Temple St. Eloi, April 10, 1969 by them. It received its Liturgical premiere during a service at St. Severin, Paris, on Low Sunday, 1969. The article includes a description of the five sections of the piece and concludes: "The vocal lines are almost always diatonic...the organ parts are more elaborate, rhythmically and tonally...." It is accessible to choirs with careful rehearsal. B25. "Organ Events at St. Mary's Cathedral." Festival Events (August, 1979). Review of an inaugural organ recital celebrating the "mechanical modernization" of the organ at St. Mary's Cathedral, Edinburgh by the Cathedral organist, Dennis Townhill. Included on the program was a performance of Leighton's Prelude, Scherzo and Passacaglia, a work often performed by Mr. Townhill. About the music the reviewer notes: "The Scherzo with its light, insistent figures set in a strongly rhythm pattern...is, perhaps the most engaging of the movements." B26. "Organist Meets Musical Challenge." Oxford Mail (May 21, 1969). Review of a concert by the Kodaly Choir in Oxford, at Merton College, May 28, 1969. Included on the program was a performance of Leighton's Et Resurrexit (Op. 49) by organist Gerard Gillen. The work is described as one that: "displays prodigious invention in the use of variation technique." Further, the music is described as "virtuoso...shows Leighton's view of the Resurrection as "continuous.".


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B27. "Piano Music: Kenneth Leighton: Sonata." Musical Opinion vol. 73 (July, 1950) p. 585. Brief review of Leighton's Sonata (1950) when the score was published by Lengnick. There is a short description of the music, which the reviewer describes as "splendidly laid out for the keyboard. . .warm and spritely.. .developed melodies." B28. "Quartet for Piano and String Quartet." Musical Opinion vol. 86 (October, 1962) p. 27. Review of Leighton's Piano Quintet, Op. 34 when the score was published by Novello in 1962. About the work and its' composer the reviewer notes "his considerable contrapuntal technique is always geared to overall design.. .if subtle in detail.. .sweeping in effect." B29. "Recital of Modern Organ Works." Times (January 27, 1967). Review of a recital in London at Festival Hall by organist Simon Preston, January 25, 1967. Included on the program was a performance of Leighton's Paean, a work described as "short, harmonically quite simple...and effectively celebratory." This conceit was a birthday celebration of the Organ Club. B30. "Records: Choral Music." Church Music Quarterly {July, 1993). Review of a recording, Howells and Leighton featuring Queen's College Choir, Oxford conducted by Matthew Owens, with organist David Went, (ASV CDDCA 851). Included are performances of Leighton's The Second Service, Give Me the Wings of Faith, O Sacrum Convivium, Solus ad Victimam, and Crucifixus pro Nobis. B31. "Reid Hall: Lunch-Hour Recital." Scotsman (November 25, 1987) Review of a lunch-time recital in Edinburgh University at the Reid Hall, by Kenneth Leighton, November 24, 1987. Included on the program was the premiere of Leighton's Four Romantic Pieces, Op. 95 [1986]. The reviewer remarks about the new work, "What is perhaps most intriguing is the...originality with which the composer investigates the range of sonorities.. .in that.. .Concert Grand." B32.

"Scherzo for Two Pianos." Musical Opinion. Very brief review of Leighton's Scherzo for Two Pianos, Op. 7 when the score was published by Lengnick. The piece is described as, "...a cleverly written work."

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Bibliography

B33.

"Similar Style Creates Music Clash." Liverpool Post (February 6, 1986). Review of a conceit by the Royal Liverpool Philharmonic Orchestra conducted by Vernon Handley, featuring cellist Raphael Wallfisch, during a Wednesday Night Subscription Concert in Liverpool, February 5, 1986. The program included a performance of Leighton's Veris Gratia: Suite for Oboe, Cello and Strings, Op. 9, composed in 1950, for which Mr. Wallfisch was joined by oboist George Caird. The reviewer is not as impressed as he might have been by the work, complaining the program should not have performed the Finzi Cello Concerto and followed it with the Leighton. The two works were similar in style and should not have been performed on the same program. When describing the music, the reviewer remarks: ".. .it is pleasantly relaxing, dream-like, pastoral and wouldn't harm anyone."

B34. "Sonata for Violin and Piano." Musical Opinion vol.75 (March 1952) p. 351. Brief review of Leighton's Sonata for Violin and Piano, Op. 4 when the score was published by Lengnick. Remarks the Leighton "has a breadth of conception almost unique among our younger composers." B35. "Sonata No. 2 for Piano." Musical Opinion vol. 77 (September 1954) p. 715. Brief review of Leighton's Sonata for Piano No. 2, Op. 17 when the score was published by Lengnick, Remarks, "Here is a work that deserves frequent performances...." B36. "String Quartet No. 1." Musical Opinion vol.22 (December, 1958) p. 171. Review of Leighton's String Quartet No. 1, op. 32, when the score was published by Lengnick. About the music the reviewer remarks, "The composer's exuberant, uninhibited style is shown at its best in this fine work..." and, further, that the piece is "outstanding among recent works for string quartets". Includes a brief, descriptive analysis of the music. B37. "Stunning Performance by Piano Trio." Dundee Courier (September 19, 1986).


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Review of a concert sponsored by the Perth Chamber Music Society, Borante Piano Trio. Included on the program was a performance of Leighton's Piano Trio. The reviewer describes the work as "a tense, lyrical, gripping work." Further the writer affirms, "it is a masterpiece of the piano trio genre." B38. "This Concerto was a Tour de Force'." Dispatch (November 4, 1961). Review of a conceit in Edinburgh at the Reid School of Music by the Reid Orchestra conducted by Professor Sidney Newmann, Novemb e r , 1961. The soloist was pianist Peter Wallfisch who performed the first British concert performance of Leighton's Concerto for Piano, Op. 11, 2L work the composer wrote in 1951 and revised in 1959. The work is described as: "...intensely virile...bustles and chatters along, pausing only to allow a short, slow movement to say its effective piece." The soloist, Peter Wallfisch, gave a performance that was "a tour de force...[with] brilliant technique." B39.

"Two Church Concerts." Scotsman (December 5, 1973). Article including a review of a conceit by the Edinburgh University Musical Society at the Usher Hall, December 2, 1973. Included on the program was a performance of Schumann's Concerto for Piano, Op. 54, with Kenneth Leighton as soloist. Remarks that the composer "gave a vigorously poetic account of the Schumann."

B40. "Two New String Quartets." Times (December 8, 1958) Review of a Macnaghton concert in London at the Arts Council at the previous Friday by the Aeolian String Quartet. The program included a performance of Leighton's String Quartet No. 1, Op. 32. The work is described, in the first movement, as having "energetic counterpoint," while the third movement exhibits "menacing vigour." The second movement is "long and highly wrought...standing above the other two." B41. "The Widow's Musical Might." Evening News (May 2, 1995). Article that focuses on Kenneth Leighton's widow, Jo Leighton. Her tireless work to promote her late husband's compositions, both by arranging for performances of his works and the recording of them as well. Mentions the recording, Classic Widows (Chandos), which includes a performance of the third movement of Leighton's Symphony No. 3. Includes a brief overview of the Leighton Trust, which has been administered by Jo Leighton since it was established in 1993.

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Bibliography

B42. "World Premiere for Centenary Concert." St. Andrew's Citizen (February 21, 1976). Article about the then upcoming centennial celebration of the St. Andrew's Music Society, St. Andrew's University, Scotland. This was to take place on March 2, 1976 at St. Andrew's Younger Hall by the St. Andrew's Musical Society Choir and Orchestra conducted by Christopher Field, featuring baritone Ronald Morrison. Featured on the concert will be the premiere of Leighton's Laudes Montium, Op. 71, set to a text based on various versions of the psalms, a work especially commissioned for the occasion. Includes a descriptive analysis of the work. Notes that Leighton has "the gift of writing aptly, approachably and powerfully", and further, "the choirs and orchestra have found the task of learning the new work an exciting and rewarding one." B43. "Young Composer's Symphony in'hour of Music'at Enborne." Newbury Weekly News (December, 1949). Review of a conceit in Enborne Church, by the Newbury String Players conducted by Gerald Finzi, Saturday, December 10, 1949. Included on the program was the premiere of Leighton's Symphony for Strings, Op. 3, [1949]. The reviewer notes the work is very fine but, when describing the third movement, he finds it is too long as compared to the first two is too long, and this "creates imperfect balance." Further, "the work presents considerable technical difficulties." B44. G. E. A. "Don't Wait Another 40 Years, say G. E. A." Press and Journal (February 2, 1974). Review of a conceit by pianist Peter Wallfisch at the Cowdray Hall, Aberdeen, sponsored by the Aberdeen Chamber Music Club, February 1, 1974. The program included a performance of Leighton's Piano Sonata, Op. 64. The music is described as "a powerful utterance consistently gripping.. .taxing... with a thorough understanding of the instrument." The work was composed especially for Mr. Wallfisch. B45. Abram, Richard. "Organ Recital." Musical Times vol.122 (September, 1981) p. 632. Article that includes a review of the first U.K. performance of Leighton's Missa De Gloria, Op. 82, in London at St. Michael's Cornhill, July 20, 1981. The organ Mass, based on the Sarum chant


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for Easter Day, was not well received by the reviewer. He does, at length, admit, "There were impressive—even expressive— moments...recalling the late Vaughan Williams...a strange way to celebrate Easter." B46. B. B. "Manchester Midday." Telegraph (February 26, 1982). Review of a recital by cellist Raphael Wallfisch and pianist Richard Markham at a Manchester Midday Conceit. The performance was in Manchester at the Royal Exchange. Included on the program was the premier of Leighton's Alleluia Pascha Nostrum for cello and piano, Op. 85. The piece was commissioned by the two performers. The review notes the music was "sombre and austere, with echoes of plainsong." B47. E. B. "True Depth of Feeling." Yorkshire Post (April 22, 1970). Review of a concert in Leeds at the Town Hall by the Choir of the Leeds Parish Church, Saturday, April 21, 1970. The conceit included a performance of Leighton's Crucifixus Pro Nobis, Op. 38, composed in 1961. This is described as "a deeply- committed and beautiful work with a demanding solo." The soloist was tenor Paul Dutton, "who sang with aplomb, poise and musical intelligence....". The program also included a performance of Leighton's Prelude, Scherzo and Passacaglia for organ, Op. 41, performed by Dr. Melville Cook, a work described as "brilliantly impressive."

B48. G. B. "Organ Recital at the Royal Festival Hall." Musical Opinion vol. 90 (March, 1967), p. 353. Article containing a brief review of a recital that included the premiere of Leighton's Paean performed by organist Simon Preston at the Royal Festival Hall, London, January 25, 1967. The work was the highlight of the recital. The reviewer notes the work "[was] an excellent example of imaginative contemporary organ music...." B49. G. C. B. "Recital from the Royal Festival Hall." Musical Opinion vol. 91 (December, 1967) p. 131. Includes a review of an organ recital at the Royal Festival Hall, London, by Dr. David Lumsden, October 18, 1967. Included on the program was the second performance in the RFH of Leighton's work for solo organ, Prelude, Scherzo and Passacaglia, Op. 41. Describes the work as a piece of "intense emotional content... its impassioned con-

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Bibliography trapuntal textures... make it one of the most distinguished contemporary organ works...."

B50. Banks, Janet. "British Choral Classics." BBC Music Magazine (October, 1977) p. 68. Review of a CD released in 1997, Leighton: Choral Music (Chandos CHAN 9485), performed by the Finzi Singers directed by Paul Spicer, and organist Andrew Lumsden. More a review of the Finzi Singers than Leighton's music. The disc includes performances of God's Grandeur (1957); What Love Is This of Thine? (1985); Give Me the Wings of Faith (1962); Crucifixus Pro Nobis Op. 28; Lully, Lulla, Thou Little Tiny Child, Op. 25b; Mass, Op. 44 (1964); and Laudate Pueri, Op. 68(1972). B51. Barber, Juliette. "A Cellist's Lullaby." Strad vol. 107 (June, 1996) p. 579. This article presents an interview by the author with cellist Raphael Wallfisch, primarily talking about the cellist's favorite recordings. Wallfisch notes that he and his father had a favorite, the recording of Peter Wallfisch performing Leighton's Sonata for Piano, Op. 64, which was composed for Mr. Wallfisch in 1972. [Chandos 9132]. B52. Bargreen, Melinda. "Chamber-series Cluster is a Signal of the Season." Seattle Times (September 27, 2002). Article that includes a description of a number of then up-coming classical music events. Included is a notice that pianist Stephen Hough will be opening the Presidential Piano Series on the following Tuesday and the concert will include a work by Kenneth Leighton. B53. Barkla, Neil. "This Composer of a Man to Watch." Liverpool Daily Post (February 3, 1965). Review of a concert by the Royal Liverpool Philharmonic Orchestra conducted by Charles Groves with soloist Kenneth Leighton on February 2, 1965. Included on the program was a performance of Leighton's Piano Concerto No. 2, Op. 37. About the work the reviewer remarks, "...this is a work that commands interest and respect by its seriousness of purpose, original texture and refusal to bow down to any of the current 'isms' fashionable at the moment." Includes a brief, descriptive analysis of the Concerto.


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B54. Bhensia, Edward, and O'Redan, Torik. "Review: Muisc: Classical." Observer (March 17,2002). Article including a very brief review of the newly-released CD, Stephen Hough's English Piano Album (Hyperion CDA 6727). Includes mention of the Leighton selection, Six Studies, Op. 56, and describes the music as "adventurous." B55.

Baskerville, Geoffrey. "Breathless in the Mystic Twilight." Guardian (January 2, 1997). Review of a conceit by the BT Scottish Ensemble at Queen's Hall, Edinburgh. Included on the program was a performance of Leighton's Concerto for Harpsichord, Flute and Strings, Op. 88. Although it was not the featured work on the program, when describing the music the review notes the ensemble "gave a convincing voice to Leighton's elegant concerto.".

B56.

Bielby, Jonathan. "Kenneth Leighton (1929-1988)." Wakefield Cathedral News (October 1988) pp. 12-13. Lengthy obituary memorializing Kenneth Leighton following his death on August 24, 1988. It is very informative and moving, and includes quite a lot of biographical details.

B57. Billups, Edgar. "Anglican Musicians Meet in England." Episcopalean (September, 1987). Article describing some events during the 23rd Annual Conference of the Association of Anglican Musicians held in London in mid-June, 1987. Brief note by the author when he attended a rehearsal by the Winchester Cathedral of Leighton's Second Service, Op. 62 at Evensong. B58. Bond, David. "For Two to Play." American Record Guide vol. 6 no. 3 (May/June, 1998) pp. 225-226. Review of a new CD, For Two to Play, performed by Timothy and Nancy LeRoi Nickel, (Arsis 104). The CD includes a performance of Leighton's Martyrs: Dialogues on a Scottish Psalm-Tune, [Op. 73] composed in 1976. This of all the other works on the recording, get most of the attention. The reviewer writes, "The Leighton is by far the most complex and extended work. It is difficult to absorb in one sitting.. .well worth the effort of several hearings."

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Bibliography

B59. Bond, David. "Leighton: The Complete Organ Works." American Record Guide vol. 59 no. 2 (March/April, 1996) p. 144. Review of a 3 CD set, Kenneth Leighton: The Complete Organ Works, performed by Dennis Townhill, a long-time friend and supporter of the composer (Priory PRCD 326). The reviewer describes Leighton's organ work as "intense, often brooding, with obvious... use of counterpoint." B60. Bowen, Meirion. "Purcell Room: Choral Conceit. Guardian (December 11, 1969). Review of a recital by the New London Singers in London at the Purcell Room, December 10, 1969. Included on the program was a performance of a set of five songs, entitled the London Cycle, each by a different composer, set to texts evocative of London. The group had commissioned the work in honor of their fifth birthday. Leighton composed the fifth song, London Town (1968), set to text by John Masefield. The reviewer considered it to be one of the best songs of the five. He notes it is a work of contrasts, "...town and country with choral and solo episodes." B61. Bradbury, Ernest. "Concerto for Old Motor Cars." Yorkshire Post (February? 1966). Article that includes a review of a conceit by organist Dr. Melville Cook, at the Leeds Parish Church, February, 1966. Included on the program was a performance of Leighton's Prelude, Scherzo and Passacaglia [Op. 41] composed in 1963. Notes the work is "splendid." B62.

Bradbury, Ernest. "Concert in Collision." Yorkshire Post (January, 1959). Review of two concerts during January, 1969. The first took place in Leeds at the Leeds Institute Gallery by the Amici String Quartet. Included on the program was a performance of Leighton's String Quartet No. 1, Op. 32, composed in 1956. The reviewer remarks the work "shows his usual careful craftsmanship...post-Bartokian quartet writing," which the reviewer finds especially apparent in the third movement.

B63. Bradbury, Ernest. "Good Milestones in Career of Gifted Composer." Yorkshire Post (April 21, 1970).


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Review of a concert that took place during the 1970 Leeds Festival, April, 1970. The conceit included a performance of Leighton's, [The Light Invisible]: Sinfonia Sacra, Op. 16, a. work composed twelve years before, in 1958. Since its premiere at the 1958 Three Choirs Festival, in Hereford, the composer has "so pruned his massive orchestration," that the work "sounded a dozen times better." The performance was by the Festival Chorus, with soloist tenor Gerald English, accompanied by the English Chamber Orchestra conducted by Donald Hunt (who was also the trainer and coach of the chorus). Notes the work "was a good milestone in the career of a young, ardent, sincere and gifted composer." B64. Bradury, Ernest. "Grand Manner." Yorkshire Post (January 19, 1962). Review of a conceit in Manchester at the Northern Conceit Hall, by the BBC Northern Orchestra conducted by George Hurst, January 18, 1962. The concert included a performance by Geoffrey Buckly of Leighton's Piano Concert No. 2, Op. 37 composed in 1960. Remarks, "The writing is mostly strenuous, but with Stravinskian clarity in the presentation of theme and counter-theme...and some brilliant toccata-like sections for the soloist." B65. Bradbury, Ernest. "The Hovingham Festival." Musical Times vol. 96 (October, 1955) p. 548. Review of a conceit during the Hovingham Festival, on July 31, 1955 which included the premiere of Leighton's Concerto for Two Pianos, Timpani and Strings Op. 26 [1954]. The performance was by pianists Margaret Kitchin and Kenneth Leighton with the Lemare Orchestra conducted by Iris Lemare. The work is described as: "written in the best Cheltenham manner." B66.

Bradbury, Ernest. "Kenneth Leighton's The Light Invisible." Musical Times vol. 99 (August 1958) p. 426. Review of Leighton's early work for soloist, chorus and orchestra, The Light Invisible [Sinfonia Sacra Op. 16] when the score was first published by Novello. The reviewer says that this is "Leighton's first choral work of substance." Further, the review notes the composer has put aside the "English" influence on his compositions and reveals his "chromatic thinking throughout the work."

B67. Bradbury, Ernest. "Music and Musicians: Leighton's Developing Art." Yorkshire Post (January 17, 1962).

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Bibliography Article focusing on the life and music of Kenneth Leighton up to that time. Written just prior to a concert by the BBC Northern Philharmonic Orchestra scheduled for the following day. The concert included the premiere of Leighton's Piano Concerto No. 2, Op. 37, by pianist George Hurst at the BBC's Northern Hall, Manchester. Mentions some of Leighton's works including, Fantasia Contrapuntistica Op. 24, (for which he won the Busoni prize in 1956), The Light Invisible, Coventry Carol [Lully, L.uila, Thou Little Tiny Child, Op. 25b], the Second Violin Sonata, Op. 20, and the Passacaglia, Chorale and Fugue, Op. 18. Includes interesting biographical information and a description of the new Piano Concerto.

B68. Bradbury, Emest. "New Concerto in the Grand Manner." Yorkshire Post (January 19. 1962). A review of a concert in Manchester at the Concert Hall on January 18, 1962 by the BBC Northern Orchestra conducted by Geoffrey Buckley. Included on the program was the premiere of Leighton's Concerto No. 2 for Piano by soloist Geoffrey Buckley. The critic notes the work is a "full-blooded concerto...its three movements taking half an hour." Further remarks, "The writing is mostly strenuous. . .with Stravinskian clarity." A very positive review. B69. Bradbury, Emest. "New Piano Concerto." Radio Times (January, 1962). Brief article about an upcoming concert that evening in Manchester at the Northern Concert Hall by the BBC Northern Orchestra conducted by Geoffrey Buckley. The featured work on the program was to be the premiere of Leighton's Piano Concerto No. 2, Op. 37. Composed in 1960. Includes a brief description of the three movements of the piece. Notes the composer is "a firm believer in virtuoso pianism; and he is one of the few British composers who writes well, naturally, and.. .prolifically for this instrument." B70. Bradbury, Emest. "Pianist-Composer." Yorkshire Post (November 26, 1966). Review of a lunchtime recital at the University of Leeds, November 25, 1966, performed by Kenneth Leighton. The composer performed his own work, Nine Variations, Op. 36, composed in 1959. The reviewer describes the work as "among the outstanding contributions to present-day musical invention."


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B71. Bradbury, Emest. "Sonata Recital in Leeds." Yorkshire Post (February 27, 1957). Review of a recital in Leeds at the City Museum, by violinist Walter Jorysz and pianist Alan Soulsby, Febmary 26, 1957. The program included a performance of Leighton's Sonata for Violin and Piano No. 2, Op. 20, composed in 1973. Notes the Sonata "makes a better impression than any previous work of his" and says that it shows the influence of Walton and Delius while also displaying "plenty of invention," and further that the music "is conservative and highly romantic." B72. Bradbury, Emest. "Three Choirs Festival." Musical Times vol. 99 (November, 1958) p. 614. Article which includes a review of the premiere of Leighton's The Light Invisible: Sinfonia Sacra, Op. 16, in Hereford in the Cathedral during the Three Choirs Festival, September 9, 1958. The work was performed by the London Symphony Orchestra, conducted by Douglas Guest, accompanying the tenor soloist and singers. Although critics and performers had less then complimentary remarks regarding the work, this reviewer felt that "Leighton.. .came out of this baptismal ordeal with rather more dignity than some of his detractors and critics." B73. Bradshaw, John. "More to Life Than Shakespeare." Birmingham Post (April 21, 2002). Review of a conceit by the strings of the Orchestra of the Swan conducted by David Curtis. Included on the program was a performance of Leighton's Concerto for Oboe and Strings, Op. 23, by oboist Viigina Shaw. The piece is described only as "quite an evenings work for a young performer." B74. Brogan, Benedict. "Historic Return for Operatic Columba". Glasgow Gherald (November 21. 1990). Article about Leighton's opera, Columba, which had appeared a week prior to the opera's revival in Glasgow at the Glasgow Cathedral. Includes information on the history of Saint Columba as well as the events that led to Leighton's composing the opera set to a libretto by Edwin Morgan. Focuses on Moira Meighan, who was responsible for getting the production of the work together and her successful fundraising efforts that made it all possible. She had been involved with the Glasgow opera most of her life. An important expose about what made the revival of the opera possible.

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Bibliography

B75. Bmenig, Christopher. "Finzi: Cello Concerto! Leighton: Veris Gratia." Hi-FiNews (November, 1986). Review of a recording that included a performance of Leighton's Veris Gratia [suite, Op. 9], (CD Chandos 8471; LP CBRD 1182), performed by the Royal Philharmonic Orchestra conducted by Vernon Handley with soloists Rafael Wallfisch, cello and George Caird, oboe. The work is characterized as "fairly traditional", and further: "The Epilogue, a warmly expressed paean, is a fine accomplishment, deeply rooted in the English style." B76. Bullard, Alan. "Bridging the Plot." Choir and Organ vol. 2 No. 4 (August, 1994) pp. 33-34. Article featuring reviews of newly-published musical scores. Included is a description of Leighton's Missa Christi (1988), which was composed in 1988, shortly before his untimely death. Published by Novello (NOV 290673), the work was originally commissioned by Christ church Cathedral, Indianapolis, Indiana to celebrate its 150th Anniversary, and it was premiered there on June 12, 1988. About the music the reviewer says, "This substantial setting... [shows] a mastery of choral technique and an almost symphonic approach to the text and structure." B77. Bunney, Herrick. "Kenneth Leighton." Music Current (October 1988). Herrick Bunney wrote this obituary of his friend, Kenneth Leighton, following the composer's death on August 24, 1988. It is a simple, moving memorial. Dr. Bunney mentions his close friendship with Leighton, speaks of his, " deep sense of religion, unorthodox maybe....". Bunney also recalls Leighton's talent as an outstanding pianist as well as harpsichord player. Mentions Leighton's wife, Jo, who provided him with much support and encouragement. Finally, he notes that the composer's "music was like him, strong, finely crafted and of total integrity." B78. P. N. C. "String Quartet No. 1, Op. 32." Music and Letters vol. 40 (April 2, 1959) pp. 200-202. Review including a short descriptive analysis String Quartet No. 1, Op. 32 when it was published by Lengnick. About the music the reviewer remarks that Leighton "has the most assured technique of any composer of his age.. .well displayed in this first Quartet."


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B79. Campbell, Margaret. "Standard Bearer for the Cello." Strad vol. 106 (Febmary 2, 1995) pp. 178-179. Article which is a Tribute to cellist Joan Dickson, following her death in October, 1994. Mentions Kenneth Leighton dedicated a work to her [Sonata for Cello Solo, Op. 52]. B80. Cebems. "A London Letter." Musical Opinion vol.104 (June 1981) p. 321. Article including a review of a concert by the Trinity College Chamber Orchestra conducted by Meredith Davis, Febmary 5, 1981 in London. At the All Souls Church, Langham Place. Included on the program was the London premiere of Leighton's Organ Concerto [Op. 58], scored for organ, strings and timpani. The soloist was organist John Birch. The article includes a short but descriptive analysis of the music. Concludes, "this plaintive and often lonelysounding work fully merits its place in successful 20th century marriages of the pipe organ with musical instruments." B81. Chistlett, W. A. "Orchestra's Success at First Concert." Oxford Mail (April 11, 1969) Review of a conceit by the Berkshire Youth Orchestra conducted by Anthony Le Fleming in the Abbey Hall, Abington, April 10, 1969. The program opened with a performance of Leighton's A Festive Overture, which was composed in 1962. The work is described as: "exuberant and extravert", and further, "This is an ideal opening piece, with something for everyone to do and at least one really good tune."

B82. Clark, Elizabeth. "Music: NYCoS-RSNO, City Hall, Glasgow." Glasgow Herald (September^, 1998). Review of a concert in Glasgow at the City Hall by the National Youth Choir of Scotland with the Royal Scottish National Orchestra (in reduced size) for this performance, conducted by Christopher Bell, September 12, 1998. The program included a performance of Leighton's Hymn to Matter, described as, "A reverent work...sung with due considerations... full of spirited contrasts." B83.

Clarke, Alan. "Prize-Winning Piece." Liverpool Echo (Febmary 6, 1986).

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Bibliography Review of a Wednesday Night Subscription Concert in Liverpool by the Royal Liverpool Philharmonic Orchestra conducted by Vernon Hadley, Febmary 5, 1986. The program that evening included a performance of Leighton's Veris Gratia, Suite for Oboe, Cello and Strings, Op. 9, a work composed in 1950. Soloist Raphael Wallfisch was joined by oboist George Caird for this performance. When describing the music the reviewer notes: "The combination is a strange one with the cello often blending in with the accompanying strings while the oboe maintains its independence."

B84. Clements, Andrew. "Domestic Bliss." Guardian (March 29, 2002). Review of a CD, Stephen Hough's English Piano Album (Hyperion CDA 67267, 2002). One selection on the recording is a performance of Leighton's Six Study-Variations, [Op. 56] composed in 1969. When describing these, the reviewer says, "They are still at heart, neoclassical, but have a clear awareness of other 20th-century styles." B85. Cleobury, Stephen. "Booming Organ in Bloom." Scotsman (June 25, 1992). Review of an organ recital in Edinburgh at St. Giles Cathedral, by Stephen Cleobury, one of a series of "celebrity" conceits celebrating the installation of the new organ. The program included a performance of Leighton's Prelude, Scherzo and Passacaglia, Op. 41, composed in 1963. When describing the work the reviewer remarks, "From the...opening pedal ostinato to...profound and powerful stillness of the Passacaglia...the performance...convinced us of the composer's deeply spiritual understanding of the medium." B86. Cockroft, Robert. "Music and Musicians: Singing the Praises." Yorkshire Post (October 17, 1984). Article focusing on Kenneth Leighton as an important composer of Church Music at a time when few significant composers seem to be producing such works of high quality. Features some brief, biographical highlights and surveys Leighton's works for the conceit hall, including the then upcoming premiere of his Symphony No. 3, Op. 90, and the Harpsichord Concerto, Op. 88, Dance Suite No. 3, Op. 89, the opera Columba, chamber music, piano sonatas, among other works. The reviewer concentrates on Leighton's sacred compositions, noting he is "one composer of distinction and individuality who has consistently enriched the church musicians repertory." Features some direct quotes from the composer about his works. The


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reviewer also mentions that a lecture, Church Music Today, was to be given the following Friday, October 20th during the Three Choirs Festival at Worcester Cathedral. Also notes the Festival will mn from 18-21 October and include performances of some of Leighton's works. Includes a photograph of the composer at the keyboard. B87. Cockroft, Robert. "Wakefield Cathedral: Wakefield 100." Yorkshire Post (June 6, 1988). Review of a conceit opening the Wakefield Cathedral Festival in Wakefield Cathedral, June 4, 1988. Included on the program was a performance of Leighton's Martyrs, Op. 73 for organ duet performed by organists John Scott and Keith Wright, both former choristers of the Cathedral. Also performed was Leighton's Sequence for All the Saints, Op. 75, sung buy the Cathedral Choir and the Thorenson Singers, directed by Jonathan Bielby. This work described as "masterly." B88. Cockshoot, John V. "The Music of Kenneth Leighton." Musical Times vol. 98 (April 1957) pp. 193-196. Presents an overview of Leighton's life and works up to the time of the article. Discusses the various influences on his composing including Vaughan Williams, Rubbra and Walton. B89. Cole, Hugo. "Bracknell: Festival." Guardian (June 28, 1983). Article on the Bracknell Festival of English Music, 1983. Included on one of the concerts was a performance of Leighton's Conflicts [Op. 51], for piano solo, performed by Yolande Wrigley. The music is described as "resourceful" and further states that Leighton is able to get "maximum mileage out of its rhetorical gestures and thematic confrontations." B90. Cole, Hugo. "Brompton Choral Society Recital." Guardian (March 8, 1966). Review of a concert by the Brompton Choral Society conducted by Robert Munns at Holy Trinity Church, Brompton, London, March 7, 1966. Included on the program was a performance of Leighton's Crucifixous Pro Nobis, Op. 38. About the work the reviewer notes: "Leighton's deliberately unspectacular, beautifully constructed music...has a consistency all its own...has an expression of restrained grief, carries a genuine emotional message."

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Bibliography

B91. Cole, Hugo. "Peter Wallfisch at the Wigmore Hall." Guardian (May 22, 1973). Peter Wallfisch gave a recital in London at the Wigmore Hall, May, 1973. Included on the program was a performance of Leighton's Conflicts, Op. 51. The reviewer describes the work as one which is both "emotional and dramatic..." and says that the music "is continuously inventive in figuration and in its handling of two main motives."

B92. Conway, Paul. The Arts Reviews: Classical-The Three Choirs Festival." Independent (August 28, 2000). Review of a concert in Hereford during the Three Choirs Festival at Hereford Cathedral, August 23, 2000, by the Bournemouth Strings conducted by Paul Daniel. The concert included the premiere performance of Leighton's Concerto for Oboe and String Orchestra, [Op. 23], composed in 1953, by oboist Virginia Shaw. The work is described as "compact and intimate." Further remarks, "the mood of the concerto... [is] a mercurial juxtaposition of the logically contemplative and the intensely passionate." B93. Cooper, Martin. "Skillful Psalm Setting for Five Voices." Telegraph (October 25, 1968) Review of a conceit in London, at the Holy Trinity Church, Brompton Road, October 23, 1968, performed by the Baccholian Singers. Included on the program was the premiere performance of Leighton's Three Psalms, Op. 54, which was commissioned by the group as part of the Brompton Festival. When describing the music the reviewer remarks the composer uses "small intervals and compact chromatic harmony to communicate the feeling of anguish." B94. Craig, Dale A. "Music: Joseph Tague College Auditorium." Ithaca Journal (Febmary 8, 1965). Review of a recital by pianist Joseph Tague at the Music Auditorium, Ithaca College, early Febmary, 1965. The program included a performance of Leighton's Variations for Piano op. 30. The reviewer remarks the set of Variations are "truly pianistic, exploiting the rich sonorities the piano is capable of giving." Further he notes the composer avoids "the dry kinds of texture that one hears more often in present-day piano music." Quite a lengthy review, with a descriptive analysis of the music.


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B95. Crankshaw, Geoffrey. "Home Produce." Music and Musicians vol. 15 (April 1967) p. 66. Includes a review of a concert by organist Simon Preston in London, at the Festival Hall, January 25, 1967. Included on the program was the premiere of Leighton's organ work, Paean. The reviewer remarks that work "proved a brilliant piece of sustained rhetoric, calling for dazzling keyboard technique." B96. Crichton, Ronald. "New Music." Musical Times vol.113 (December 1972) p. 1213. Review of a concert by the Richards Piano Quartert in London at the Purcell room, October 13, 1972. Included on the program was the premier of Leighton's Quartet in One Movement: Contrasts and Variants, Op. 63, composed in 1972. The piece is described as "conservative in idiom, coloured largely by intervals of 2nd and 7th." Further, "Leighton...builds a convincing, sometimes forceful musical argument...." Following these remarks there is a brief and succinct descriptive analysis of the work. Concludes the piece is "a thoughtfully conceived and ably written work." B97. Crichton, Ronald. "Richard's Piano Quartet." Financial Times (October 16, 1972). Review of a concert in London at the Purcell Room by the Richard's Piano Quartet, October 13, 1972. The program included the premiere of Leighton's Quartet in One Movement: Contrasts and Variants, [Op. 63], a work that was commissioned by the Quartet. The reviewer includes a descriptive analysis of the new work and remarks at one point, "...Leighton...builds a convincing, sometimes forceful argument our of a style that in less competent hands might seem dead beyond hope of revival." B98. Crichton, Ronald. "Southern Cathedrals." Musical Times v. 114 (September, 1973) p. 930. Article which includes a short account of Leighton's Sarum Mass, Op. 66, when it was premiered by the combined choirs of Salisbury, Chicester and Winchester Cathedrals conducted by Richard Seal at Salisbury Cathedral, July 27, 1973. The writer complains about the problem of not being able to hear but does remark that Leighton, "uses Waltonian added-note harmony in a way that makes it still sound fresh.." Also performed was Leighton's anthem, Drop, Drop Slow Tears, characterized as "a beautiful anthem."

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Bibliography

B99. Cross, Anthony. "Birmingham." Musical Times vol. 117 (January , 1976) p. 57. This article features a number of short reviews including a School of Music chamber concert by a new group, the Granville Ensemble, led by Louis Cams with pianist Frank Wibaut, on November 24, 1975. Included on the program was a performance of Leighton's Quartet in One Movement: Contrasts and Variants, op. 63. The work is described as having, "Messiaen-like harmonies," and further as, "...a continuous set of variations...the theme being an expressive cantabile...flowing major 2nds and 7ths." Compares it to the music of Britten. B100. H.P.D. "By Church Choir." Yorkshire Post (April 24, 1970). Review of a conceit as the Leeds Parish Church, by the Church Choir conducted by Daniel Hunt with organist Melville Cook, during the Leeds Festival, April, 1970. Included on the program was a performance of Leighton's Crucifixus pro Nobis, Op. 38, composed in 1961 for Tenor/Soprano soloist, SATB choms and organ. The work is described as one that "could be called experimental." Further, he remarks, "Leighton is really fighting a convention that stems from Stanford and Bairstow." BlOl. Dale, S. S. "Contemporary Cello Concerti: Rosenberg, Leighton and Parrott." Strad vol. 87 (Novemebr, 1976) p. 529+. This article begins with a brief but informative biography of Kenneth Leighton, followed by a detailed descriptive analysis of Leighton's Concerto for Cello, Op. 31, which was premiered by Florence Hooton with the Halle Orchestra conducted by Sir John Barbirolli at the Cheltenham Festival in 1956. Concludes the work is "A very playable concerto, notable for the exuberance of the middle section." B102. Daw, Stephen. "Composer Plays His Own Work." Oxford Mail (May 8, 1970). Review of a concert in Oxford in aid of the Ark School at the Northgate Hall by Jeanne Fry, cello and Kenneth Leighton, piano, May 7, 1970. The program included a performance of Leighton's Sonata for Solo Cello, [Op. 52] performed by Miss Fry. The music is described as a "pensive and lyrical soliloquy.". Also presented was Leighton's Variations, Op. 30 for piano, performed by the composer. The reviewer remarks, "I found this a most compelling work."


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B103. De Souza, Chris. "First Performances, Commissions." Composer No. 82 (Summer, 1984) p. 40. Announcement of the first performance of Leighton's Dance Suite No. 3, Op. 89, by the Edinburgh Symphony Orchestra conducted by the composer. B104. Dennison, Peter. "New Organ Music." Musical Times vol. 110 (January, 1969) p. 80. Article consisting of reviews of a number of newly-published organ works. Includes a review of Leighton's Et Resurrexit: Theme, Fanasy and Fugue, Op. 49, composed in 1966, published by Novello. Quotes the composer's own preface to the work. Includes a descriptive analysis o the music, focusing on each of the three parts separately. Concludes the theme first begun in the Fantasy, "represents struggle, and gives the work its gripping unity...a fine work in a distinctive idiom, which ought to...enrich the repertory of the instrument." B105. Denton, David. "Better to Buy British?" Strad (January, 1992) pp. 5051. Article based on an interview by the author with cellist Raphael Wallfisch. Focuses on the lack of performances by British orchestras of 20th century British music, emphasizing the cello concertos. Mentions the cello concertos of Bliss, Elgar and their contemporaries and, in discussing music being composed currently, refers to "those ghastly sounds we are asked to make in many of today's scores." The reviewer states in conclusion that "Wallfisch...would select the Kenneth Leighton concerto as the work that will.. .endure in the repertoire long after the 'quirky' music has ceased to be." B106. Denton, David. "Review: CDs." Strad vol. 108 (April, 1997) pp.1-3. Review of a CD, Cello Romance (ASV Whiteline WHL 203). Performers are Bernard Gregor-Smith, cello and Yolande Wrigley, piano. Included on the CD is a performance of Leighton's Elegy for Cello and Piano, Op. 5. The music is described as "gorgeous", and the composer "is sadly neglected...." Further remarks, "It is such a haunting work you wonder more cellists do not take it up." B107. Doge, Klaus. "Record Reviews: Kenneth Leighton: Concerto for Cello and Orchestra, Op. 31." Neue Zeitschrift fur Musik vol 15 no. 5 (June, 1990) p. 48.

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Bibliography Brief review of the Leighton CD, Kenneth Leighton: Concerto for Cello and Orchestra, Op. 31 performed by the Scottish National Orchestra conducted y Bryden Thomson, with soloist cellist Raphael Wallfisch. Also includes a performance of Leighton's Symphony No. 3, Laudes Musicae, Op. 90, with soloist tenor Neil Mackie, (Chandos CHAN 8741).

B108.

Dreyer, Martin. "Royal Scottish Academy of Music and Drama at the Theatre Royal, Glasgow." Opera vol. 32 (August 1981) pp. 859860. Review of the premiere of Kenneth Leighton's opera, Columba, performed by members of the Royal Scottish Academy of Music and Drama, at the Theatre Royal, Glasgow, June 16, 1981. Soloists included William Mackie as Columba, Thora Ker as Bridget; and Scott Cooper as Diarmot the Irish King. About the music the review notes: "The score clings fearlessly to a smoothly modal diatonicism which both compliments the Celtic Setting and lies gratefully for the singers."

B109. Dunnett, Roderic. "Reviews: CDs." Strad vol. 113 (August, 2002) p. 879. Article that includes a review of a CD, Kenneth Leighton: Chamber Music, [Dutton CDLX 7118]. Performers included Lorraine McAslan, violin, Andrew Fuller, cello and Michael Dussek, piano. The CD included performances of the Piano Trio, Op. 46, described as, "Full of terrifying dynamic shifts and subtle interludes." Another is the Partita for cello and piano,[Op. 35]. The composer's Metamorphoses for violin and piano, [Op. 48], a work described as having "more variations in the surrealist-influenced style...characterized by elusive harmonics and vivid pizzicatos." BllO.

Eichler, Jeremy. "Capturing Restlessness in Contemporary Works." New York Times (October 9, 2003). Review of a recital in New York City at Carnegie Hall, Weill Recital Hall, by pianist Christopher Ungerer, October 3, 2003. Included on the program was the American premiere of Leighton's Four Romantic Pieces, Op. 95. The reviewer notes the emotionality of the work reminded him of Brahms. Describes the music as having "restless, motoric drive...in the third movement, a contrasting sense of stillness rendered in gorgeous, Messiaen-like pastels." Finally remarks


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that the Leighton was the best-performed of all of the works on the program. Bill.

C. G. F. "Promenade Conceits." Musical Opinion vol. 83 (October, 1959) p.7. An article including a review of the first public performance of Leighton's Burlesque, Op. 19, for orchestra, composed in 1957/58. It was performed in London during a Promenade conceit, on 3 September 1959, by the BBC Symphony Orchestra conducted by Kenneth Leighton. The reviewer describes the music as having "a certain dry wit" and further says that "the style...is rather nondescriptive." He concludes that "the work obviously pleased promenaders."

B112. Fitzgerald, Simon. "New Music: Hymn to Matter." Musical Opinion vol. 77 no. 306 (November, 1998) p. 218. Brief review of Leighton's Hymn to Matter when the vocal score was published by Roberton in 1998. Includes a brief history of the work, including the commission by the Heriott-Watt University Choir to the premiere. Finally notes: "The writing contains all the features common in Leighton...sparse textures...great rhythmic excitement, and...fresh harmonic language...". B113. Freyham, Michael. "Peter Wallfisch." Independent (November 16, 1993). Obituary for pianist Peter Wallfisch, who passed away November 19, 1993. Points out that Wallfisch was "a champion of the works of Kenneth Leighton, many of which are dedicated to him." B114. Fulton, Robert. "Robert Fulton Talks to Kenneth Leighton." New Edinburgh Review no. 5 (Febmary, 1970) pp. 25-27. Article in the form of a series of questions, by Robert Fulton, and answers by Kenneth Leighton. Some subjects discussed are musical influences on the composer, his use of serialism, and his large output of religious music. B115. N. G. "Lively and Alert University Concert." Scotsman (November 3, 1961). Review of a conceit in Edinburgh, at the Reid School of Music, by the Reid Orchestra conducted by Professor Sidney Newman, November 2, 1961. Included on the program was a performance of Leighton's Piano Concerto No. 1 in D minor, Op. 11,3. work com-

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Bibliography posed in 1951 and revised in 1959, performed by pianist Peter Wallfisch. The music is described as "immensely enjoyable... full of rich colouring and virtuoso excitement." Also notes that Wallfisch "was the brilliant soloist."

B116. N. G. "Pianist of Many Talents." Scotsman (November 2, 1961). Review of a lunch-time concert in Edinburgh, at the National Gallery, by pianist Peter Wallfisch, November 1, 1961. One of the works performed was Leighton's Fantasia Contrapuntistica: Homage to Bach", Op. 24, a work composed in 1956. About the work the reviewer remarks, "This is a gripping, rewarding work and Wallfisch did it full justice." B117.

S. G. "Viola and Piano Concert." Glasgow Herald (December 11, 1959). Short review of a concert in Edinburgh at the Reid School of Music by Christopher Martin, Viola and Kenneth Leighton, piano, December 10, 1959. Included was a performance of Leighton's Fantasia on the Name of Bach, [Op. 29] a work for viola and piano composed in 1955. The reviewer remarks, "Kenneth Leighton's work was lucid and deeply-felt." When describing Leighton as a pianist, he notes, "we should award the evening's highest honours to the pianist."

B118. Galloway, Jane. "Glasgow Cathedral: Columba". Glasgow Herald (November 27, 1990). Review of a performance of Leighton's opera Columba when it received its revival in Glasgow at the Glasgow Cathedral, November 27, 1990. A short review which makes a point of describing the setting in which the work was performed and how all the elements of the opera, including music, text, setting and performers meshed which the reviewer notes: "Impossible to imagine a more appropriate setting for Kenneth Leighton's passionate Columba." B119. Garden, Neville. "Praising Life Through Music." Radio Times (March 26, 1985). Relates an interview with Leighton after the premiere of his Symphony No. 3, Op. 90. Includes the composer's own views on his life as a composer, performer and teacher. Among the quotes from the composer: "I love all music, of whatever sort, so long as it's good."


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B120. Gatens, William J. "Howells and Leighton Sacred Choral Music." American Record Guide Vol. 56 No. 5 (September/October, 1993) pp. 139-140. Review of a new CD, Howells and Leighton Sacred Choral Music performed by the Queen's College Choir directed by Matthew Owens, (ASV CD CDA 851). Five of Leighton's works are performed including: Second Service: Magnificat and Nunc Dimittis; Give Me the Wings of Faith; O Sacrum Convivium; Solus ad Victimam; and the Cantata, Crucifixus Pro Nobis. Describes Leighton's music as "tougher and more hard-edged, with dissonances that are meant to sound angular as they work their way to.. .hard-won resolution.." Recommends Leighton's works over Howell's in this performance. B121. Gatens, William J. "Music for Holy Week." American Record Guide (July 17, 1995) p. 259. Review of a new CD, Music for Holy Week performed by the Choir of King's Choir, Cambridge directed by Philip Ledger and organist Thomas Trotter, (EMI Classics 7234 5 65103, originally issued as an LP in 1978. Included on the CD is a performance of Leighton's Let All the World in Every Corner Sing [1965] set to a text by George Herbert. Notes, although the Leighton is not exactly seasonal, "it does make for a big finish."

B122. Gilchrist, David. "St. Stephen's Church Organ Recital." Scotsman (Sugust20, 1985). Review of an organ recital by Stuart Campbell at St. Stephen's Church, Edinburgh on that church's Father Willis organ. Included on the program was a performance of three of Leighton's Six Fantasies on Hymn Tunes, Op. 72. The music is described as "a welcome addition to any programme, casting new light on the simplest of tunes and always full of ingenuity and imagination." Another of the Fantasies was performed as an encore (no. 6, Hanover). B123. Ginell, Richard S. "New Albums Bring Attention to Understanding Obscure Compositions for Piano and Harpsichord." Los Angeles Times (June 23, 2002). Article containing a number of CD reviews, including the new CD, Stephen Hough's English Piano Album (Hyperion CDA67267). The new CD includes a performance of Kenneth Leighton Six Studies, Op. 56, a work he composed in 1969. The piece is described as

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Bibliography "rugged, brilliantly percussive [music]...which surrounds a sequence of often gentle, at times sentimental musings."

B124. Goddard, Scott. "London Letter." Chesterian 26 (August 1952) p. 92. Article including a review of a broadcast performance of Leighton's Symphony for Strings, Op. 3, by the Merritt String Orchestra in March-April, 1952. The work is described as "an attractive and sensitive work." Further, he notes the piece "has its own individual quality, a good and agreeable one." B125. Greenfield, Edward. "The Child of Feeling.: Guardian (November 7, 1986). Lengthy article that includes reviews of several then recentlyreleased recordings. One recording included a performance of Leighton's Veris Gratia [Suite, Op. 9], performed by the Royal Liverpool Philharmonic Orchestra conducted by Vernon Handley and featuring cellist Raphael Wallfisch and oboist Geroge Caird, (Chandos CD 8471; LP ABRD 1182). The Leighton work is described as "a sweetly beautiful work by Kenneth Leighton...in four substantial movements, an early piece written under Finzi's influence." B126. Greenfield, Edward. "Classical CD Releases." Guardian (October 12, 2001) p. 19. Very brief review of a CD, Finzi: Cello Concerto; Leighton: Cello Concerto (Chandos), which is a reissue. The Leighton Concerto is performed by Raphael Wallfisch and the Royal Scottish National Orchestra. The Leighton piece is described as "tautly argued." B127. Grier, Christopher. "Chamber Recital at University: Kenneth Leighton." Scotsman (Febmary 6 1959). Review of a piano recital in Edinburgh at the Reid School of Music by Kenneth Leighton, Febmary 5, 1959. The program included a performance of the composer of his own Variations, Op. 30, a work he wrote in 1955. The reviewer describes the music as a set of "brief, lively and vividly expressed character studies" and says that the work has "a sense of tonality." He concludes that these are "attractive exercises in imagination, not as examples of doctrine."


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B128. Grier, Christopher. "Euphonious Modems: Small Audience for Recital." Scotsman (December 11, 1959). Review of a conceit in Edinburgh at the Reid School of Music, by Christopher Martin, viola and Kenneth Leighton, piano on December 10, 1959. The concert included a performance of Leighton's Fantasia on the Name of Bach, Op. 29, a work for viola and piano, composed in 1955. The work is described as "enjoyable and stimulating... the composer spun out with resource, skill and fluency...four movements which held one's interest throughout." B129. Grier, Christopher. "Melody on a Cello." Scotsman (November 1, 1957). Review of a conceit in Edinburgh by the Reid Orchestra conducted by Sidney Newmann, October 31, 1957. Included on the program was the Scottish premiere of Leighton's Concerto for Cello, Op. 31, performed by Florence Hooton, who had premiered the work the previous year at the Cheltenham Festival. Describes the work as "arresting and rather beautiful...Its lyricism is of the dark-hued, astringent kind." Includes a brief, descriptive analysis of the music. B130.

Grier, Christopher. "Partita for Cello: Distinction of Expression." Scotsman (April 26, 1962). Review of a Ewen Memorial concert in Glasgow University by cellist Joan Dickson and pianist Wight Henderson, April 25, 1962. The concert included a performance of Leighton's Partita for Cello and Piano, Op. 35. The reviewer notes that this work "dominated the evening's ...conceit." Remarks the work presents "a sureness about its always interesting use of the medium as striking as the quality of the material."

B131. Grier, Christopher. "Premiere of Leighton Work." Scotsman (October 25, 1957). Review of a concert in Edinburgh, at the Reid School of Music by the New Edinburgh Quartet, October 24, 1957. They performed the premiere of Leighton's String Quartet No. 2, Op. 33. When describing the work the reviewer writes: "...it is a work is high seriousness, sustained invention, and technical resource." Further, he notes the work reveals it "is one of chronic, rather wistful dissonance...used with keen-eared discretion...it immediately establishesits own standard of stress and relaxation." Article focuses almost exclusively on the Leighton work.

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B132. Griffiths, David. "Edinburgh University." Scotsman (November 27, 1981). Review of a concert by the Legrand Ensemble, which included sopranos, recorder, harpsichord and cello, at the Reid Conceit Hall, November 26, 1981. The program included a performance of Leighton's Animal Heaven, Op. 83, which was commissioned by the Legrand Ensemble and premiered by the in 1980. When describing the music the reviewer notes: "It is a setting of 2 poems by Walt Whitman and James Dickey and leads the instruments into new territory." Honor Shephard was the soprano soloist in the work. B133. Griffiths, David. "Madrigal Group Recital." Scotsman (March 4, 1983). Review of a conceit in Edinburgh at the University's Reid Hall, March 3, 1983, by the Madrigal Group conducted by Michael Turnbull. The program included a performance of Leighton's An Evening Hymn, composed in 1979. The work is described as "an atmospheric piece which grows more impressive with every hearing." The group also performed Leighton's Te Deum Laudamus (1964). B134. Griffiths, David. "More Scottish Strings." Music and Musicians vol. 10 (January, 1962) p. 37. Short article which mentions the first concert performance in Britain of Leighton's Piano Concerto No. 1 in D Major, op. 11 by the Reid Orchestra at Edinburgh University. Peter Wallfisch was the soloist. The work is described as "an auspicious first concert performance." Although no date is mentioned, the conceit probably took place during November 1961. B135.

Griffiths, David. "Profound Work Well Sung." Scotsman (May 20, 1989) p. 7. Review of a conceit of British 20th century choral and vocal music by the Edinburgh University Singers under the direction of John Kitchen at the Reid Hall, Edinburgh, Thursday, May 19, 1989. The program included a performance of Leighton's Mass, Op. 44. Soloists were Suzanne Bell, Lottie Horsmann, Andrew Fraser and Brian Walters. The movements were separated by musical interludes by Pachelbel performed by organist Stuart Hope, which allowed the choir to regroup as it were. The Mass is described as an "intensely profound and deeply moving work."


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B136. Griffiths, David. "Reid Conceit Hall: St. Cecilia Singers." Scotsman (November, 1983). Review of a conceit by the St. Cecilia Singers conducted by Herrick Bunney, accompanied by organist Morley Whitehead at the Reid Conceit Hall, Edinburgh November 10, 1983. Included on the program was a performance of Leighton's Paean (1966) performed by Morley Whitehead. The final work on the program was a performance of Leighton's Mass, Op. 44 by double choirs. The latter work is described as "a profoundly moving work, in which the composer's expertise in handling his forces is always at the service of the inner meaning of the words." B137.

Griffiths, David. "Reid Orchestra." Scotsman (January 19, 1979). Review of a conceit by the Reid Orchestra, University of Edinburgh, January 18, 1979. The orchestra was conducted by Kenneth Leighton. Article focuses on Leighton as a conductor rather than as composer. No Leighton compositions were included on the program.

B138. Griffiths, David. "St. Giles Choir." Scotsman (August 25, 1987). Review of a conceit by the St. Giles Cathedral Choir conducted by Herrick Bunney with organist Morley Whitehead at St. Giles Cathedral, Edinburgh, August, 1987. Included on the program, itself entitled Music for the Churches Year, was a performance of Leighton's Solus ad Victimam (1968), described as a work of "dramatic intensity". Also performed by organist Morley Whitehead was Leighton's Six Fantasies on Hymn Tunes, Op. 72, described as "imaginative". B139. Griffiths, Paul. "Westminster Abbey: Organ Club." Financial Times (July 16, 1976). Review of a concert at Westminster Abbey, London, celebrating the 50th anniversary of the Organ Club, July 15, 1976. Performance was by organists Stephen and Nicholas Cleobury perfonning solo as well as organ duet selections. Included on the program was the premiere of Leighton's Martyrs, Op. 73, for organ duet. The reviewer notes: "Leighton's handling of the four-handed organ is masterly." B140. A. K. H. "Stokowski Again." Liverpool Daily Post (August 6, 1951). Review of a concert in Liverpool ,during the Liverpool Festival, by the Royal Philharmonic Orchestra conducted by Leopold Stokowski, August 4, 1951. Included on the program was the premiere of Leighton's overture, Primavera Romana, Op. 14 which he composed

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Bibliography in 1951. When describing the music the reviewer remarks it is "a work playing only a few minutes, which was disappointing, as it showed distinct qualities," though he notes that it is due to "conciseness and the absence of vain repetition."

B141. D. G. H. "Gay Touch Divides the Masses." Edinburgh Evening News (September 1, 1966). Review of a conceit by the Edinburgh University Singers at the Freemasons Hall, Edinburgh, August 31, 1966. The conductor was Herrick Bunney and organist was Alexander Anderson. Included on the program was a performance of Leighton's Mass, op. 44, with soloist Dorothy Dingwall, Hazel Woods, Robert Barclay, and John Tirrell. The reviewer notes: "This is a fine work, calling for full dynamic range and rhythmic awareness on the part of the performers." B142. G. M. L. H. "Combined Choirs Brilliant Execution." Scotsman (June 21, 1965). Review of a concert by three choirs, those of Carlisle, Nerwcastle, and Edinburgh Cathedrals, at St. Mary's Cathedral, Palmerston Place, Edinburgh, June 1965. Included on the program was the premier of Leighton's Preces and Responses (1964). Also performed was Leighton's Magnificat and Nunc Dimittis [Magdalen Service] (1959). About that work the reviewer notes, "the contemplative aura of the latter [was] in sharp contrast to the brighter Gloria." Yet another work by Leighton, Te Deum Laudamus (1964), was performed. B143. G. M. L. H. "Occasion: Reid Performance." Scotsman (April 19, 1965). Review of a performance of J.S. Bach's St. Matthew Passion by the Edinburgh University Singers and Orchestra conducted by Miles Baster. Kenneth Leighton provided the harpsichord continuo. The performance took place at the Reid School of Music, Edinburgh, Saturday before Easter, April 1965. B144. G. M. L. H. "Pleasure from Carols: Choirs Combine." Scotsman (December 16, 1965). Review of a concert by the Edinburgh Bach Choir and Rowalian Singers conducted by James Sloggie in Edinburgh at the Kirk of the Greyfriars, December 15, 1965. Included on the program was a performance of Leighton's Lully, Lulla Thou Little Tiny Child, Op. 25b.


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Reviewer notes the work was "most impressive in roundness of tone, balance and clarity of shading." B145. G. M. L. H. "Unqualified Success at St. Giles." Scotsman (Febmary 11, 1966). Review of a conceit by the Edinburgh University Singers directed by Herrick Bunney, at St. Giles Cathedral, Edinburgh, Febmary 10, 1966. The program included the premier of Leighton's Mass op. 44. When describing the work the reviewer remarks: "The terse and often sensuous textures contrasted with sections of vigorous muscular rhythm which one relentlessly in expectancy." B146. G. W. H. "Controlled Eclecticism in Leighton Mass." Telegraph (May 23, 1966). Review of a recital by the Edinburgh University Singers conducted by Herrick Bunney in London at St. Clements Dane. The program featured the London premier of Leighton's Mass op. 44. About the work the reviewer remarks: "Leighton's style might be described as controlled eclecticism; a certain tartness of utterance and the ability to clothe his exploratory harmonies in effective sonorities." B147. R. L. H. "Dramatic Contrasts in Strenuous Recital." Daily Telegraph (May 21, 1973). Review of a recital in London at the Wigmore Hall by pianist Peter Wallfisch, May 19, 1972. Included on the program was a performance of Leighton's [Quartet in One Movement]: Conflicts [and Variants,Op. 51], which the reviewer describes as "a somberly muscular fantasy," noting further that the work presents "dramatic contrasts of mood and texture." B148. R. L. H. "Faulty Ensemble: Harvey Phillips Orchestra." Telegraph (June 20,1962). Short review of a conceit in London at the Wigmore Hall, June 19, 1962. The performance was by the Harvey Phillips String Orchestra conducted by Harvey Phillips and included the premiere of Leighton's Concerto for String Orchestra, Op. 39. The reviewer notes, "The Orchestra played perhaps most convincingly in a sombre, passionate Concerto for strings by Kenneth Leighton."

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B149. Harper, David. "Red-Blooded Stuff, this University Premiere." Daily Mail (November 4, 1961). Brief review of a conceit in Edinburgh, at Edinburgh University, by the Reid Orchestra conducted by Professor [Sidney] Newmann, November 3, 1961. Included on the program was the first conceit performance of Leighton's Piano Concerto No. 1, Op. 11 by pianist Peter Wallfisch. Describes the work as, "Lusty, red-blooded stuff...original and full of excitement." Further, he describes Leighton as having " a splendid facility for big orchestral writing." B150. Harrison, Max. "Richard's Piano Quartet." Times (October 14, 1972). Review of a concert in London at the Purcell Room by the Richard's Piano Quartet, October 13, 1972. The program featured the premiere of Leighton's, Quartet in One Movement: [Contrasts and Variants], Op. 63, which had been commissioned by the Richard's. The work made a very favorable impression on the reviewer who remarks that the piece is one "containing some of the most strongly felt music that the composer has produced.... Further he notes, "Great variety of sound is drawn from the instruments.. .without any feeling of discursiveness. B151. Hart, David . "Overdue Premiere." Birmingham Post (August 25, 2000). Brief review of a concert during the Three Choirs Festival, Hereford, August 23, 2000, by the Bournemouth Symphony conducted by Paul Daniel. Included on the program was the premiere performance of Leighton" Concerto for Oboe and Strings, Op. 23 composed in 1954 by oboist Virginia Shaw. The reviewer remarks the work "reminded us just how individual Leighton's style was." Further, the music is "astringently lyrical." Has high praise for the work and the performance and remarks the music "is well crafted." B152. Hedges, Anthony. "Glasgow." Musical Times vol. 103 (June, 1962) p. 410. Article which focuses on highlights on a series of conceits, the McEwen Memorial Conceits of Scottish Chamber Music held between April 24-26, 1962 at the University of Glasgow. One included a performance of Leighton's Partita for Cello and Piano, op. 35 performed by Joan Dickson and Wight Henderson. The work is described as "highly professional in craftsmanship and assured in expression."


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B153. Heggie, Duncan. "A Match for the Sunshine." Evening News (April 25, 1984). Very brief review of a lunchtime concert by the Edinburgh Quartet at the Reid Concert Hall, Edinburgh, April 24, 1984. Included on the program was a performance of Leighton's Seven Variations for String Quartet op. 43. Notes that the composer "knows [his] arguments concisely and avoids verbosity." B154. Heggie, Duncan. "Music: Colin Kingsley and Kenneth Leighton: Reid Conceit Hall." Evening Standard (November 12, 1986). Review of a concert in Edinburgh at the Reid Conceit Hall, November 11, 1986. The conceit featured pianists Colin Kingsley and Kenneth Leighton. Included on the program was a performance of Leighton's Sonata for Piano Duet, Op. 92. When describing the work the reviewer remarks, "I was hearing a fine addition to the genre yesterday." B155. Heggie, Duncan. "Tuneful Delight." Evening News (December 4, 1984). Brief review of a conceit in Edinburgh at the Reid Concert Hall by the Edinburgh University Musical Society Orchestra conducted by Leighton the previous weekend. The program included a performance of Leighton's Dance Suite No. 3 (Scottish Dances), [Op. 89]. The work is described as "now popular nicely wrought." B156. Herbage, Julian. "The Cheltenham Festival." Musical Times vol. 100 (September, 1959) p. 473. Article which includes a brief mention of the premiere of Leighton's Piano Quintet, Op. 34, performed by the London String Quartet along with the composer at the piano. This took place during the 1959 Cheltenham Festival, July 15, 1959. The author remarks about the work, "Leighton's score is well shaped and fluently written in a post-Waltonian.. .style." B157. Hesford, Brian. "Difficult Concerto Tackled Superbly." Western Mail (Febmary 3, 1965). Review of a conceit by the Royal Liverpool Philharmonic Orchestra Liverpool, Febmary 2, 1965. Included on the program as a performance of Leighton's Piano Concerto No. 2, Op. 37, featuring the composer as piano soloist. Acknowledges Leighton's virtuosity as a per-

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Bibliography former. About the Concerto the reviewer notes: "The work is full of fine material, all skillfully developed with superb craftsmanship."

B158. Hurd, Michael. "Music Reviews: Violin." Strad (April, 1984) p. 892. Review of Leighton's Concerto for Violin and Small Orchestra, Op. 12, when the score for violin and piano reduction was published by Novello. The article includes a well-constructed, clear descriptive analysis of the work as well as a brief history of its composition. Reviewer remarks the it is a virtuoso composition and further; "Its beauties are extremely subtle and early reveal themselves," and the piece is "ingenious and imaginative...often involving a tonally oriented version of serial technique." B159. Inglis, Robert. "Opera Music Paraphrased for Organ." Scotsman (April, 1974). Review of a conceit in Glasgow at Bute Hall, University of Glasgow, April, 1974. The program included a performance of Leighton's Quartet in One Movement (Contrasts and Variants), Op. 63 with Kenneth Leighton, piano and the Clarina Ensemble. The work is described as one where "the piano successfully, and to the end, disagrees with his colleagues." B160. Inglic, Robert. "Well-Wrought Symphony by Leighton." Telegraph (Febmary 26, 1978). Review of a concert by the Scottish National Orchestra conducted by Alexander Gibson at City Hall, Glasgow, Saturday night, Febmary 23, 1978. The highlight of the conceit was a performance of Leighton's Symphony No. 1, Op. 42, composed in 1964 (the work that won the 1965 Trieste Prize). The reviewer notes that although the SNO has performed similar works, "few enough have been so well-wrought, so powerful in their imagery, so genuine in their musical expression." Remarks the music shows "threads" of Bartok and Mahler and is one of "personal evocation." B161. A. J. "Liverpool Festival." Musical Times vol. 92 article (September, 1951) pp. 410-420. Article describing various musical events that took place during the Liverpool Festival held from July 22 until August 12, 1951. Included is a brief review of the premiere performance of Leighton's Primavera Romana [Overture, Op. 14] during a conceit by the Royal


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Philharmonic Orchestra conducted by Leopold Stokowski, August 4, 1951. When describing the piece the reviewer remarks, "His piece is brief, brightly-coloured.. .but pours out its themes in such profuse succession as to give the listener little to cling on to." B162. Jack, Adrian. "Seated One Day." Independent (October 2, 1987). Review of a series of recitals by organist Martin Haselbock in London at the Festival Hall, in late September 1987. During the final conceit, devoted to improvisation, Haselbock was presented a theme by Kenneth Leighton, described as "more like two themes, but as it transpired, they combined very comfortably." B163. Jacob, Peter. "The Sounds of Sunday Morning." Herald Telephone (June 19, 1988). Article including reviews of concerts and other events during a Church Music Workshop sponsored by Indiana University's School of Music in Bloomington, Indiana, during the week of June 12, 1988. Included was a Choral Evensong and conceit by the Christ Church Cathedral Choir Men and Boys from Indianapolis held at the First Baptist Church/United Church of Christ, June 13, 1988. The director was Frederick Burgomaster. It was an all-Leighton program, and included a performance of Leighton's Missa Christi (1988), which had been commissioned by Christ Church Cathedral, Indianapolis, to celebrate its 150th anniversary. The work is described as holding "some of the sharpness of current music and the roundness of the past." Further notes: "It is substantial music, suitable also for the message." B164. Jais-Mick, Maureen. "AGOnLine." American Organist (January, 1996) p. 24. Article focusing on some important music sites on the Internet. One which is mentioned in the Kenneth Leighton homepage, which includes information about the composer's life, works and performances as well as information about the Kenneth Leighton Tmst. B165. Johnson, Bret. "Kenneth Leighton Organ Music." Tempo (October, 1995) pp. 53-54. Review of the CD, Kenneth Leighton: Complete Organ Works (Priory PrCD 326—3CD set), performed by Dennis Townhill at the organ of St. Mary's Episcopal Cathedral, Edinburgh. Very detailed article. Notes the influence of Hindemith, Andriessen and Peeters on

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Bibliography Leighton's organ compositions and notes, "counterpoint and dialogue spiced with unresolved harmonies" are found throughout these works. Points out the composer's large output of organ music and concludes, "This set [of CDs] forms a fitting...testament to the composer's memory."

B166. Johnson, David. "Edinburgh." Musical Times vol. 123 (November, 1982) p. 773. Article which includes a brief description of the premiere of Leighton's Fantasy-Octet: Homage to Percy Grainger, Op. 87 at Queen's Hall, Edinburgh, August 29, 1982, during a Grainger Centenary Concert. The author found it "sensitive and craftsmanlike." B167. Johnson, David. "Scotland" Musical Times vol. 124 (September, 1983) p. 566. Article which includes a review of a conceit in Edinburgh, part of the Edinburgh University Bach series, on May 15, 1983. Included on the program was a performance of Leighton's Concerto for Harpsichord, Recorder and Strings, op. 88. Although commissioned by recorder player John Turner, who performed at the premiere of the work, Febmary 14, 1983, this performance used a flute instead, while the harpsichord was played by the composer. This review focuses on that change of instrumentation, finding the performance disappointing due to that fact. B168. Joseph, Jeffrey. "Radio and Television." Music and Musicians vol.27 (November, 1978) p. 48. Article which includes a review of a performance of Leighton's motet, God's Grandeur (1957), text by Gerard Manley Hopkins, in a broadcast performance on BBC Radio 3, September 18, 1978. A very brief description of the work is not favorable as the reviewer notes, "It was a cumbersome setting that recalled a million other things in mid-century British choral music." B169. M. K. "The Hussey Legacy." Gramophone (March 15, 1989). Review of a recording by the Finzi Singers, conducted by Paul Spicer, The Hussey Legacy. Included on the CD is a performance of Leighton's Let All the World in Every Corner Sing [1965]. Mentions at the close of the review, "The choir's virtuosity is displayed in the Leighton item."


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B170. Kennedy, Michael. "Cheltenham Festival." Musical Times vol. 97 (September, 1956) p. 485. Article about the 1956 Cheltenham Festival which took place between July 9-20, 1956. Includes a review of a concert by the Halle Orchestra conducted by John Barbirolli, July 20. The program featured the premiere of Leighton's Cello Concerto, Op. 31, by soloist Florence Hooton. Describes the works as "conservative in idiom" and further, "the melodies do not lie naturally for the cello." B171. Kennedy, Michael. "Music in the North: Opera about St. Columba." Daily Telegraph (June 15, 1981). Includes an announcement of the following day's premiere of Leighton's opera, Columba, by students from the Royal Scottish Academy of Music in the Theatre Royal, Glasgow. Points out that day is also the Feast of St. Columba. Notes, "His [Columba's] encounter with the Loch Ness Monster, the first recorded appearance of that creature, has not been forgotten." B172. Kozinn, Alan. "A Church Organist Composes." New York Times (Febmary 25, 1990). Review of a recital in New York at. St. Barthlomew's Church by Harold Stover, Febmary 18, 1990. The program included two works by Leighton. The Veni Redemptor, Op. 93, composed in 1985, received its American premiere. The reviewer notes, "The exposition is fairly orthodox...the plainchant theme is stated clearly over a pedal tone...he threw the theme into a vein of rich chromaticism." Also performed was the composer's Festival Fanfare composed in 1968. B173. Kyes, Ivor. "Sonata No. 2 for Piano." Music and Letters vol. 36 (January, 1955) p. 95. Article including a review of Leighton's Sonata No. 2 for Piano, Op. 17, when the score was published by Lengnick. After a short analysis, the author concludes: "the music is fine as it stands—and grateful to play." B174. Kyes, Ivor. "Sonata No. 2 for Violin and Piano." Music and Letters vol. 37 (October, 1956) p. 419. Brief article that includes a review of Leighton's Sonata No. 2 for Violin and Piano, Op. 20 [1953]. Notes the work "is written in a more chromatic style than earlier works...technically exacting."

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Bibliography

B175. Lancaster, Thomas. "Praising the Life: The Choral Music of Kenneth Leighton." Choral Journal vol 38 no. 5 (December, 1997) pp. 1524. Lengthy article focused on Leighton's choral compositions, including those with orchestra. It is divided into sections to better differentiate the types of compositions: those with orchestra, extended works with organ, for choms and organ, and short works. Leighton composed over 60 choral works. The article, which features numerous musical examples, begins with a brief biographical sections that includes a description of Leighton's musical style as characterized by "an assured contrapuntal technique, textural variation...ability to build climaxes...and to sustain harmonic tension that resolves to unexpected consonances." B176. Langley, Robin. "St. Alban's Festival." Musical Times (August, 1973) p. 829. Article describing events during the 1973 St. Alban's Festival which took place during the week of June 25, 1973. The final concert of the Festival included a performance of Leighton's Organ Concerto, Op. 58, composed in 1970 for the 1971 Cambridge Festival performed by organist John Birch. The 3-movement work opens with a Lament, described as presenting the organ as "supporting the strings' impassioned utterance of thematic strands with strongly timpani interruptions." Continues in the same vein for the remainder of the work. B177. Laprade, Paul. "The English Anthem Collection, Volume Two." Choral Journal (December 1998) pp. 80-81. Review of the volume The English Anthem, Volume Two when it was published by the Royal School of Church Music. The anthology inlucdes Leighton's motet O Sacrum Convivium composed in 1975. When describing the music the reviewer remarks the work "displays a more demanding, quasi-canonic interplay between two highly melismatic voices, further intensified by interweaving of an imitative, soprano solo in its closing section." B178. Lamer, Gerald. "Kenneth Leighton's Third Piano Concerto in Wolverhampton." Guardian (March 14, 1970). Review of a conceit in Wolverhampton, at the Civi Hall, by the City of Birmingham Symphony Orchestra conducted by Louis Fremaux, March 11, 1970. Featured on the program was the premiere of


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Leighton's Piano Concerto No. 3, "'Concerto Estivo", Op. 57, a. work composed in 1969. Leighton himself was the performer. The reviewer notes the influence of Bartok and Messiaen on some of the musical writing but that "the piece...has a pastoral English flavour and a strangely American feeling in the splendid blues tune of the slow movement." Concludes that the work "was pleasing to hear." B179. Lehman, Mark L. "Leighton." American Record Guide vol. 63 no. 6 (November/December) p. 171. Review of a CD, Leighton: Piano Works, performed by pianist Margaret Fingerhut (Chandos CHAN 9818). When describing the works the reviewer says that the Second Sonatina, [Op. lb] is "charming", while Pieces for Angela, [Op. 47] is "an enchanting cycle of kinderszenen.." The Fantasia Contrappuntistica, [Op. 24] he describes as "a monumental excursion into polyphonic elaboration." It is the Four Romantic Pieces, [Op. 95] that the reviewer emphasizes, describing it as "flowing but moody," and comparing it to the Barber Piano Sonata. B180. Lehman,Mark L. "Stephen Hough's English Piano Album." American Record Guide vol. 65 no. 4 (July/August, 2002) p. 201. Review of a CD, Stephen Hough's English Piano Album [Hyperion 67267] that includes performances of small works for piano by British Composers. Included is a work by Leighton, Six StudyVariations, [Op. 56]. Remarks that it is the "longest" of the works and describes it as "the most demanding....here...is dissonant, planget, and intense." B181. Leighton, Jo. "Kenneth Leighton—Speaking the Language of Britain. Finzi Newsletter vol. 2 no. 2 (Summer 1995) pp. 1-4. Biographical article about Kenneth Leighton's life and works written by his widow, Jo. Illustrated with quotes from Leighton's teachers, colleagues and friends. One of the more complete biographical articles. B182. Leighton, Kenneth and Morgan, Edwin. "An Opera on St..Columba." Musical Times vol. 122 (June, 1981) pp. 371+. An article written in two parts about the opera Columba, Op. 77. The first, by Kenneth Leighton, recounts the history of St. Columba and how it influenced his composing of the music to the text set by his librettist, Edwin Morgan. In discussing the music the composer writes

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Bibliography it is "composed straight through...no recitatives...a mixture of arias and ariosos." In the second part, librettist Edwin Morgan, explains his role beginning with Leighton's invitation to collaborate with him in Febmary 1975. He tells why he decided to set the words and discusses his work with Leighton. A finished work, with only need for certain revisions, was available by August 1977. Morgan concludes with the remark that "it is impossible to resist the fact that their hero's encounter with the Loch Ness monster is the first historical record of that creature."

B183. C. M. "Making Way for a Good Sound." Telegraph (September 1, 1966). Review of a conceit by the Edinburgh University Singers in Freemasons Hall, Edinburgh, August 21, 1966. Included on the program was a performance of Leighton's Mass, [op. 44], for soloists, doublechoir and organ, (only in the Credo). The conductor was Herrick Bunney. The reviewer says, "The composer understands exactly the kind in harmony and spacing that allow a choir to make a good sound," and further, "it is an effective and worthwhile work." B184. D. M. "Exciting Sonata." Telegraph (October 4, 1957). Very brief review of a recital in London at the Wigmore Hall by Elizabeth Boenders, violin and Emest Lush, piano. Included on the program was Leighton's Sonata No. 2 for Violin and Piano [Op. 20], a work composed in 1953. About the music the reviewer remarks, it is "Written in three rhapsodic movements...an exciting work to play."

B185. McAllister, Rita. "Edinburgh." Musical Times vol. 112 (Febmary 1971) p. 160. Article that includes a brief mention of a conceit by the Scottish National Orchestra in Edinburgh at the Reid School of Music, October 22, 1970. Included on the program was a performance of Leighton's Piano Concerto No. 3 [Op. 57] featuring the composer at the piano. The music is described as a ".lyrical and sonorous work."

B186. McAllister, Rita. "Scotland." Musical Times vol. 118 (June, 1977) pp. 497-498.


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Review of the premiere of Leighton's Symphony No. 2 (Sionfonia Mistica), Op. 69, which was composed in 1974. This was performed during a conceit in Edinburgh at the Usher Hall by the Scottish National Orchestra conducted by Gary Bertini and featured soprano Felicity palmer with the Scottish National Orchestra Choms, The reviewer describes the Symphony as "his most significant work to date" and further notes, "Leighton's music is richly dramatic." B187. McCaldin, Denis. "Liverpool." Musical Times vol. 108 (December, 1967) p. 255. Review of a concert by the Royal Philharmonic Orchestra conducted by Charles Groves in Liverpool, October 17, 1967. Included on the program was the British Premier of Leighton's Symphony No. 1, op. 42. About the work the reviewer remarks, "to compose such a symphony in an age which tends to distrust rhetoric.. .requires both courage and skill. Leighton lacks neither." B188. McGinnis, Susan, and de Souza, Chris. "First Performances, Commissions." Composer No. 85 (Summer, 1985) p. 32. Announcement of three premieres of Kenneth Leighton's music: The World's Desire, op. 91, by the BBC Northern Singers conducted by Stephen Wilkinson; The Sonata for Piano Duet, op. 92, by Richard Markham and David Nettle; and Symphony No. 3 'Laudes Musicae", op. 90, performed by the BBC Scottish Symphony Orchestra conducted by Vernon Handley. B189. Mackie, Neil. "Lontano." Guardian (January 30, 1988). Brief review of a concert in late January, 1988 in Edinburgh at the Reid Concert Hall, featuring Neil Mackie, tenor, and John Blakely, piano. Included on the program was a performance of Leighton's Earth, Sweet Earth, Op. 94. The music is described as an "intensely searching and powerful 40-minute solo cantata." B190. MacKinnon, Alastair. "Columba converts pagans in Glasgow Cathedral." Church Times (December 7, 1990). Article which focuses upon the revival performance of Leighton's opera, Columba, which took place in Glasgow at the Glasgow Cathedral. Includes a brief synopsis of the libretto written by Edwin Morgan. Also mentions how the producer, Peter Ebert, felt about using the Cathedral setting for the performance, noting "the cathedral setting adds to the audience appreciation of the work." Finally men-

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Bibliography tions the cast, which included William Mackie, Christine Caims, and Allen Oke, with the BBC Scottish Symphony Orchestra conducted by Roderick Brydon.

B191.

Main, Carol. "Leda Piano Trio." Scotsman (April 22, 1996). Review of a concert by the Leda Piano Trio at Queen's Hall, Edinburgh, April 21, 1996. Included on the program was a performance of Leighton's [Quartet in One Movement,] Contrasts and Variants, Op. 63 composed in 1972. Described as "an incredibly powerful piece particularly in the hands of the Leda who seemed to have a special affinity with Leighton's music."

B192. Mason, Cole. "New Chamber Music." Musical Times vol. 98 (August 1957) p. 431. Review of Leighton's Sonata for Violin and Piano No. 2, Op. 20 [1953], prompted by the publication of the score by Lengnick. Compares the work to Leighton Concerto for Cello, Op. 31. Describes it as a work "of romantic grandeur of conception...despite the choice of a twelve note theme for the Passacaglia slow movement." Notes Leighton has the potential as a composer of "real creative power and vigour" but one who "needs more discipline and purification." B193. Mason, Colin. "Five Songs of London." Telegraph (December 11, 1969). Review of a concert by the New London Singers at the Purcell Room, London, December 10, 1969. To celebrate the groups fifth birthday, they had commissioned a cycle of fixe songs with texts about London, each by a different composer. The last in the cycle was Leighton's song London Town (1968) set to text by John Masefield. This is describes as "an effective setting though a little austere and slightly less distinct.. .than the other songs." B194. Maynell, Raymond. "Some Scenes from the Life." Independent (November 29, 1990). Review of a performance of Leighton's opera, Columba when the work was revived in Glasgow, at Glasgow Cathedral, November and December, 1990. When writing about the work the reviewer remarks, "one was struck by its clarity, as well as by the passionate vision it delivers." Notes instances of the influence of Vaughan Williams and Stravinsky. Explains that the work is more akin to an ora-


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torio than an opera in many ways. Includes a brief synopsis of the plot, mentions the performers and says in summary, "The opera comes over as a heartfelt testament, with no striking of stylistic attitudes." B195. Metz, Donald. "Guide to Records: Dupre." American Record Guide vol. 64 no. 6 (November/December, 2001) pp. 105-106. Review of a CD, Great Australasian Organs II, (Priory 516) performed by organist Jane Watts, playing the Klais organ of the Queensland Arts Center, Brisbane. Included on the CD is a performance of Leighton's Prelude, Scherzo and Passacaglia, [Op. 41], composed in 1963. The work is described as more 'modem' without overtaking the listener. Remarks the music is "shaped around tiny two-note cells." Further, the Passacaglia theme merges with the themes from both the Prelude and the Scherzo. B196. Metz, Donald. "John Weaver, Organ." American Record Guide (September/October, 1993). Review of a recording, John Weaver, Organ (Gothic 49060). Included on the recording is a performance of Leighton's Prelude, Scherzo and Passacaglia, Op. 41. When describing the music the reviewer writes the work is "superbly crafted, yet with remarkably easy to follow musical forms and processes." B197. Millington, Barry. "Organ Recitals." Musical Times vol. 117 (September, 1976) p. 762. Review of a recital by Nicholas and Stephen Cleobury, part of the Organ Club Jubilee series in London at Westminster Abby, July 15, 1976. Included on the program was the premiere of Leighton's work for organ duet, Martyrs, op. 73. The reviewer describes the music as developing from the "Dorian Scottish psalm-tune from a mysterious chromatic, introspective opening to a broad, powerful apotheosis." B198. Milner, Arthur. "An Organ Work by Kenneth Leighton." Musical Opinion vol. 88 (October 1964) p. 33+. Article on the early work for organ, Prelude, Scherzo and Passacaglia, op. 41. The article includes an analysis of the music including musical examples. Concludes the work should be considered "the finest composition for organ by an English composer of the last thirty years."

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Bibliography

B199. Mitchell, Donald. "Some First Performances." Musical Times vol. 96 (July, 1955) pp. 378-379. Article that includes a review of a recital by violinist Trevor Williams, accompanied by the composer, in London at the Wigmore Hall, May 20, 1955. Included on the program was the first London performance of Leighton's Sonata No. 2 for Violin and Piano, op. 22. Reviewer notes that Leighton is a conservative composer but goes on to say, "his melodic invention is well above average.. .he has a distinct.. .feeling for form." B200. Mitchell, Donald. "Some First Performances." Musical Times vol. 96 (September, 1955) p. 485. Includes a review of a studio recital of the Society for the Promotion of New Music, at the Arts Council, London, July 6, 1955, This recital featured the prize-winning pieces in the Harry Danks Viola Competition. One of the works performed was Leighton's Fantasia on the Name of Bach, for viola and piano, op. 29, featuring Watson Forbes, viola and the composer on the piano. The reviewer describes the music as "the most outstanding" of the three works performed. He goes on to present a short, descriptive analysis of the work. Concludes, "Mr. Leighton makes music...he is a composer." B201. Mitchell, Donald. "Some First Performances." Musical Times vol. 96 (December, 1955) p. 659. Article including a review of a conceit by the Macnaghten New Music Group in London at the Arts Council, October 24, 1955. Included on the program was the premiere of Leighton's Variations for Piano, op. 30, performed by the composer. The reviewer says the work is "solid fare and extmely well laid out." Further, "[Leighton] is a most intelligent, thoughtful composer." B202. Moger, Peter. "Kenneth Leighton's Organ Music." Musical Times (September, 1985) pp. 553-555. Lengthy article, the main subject being Kenneth Leighton's music for organ. It was prompted by the upcoming premiere of the composer's new organ work, Veni Redemptor, Op. 93, commissioned by the North Wales Music Festival and composed in 1985. Discusses Leighton's use of Samm chant in some of his compositions, both for organ and for other instruments, including the Missa De Gloria [Op. 82]for organ and the Alleluia Pascha Nostrum,[Op. 85] for violin and piano. Focuses on his organ compositions, stating the 1950's


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were "formative years" and by the 1960's, Leighton had, "...already progressed... to ward establishing a distinctive personal idiom." Discusses works for organ from the 1960's including the composer's Prelude, Scherzo and Passacaglia, Op. 41, from 1963, and the Et Resurrexit, Op. 49, from 1966. In the 1970's, Leighton composed the Concerto for Organ, Op. 58 (1970), Six Fantasies on Hymn Tunes, Op. 72, composed in 1976, as well as the great organ duet, Martyrs: Dialogues on a Scottish Psalm-Tune, Op. 73, written that same year. Concludes the article by describing Leighton as "one of the most successful British composers writing for organ today." Includes musical analyses of some of the works as well s musical examples. B203. Monelle, Raymond. "Kenneth Leighton's Columba." The Independent, (Febmary 7, 1986). Review of a performance of Leighton's opera, Columba, Op. 77, composed in 1978 and premiered in Glasgow in 1981. This 1986 performance was sponsored by the Friends of Glasgow Cathedral as part of their Jubilee Celebration. The performance included William Mackie as Columba, Alan Oke, Broichan and Christine Caims as Bridget, with the BBC Scottish Symphony Orchestra conducted by Graeme Jenkins. The producer was Peter Ebert. The reviewer remarks, when describing the opera as a whole, that it is "an emotionally heavyweight work." B204. Monelle, Raymond. "Columba (Kenneth Leighton)." Opera vol. 37 (April, 1986) p. 457. Review of a performance of Leighton's opera, Columba in Glasgow, at Glasgow Cathedral, Febmary 5, 1986. Gives a brief account of the first performance of the work, by members of the opera class of the Royal Scottish Academy of Music & Dance, in Glasgow on June 16, 1981. This 1986 performance was by a professional cast including William Mackie as Columba, Alan Oke as Briochan, Christine Caims as Bridget, and Neil Jenkins as King Bmde, accompanied by the BBC Scottish Symphony Orchestra conducted by Graeme Jenkins. The opera, with its libretto by Edwin Morgan, is described as, "..a work of relentless and austere vision, the music brooding and dark-hued...that made no concession to trendiness and or popularity." B205. Monelle, Raymond. "Professor Kenneth Leighton." The Independent (August 30, 1988). Obituary for Kenneth Leighton who died on August 24, 1988. Presents biographical information and his compositions, which he describes as "a massive oeuvre." Notes that the works "all demonstrate

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Bibliography the composer's fluency of invention and boldness of conception." Discusses Leighton's talent for teaching, especially with the first year students, to whom he taught the traditional harmony, counterpoint and fugue which he felt were the most important for any musician's training.

B206. Money, Paul. "Peter Wallfisch." Daily Telegraph (April 4, 1984). Review of a conceit in London at the Wigmore Hall, April 3, 1984 by Peter Wallfisch. Included on the program was a performance of Leighton's Variations, Op. 30. Brief note, describing the music as displaying, "technical subtleties and fascinating patterns of tonality." B207. Morreau,Annette. "Polyphony St. John's Smith Square." Independent (December 20, 1996). Review of a conceit in London at St. John's Smiths Square, performed by Polyphony conducted by Stephen Layton, the previous Wednesday. The program, which was entirely British Carols from the Medieval to the present, included a performance of five of Leighton's carols, all of which are described as "the most strikingly original works" presented. Writes about Leighton's Hymn to the Nativity (1976) and Of a Rose is All My Song (1970). B208. Morris, Tom. "Found...Kenneth Leighton Serenade for Flute and Piano." British Flute Journal (March, 1993) p. 15. Interesting story of the discovery of the manuscript of Leighton's Serenade [in C] for Flute and Piano. The article states the work was originally designated Op. 19 but, Leighton reassigned Op. 19 to Burlesque, from 1957. Consequently, the Serenade was designated Op. 19a. The original version of the work was composed in 1949 and dedicated to Gustav Bom, a well-known pharmacologist and a very fine flautist. (Although it does not appear in this article, this original version received its premiere in Oxford University Music Club and Union, June 13, 1950 by Gustav Bom and the composer.) The 1953 "revised" version received its first performance at Winchester College on December 3, 1992 by Thomas Morris, flute and Robert Bottone, piano. Includes a brief descriptive analysis of the music. B209. Morrison, Bryce. "London Debuts." Times (April 17, 1974). Article that includes a review of a recital by pianist Hammish Milne in April, 1974. Included on the program was a performance of


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Leighton's Nine Variations op. 36. The work is described as being "pianistic and accessible." B210.

W. N. "University Singers in Splendid Unity." Glasgow Herald (September 1, 1966). Review of a concert by the Edinburgh University Singers, conducted by Herrick Bunney, in Edinburgh at Freemasons Hall, during the Edinburgh Festival, August 31, 1966. Included was a performance of Leighton's Mass Op. 44. Organist for the Credo, was Alexander Anderson. The work is described as "a most exciting experience, employing most of the...devices of the contemporary choral composer. . .completely convincing,"

B211. Nelson, Catherine. "London: Reviews: Conceits. From Leighton to Ligeti." Strad vol. 109 no. 1300 (August, 1998), pp. 863-864. Article which includes a review of a concert in London at St. John's Smith Square by violinist Christopher White and pianist Nigel Clayton, May 8, 1998. Included on the program was a performance of Leighton's Metamorphoses [Op. 48]. The work is described as "an intriguing work, with passages of quixotically changing rhythms interspersed by moments of impressionistic expansiveness." B212. Norris, Geoffrey. "Park Lane Group." Telegraph (January 11, 1985). Review of a concert sponsored by the Park Land Group promoting young artist performing contemporary music. Included on the concert was a performance of Leighton's Alleluia Pascha Nostrum, Op. 85, by Elizabeth Anderson, cello and Nigel Clayton, piano. The reviewer notes the performance was "powerful, passionate yet thoroughly sensitive." B213. D. O. "The Critics." Oxford Mail (September 18, 1969). Very brief review of a conceit in Oxford, at the Oxford School, the previous Tuesday, by the Oxford Holiday Orchestra conducted by Leslie Perrem. The event was in aid of the Oxford Regional Kindeny Machine Fund, and included a performance of Leighton's Festive Overture [1962]. The reviewer notes the work "received a driving performance." B214.

D. O. "Off the Beaten Track." Oxford Mail (December 5, 1968).

186

Bibliography Brief review of a conceit by the Isis Singers conducted by Christopher Swain for the Exeter College Music Society in the Exeter College Chapel, Oxford, December 4, 1928. Three compositions by Leighton were performed. The high point of the concert was a performance of Magnificat and Nunc Dimittis [Collegium Madgalenae Oxonienses], composed in 1959, conducted by the composer; Lully, Lulla Op. 25b; and finally, Paean, performed by Christopher Lumsden.

B215. M. O. "Leighton Violin Concerto." Daily Telegraph (September 2, 1954). Review of a concert in London at the Albert Hall, September 1, 1954, performed by the BBC Symphony Orchestra conducted by Sir Malcolm Sargent. Included on the program was the first conceit performance of Leighton's Concerto for Violin and Orchestra [Op. 12], performed by violinist Frederick Grinke. About the four-movement work the reviewer remarks, "the slow intermezzo and lament-like epilogue shared a lyrical intensity.. .particularly well suited to the solo instrument." B216. Oliver, Michael. "Leighton: Elegy, Op. 5; Piano Trio, Op. 46; Partita, op. 35; Metamorphoses, Op. 48." Gramophone (November, 2002) Review of a recording, Kenneth Leighton: Chamber Music (Dutton CDLX 7118), released in 2002. The first work, Elegy, Op. 5, is described as one that reveals the composer's "English roots." The Piano Trio, Op. 46, is cited as an example of Leighton's "superbly crafted music" and compared to Shostakovich, as is the Partita, Op. 35, a work described as having "a sort of bony wit." Finally, the Metamorphoses, Op. 48, "could be heard as a monothematic sonata." Has high praise for the composer. B217. Oliver, Michael. "Leighton: Piano Works." Gramophone vol. 62 (March, 1989) p. 605. Review of a CD, Kenneth Leighton: Piano Music performed by pianist Eric Parkin (Abacus ABA 402-2 CD; ABA 402-4 cassette). Includes a brief description of each of the works performed. Notes this was Vol. 1 of a proposed 2-volume set. B218. Orr, Buxton. "First Performances and Commissions." Composer no. 39 (Spring, 1971) p. 35.


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Announcement of the upcoming premier of Leighton's Dance Suite No. 2, op. 59, which was commissioned for the Farnham Festival. B219. Orr, Buxton. "First Performances and Commissions." Composer (Autumn, 1972) p. 31. Announcement of the premiere of Leighton's Quartet in One Movement [(Contrasts and Variants), Op. 63], in London at the Purcell Room, October, 1972. B220. Orr, Buxton. "First Performances and Commissions." Composer No. 49 (Autumn, 1973) p. 28. Announcement of the premiere of Leighton's Laudes Animatium, Op. 61, [1971]. It took place in London at the Purcell Room and was performed by the Elizabethan Singers conducted by Herrick Bunney, June 13, 1973. B221. Orr, Buxton. "First Performances and Commissions." Composer n. 57 (Spring, 1976) p. 3. The list includes an announcement of the premiere of Leighton's Fantasy [On an American Hymn Tune, Op. 70] at the Cheltenham Festival, July, 1975. B222. Ottaway, Hugh. "The Three Choirs Festival." Musical Opinion vol. 82 (November, 1958) p. 101. Article presenting a series of reviews of performances during the Three Choirs Festival in Hereford, September 7-12, 1958. One of those conceits included the premiere of Leighton's The Light Invisible: Sinfonia Sacra, op. 16. Performance took place on September 9 with tenor soloist David Gulliver with the London Symphony Orchestra conducted by Douglas Guest. Noted the performance "came off impressively." B223.

A. P. "New Works." Musical Times vol. 92 (December, 1951), p. 563. Article which includes a brief review of the first London of Leighton's Symphony for Strings , Op. 3 . The performance was by the Harvey Philips Strings, October 17, 1951. The reviewer notes some similarities to Stravinsky's Dumbarton Oaks as a model for the work. Remarks: "the texture of the string writing throughout clean and agreeable."

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Bibliography

B224. A. E. P. "Guiding Force of Roberts." Telegraph (October 14, 1972). Review of a concert in London at the Purcell Room by the Richards Piano Quartet, October 13, 1972. The program included the premiere of Leighton's work for piano quartet, Quartet in One Movement] Contrasts and Variants, Op. 63, a work commissioned by the Richards Quartet. Although the pace of the earlier parts of the work were a bit slow, as the work neared its conclusion, a climax was reached: "the engagement of forces represented by the virtually incompatibility of the strings and piano was powerfully sustained." B225. J. P. "Business-Like Efficiency: Orchestral Conceit by University." Scotsman (December 3, 1962). Review of a concert in Edinburgh by the Edinburgh University Musical Society Orchestra conducted by Kenneth Leighton at the Reid School of Music, December 2, 1962. Although no work of Leighton's was performed on this concert, the article presents a description of Leighton as a conductor, observing that under Leighton's direction the Orchestra's playing "has risen by leaps and bounds." B226. Paterson, Wilma. "R.S.A., Edinburgh." Glasgow Herald (Febmary 6, 1986) Review of a performance of Leighton's opera, Columba Op. 77, which was composed in 1977 and premiered in Glasgow Cathedral in 1981, the music described as "particularly find". Of the composition, the reviewer remarks: "The music is distinctive, powerful and evocative...I was reminded by its emotional intensity of VaughanWilliams's Riders to the Sea." William Mackie as Columba is described as having given a performance that was "powerful and moving." The BBC Scottish Orchestra was directed by Graeme Jenkins and the production was by Peter Ebert. B227. Payne, Anthony. "London Conceits." Musical Times vol. 197 (July, 1966) pp. 612-613. Review of a conceit in London at St Clement Danes, May 21, 1966 by the Edinburgh University Singers directed by Herrick Bunney. Included on the program was the London premiere of Leighton's Mass, Op. 44, which was originally composed for the Singers. The work, composed for double SATB choms, soloist and organ (in the Credo only), is described as having "possessed...the qualities of ar-


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tistic imagination." Further, he notes, "the superb use of choral sonority made it an attractive and compelling work." B228. Perry, W. H. "Kenneth Leighton's New Concerto." Birmingham Post (March 14, 1970) Review of a conceit in Birmingham at the Town Hall by the City of Birmingham Symphony Orchestra conducted by Louis Femaux, March 10, 1970. The conceit featured the premiere of Leighton's Piano Concerto No. 3 (Concerto Estivo) [Op. 57] which was composed in 1969 and performed by the composer. Notes, "The work...is immediately striking," and further, "the technical demands on all concerned are considerable.. .they seem to be equally divided." B229. Pettitt, Stephen. "Family Force." Times (June 17, 1987). Review of a lunch-time recital in London, at St. Johns, by Peter Wallfisch, pianist, and Raphael Wallfisch, cello, June, 1987. Included on the program was a performance of Leighton's Alleluia Pascha Nostrum, for cello and piano, [Op. 85]. The reviewer notes, "Leighton creates an edifice which speaks eloquently...The work is, moreover, written gratefully for both instruments." B230. Pettitt, Stephen. "Park Lane Group: Purcell Room". Times (January 11, 1985). Review of a Park Lane Group Young Artist conceit in London at the Purcell Rooms, January, 1985. Included on the program was a performance of Leighton's Fantasy on an American Hymn Tune op. 70, performed by the Lartarche Trio. The reviewer notes the work had a "meandering form...an irritating insistence on rocking rhythm." Also performed was Leighton's Six Study Variations, op. 56 by pianist Nicola Meecham. Concerning these, the composer said that he was "impressed by their inventiveness and economy." B231. Pirie, Peter. "Five Studies for Piano." Music and Letters vol. 38 (July, 19570 P. 310. Review of Leighton's Five Studies for Piano, Op. 22 [1953] following the publication of the score by Novello. Very short descriptive analyses included. The reviewer says, "Kenneth Leighton's set of five are more worthy of a permanent place in the in the repertory." B232. G. C. H. R. "Stokowski in Two Moods." Daily Telegraph (August 6, 1951).

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Bibliography Review of a conceit during the 1951 Liverpool Festival by the Royal Philharmonic Orchestra conducted by Leopold Stokowski, August 4, 1951. The conceit included the premiere of Leighton's overture, Primavera Romana, Op. 14, composed earlier that year. About the work the reviewer notes, "Written in Rome this spring, it is a festive little piece based on three rhythmic subjects."

B233. M. R. "Composers in Contrast: Bliss and Leighton." Telegraph (June, 1962). Very brief review of a conceit in London at the Royal Academy of Music, June, 1962, performed by the London Orpheus Choir and Orchestra conducted by James Gaddam. The program included a performance of Leighton's The Birds, Op. 28. The reviewer compares the music of the Leighton work with the other work performed, Bliss's Pastoral and concludes, "Pastoral, composed in the 1920's, sounds more contemporary than The Birds, written some 30 years later." B234. M. R. "Orpheus Choir: Melodic Lines." Telegraph (June 4, 1960). Brief account of a conceit in London at the City Temple by the London Orpheus Choir and Orchestra conducted by James Gaddam, June 2, 1960. The program included a performance of Leighton's The Birds, Op. 28, composed in 1954, and featured soprano soloist Sybil Michelow. The reviewer remarks, "Leighton's individual melodic lines and harmonic idiom bring...unity to what otherwise would seem... settings of verses, connected only by their ornithological subject matter." B235.

Ramsey, Basil. "Festival Hall." Musical Times vol. 108 (December, 1967) pp. 1143-1144. Review of a recital in London at the Festival Hall by organist David Lumsden, October 18, 1967. The final work on the program was a performance of Leighton's Prelude, Scherzo and Passacaglia, Op. 41, composed in 1963. The reviewer notes that the work "wears well...because an emotional undercurrent surges beneath these big, superbly built movements." In the reviewer's opinion, "Leighton's control of contrapuntal textures.. .is second to none."

B236. Rayment, Malcolm. "Fine Playing by Pegasus Trio." Glasgow Herald (November 21, 1971).


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Review of a conceit in Glasgow, at the Royal Scottish Academy of Music and Drama, Friday, November 19, 1971, by the Pegasus Trio, at a Mid-Day Conceit. Included was a performance of Leighton's [Piano] Trio, Op. 46, which the reviewer notes had been performed a number of times since it was composed in 1965. Remarks, "it is worth the attention it is receiving.. .fine music.. .it solves the difficult textural problems posed by the medium." B237. Rayment, Malcolm. "Gifted Korean in Birthday Concert." Glasgow Herald (October 4, 1974). Review of a concert in Edinburgh as the Usher Hall, by the Scottish National Orchestra, to celebrate its 21 st anniversary, October 1, 1971. The program included the premiere of Leighton's Dance Overture, Op. 60, composed for the occasion. The reviewer remarks, "there is far more to the work then its title might suggest" and proceeds to describe the music, noting that "Far from consisting of a string of tunes...this is based on a limited amount of material that undergoes intriguing variation and development." B238. Rayment, Malcolm. "Leighton Quartet Scottish Premiere." Glasgow Herald (Febmary 26, 1973). Review of a mid-day concert in Glasgow at the royal Scottish Academy of Music and Drama, by the Richard's Piano Quartet, Febmary 23, 1973. The program included the Scottish premiere of Leighton's work commissioned by the Quartet, Quartet in One Movement: Contrast and Variants, [Op. 63]. When describing the music the reviewer notes that the composer "has attempted to find fresh ways of exploiting the contrast between piano and strings." He follows with a brief, descriptive analysis, finally concluding that the work is successful because of "the superb craftsmanship, allied to genuinely musical invention." B239. Rayment, Malcolm. "Leighton Reveals His Craftsmanship." Glasgow Herald (Febmary 7, 1979). Review of a conceit by the Currie Singers and Orchestra at the SNO Centre, Glasgow, Febmary 5, 1979. Included on the program was the premiere of Leighton's Columba Mea, Op. 78, for Alto and Tenor Soloists, SATB Choms, Harpsichord, Celesta and Strings. Soloists were Linda Ormiston and Paul Hindmarsh. About the music the reviewer says: "As always with this composer, the craftsmanship is of the very highest order." Further: "The composer's sensitivity towards his medium was mirrored by the performers."

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Bibliography

B240. Rayment, Malcolm. "Leighton Work Played by SNO." Glasgow Herald (Febmary 4, 1974). Review of a concert that included a performance of Leighton's Symphony No. 1, Op. 42 in Glasgow at the City Hall, Febmary 2, 1974. The Scottish National Orchestra was conducted by Alexander Gibson. The reviewer notes the work won the Trieste Prize in 1965. He also remarks that the music shows the influence of Sibelius and Walton. B241. Rayment, Malcolm. "New Work Shows Outstanding Skill." Glasgow Herald (March 7, 1977). Review of a concert by the Scottish National Orchestra and Choms conducted by Gary Bertini with soprano Felicity Palmer in Edinburgh at Usher Hall, March 4, 1977. Included on the program was the premiere of Leighton's Symphony No. 2 "Sinfonia Mistica ", Op. 69. The reviewer notes: "Besides being a deeply felt and very powerful work.... There is no suggestion of padding.. .not a bar is superfluous." B242. Rayment, Malcolm. "Scottish Baroque Ensemble." Glasgow Herald (August 30, 1982). Review of a concert by the Scottish Baroque Ensemble at Queens Hall, Edinburgh, one of the Percy Grainger Centenary Conceits, on August 29, 1982, during the Edinburgh Festival. Included on the program was the premier of Leighton's Fantasy-Octet (Homage to Percy Grainger), composed especially for the occasion. The reviewer considers this the "best music" of the evening. He notes that Leighton composed the piece using tunes set by Grainger and suggests the work would be stronger if he had set it for a full string orchestra, which would add to the "richness of texture, and the expression of the music." B243. Rayment, Malcolm. "Three Fine Performances as McEwen Concerts Begin". Glasgow Herald (April 22, 1980). Review of the first of the ninth series of McEwen Memorial Concerts at Glasgow University performed by members of Edward Harpers New Music Group of Scotland on Monday afternoon, April 21, 1980. Included on the program was a performance of Leighton's Piano Quartet [in One Movement]: Contrasts and Variants, Op. 63. De-


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scribes the work as an "impressive Quartet which contrasts rather than combines the piano with the 3 stringed instruments." B244. Reid, Andrew. "Sharing the Vision." Choir and Organ vol 4 no. 4 (August, 1996) pp. 11-12. This article is mainly about the Church Music Society in Great Britain, founded by Sir Henry Hadow in 1906. The purpose of the group was to set standards for Church by publishing difficult-to-obtain music among other projects. Notes the Society has among its publications as one of their best sellers Leighton's Second Service: Magnificat and Nunc Dimittis, Op. 62, which was composed in 1971. B245. Reynolds, Gordon. "New Choir Music." Musical Times vol. 100 (January, 1969) p. 82. Article that includes a number of short reviews of newly-published scores for choirs. Includes a very brief description of Leighton's O God Enfold Me in the Sun, which he composed in 1967. It is scored for SATB choms and organ, set to text by Jacqueline Froom. The music is described as "bold and ecstatic," and the reviewer finally recommends that the work "will be especially effective in buildings which would reflect bold organ chords." B246. Ritter, Stephen. "English Oboe Concertos." American Record Guide (November 1,2001) p. 227. Review of the new CD, English Oboe Concertos performed by Jill Crowther,oboe and the English Northern Philharmonia conducted by Alan Cuckston (ASV Whiteline CDWHL 2130). Included is a performance of Leighton's Concerto for Oboe, [Op. 23]. The reviewer remarks the work is "chock full of that English pastoralism that we all love so much.. just what the doctor ordered." B247. Rose, Bernard. "The Light Invisible: Sinfonia Sacra for Tenor, Choms and Orchestra." Music and Letters vol. 40 (January, 1959) p.91. Includes a brief review of Leighton's The Light Invisible: Sinfonia Sacra, Op. 16 for tenor, choms and orchestra when the vocal score was published by Novello. After a very brief descriptive analysis of the work the reviewer concludes: "There are movements of great beauty, and the general impression is one of power." B248. J. B. S. "Choral & Song." Gramophone (December, 1972).

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Bibliography Review of a recording, Leighton Cathedral Music, performed by St. Paul's Cathedral Choir conducted by John Scott and accompanied by organist Andrew Lucas, (Hyperian CDA 66489). The reviewer notes, "his sure effectiveness in everything included here tells of a man for whom choir stalls and organ lofts were part of the furniture of his mind." Brief remarks on the following works: Crucifixus Pro Nobis, Op. 38; [The Second Service:] Magnificat and Nunc Dimittis, Op. 62; Evening Hymn (1979); Drop, Drop Slow Tears [from Op. 38]; and the Te Deum (1964).

B249. Rose, Benrard. "Review of New Music." Music and Letters vol. 40 no. 3 (July, 1959) pp. 303-304. Review article that includes a brief but important description of Leighton's work for piano, Fantasia Contrpuntistica: Homage to Bach, Op. 24, composed inn 1956. Remarks that Leighton won the Femccio Busoni Prize in Bulgano, Italy in 1956. The work is described as is described as containing "some extremely powerful music.. .an abundance of imagination.. .a wealth of invention.". B250. J. B. S. "English Church Music, Vol. 1." Gramophone (May, 1993). p. Review of a CD, English Church Music, Vol. 1, by the Queen's College Choir, Oxford conducted by Matthew Owens, and organist David West, (ASV CDDCA 851). Includes performances of Leighton's Second Service: Magnificat and Nunc Dimittis [Op. 62], and Crucifixus Pro Nobis, [Op. 38]. Compares these performances to a previously released CD by the St. Paul's Cathedral Choir conducted by John Scott (Hyperion CDA 66489). B251. M. M. S. "Reviews of Music." Music and Letters vol. 33 (April, 1952) p. 180. Review of several newly-published scores, including that for Leighton's Sonata for Violin and Piano [No. 1], Op. 4, composed in 1949. The reviewer notes that this new work is "more passionate than his admirable Sonatinas," observes that Leighton has "high promise," and concludes, "The work is well-written for both instruments." B252. T. D. S. "Modem Symphony Orchestra." Strad vol. 73 (May, 1962) p. 35.


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Article with a review of a concert by the Modem Symphony Orchestra conducted by Arthur Denington, May 24, 1964. Included on the program was a performance of Leighton's Cello Concerto, op. 31 featuring cellist Florence Hooton. About the music and composer the reviewer says, "What was praiseworthy.. .was the writing for the solo instrument," and further, after noting the piece is "uncertain", the reviewer hoped this fact "will not discourage Leighton from further attempts for the cello." B253.

Salkind, Peggy. "Kennetth Leighton: Conflicts: Fantasy on Two Themes." Notes vol 29 no. 2 (1972) pp. 322-323. Article which includes a review of Leighton's Conflicts: Fantasy on Two Themes, Op. 51 when the score was published by Novello, 1971. Includes a brief, descriptive analysis of the music. The reviewer remarks, "the composer sets forth a wide variety of rhythmic patterns and melodic ideas that sustain and compliment one another." The writer then concludes that the work is "a welcome addition to a world of music rife with banality."

B254.

Scott-Sutherland, Colin. "Only Seven in the Audience." St. Andrew's Citizen (March 14, 1997). Review of a conceit by Robert Markham, piano, and Susan Glaser, flute, at Younger Hall, St. Andrew's University. The concert, sponsored by the Kenneth Leighton Tmst, featured two works by Leighton. The first, his Sonata for Piano op. 64, performed by Robert Markham, is described as "a late and powerful work.". The other, Leighton's Serenade for Flute and Piano [Op. 19a], performed again with Markham at the piano included Susan Glaser, flute. The music is described as "...full of luscious sounds, richly romantic and exquisitely played...".

B255. Shuler, David. "Music Reviews: Kenneth Leighton: Martyrs." Notes vol. 40 no. 1 (June, 1984), p.889. Review of Leighton's composition, Martyrs: Dialogues on a Scottish Psalm-tune, Op. 73, a work composed in 1976, when it was published by Novello in 1982. Presents a brief and succinct descriptive analysis of the music. Concludes, "For best effect, Martyrs requires a large, Romantic instrument." B256.

Simmons, Walter. "English Oboe Concertos." ber/December, 2001) p. 321.

Fanfare

(Novem-

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Bibliography Review of a newly-released CD from ASV, English Oboe Concertos, (ASV WHL 2130) including a performance of Concerto for Oboe and Strings, Op. 23, by oboist Jill Crowther with the English Northern Philharmonia conducted by Alan Cuckston. About the Leighton work the reviewer describes it as "the musical heavyweight...on the CD." Further he remarks that the first two movements are "quiet, searching and reflective," while the final movement is "more routine in its pleasantly lively neo-Classicism."

B257. Smith, Patricia Bead."Words and Music Pair Well in Camellia Conceit." Sacramento Bee (Febmary 10, 2003). Review of a concert in Sacramento, California, at the Westminster Presbyterian Church, by the Camellia Symphony Orchestra conducted by Eugene F. Castillo, Febmary 8, 2003. The program included the American premiere of Leighton's Symphony No. 3, "Laudes Musicae ", Op. 90, featuring tenor soloist William George. Describes the work as "a three-part love letter to the musical arts." B258.

Snook, Paul A. "English Oboe Concerto." Fanfare (November/December, 2001) p. 321. Review of a CD released in 2001, English Oboe Concertos (ASV WL 2130), featuring oboist Jil Crowther and the English Northern Philharmonia Orchestra conducted by Alan Cuckston. Included on the disc is a performance of Leighton's Concerto for Oboe and Strings, Op. 23, composed in 1953. When describing the music the reviewer notes it is of "a darker coloration...the kind of thoughtful severity characteristic of his [Leighton's] entire output." According to the reviewer, the Finale "displays Leighton's cunning professionalism."

B259. Stadlen, Peter. "Music: Park Lane Group." Daily Telegraph (January 11,1985). Review of a concert, part of the Park Lane Group Young Artist and 20th Century Music Series, in London at the Purcell Room, January, 1985. Included on the program was a performance of Leighton's Six Studies, op. 56, played by pianist Nicola Meecham. Described as "a nourishing piece of piano music." Also included on the recital was Leighton's Fantasy on an American Hymn Tune, Op. 70, performed by the Latarche Trio featuring Vanesa Latarche, piano, Alexander Allen, clarinet, and Alison Moncrieff-Kelly, cello.


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B260. Stmgnell, Stephen. "Edinburgh University Chamber Orchestra." Scotsman (December 8, 1993). Review of a conceit by the Edinburgh University Chamber Orchestra at the Reid Conceit Hall, Edinburgh, December, 1993. The program featured the first performance, by Edward Harper (who also conducted the orchestra) of Leighton's Elegy for Cello and Piano, Op. 5. Includes a brief description of the work, noting, "it shows Leighton acknowledging the influences such as Vaughan Williams as well as his interest in jazz." Alison McGillivary was soloist in the work. B261. Stmgnell, Stephen. "The Leighton Memorial Conceit." Scotsman (October 27, 1993). Review of a concert by members of the Wakefield Cathedral Choir directed by Jonathan Bielby, in Edinburgh at the Reid Conceit Hall, October 24, 1993. The program included sacred works for choir and organ as well as chamber compositions. Animal Heaven, Op. 83, for soprano, recorder, cello and harpsichord, which Leighton composed in 1980 was the high point of the evening. Featuring Tracey Shadwell, soprano, the work is the only one focused upon by the reviewer, who says that these settings of poems of Walt Whitman and James Dickey, "were beguilingly sung " by the soloist. B262.

L. T. "Cathedral Music in New College." Oxford Times (July 18, 1964). Very brief review of a conceit of English Cathedral music by the New College Choir conducted by David Lumsden. At the New College Chapel, Oxford, July, 1964. The program included a performance of Leighton's Crucifixus Pro Nobis Op. 38. Composed in 1961 for David Lumsden and the Choir. Notes the work is "moving."

B263. L. T. "Leighton Speaks and Plays." Oxford Times (May 8, 1970). Review of an Oxford Chamber Music Society Concert in Oxford at the Maison Francaise, early May, 1970. The event, called "The Composer Speaks," was presented by Kenneth Leighton, who not only introduced but also performed each work. These included Coflicts, Op. 51, composed in 1967 and described as a "piano fantasy on two contrasting themes." Another work presented was Piano Trio, Op. 46, performed by the Hill Trio. The reviewer notes, "there was no denying the underlying contrapuntal strength, the broad united statements of violin and cello."

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Bibliography

B264. L. T. "Responding to Merton Chapel Acoustics." Oxford Times (May 29, 1970). Review of a concert in Oxford, in Merton College, the previous Tuesday, May, 1969. The program included several works by Leighton. One of them Mass, [Op. 44] composed in 1964. This work, scored for SATB soloists, double choms and organ (only in the Credo), was directed by Nicholas Cleobury. The reviewer remarks: "The highly-developed lowering of the melody in the Kyrie... chanting of the Credo... incandescence of the Gloria, are expressive, wide-ranging elements of the work... which... support its intensities." Solo singers included May Hoffman, Jane Glover, Maurice Hemingway, and Mark Rowlinson. Two additional works by Leighton were presented: Crucifixus pro Nobis, [Op. 38] and Let All the Word [1965]. B265. L. T. "Sonatas at the Maison Francaise." Oxford Mail (March 21, 1969). Review of a conceit in Oxford, at the Maison Francaise, sponsored by the Oxford Chamber Society, March 16, 1969, by Joan Dickson, cello and Joyce Rathbone, piano. Miss Dickson performed Leighton's Sonata for Cello Solo, Op. 52, which was written in 1967. About the work the reviewer remarks, "Mr. Leighton's work is most sensitively and spaciously melodic with many unifying internal relationships." B266. Thomson, Andrew. "Kenneth Leighton: 1929-1988." Organists Review (September, 1989) p. 165. Obituary for Kenneth Leighton written by one of his former students. Discusses his brilliance as a pianist and his ability as a conductor. Describes the composer's style as more conservative than his contemporaries. In closing, he remarks: "Whatever the ultimate stature of Kenneth Leighton's compositions is deemed to be, the man and his music was as one, a vision straightforward and clear." B267. Thomson, Andrew. "Like a Little Candle...". Musical Times (December, 1995) ppp.650-652. Informative article focusing on Leighton and his compositions for organ. It was the result of the release of the 3-CD set, Kenneth Leighton: The Complete Organ Works, by organist Dennis Townhill and Peter Backhouse (in Martyrs) (Priory PRCD 326). Includes biographical information and discusses the influences of Finzi,


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Vaughan-Williams, and other British composers on Leighton's early compositions. Next discusses his studies with Petrassi, during which he became familiar with and was influenced by Hindemith and composers of the Second Vienna School. The article emphasizes primarily the organ works. Each work is discussed, and a brief history of its composition is given. Finally, the writer has praises Dennis Townhill, longtime friend of the composer and organist at St. Mary's Episcopal Cathedral from 1961-1991. His performance in the new CDs is described as "a magisterial achievement, remarkable for its sheer artistic integrity and identification with his friend's [Leighton's] musical idiom and character." B268. Thomson, Andrew. "Reviews:CD's." Musical Times (June, 1983) p. 350. Review of a CD, Fantasy on an American Hymn Tune, Op. 70, with Janet Hilton, clarinet, Raphael Wallfisch, cello and Peter Wallfisch, piano (Chandos CHAN 9132). The disc also includes Leighton's Alleluia Pascha Nostrum, Op. 85, Piano Sonata, Op. 64, and Variations op. 30. The reviewer says that the Piano Sonata is "a work of genius, transcending with a rediscovered luminosity." He describes the Fantasy as "Brilliant idiomatic writing for clarinet, cello and piano," and he writes of the "magnificently sustained spans of the plainchant-based Alleluia Pascha Nostrum." Article emphasizes that the recording "should do wonders for a proper posthumous recognition of Leighton's true stature.". B269. Thomson, Andrew. "A Valuable Overview." Choir and Organ (December, 1995) p. 66. Review of a recording, Kenneth Leighton: The Complete Organ Works, performed by Dennis Townhill on the organ of St. Mary's Cathedral, Edinburgh, (Priory PRCD 326 3-CD set). The review includes a brief, descriptive analysis of each work included in the set. There is special emphasis on Martyrs, Dialogue on a Scottish Psalm Tune, Op. 73. Regarding Leighton's organ works the writer concludes, "we should not allow our current preoccupation with the Modem French school to blind us from its excellence." B270. Tiemey, Neil. "Music: RLPO/Wallfisch." Daily Telegraph (Febmary 6, 1986). On Wednesday, Febmary 5, 1986, the Royal Liverpool Philharmonic, conducted by Vernon Hadley gave a concert featuring cellist Raphael Wallfisch, who not only performed Finzi's Cello Concerto,

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Bibliography but also Leighton's Veris Gratia, Suite for Oboe, Cello and Strings, Op. 9, a work composed in 1950. George Caird was the oboe soloist in the work, which was dedicated to the memory of Gerald Finzi. When describing the work the reviewer notes: "My only reservation about this fine rendering is that further acquaintance with the music might reveal new depths of atmosphere and evocation.".

B271. Trotter, Hermann. "In Brief." Buffalo News (July 24, 1998. Brief review of a newly-released CD, The Beauty of Holiness, performed by the Girl's Choir of St. Paul's Cathedral, Buffalo, New York, conducted by Dale Adelmann, with organist Daniel Fortune. The selections are mostly in the Anglican treble-voice tradition. Included is a performance of Leighton's O Sacrum Convivium, (1975) as well as his An Easter Sequence, Op. 55. B272. Tumelty, Michael. "Hebrides Ensemble, BBC Concert Hall." Glasgow Herald (August 21, 1995). Review of a conceit by the Hebrides Ensemble in Edinburgh, BBC Concert Hall, as part of the BBC/Edinburgh Festival Scottish Premier Series, August 20, 1995. Included in the program was a performance of Leighton's Fantasy on an American Hymn Tune, Op. 70. When describing the music the reviewer notes the work "was given a decisive and dramatic performance...especially in its characteristic driving, rhythmic passages." B273. Tumelty, Michael. "Henry Wood Hall, Glasgow." Glasgow Herald (November 24, 1986). Review of a concert in Glasgow at the Henry Wood Hall, November 23, 1986, by the Scottish National Orchestra and Choms. The Choms conducted, conducted by Roger Williams performed Leighton's Awake My Glory, Op. 79, which was performed with "some vigour and intensity." B274. Turner, Peter. "Leighton: Metamorphoses, Op. 48." High-Fi News (June, 1972). Recording review of an LP, Gemini GM 2014, by Jose-Luis Garcia, violin and Peter Wallfisch, piano. Included on the record is a performance of Leighton's Nocturne (1959) and his Metamorphoses, Op. 48, both for violin and piano. Most of the review focuses on the Metamorphoses, noting it is "closely- reasoned" and further, "it is


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based upon the opening theme.. .given out by the violin alone, and develops throughout from that." B275. Urrows, David Francis. "Remembering Kenneth Leighton." American Organist vol. 23 no. 1 (January, 1989) p. 2. Article that focuses on Kenneth Leighton's life and works, written just after his death in August, 1988. The author studied composition with Leighton and writes from a personal as well as professional standpoint. He notes that the composer was "incredibly prolific in all areas of composition, almost maniacally so." Mentions numerous Leighton works, especially Martyrs: Dialogues on a Scottish Psalm Tune, Op. 73, composed in 1976. He describes this work as presenting a "confluence of English pastoralism and Mediterranean passion." The author's personal anecdotes are informative as he presents a portrait of a composer who was simply "bom to put notes on paper, while he wrestled with his creativity." B276. Varcoe, William. "The Three Choirs Festival." Strad vol. 69 (November, 1958) p. 234. Article including a brief review of the premiere of Leighton's The Light Invisible, op. 16 on September 9, 1958 in Hereford during the Three Choirs Festival. The soloist was David Gulliver. The work is described as "sombre and dissonant in its complex orchestral writing. . .it had a right to be heard." B277. C. F. W. "Organ and Church Music Notes." Musical Opinion vol. 90 (March, 1967), p. 357. Review of an organ recital by Simon Preston at the Royal Festival Hall, London, [25 June 1967]. Included on the program was the premiere performance of Leighton's Paean, composed in 1966. The reviewer, quoting Gillian Widdicombe's program notes for the concert, notes it is. "a work possessing abundant vitality and tonal colour." B278. J. W. "Leighton: Choral Works." Gramophone (November, 1971). Review of a recording of several of Leighton's major choral works performed by the Choir of New College, Oxford conducted by David Lumsden with organist Murray Somerville. Vocal soloists include Dora Carroll, treble, Gerald English, tenor, and Bram Wiggins, trumpet. (Abbey ABY 702 LP). Leighton's Crucifixus pro Nobis, Op. 38 is included, and the reviewer notes, "it generates its own

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Bibliography power with a careful ear for the words." God's Grandeur (1975) and An Easter Sequence, Op. 55 are also included and the reviewer notes the composer "casts a fresh ear upon the words and makes agreeable. . .music for them."

B279. Walsh, Stephen. "Journey Into Fog." Sunday Observer (June 21, 1981). Article that includes a review of the premiere of Leighton's opera, Columba, on June 16, 1981 at the Glasgow Theatre Royal by the opera class at the Royal Scottish Academy of Music and Drama, conducted by Roderick Brydon. When describing the work the reviewer remarks, "it is an intriguing and well-made piece...traditional in style," and further: "It leans towards atmosphere rather than melodrama." Remarked earlier in the article the opera "had a super first performance." B280.

Walsh, Stephen. "Quartet Bach in London." Times (November 28, 1968). Account of a conceit by the Edinburgh String Quartet in London at the Purcell Room, November 27, 1968. Included on the program was a performance of Leighton's Seven Variations for String Quartet Op. 43 composed in 1964. Remarks, "although not among his most memorable works, .. .have a certain anguished intensity."

B281. Walton, Kenneth. "Edinburgh Quartet." Telegraph (January 24, 1985). Review of an Edinburgh University lunchtime concert featuring Kenneth Leighton at the piano, with the Edinburgh String Quartet. Included on the program was a performance of Leighton's Quintet for Piano and Strings [Piano Quintet], op. 34. About the music the reviewer says: "The most clearly pronounced fact of this fourmovement work is surely the complete lucidity of its structure." Also makes note of Leighton's "sensitive pianism." B282. Walton, Kenneth. "Leighton Symphony." Glasgow Herald (March 16, 1985). Review of a lunch-time concert by the BBC Scottish Symphony Orchestra conducted by Vernon Handley in the Henry Wood Hall, Glasgow, March 15, 1985. Featured on the program was the premiere of Leighton's Symphony No. 3 (Laudes Musicae), op. 90. The soloist was Neil Mackie. When describing the work the reviewer remarks: "It is.. .a very personal landmark for Leighton, in which he


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has achieved perhaps for the first time in a large-scale work, the ideal balance between form and content." B283. Walton, Kenneth. "Opera West." Telegraph (August 2, 1986). Article focusing upon the number of recent performances of new operas in Scotland. Included is a brief account of Leighton's opera Columba, Op. 77, a work which had its premiere in Glasgow in 1978. This 1986 performance, which also took place in Glasgow, was part of the 850th anniversary celebration of that Glasgow Cathedral, where both the premiere and this 1986 performances took place. The work was performed by William Mackie as Columba, and supported by a fine group of performers, accompanied by the BBC Scottish Symphony Orchestra conducted by Graham Jenkins. Remarks, "The resonance of the building... does not always allow Edwin Morgan's libretto to carry well." Further he remarks, "the course of the action is clear enough.. .it is enriched by Leighton's colourful and often beautiful score." B284. Webber, Nicholas. "Farnham." Music and Musicians vol. 19 (August, 1971) pp. 665-667. Article consisting of reviews of concerts given during the 1971 Famham Festival. Included is a brief description of the premiere of Leighton's Dance Suite No. 2, op. 59 by the Tiffin School Orchestra conducted by Dennis Bloodworm at the Farnham Parish Church, May 12, 1971. About the music the reviewer notes, "Typically of Leighton, themes are punched out insistently and developed competently." B285. Webster, Donald. "The 1982 Edinburgh International Festival." Musical Opinion vol. 106 (December, 1982) p. 86. Article about the 1982 Edinburgh Festival. Mentions the premiere of Leighton's Fantasy-Octet: Homage to Percy Granger, Op. 87, performed by the Scottish Baroque Ensemble during a Percy Granger Centenary Concert, August 29, 1982. Very brief description of the work but the writer remarks: "His command of contrapuntal resource and string idioms was greatly in evidence.". B286. Webster, Donald. "The 1999 Yorkshire Three Choirs Festival, 30 September-2 October 1999." The Organ volume 79 no. 311 (FebruaryApril 2000) p. 34. The Three Choirs Festival 1999, which included the choirs of Ripon and Wakefield Cathedrals and Leeds Parish Church, which took

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Bibliography place in Wakefield Cathedral, is the focus of this article. Several of Leighton's works figured prominently in the performances. On October 1, Dr. Dennis Wakefield, Organist Emeritus of St, Mary's Episcopal Church, Edinburgh, lectured on the music of Kenneth Leighton. On October 2nd, the day when Kenneth Leighton would have celebrated his 70th birthday, also Three Choirs Day, they performed the Magdalen Service [Magnificat and Nunc Dimittis (1959)], described as "among the 20th century's church music masterpieces," as well as Leighton's anthem, O God Enfold Me in the Sun (1967) (this concert conducted by Johathan Bielby accompanied by organist Louise Marhc). In the latter part of the evening the Festival Recital included performances of Leighton's These Are Thy Wonders, Op. 84, [1981] and his cantata, Crucifixus [Op. 38], as well as the "visionary" An Easter Sequence [Op. 55].

B287. Webster, Donald. "Leighton's Columba." Musical Opinion vol. 104 (August 1981) pp. 403-404, 420. Review of the premiere of Leighton's 3-act opera, Columba Op. 77, by soloists, choms and orchestra of the Royal Scottish Academy of Music and Drama, conducted by Roderick Brydon at the Glasgow Theatre Royal, Febmary 16, 1986. The reviewer notes, "what is remarkable about the work is that it's such compelling theatre, and at that virtually the composer's first attempt.". Article includes a synopsis of the plot. Describes the work as "very moving" and "almost a masterpiece," and has nothing but high praise for the work. Includes illustrations. B288. White, Michael. "Records: Classical: Kenneth Leighton: Cathedral Music." Independent (August 9, 1992). Short review of a recording, Kenneth Leighton: Cathedral Music (Hyperion CDA 66489) St. Paul's Cathedral Choir. The reviewer notes that Leighton has been influenced by Walton and Howells but finally "ending up with something which is simply—Leighton." Whatever may be the influences opn them, these "works are his.. .miniature masterpieces.. .for Anglican choirs." B289. Whittington, Stephen. "Cool, Precise but the Spark is Missing." The Advertiser (Adelaide, Australia) (June 10, 1997). Review of a conceit in Adelaide, at the Adelaide Town Hall, by the Adelaide Chamber Orchestra with soloist Christopher Wrench, organ, the previous Friday. Included on the program was a perform-


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ance of Leighton's Concerto for Organ., Op. 58 It is described as "a substantial work, combining drama and virtuosity with the odd flash of humour." B290. Widdicombe, Gillian. "At the RCO." Musical Times vol. 109 (December, 1968) p. 1152. Review of the Publishers at Home conceit, October 12, 1968, which included performances of new British choral music selected by Oxford University Press and Novello, and performed by the Louis Halsey Singers and organist Alan Wicks. Included on the concert was a performance of Leighton's Jubilate Deo from his Morning Canticles (1967). Also performed was Leighton's work for organ, Paean (1966), which is described as "a sparkling piece, high among my own favorites of its kind." B291. Widdicombe, Gillian. "First Performances." Musical Times vol. 108 (January, 1967) p. 69. Review of a recital in London at St. Columbas, Pont Street, by organist Robert Munns, November 25, 1966. Included on the program was the premiere of Leighton's Et Resurrexit, [Op. 49], composed in 1966 for Mr. Munns. The reviewer notes that some material for the new work resembles earlier organ works from 1963, specifically the Prelude, Scherzo and Passacaglia, Op. 41. Futher remarks, "one notices Leighton's skillful use of the instrument in balancing musical patterns." Concludes, "The new work makes a complimentary counterpoint to the old, as well as a valuable and stimulating independent entity." B292. Wilkinson, Stephen. "The William Byrd Singers of Manchester." Choir and Organ vol. 4 no. 1 (January/February, 1996) p. 72. This article features the history and musical performances of the William Byrd Singers of Manchester. The group was founded in 1970 and has had, since that time, a very successful life, touring throughout Europe and at their home in Manchester. The group also founded a companion String Ensemble, Capriccio, in 1991. They also enjoy reviving neglected works, and gave the 2nd performance of Leighton's Veris Gratia, [Op. 6], composed in 1950 and scored for Tenor solo, choms, timpani and strings. B293. Williams, Peter. "Saving the Best Until the End." Times Educational Supplement (September 19, 1975).

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Bibliography Review of a concert by the Wallfisch-DePeyer Pleeth Trio, in Edinburgh at the Freemasons' Hall during the Edinburgh International Festival, September 10, 1975. Included on the program was the first Edinburgh performance of Leighton's Fantasy on an American Hymn Tune, Op. 70, for clarinet, cello and piano. When describing the music the reviewer writes, "the piece had what is very rare indeed—a sense of progression, a sense of beauty and feeling... a sense of conviction." Very favorable review.

B294. Wilson, Conrad. "Announcing 1974 as the Year of the Scottish Composer." Scotsman (January 14, 1974). Lengthy article focusing on the year 1974, in light of the rise of Scottish composers, both native bom and those who have adopted Scotland as their home. Notes that Kenneth Leighton, a Yorkshireman, is in the latter category. Mentions commissions, upcoming performances and recordings of music by Scottish composers. Notes the Scottish National Orchestra would be performing Leighton's Symphony [No. 1, Op. 42], and Peter Wallfisch wold be performing Leighton's Sonata for Piano, Op. 64, a work composed in 1972. More Leighton were scheduled to be performed, including the Concerto for Organ, Op. 58. Further, among the recordings that were scheduled that year of music by Scottish composers were two by, both for violin and piano. These were his Nocturne (1959) and his Metamorphoses, Op. 48 on Gemini with Jose-Luis Garcia, violin and Peter Wallfisch, piano as well an entire LP of Leighton's choral and organ music by the Choir of New College, Oxford on Abbey. B295. Wilson, Conrad. "Apt Memorial." Glasgow Herald (October 26, 1993). Review of a memorial concert for Kenneth Leighton, which featured performances of selections of Leighton's sacred music for choms and organ as well as some of his chamber compositions. The concert took place in Edinburgh at the Reid Concert Hall, October 24, 1993. Performance was by members of the Wakefield Cathedral Choir. The review mentions one work, Leighton's Animal Heaven, Op. 83 composed for soprano, recorder, cello and harpsichord with soloist Tracey Shadwell. Notes the work provided, "Tonal variety of a somewhat subdued kind...the bittersweet, elegiac ending...was an emotional high point of the evening." B296. Wilson, Conrad. "Berlin Choir Give Sober Performance." Scotsman (November 10, 1966).


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Review of a conceit in Edinburgh at St. Mary's Episcopal Cathedral, by the Staat und Domchor of Berlin, directed by Gottfried Grote, with organ solos by Dennis Townhill, November 9, 1966. Included on the program was a performance of Leighton's Scherzo, from his Prelude, Scherzo and Passacaglia, Op. 41, a work composed in 1963. The work is described as "delightful, without a note too many." B297. Wilson, Conrad. "Challenge to Harpsichord." Scotsman (June 12, 1978). Review of a concert at the St. Cecilia's Hall, Edinburgh, June 7, 1978. Included on the program was the premiere of Leighton's Improvisitaions: De Profundis, Op. 76 for Solo Harpsichord. When describing the music the reviewer notes: "In fact with its jumpy, skeletal rhythms...[it] had its exciting moments as well as its darker ones.". B298. Wilson, Conrad. "Edinburgh Quartet." Scotsman (April 25, 1984). Review of a lunchtime concert by the Edinburgh Quartet at the Reid Concert Hall, Edinburgh, April 24, 1984. One of the works performed was Leighton's Seven Variations for String Quartet, Op. 43. The work is described as Bartokian in some of the variations. Notes the emphasis is on "crisp, sharp ideas carefully contrasted and expressed in the minimum amount of space." B299. Wilson, Conrad. "ESO Anniversary". Scotsman (Febmary 27, 1984). Includes a review of a concert by the Edinburgh Symphony Orchestra celebrating that group's 21 st anniversary. On the program was the premiere of Leighton's work especially composed for the occasion, Dance Suite No. 3, Op. 89. The reviewer notes the piece is based on a number of Scottish tunes. However, he remarks the composer's "personality was stamped on the music, and in the slow movement... he managed to convey his feelings about his adopted country without quoting and Scottish tunes." The composer conducted his own work while the regular conductor, Leon Coates, conducted the remainder of the works on the program. B300. Wilson, Conrad. "Finnish Conceit." Scoitsman (April 18, 1978). Review of a concert at the St. Cecilia's Hall, Edinburgh, April 17, 1978. Included on the program was a performance of Leighton's String Quartet No. 2, Op. 33 by the Voces Intimae Quartet. The reviewer describes the work as "a piece which has a worn well" and

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Bibliography the performance as "a thoughtful tribute to a leading Edinburgh composer."

B301.

Wilson, Conrad. "Full Justice Done to Leighton Mass." Scotsman (September 1, 1966). Review of a conceit by the Edinburgh University Singers conducted by Herrick Bunney in Edinburgh, at the Freemasons Hall during the 1966 Edinburgh Festival, August 31. Included on the program was a performance of Leighton's Mass Op. 44. When describing the music the reviewer remarks, "Its clear-cut, finely proportioned, shining beauty must make it a pleasure to perform."

B302. Wilson, Conrad. "Glasgow Chamber Choir, St. Brides Church, Hyndland." Glasgow Herald (November 6, 1995). Review of a concert by the Glasgow Chamber Choir conducted by Robert Marshall with organist Peter Christie at St. Bride's Church, Hyndland Road, Glasgow. Included on the program was a performance of Leighton's Sequence for All the Saints, Op. 75 with baritone soloist Philip Blackledge. Of this composition, the reviewer says, "the harmonic conflicts—the interplay of euphony and disturbing, curdled dissonance—were true Leighton in their sense of unease and in the final glowing affirmation." B303. Wilson, Conrad. "Kenneth Leighton and Edinburgh Quartet." Scotsman (January 24, 1985). Review of an Edinburgh University lunchtime conceit at the Reid Hall, January 23, 1985, featuring Kenneth Leighton at the piano with the Edinburgh String Quartet. Included on the program was a performance of Leighton's Quintet for Piano and Strings, op. 34. About the work the reviewer remarks: "Certainly Leighton's own instrumental voice spoke strongly through the four movements.". B304. Wilson, Conrad. "Leda Piano Trio, Queen's Hall, Edinburgh." Glasgow Herald (April 23, 1996). Review of a concert by the Leda Piano Trio at Queen's Hall, Edinburgh. Included on the program was a performance of Leighton's Quartet in One Movement (Contrasts and Variants), Op. 63. The work was performed with the Leda with the addition of Brian Schiele. When describing the music the reviewer remarks the it is


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"beautiful, arresting, firmly structured, easy to grasp, yet complex in mood." Notes it was the "centrepiece" of the conceit. B305. Wilson, Conrad. "Leighton Recitals." Scotsman (Febmary 28, 1974). Article which includes a review of a performance of Leighton's Piano Quintet, Op. 34 by the Ad Solem Ensemble in Edinburgh, broadcast by the BBC, Febmary 26, 1974. The reviewer says of the Piano Quintet that "on its own terms, its argument is convincing, the strongly knit instrumentation giving it considerable sweep." B306. Wilson, Conrad. "Leighton Recitals." Scotsman (Febmary 28, 1974). Review of a conceit by the Edinburgh String Quartet, broadcast by the BBC, that included a performance of Leighton's String Quartet No. 1, Op. 32. When describing this work the reviewer remarks, "the three movements...unfold by traditional means...their argument is well clinched...themes are distinguished...progress has real momentum." B307. Wilson, Conrad. "Leighton Premiere." Scotsman (March 5, 1977). Review of a concert by the Scottish National Orchestra and Choms conducted by Gary Bertini, with soprano Felicity Palmer, in Edinburgh at Usher Hall, March 4, 1977. Included on the program was the premiere of Leighton's Symphony No. 2 "Sinfonia Mistica", Op. 69, which the reviewer characterizes as a "song symphony." The reviewer observes: "Whether one approached it as a symphony or requiem, the music went its own convincing way." B308. Wilson, Conrad. "Music" Scotsman (January 20, 1972). Review of a conceit in Edinburgh University at the Reid Concert Hall by the Reid Orchestra, January 19, 1973. The featured soloist was violinist Manoug Parikian. Although no work by Leighton was performed, the composer conducted the orchestra. B309. Wilson, Conrad. "Music." Scotsman (April 1, 1978). Review of a conceit in St. Cecilia's Hall, Edinburgh by various performers to celebrate the 10th anniversary of the opening of the Hall upon its renovation. Remarks that the program as a replica of the original performed at the opening. Kenneth Leighton joined Peter Williams, performing J. S. Bach's Concerto in C minor for two Harpsichords.

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Bibliography

B310. Wilson, Conrad. "Music: RSNO, Glasgow Cathedral." Glasgow Herald (March 23, 1998). Review of a conceit by the Royal Scottish Northern Orchestra conducted by Christopher Bell in Glasgow Cathedral, March 21, 1998. Included on the program was a performance of Leighton's [Symphony No. 2] "Sinfonia Misitca", Op. 69. The reviewer describes this as the composer's "meditations on death" and notes that the "RSNO choms conveyed the bleak, somber beauty of the Leighton." B311.

Wilson, Conrad. "New Choral Work Well-Received." Scotsman (December 4, 1978). Review of a concert by the Heriot-Watt Music Society in the Sculpture Hall, Edinburgh College of Art in early December, 1978. Included on the program was the first public performance of Leighton's Hymn to Matter, Op. 74, for Baritone Solo, Choms, Strings, Piano and Percussion. The work was set to a text by Teilhard de Chardin. The reviewer praises the works and notes: "Leighton...has produced a terse triptych...almost Brittenish in its directness."

B312. Wilson, Conrad. "Opera That Was a Labour of Love." Scotsman (June 15, 1981). Substantial article written the day before the premiere of Leighton's opera. Columba. Includes the history of how the work came to be composed, noting: "The origins of Leighton's Columba ... go back further than 1975...It was in the 1960's on a visit to Mull that he became interested in the Saint." Goes on to describe Leighton's collaboration with his librettist, Edwin Morgan. Remarks: "With a musical structure based largely in arias...Columba is plainly a thoroughly performable work." B313. Wilson, Conrad. "Oxford Sound Was Firm and Bright." Scotsman (March 25, 1974). Review of a conceit by the Oxford Schola Cantomm in Edinburgh at St. Giles Cathedral, March 24, 1974. Included on the program was a performance of Leighton's God's Grandeur (1957), text by Hopkins. The reviewer notes the work is "pithy and effective." B314. Wilson, Conrad. "Perth Festival Humming." Scotsman (May 28, 1990).


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Article describing events at the 1990 Perth Festival. Includes a small account of a performance of Leighton's [Piano] Trio, Op. 46 composed in 1965 by the Borante Trio at the St. John's Kirk. The reviewer thought that the performance "was a suitably terse, gritty account."

B315. Wilson, Conrad. "Queen's Hall: Mondrian Trio." Scotsman (April 6, 1984). Review of a concert in Edinburgh at the Queen's Hall, April 5, 1984 by the Mondrian Trio. Included was a performance of Leighton's Piano Trio, Op. 46, a work that won the [Bernard Sprengel] Prize [for Chamber Music in 1965]. The reviewer notes the work depends on "tensions which are built up again and again.. .between the keyboard and the strings." B316. Wilson, Conrad. "Redcliffe Ensemble." Scotsman (January 23, 1987). Review of a concert in Edinburgh at the Reid Concert Hall, by the Redcliffe Ensemble directed by Francis Routh, January 22, 1987. Included on the program was a performance of Leighton's Quartet in One Movement: Contrasts and Variants, [Op. 63]. The reviewer remarks this Quartet provided, ".. .the concerts main substance." Describes the work as a series of, ".. .seven constrasted sections..." B317. Wilson, Conrad. "Recital". Scotsman (October28, 1983). Review of a recital by the pianist Peter Wallfisch at the Reid Concert Hall, Edinburgh, October 27, 1983. Included on the program was a performance of Leighton's Nine Variations Op. 30. The work is described as "terse, punchy, with a certain Bartokian energy about some of them [Variations]." Wallfisch performed them "with relish." B318. Wilson, Conrad. "Reid Concert Hall: Song Recital." Scotsman (January 26, 1988/ Article which includes a review of a concert by Neil Mackie and pianists John Blakely at Reid Concert Hall, Edinburgh University, Sunday, late January, 1988. Included on the program was a performance of Leighton's Earth, Sweet Earth, Op. 94. The reviewer describes the music as, "...the most challenging work...filled with passion and compassion.. .and powerful musical imagery...".

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Bibliography

B319. Wilson, Conrad. "Reid Concert Hall: Tunnell Trio." Scotsman (April 1, 1980). Review of a concert by the Tunnell Trio, a n ensemble consisting of clarinet, cello and piano, at the Reid Concert Hall, Edinburgh, March 3, 1980. Included on the program was a performance of Leighton's Fantasy on an American Hymn Tune, Op. 70, which the reviewer says was "the event of the evening," continuing: "In six linked sections culminating in a "gradual" clarification and glorification of the inspirational melody." B320. Wilson, Conrad. "Reid Orchestra." Scotsman (November 2, 1979). Review of a concert by the Reid Orchestra conducted by Kenneth Leighton at the University of Edinburgh November 1, 1979. One of the works performed was Vaughan-Williams's Fifth Symphony. The reviewer describes Leighton's skill as a conductor, remarking: "Kenneth Leighton's conducting of the VW...was fervent enough to rekindle anyone's enthusiasm for a work which has long been undervalued." B321. Wilson, Conrad. "Reid School: The Pegasus Trio." Scotsman (November 26, 1971). Review of a concert in Edinburgh at the Reid School of Music by the Pegasus Trio, November 25, 1971. The program included a performance of Leighton's [Piano} Trio, Op. 46. The work is described as "A fine work...and a strong lyrical moving one." Remarks that Leighton won the Bernard Sprengel Prize for Chamber Music, 1965, for this composition. B322. Wilson, Conrad. "Saltire Quartet, Queen's Hall, Edinburgh." Glasgow Herald (January 10, 1995). Review of a concert by the Satire Quartet at Queen's Hall, Edinburgh, January, 1995. Included on the program was a performance of Leighton's Seven Variations, op. 43. When describing the work the reviewer notes: "it is well worth championing by young players...who could respond to its refined, sweet-toned and very French melancholy." B323. Wilson, Conrad. "Scotland." Musical Times vol. 109 (March, 1968) pp. 257-258.


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Review of a recital in Edinburgh at the National Gallery, one of Tertia Liebenthal's lunch hour concerts, December 6, 1967, by cellist Joan Dickson. Included on the program was the premiere of Leighton's Sonata for Cello Solo, Op. 52, composed in 1967, a work written for Miss Dickson. The piece is described as "Concise, skilled, and fanciful, it uses the scope of the instrument in such a way that one's ears are constantly... refreshed." Includes a very brief descriptive analysis of the three-movement work. B324. Wilson, Conrad. "Scottish Ensemble's New Season." Scotsman (May 21, 1986). Article which focuses upon the up-coming concerts by the Scottish Ensemble conducted by Leonard Friedman. Notes that on one tour running from May 22 until May 28, the program will include a performance of Leighton's Concerto for Flute, Harpsichord and Strings, Op. 88. Soloists were to be flautist Susan Milan and the composer would be the harpsichord soloist. B325. Wilson, Conrad. "SNO: Usher Hall." Scotsman (Febmary 2, 1976). Review of a concert by the Scottish National Orchestra conducted by Alexander Gibson at Usher Hall, Glasgow, Febmary 1, 1976. Featured was a performance of Leighton's Symphony No. 1, Op. 42, The work for which he was awarded the Trieste Prize in 1965. When describing the music the reviewer notes, "The work delivers its own well-sustained symphonic argument with its own darkly lyrical style." Remarks on the influence of Sibelius on the composer's work. B326. Wilson, Conrad. "Three Plus a Repeat." Scotsman (November 20, 1964). Review of a concert by the Reid Orchestra conducted by Kenneth Leighton at the Reid School of Music, Edinburgh, November 19, 1964. Included on the program was a performance of Leighton's Concerto for String Orchestra, Op. 39, dedicated to Harvey Phillips. The reviewer says, "it was refreshingly clear cut, laying out its argument sharply, concisely, and with impressive effect." and further calls it "a stirring, powerful piece." It was repeated again during the concert.

214

Bibliography

B327. Wilson, Conrad. "Thrown Into Haydn's Shadow." Glasgow Herald (April 4, 1998). Review of a concert in Glasgow at City Hall, by the Scottish Chamber Orchestra conducted by Joseph Swenson, April 3, 1998. Included on the program was a performance of Leighton's Veris Gratia [Suite for Oboe, Cello and Strings, Op. 9], featuring cellist Raphael Wallfisch and oboist Robin Williams. When describing the music the reviewer remarks that the work "lacked the harmonic tensions and ambiguities of his mature music," but he also notes, "as a young composer's response to springtime, it was often very lovely." B328. Wilson, Conrad. "University Concerts." Scotsman (October 26, 1973). Article including a review of a concert by the Reid Orchestra conducted by Kenneth Leighton at Edinburgh University, October 25, 1974. Featured was a performance of the Synphony No. 4 by Gustav Mahler. When describing Leighton's conducting of the Mahler, the reviewer notes: "the Mahler had a valiant performance which sometimes stretched the orchestra's capabilities to the breaking point but succeeded nevertheless in coming over vigorously and affectingly." B329. Wilson, Conrad. "Wakefield Cathedral Choir, Reid Concert Hall, Edinburgh." Glasgow Herald (October 26, 1993). Review of a concert in Edinburgh at the Reid Concert Hall by the Wakefield Cathedral Choir, October 24, 1993. This concert was presented to celebrate the life and works of Kenneth Leighton. However, the reviewer seems to feel the performance lacked depth and remarks, "the Te Deum and other odds and ends for Choir and organ. . .[were] a little prosaic." On the other hand the high point of the evening was a performance of Animal Heaven composed in 1980. Remarks this work is not the usual "witty animal music" but was, instead, "somewhat subdued" and notes, "the bitter-sweet elegiac ending. . .was an emotional highpoint of the evening."

Books, Theses, and Dissertations B330. Anderson, Simon J. Kenneth Leighton 1929-1988: An Assessment of His Sacred Choral Compositions. Dissertation: Master of Music, University of Edinburgh, 1991.

Books, Theses, and Dissertations

215

The following Leighton works are analyzed: Magnificat and Nunc Dimittis (Magdalen Service), 1959; Hymn to the Nativity, 1960; Preces and Responses, 1964; Communion Service in D, Op. 45; Let All the World in Every Corner Sing, 1965 ; Solus ad Victimam, 1968; Sarum Mass, Op. 66; Lord, When the Sense of Thy Sweet Grace, 1977; Evening Hymn, 1979; Awake My Glory, Op. 79; What Love of This is Thine? 1985; The Beauty of Holiness, 1988. Other works mentioned but not analyzed are: Adventate Deo, 1970; Laudate Pueri, 1973; Missa Brevis, 1967; Three Psalms, 1968. B331. Arnold, Corliss Richard. Organ Literature: A Comprehensive Survey, Vol. II: Biographical Catalog, 3rd edition. London: Scarecrow Press, 1995. Includes an entry for Kenneth Leighton, pp. 498-499. B332. Banfield, Stephen. Gerald Finzi: An English Composer. London: Faber and Faber, 1997, 1998 (paperback). This volume includes a brief reference to Kenneth Leighton. Mentions his Cello Concerto and Veris Gratia. See pages 286, 327, 470471. B333. Caldwell, John. The Oxford History of English Music, Vol. II: From 1715 to the Present Day. Oxford: Oxford University Press, 1999. Includes a few references to Kenneth Leighton on pages 460 and 489. B334. Cohn, Arthur. The Literature of Chamber Music, Vol. 3. Chapel Hill, North_Carolina: Hinshaw Music, Inc., 1997. A number of works by Kenneth Leighton are discussed in this volume, each followed by a brief analysis. These include: Metamorphoses, Op. 48; Nocturne (1959) for violin and piano; Sonata for Violin and Piano, Op. 4; Piano Trio, Op. 46; Quartet in One Movement: Contrasts and Variants, Op. 63; Seven Variations for String Quartet, Op. 45; String Quartet No. 1, Op. 32. See pages 1642-1644. B335. Cox, Geoffrey A. The Musical Language of Kenneth Leighton: Tonal Coherence in Two Selected Works, 1965-1966. Dissertation for the B. Music, Honours. University of Queensland, 1972.

216

Bibliography The research in this dissertation focuses on two works of Kenneth Leighton, Let All the World in Every Corner Sing (1965) and Paean, composed in 1966. Gives an extensive analysis of each of the works, liberally illustrated by musical examples. Includes a short biography, works list to date (Appendix), and a discography.

B336. DeWitt, Lawrence. Kenneth Leighton: His Life and Solo Compositions for Organ. Dissertation: Doctor of Music, Indiana University, 1976. This focuses primarily on the solo works for organ, with emphasis on the following compositions: Prelude, Scherzo and Passacaglia, Op. 41; Elegy for Organ (1965); Fanfare (1966); Paean (1966); Et Resurrexit, Op. 49; Festival Fanfare (1968); Improvisations—In Memoriam Maurice de Sausmarez (1969); Hippolytus, Op. 8; Symphony for Strings, Op. 3. Includes detailed analyzes of the above organ works, with musical examples. B337. Dickinson, Peter. Twenty British Composers. London: J. W. Chester, 1975. This volume includes a chapter entitled Composing Today (pages 89), written by Kenneth Leighton. In it he describes his own music as having the "characteristic Yorkshire qualities" which he outlines. He emphasizes that music must "communicate something" and urges us to realize the importance of music to "exercise the mind" and that it will fail if it does not do so. B338. Du Pre, Hilary and Piers Du Pre. A Genius in the Family. London: Chatto and Windus, 1997. This volume is subtitled An Intimate Memoire of Jacqueline Du Pre. In this volume is found a short account of a concert by the Newbury String players conducted by Kiffer Finzi with soloists oboist Celia Nicklin and cellist Jacqueline Du Pre, Sunday, June 27, 1965. The event took place in a small church in Great Bedwyn near Marlborough. The program ended with a performance of Leighton's Veris Gratia: Suite for Oboe, Cello and Strings, Op. 9. This is not mentioned in the American edition of this volume, only in the British edition. Veris Gratia was recorded at the time, but only 25 copies were made and distributed to private parties. The recording was never produced commercially.

Books, Theses, and Dissertations B339.

217

Forbes, Hilary. Sinfonia Mistica: Its Place in the Distillation of Leighton's Musical Language. Dissertation, B. Music, Honours, University of Edinburgh, 1983. This volume focuses on Leighton's Symphony No. 2, "Sinfonia Mistica'', Op. 69, composed in 1974, scored for soprano solo, SATB choms and orchestra. Its 6 sections are set to the following texts: 1. Sonnet, text: John Donne; 2. Scherzo, text: 13th century English; 3. Meditation, text: Thomas Traheme; 4. Elegy, text: George Herbert; 5. Scherzo 2 text: Henry King?; 6. Finale, text: John Donne and the Rev. Herbert Lawry, 1865. Includes a very detailed analysis of the work, and includes numerous musical examples. Mentions a number of other Leighton compositions as well.

B340. Griffel, Margaret Rose. Operas in English: A Dictionary. Westport, Connecticut: Greenwood Press, 1999. This volume includes an entry for Leighton's opera, Columba, on page 119. B341.

Hardwick, Peter. British Organ Music of the Twentieth Century: the Composers and their Music. Lanham, Maryland: The Scarecrow Press, 2003. This very recent volume includes an entire chapter on Kenneth Leighton, naturally focusing on his works for organ. The compositions mentioned and/or analyzed are Crucifixus Pro Nobis, Op. 38; Missa Sancti Thomae, Op. 40; Give Me the Wings of Faith, 1962; Prelude, Scherzo and Passacaglia, Op. 41; Fantasia Contrapuntistica, Op. 24; Fanfare, 1966; Paean, 1966; Et Resurrexit, Op. 49; Elegy, 1965; Festival Fanfare, 1968; Includes a brief biography.

B342. Harris, John M. A History of Music for Harpsichord or Piano and Orchestra. Lanham, Maryland: The Scarecrow Press, 1997. Includes an entry for Kenneth Leighton and mentions the following compositions: Piano Concerto No. 1, Op. 11; Piano Concerto No. 2, Op. 37; Piano Concerto No. 3, "Concerto Estivo", Op. 57. B343. Hinson, Maurice. The Piano in Chamber Ensemble: An Annotated Guide. Bloomington: Indiana University Press, 198, 1996 (paper). This volume includes entries for Kenneth Leighton's in the Chapter entitled, "Music for Five Instruments", pages 476-477. Also mentions Leighton's compositions in Chapter entitled, "Music for Piano

218

Bibliography and Violin", p. 57 and the chapter entitled, "Music for Piano and Viola", page 111.

B344. Hollfelder, Peter, ed. Internationales Chronologisches Lexikon Klaviermusih: Geschichte, Komponisten, Werke, Literatur. Wilhelmshaven: Noetzel Heinrichshofen-Bucher, 1999. Includes an entry for Kenneth Leighton, page 749. The article presents a brief biographical sketch followed by a list of all of the works for piano including those with orchestra. B345.

Foreman, Lewis, ed. British Music Now: A Guide to the Work of Younger Composers. London: Paul Elek, 1975. This volume includes an essay by Harold Truscott entitled, "Two Traditionalists: Kenneth Leighton and John McCabe" (pages 45154). The author maintains that although these composers are quite different from one another in many ways, each may be considered a "traditionalist" in the compositional technique.

B346. Long, Kenneth. The Music of the English Church. London: St. Martin's Press, 1971. This volume includes references to some of Leighton's sacred choral works. B347. Maar, Robert. The Creation of Unity in Two Works by Kenneth Leighton. Dissertation: BA, Honours in Music, Year 3, Kingston University, April, 1994. The main focus of this in two compositions of Kenneth Leighton, his Symphony No. 3, ''Laudes Musicae", Op. 90 and Crucifixus Pro Nobis, Op. 38. It includes in-depth analysis for each of these and includes a number of musical examples illustrating that analysis. B348. Markham, Robert. Kenneth Leighton (1929-1988): An Assessment of his Importance as a Composer, Performer, Teacher and Thinker. Dissertation for a DMA, Julliard School of Music, 1997. Includes a short biography, which includes numerous quotes the author had with the composer's colleagues and his widow, Mrs. Jo Leighton. There is a section on Leighton's opinion of music and society. That is followed by a section on the composer's works and "style". This includes a number of works analysed and illustrated

Books, Theses, and Dissertations

219

with many musical examples. There is also a section on Leighton, the piano and his works for that instrument. B349. Mitchell, Alastair and Alan Poulton, eds. A Chronicle of First Broadcast Performanc es of Musical Works in the United Kingdom, 1923-1996. Aldershot: Ashgate Publishing Ltd, 2000. This large volume includes reference to a number of works by Kenneth Leighton and lists if they were broadcast premieres, or first broadcast performances in the United Kingdom, by whom and the date of the broadcast as well s the performers who participated. B350. Moger, Peter S. The Organ Music of Kenneth Leighton: Studies in Style and Technique. Dissertation, Oxford University, 1985. Includes a complete list of Kenenth Leighton's compositions for organ and to date. Presents detailed analysis of each work illustrated by numerous musical examples. Includes a brief bibliography and a catalogue of all of Leighton's compositions to date. B351. Troman, Lisa. Tradition Renewed: A Study of Kenneth Leighton's Style and Technique with Reference to Some Orchestral Works. Dissertation, B. A., Honours, University of Aberdeen, 1990/1991. An extremely well-researched and well-written dissertation. Chapter includes a study of Leighton's style and technique of composing and influences upon his compositions; a very detailed chapter which presents an in-depth analysis of Leighton's Symphony No. 2 "Sinfonia Mistica", Op. 69, illustrated with numerous musical examples, follows. This also includes an extensive discography and bibliography.


Chronological List of Compositions Works are listed in the order in which they were composed, which usually means the date at which they were completed. Dates of first performances are also given when I have been able to determine them. For purposes of reference, the first column of each entry gives the work's ' W number from the "List of Works and First Performances" in this book. A work's Op. number, if there is one, appears after its title. I have relied primarily on the composition books for information about dates of composition, supplemented in some cases by information found in the manuscripts.

No.

Compos ed

W144 W135 W221 W232 W67 W77 W176 W164 W43 W231

7/1945 7/1945 7/1945 8/1945 10/1945 11/1945

Premiere

Title Prelude and Fugue in G (for organ) by J. S. Bach (No Date) Overture Fantasie (from Shakespeare's Romeo and Juliet by Peter Tchaikovsky) (No Date) Under the Moon (No Date) The Willow Song (No Date) Golden Slumbers (1945) I Vow to Thee, My Country (1945) So, We'll Go No More A Roving, (1945) Sea Fever(1945) Etude in F for Piano (1949) Where Go the Boats (1945)

222


No.

Compos ed

W27 W29 W69 W210 W211 W156 W229 W134 W78 W84 W153 W7 W152 W154 W114 W56 W175 W192 W209 W219 W179

W193 W58 W61 W62 W70 W212 W213 W227 W162 W194 W155 W166 W117

12/1945 12/1945 12/1945 12/1945 12/1945 2/1946 2/1946 3/1946 4/1946 4/1946 4/1946 5/1946 6/1946 7/1946 8/1946 11/1946 12/1946 12/1946 12/1946 1/1947 2/19473/1947 4/1947 7/1947 7/19478/1947 8/1947 12/1947 12/1947 12/1947 12/1947 12/1947 12/1947 12/1947 1948 1948 1/1948 1/1948 4/1948

W191

4/1948

W104 W63 W38

Premiere

Title The Cow (1945) Daffodils (1945) A Good Boy (1945) Time, You Old Gypsy Man (1945) To Daisies (1945) Roadways (1946) The West Wind (1946) Oh! Breathe Not His Name (1946) I Will Make You Brooches (1946) It Is Good to Be Out on the Road (1946) Requiem (1946) Beauty (1946) Remembrance (1946) Rhapsody (1946) Movement in D Minor (1946) Festival Overture (1946) Sleep, Holy Babe (1948) Sonatina for Piano No. 1, Op. la Three Songs from Compania (1946) Two Preludes for Piano (1947) Sonata for Piano (1947) Meditation in Two Parts (1947) Fugue in D Minor (1947) Eclogue for piano (1947)

5/1948

Sonatina for Piano No. 2, Op. 1 Five Songs of James Joyce (1947) Fugue in A Minor (1947) Fugue in B flat Minor (1947) The Grasshopper (1947) To Spring (1947) Toccata in Three Movements (1947) The Visitant (1947) Scherzo Festivo for Full Orchestra (1948) Star Song, Op. 25a Rhodanthe(1948) Sequence de Sancto Michaelo (1948) Music for Shakespeare's Twelfth Night (1948) Sonata Quasi Fantasia (1948)


No. W48 W195 W151 W66 W98

Compos ed 6/1948 7/1948 8/1948 9/1948 12/1948

W169 W183 W200 W215 W115

12/1948 12/1948 3/1949 3/1949 4/1949

W189 W83 W187 W168 W188 W106 W139 W39 W71 W226

4/1949 6/1949 7/1949 7/1949, rev. 6/1953 7/1949 8/1949 8/1949 12/1949 3/1950 3/1950

W79

8/1950

W217 W181 W181 W225 W80

8/1950 9/1950 1950 12/1950 1/1951 [1948?] 1/1951 3/1951 3/1951 3/1951 6/1951 7/1951 9/1951 4/1950; rev

W173 W53 W57 W86 W148 W196 W34 W163

Premiere

12/10/1949 5/1949 7/1949 6/13/1950

3/4/1950 5/5/1951

6/1951 1951 1951 11/29/2000 8/4/1951

223

Title Fantasia for Piano No. 2 (1948) String Quartet (1948) Quintet for Piano and Strings (1948) Go, Lovely Rose (1948) Lully, Lulla, Thou Little Tiny Child, Op. 25b Seven Joys of Mary (1948) Sonata for Piano No. 1, Op. 2 Symphony for Strings, Op. 3 Twelve Days of Christmas (1948) Music for Farquar's The Beaux Stratagem (1949) Sonata for Violin and Piano No. 1, Op. 4 In the Dark Pinelock (1949) Sonata for Viola and Piano (1949) Serenade in C, Op. 19a Sonata for Violin and Piano (1949) Missa Brevis (1949) Pater Noster (1949) Elegy for Cello and Piano, Op. 5 Hippolytus, Op. 8 Veris Gratia, Suite for Oboe, Cello and Strings, Op. 9 If You Were the Only Girl in the World (TTBB and piano) (1950) Two Fragments of Catullus (1950) Sonata for Piano in D Major (1950) Sonata for Piano in G Minor (1950) Veris Gratia, Op. 6 If You Were the Only Girl in the World (piano duet) Six Songs of Spring (1951) Far in a Western Brookland (1951) Five Shakespeare Songs (1951) Just Now the Lilac Is in Bloom, Op. 10 Primavera Romana, Op. 14 String Quartet (1951) Down By the Sally Gardens (1951) Scherzo, Op. 7

224


No.

Compo sed

Premiere

Title

3/7/1958

Concerto No. 1 in D minor for Piano, Op. 11 You're So Far Away (1951) Napoli: Rhapsody on Neapolitan Themes for Piano and Orchestra (1952) [Op. 1 la/13] Concerto for Viola, Harp, Timpani and Strings, Op. 15 Napoli: Rhapsody on Neapolitan Themes for Orchestra (1952) Toccata Brasiliana (1952) Sonata for Piano No. 2, Op. 17 Concerto for Violin and Orchestra, Op. 12 Sao Paolo: Symphonic Suite for Large Orchestra (1953) Sonata for Violin and Piano No. 2, Op. 20

W235 W123

9/1951 9/1951, 7/1959 9/1951 1/1952

W24

6/1952

W124

7/1952

W214 W183 W25 W160

8/1952 3/1953 4/1953 6/1953

W190 Wll W59 W17 W233 W119

9/1953 [or 8/1953] 9/1953 10/1953 12/1953 12/1953 3/1954

W23

9/1954

W184 W9 W116 W49 W222 W121

10/1954 12/1954 1/1955 4/1955 5/1955 7/1955

W47

1/1956

4/24/1960 1955 7/6/1956 6/18/1958 1955 [BBC] 6/1956

W132 W207 W15 W118 W197

1/1956 1/1956 3/1956 4/1956 7/1956

7/20/1956 [BBC] 10/3/1956

W19

9/5/1954 [1953?]

2/10/1956 5/5/1953 11/20/1954 12/18/1954 3/7/1957 8/23/2000 1954 7/31/1955

A Christmas Carol, Op. 21 Five Studies, Op. 22 Concerto for Oboe and Strings Op. 23 Winter Scenes: Suite for Piano, [Op. 24] Music for The Knight of the Burning Pestle (1954) Concerto for Two Pianos, Timpani and Strings, Op. 26 Sonata for Piano No. 3, Op. 27 The Birds, Op. 28 Music for Shakespeare's Othello (1955) Fantasia on the Name of Bach, Op. 29 Variations, Op. 30 Music for The Persian War (1955) Fantasia Contrappuntistica: Homage to Bach, Op. 24 Ode on the Birth of Our Saviour, Op. 25c Three Carols, Op. 25 Concerto for Cello, Op. 31 Music for The Ivory Tower (1956) String Quartet No. 1, Op. 32


No. W122 W138 Wl

Composed

12/1956 1/1957 4/1957

W94 W120

6/1957 6/1957 Sum 1957 6/1958 11/1958

W85 W99

4/1959 4/1959

W68 W198 W10

4/1959 9/1959 10/1959 12/1959 1/1960 9/1960 2/1961 2/1961 6/1961 1960; 6/1961 11/1961 W95 2/1962 W64 W112 3/1962 W129 3/1962 9/1962 W55 W146 1/1963 W228 2/1964 W201 3/1964 W170 4/1964 W204 6/1964 W102 9/1964 W143 12/1964 1/1965 W14 4/1965 W41 4/1965 W91 W199 4/1965 W220 4/1965

WHO W137 W125 W126 W74 W20 W28 W35 W3 W22

Premiere 5/23/1959

10/23/1957 9/3/1959 9/9/1958 3/3/1959

7/15/1959 2/12/1963 11/25/1959 6/1960 1/18/1960

6/19/1962 6/1962 1962 10/24/1963 5/31/1966 6/13/1964 11/24/1964 2/10/1966 6/197/1965 1/31/1970

225

Title Nativitie(1956) Passacaglia, Chorale and Fugue, Op. 18 Ad Honorem B. W. G. Rose, Mus. Doc. (157) God's Grandeur (1957) String Quartet No. 2, Op. 33 Burlesque for Orchestra, Op. 19 The Light Invisible: Sinfonia Sacra (Op. 16) Music for The Life and Death of Sir John Falstaff (\95S) Jack-in-the-Box(1959) Magnificat and Nunc Dimittis (Collegium Magdalenae Oxonienses) (1959) Piano Quintet, Op. 34 Partita, Op. 35 Nine Variations, Op. 36 Nocturne (1959) Hymn to the Nativity (1960) Concerto No. 2 for Piano, Op. 37 Crucifixus Pro Nobis, Op. 38 Drop, Drop Slow Tears, from Op. 38 Alleluia Amen (Festival Anthem) (1961) Concerto for String Orchestra, Op. 39 Little Suite (1961) Give Me the Wings of Faith (1962) Missa Sancti Thomae, Op. 40 O Leave Your Sheep (1962) Festive Overture (1962) Prelude, Scherzo and Passacaglia, Op. 41 Wassail All Over the Town (1964) Symphony No. 1, Op. 42 Seven Variations for String Quartet, Op. 43 Te Deum Laudamus (1964) Mass, Op. 44 Preces and Responses (1964) Communion Service in D, Op. 45 Elegy for Organ (1965) Lazy-Bones(1965) Study (1965) Two Single Chants for Psalm 99 (1965)

226


Composed

Premiere

Title

5/1965

9/20/1965

W141 W158 W45 W142 W93 W105 W205

9/1965 1966 1/1966 4/1966 5/1966 6/1966 6/1966

2/6/1968 10/12/1967 10/7/1966 10/25/1966 20/11/1966

W136 W42

7/1966 8/1966

1/25/1967 11/16/1966

W127

9/1966

W128 W149 W113 W107 W26

1/1967 1/1967 3/1967 4/1967 8/1967

W178 W31 W208 W54 W177 W37

9/1967 3/1968 7/1968 8/1968 8/1968 12/1968

Let All the World in Every Comer Sing (1965) Piano Trio, Op. 46 Sad Folksong (196?) Fanfare for Organ (1966) Pieces for Angela, Op. 47 Lift Up Your Heads, O Ye Gates (1966) Metamorphoses, Op. 48 Te Deum Laudamus (Orchestral Version, 1966) Paean (1966) Et Resurrexit: Theme, Fantasy and Fugue, Op. 49 O Be Joyful in the Lord (Jubilate Deo) (1966) O God, Enfold Me in the Sun (1967) QuamDilecta! (1967) Morning Canticles (1967) Missa Brevis, Op. 50 Conflicts: Fantasy on Two Themes for Piano, Op. 51 Sonata for Cello Solo, Op. 52 Dance Suite No. 1 in D, Op. 53 Three Psalms, Op. 54 Festival Fanfare (1968) Solus ad Victimam (1968) An Easter Sequence, Op. 55

W96 W65 W76 W174 W21

12/1968 1/1969 1/1969 3/1969 8/1969

W100 W82

9/1969 12/1969

W133 W18 W32 W2

3/1970 8/1970 10/1970 12/1970

No. W92

10/12/1968

7

5/8/1968 2/1/1968 12/6/1967 7/10/1968 10/23/1968 1968 Low Sun 1969 12/10/1969 1/11/1972 3/10/1970 12/15/1969 8/4/1971 5/12/1971

London-Town (1968) Gloria in Excelsis (1969) Hymn Tunes (1969-1970) Six Studies (Study-Variations), Op. 56 Concerto No. 3 for Piano (Concerto Estivo), Op. 57 Marcia Capriccio (1969) Improvisation in Memoriam Maurice de Sausmarez (1969) Of a Rose is All My Song (1970) Concerto for Organ, Op. 58 Dance Suite No. 2, Op. 59 AdventateDeo (1970)


227

Composed

Premiere

Title

W30 W89 W165

6/1971 8/1971 10/1971

10/1/1971 6/13/1973

W150

6/1972

10/13/1972

W185 W171 W159

7/1972 8/1972 1/1973

2/1974

W103 W88 W161 W87 W75

6/16/1974 10/13/1973 7/27/1973 3/1974

W202

3/1973 4/1973 10/1973 3/1974 3/2/197 4 5/1974

Dance Overture, Op. 60 Laudes Animantium, Op. 61 The Second Service: Magnificat and Nunc Dimittis, Op. 62 Quartet in One Movement (Contrasts and Variants), Op. 63 Sonata for Piano, Op. 64 Six Elizabethan Lyrics, Op. 65 Sanctus, Benedictus, and Memorial Acclamation (1973) Mass for Ampleforth, Op. 67 Laudate Pueri, Op. 68 Samm Mass, Op. 66 Lament for Guitar (1974) Hymn to the Trinity (1974)

W52

9/1974

7/8/1975

W157

early 1975 6/1975

3/2/1976

No.

W90

3/4/1977

5/24/1976

W130 W101

8/1975 8/19759/1975 10/1975 1976

W73 W97

8/1976 1/1977

5/14/1978

W167 W81 W131 W13 W6 W44 W51 W109 WHO

6/1977 8/1977 11/1977 9/1978 3/1979 3/1979 7/1979 9/1979 3/1980

10/14/1978 6/7/1978

W172 W218

7/15/1976

2/5/1979 10/30/1979 7/17/1979 5/4/1980 6/20/1980 6/29/1980

Symphony No. 2, "Sinfonia Mistica", Op. 69 Fantasy on an American Hymn Tune, Op. 70 Rockingham: Chorale Prelude on "When I Survey"(1975) Laudes Montium: A Sequence of Psalms, Op. 71 Six Fantasies on Hymn Tunes, Op. 72. Two Pieces for Oboe (1975) O Sacmm Convivium (1975) Martyrs (Dialogues on a Scottish PsalmTune), Op. 73 Hymn to Matter, Op. 74 Lord, When the Sense of Thy Sweet Grace (1977) Sequence for All the Saints, Op. 75 Improvisations: De Profimdis, Op. 76 Ode (1977) Columba Mea, Opous 78 Awake My Glory, Op. 79 An Evening Hymn (1979) Fantasy on a Chorale (Es Ist Genug), Op. 80 Missa Cornelia, Op. 81 Missa De Gloria (Dublin Festival Mass),

228


No.

Composed

Premiere

W5 W12

7/24/1980 6/16/1981; 2/5/1986

W206

5/1980 1976; 5/1978; 8/1980 5/1981

W4

8/1981

2/2/1982

W72 W50

10/1981 6/1982

11/24/1982 8/29/1982

W216 W16

6/1982 11/1982

2/14/1983

W46 W33

4/1983 9/1983

6/1983 2/211984

W203 W234

3/1984 10/1984

3/15/1985 1/6/1985

W186 W36 W224

3/1985 7/1985 7/1985

1/1986 7/6/1987 9/2/1985

W230 W60 Will W223

8/1985 12/1986 3/1987 6/1987

10/50/1986 11/21/1987 10/4/1987 6/21/1987

W145 W147

10/1987 1988

10/12/1988 10/20-

W108 W8

3/1988 4/1988

6/12/1988

W40

1994

6/23/1981

Title Op. 82 Animal Heaven, Op. 83 Columba, opera in three acts, Op. 77 These Are Thy Wonders (A Song of Renewal), Op. 84 Alleluia Pascha Nostrum for Cello and Piano, Op. 85 Household Pets; Suite for Piano, Op. 86 Fantasy-Octet: Homage to Percy Grainger, Op. 87 Two Anglican Chants for Psalm 10 (1982) Concerto for Harpsichord, Recorder (or Flute) and Strings, Op. 88 Fanfare on Newtoun (1983) Dance Suite No. 3 (Scottish Dances), Op. 89 Symphony No. 3 "Laudes Musicae", Op. 90 The World's Desire: a Sequence for Epiphany, Op. 91 Sonata for Piano Duet, Op. 92 Earth, Sweet Earth...Laudes Terrae , Op. 94 Veni Redemptor; Celebration for Organ, Op. 93 What Love Is This of Thine? (1985) Four Romantic Pieces, Op. 95 Missa Sancti Petri (1987) Veni Creator Spiritus: Prelude for Organ, (1987) Prelude, Hymn and Toccata, Op. 96 Preludes for Piano (1988)

24/1999

Missa Christi (1988) The Beauty of Holiness, Festival Anthem (1988) Elegy (1994)

Index

Academy of St. Martin-in-theFields, 78 Aeolian String Quartet, 56 Ainslie, John Mark, 71, 125 Ainsley, John Mark, 71, 125 Albright, Terence, 86 Alexander, John, 122 Ampleforth Abbey (Yorkshire), 33, 35,40-41 Armstrong, Andrew, 62 Arran, Isle of, 6, 12 Arriaga Quartet, 50 Aureden, Elizabeth, 78, 107 Austin, Michael, 100 Baccholian Singers, 59 Backhouse, Peter, 68, 107, 132 Baily,Mark, 103, 104, 108 Barber, Graham, 89 Barbirolli, Sir John, 13 Barlow, Alison, 65 Barnes, Holly, 78, 107 Barnes Music Club, 35 Bamet Parish Church Choir, 9 Batterham, Peter, 115 Bath Abbey Choir, 73, 90 Beaumont, Kerry, 95, 119 Beeston, Michael, 103, 105, 108 Bell, Christopher, 85

Bell, Simon, 97 Berkshire Boy Choristers, 19 Bernard, Anthony, 15 Bernard Sprengel Prize, 7, 43 Bertini, Gary, 57 Bielby, Jonathan, 7, 49, 79, 84, 109, 111, 112 Birch, John, 14,21,36,81 Birmingham, [City of] Symphony Orchestra, 15 Blakely, John, 19, 73 Blyden-Taylor, Brainerd, 97 Bloodworm, Dennis, 18 Bonne, Robert, 50 Borders Cathedral Festival, 61 Bom, Gustav, 49-50 Bournemouth Symphony Orchestra, 14 Bowman, David, 35 Bowman, James, 65 Bradford Cathedral Choir, 49 Bramma, Harry, 85 Britten, Benjamin, 2 Broadbent, Peter, 129 BBC [British Broadcasting Corporation], Third Program, 3,39, 40, 42, 44, 53,56; TV,39 BBC Northern Symphony, 15

230

Index

BBC Northern Singers, 64-65 BBC Scottish Symphony, 6, 14, 15, 58 BBC Symphony, 11, 12, 16, 42 Bmce, Keren, 115 Bryan-Wigfield, Timothy, 107 Bryden, Andrew, 95, 119 Brydon, Robert, 12 Bunney, Herrick, 31, 33, 51, 116 Burgomaster, Frederick, 36 Burrin, Philip, 103, 104, 108 Busoni Prize, 3, 7, 21 Caird, George, 131 Caims, Christine, 12 Cambridge Singers, 128 Cantelo, April, 11 Canterbury Cathedral, 37 Capriol Orchestra, 11 Carroll, Dara, 71, 74, 82, 99 Cathedral and Metropolitan Church of St. Peter of York, Choir of, 109 Cathedral Organists Association, 49 Cathedral of the Holy and Undivided Trinity, Norwich, Choir of, 93 Ceccato, Aldo 57 Chapels Royal, HM Tower of London, Choir of, 125 Chichester, Cathedral Choir, 21, 48,81 Christ Church Cathedral, Indianapolis, Indiana, 36 Christ Church Cathedral (Oxford), Choir of, 102,115 Christ's Church Hospital, Choir of, 32 Christophers, Harry, 120, 121, 128 Clayton, Nigel, 112 Clemmow, Caroline, 105 Cleobury, Nicholas, 34

Cleobury, Stephen, 34, 87, 100, 101 Cock, Robert, 123 Coffin,Geoffrey, 109 Cook, Melville, 105 Coombs, Stephen, 45, 87 Corpus Christi College, Cambridge, Choir of, 114 Cousins, Mervyn, 116 Crafts, Edward, 83 Crowley, Robert, 69 Crowther, Jill, 70 Crozier, Sylvie, 91,92 Cuckston, Alan, 13, 70 Cumming, Hilary, 78, 107 Daniel, Paul, 14 Danby, Anthony, 63 Darlington, Stephen, 99, 102, 115, 120 Davies, Meredith, 14 DaviesDuo, 117 de Peyer, Gervase, 23 de Sausmarez, Jessie Rose, 50 de Sausmarez, Maurice, 29, 50 Deal, Royal Naval School of Music at, 3 Dessauer, Gabriel, 80 Dickson, Joan, 52 Driskill-Smith, Clive, 71, 92, 102 Du Pre, Jacqueline, 217 Du Pre, Dublin International Organ Festival, 36 Dunfermline Abbey, 62 Dunster-Sigtermans, Richard, 73 Durham Cathedral, Choir of, 110, 111 Dussek, Michael, 75, 103, 104 Edinburgh, University of, 4,21; Reid Professor of Music, 4 Edinburgh String Orchestra, 30 Edinburgh Symphony Orchestra, 18

Index Edinburgh University Singers, 34 Eglesfield Musical Society, 62 Eglesfield Players, 37-38 Elcombe, Keith, 67, 69 Elizabethan Singers, 31, 96 Elysian Singers, 98 Episcopal Church of the Advent (Birmingham, Alabama), Choir of, 121 Etherington, Carleton, 103 Exeter Cathedral, Choir of, 127 Exultate Singers, 131 Eyre, Ronald, 38 Fair, Stephen, 115, 124 Farrell, Sean, 112 Field, Christopher, 31 Filsell, Jemery, 89, 91 Fingerhut, Margaret, 78, 80, 104, 118 Finzi, Gerald, 2, 3, 57, 62-3 Finzi, Kiffer, 217 Finzi Singers, 71, 81, 83, 85, 87, 92, 124, 132 Fletcher, Nicholas, 127 Forbes, Watson, 22 Fremaux, Louis, 15 Friedman, Leonard, 22 Fry, Jeanne, 63 Fuller, Andrew, 75, 103, 104 Fullylove, Miranda, 22 Gattonside, 7 Gibbs, Thomas, 121 Gillen, Gerard, 36 Giuseppe Verdi Theater, Trieste, Orchestra of, 57 Glasgow, Royal Scottish Academy of Music and Drama, 6, 12; Cathedral, 6 Glasgow Schools' First Orchestra, 17 Goldstone, Anthony, 105 Gould, Peter, 109, 111 Gower, Christopher, 37

231

Grainger, Percy, 22 Great Grimsby, Parish Church of St. James, Choir of, 86 Greenall, Matthew, 98 Gregor-Smith, Bernard, 74 Gregory Fellowship, University of Leeds, 3, 4 Grinke, Frederick, 16, 40, 55 Grogan, Robert, 113 Grove, Sir George, 57 Guest, Douglas, 32 Gulliver, David, 32, 62 Hadley/handley, Vernon, 58, 131 Hale, Paul, 127 Halls, David, 100, 109, 120 Halle Orchestra, 13 Halsey, Louis, 96 Halsey Singers, 40 Hansell, David, 126 Harmon, Jean, 22 Harper, Edward, 20 Harper, John, 72, 81,82 Harris, John, 72 Harris, Michael, 72, 107 Harry Danks Prize, 3, 7, 22 Harvey, Trevor, 16 Harvey Phillips String Orchestra, 15, 16 Heginbotham, Peter, 73 Herrick, Christopher, 93 Herriott-Watt University, 27-28 Hesford, Bryan, 20, 45 Higginbottom, Edward, 82, 121 Hill, David, 124 Hilton, Janet, 79 Hindemith, Paul, 3 Hindmarsh, Paul, 12 Hitel, Jamie, 76, 111, 115 Holy Trinity Boy's School, Wakefield, 1 Hooton, Florence, 3, 13, 42 Hough, Stephen, 114 Hughes, Christopher, 87, 92

232

Index

Hurst, George, 15 Hyde, Daniel, 102 Jackson, Francis, 7, 99, 100, 109 James, Donald, 33 James, Kenneth, See Leighton, Kenneth Jeffcoat, Rupert, 68, 72, 87, 90, 91, 96,97,110,115,121,129,130 Jenkin, Nicola, 120 Jenkins, Neil, 12 Jennings, Kenneth, 84 Jesus College, Cambridge, Choir of, 68, 89 John Currie Singers, 12 Johnson, Simon, 88, 97 Jones, Brian, 122 Joubert, John, 7 Joyful Company of Singers, 129 Kalmar Orchestra, 62 Keble College, Oxford, Choir of, 89,91 Keszei, Janos, 70 King, Peter, 90 King's College, Cambridge, Choir of, 86, 87, 88 Kingholm Singers, 28 Kingsley, Colin, 51, 80 Kingston Polytechnic, Choir of, 60 Kitchen, John, 107 Kitchen, Margaret, 15 Knight, Wilson, 38 Lancelot, James, 102, 110, 111 Langdon, John, 93 Latona, Peter, 77 Lawrence, Ashley, 35 Layton, Stephen, 123, 130 Lea, Richard, 116 Ledger, Philip, 86, 88 Lee, Mark, 114 Leeds, University of, 3, 4, 38 Leggate, Robin, 65 Legrand Ensemble, 10 Leighton, Angela, 3, 6, 44

Leighton, Jo, vi, vii, 4 Leighton, Kenneth: mother's death, 6 Leighton, Kenneth, as pianist, 10, 15, 16, 22, 25, 29 (harpsichord), 39,40,43,44,50,51,54,55,62, 80 Leighton, Kenneth, as conductor, 11, 15, 17, 18,21,28,38,42 Leighton, Kenneth, as Kenneth James (pseudonym), 61, 65 Leighton, Lydia [Vignapiano], vi, 3, 16,39 Leighton, Robert, vii Lemare Orchestra, 15 Lenthall, Adrian, 22 Leonard, Lawrence, 17 Lestem, Noel, 83 Leytonstone,Church of St. John the Baptist, 25 Lichfield Cathedral, Choristers of, 74,89 Linn, Andrew, 115 Lippincott, Joan, 79 Liverpool Cathedral, Choir of, 35, 86 Liverpool Metropolitan Cathedral, Choir of, 116 Liverpool Philharmonic Orchestra, 45 Lloyd, Richard, 7 London Chamber Orchestra, 15 London Chamber Soloists, 14 London Philharmonic Orchestra, 70 London String Quartet, 43 London Symphony Orchestra, 32 Lott, Felicity, 129 Lowenberg, Kenneth, 22 Lucas, Andrew, 71, 77, 87, 110, 119, 122 Lumsden, David, 17, 71, 74, 81, 82, 87, 99, 104

Index Lumsden, Andrew, 74, 83, 85, 89, 92, 124, 132 McAslan, Lorraine, 104 McGillivray, Alison, 20 McKelvey, Malcolm, 77 Mackie, Neil, 4,18-19, 58, 71, 73, 77,87, 110, 118, 119, 122 Mackie, William, 12 Macmillan, Andrew, 108 McPhee, George, 76, 93 McVinnie, James, 88 Magdalen College, Oxford, Choir of, 33, 72, 81, 82, 91 Markham, Richard, 10, 44, 54 Markham, Robert, 103, 104, 108 Markland, Margaret, 12 Marlborough College, Chapel Choir of, 119, 126 Marsh, Louise, 112 Marsh, Robert, 87 Mason, Francis, 35 Melrose, City of, 7 Mendelssohn Scholarship, 2-3, 26 Millington, Andrew, 127 Miss Porter's School (Farmington, Connecticut), 50 Monkton Combe School, 37; Choir of, 93 Moore, Philip, 7 Morgan, Edwin, 6, 12 Morley, Matthew, 98 Morris, Greg, 68, 89 Morris, Thomas, 50 Morrison, Ronald, 31 Munns, Robert, 14, 20, 76, 114 National Federation of Music Societies, 4, 7, 11 National Youth Choir of Scotland, 85 Nelson, Robin, 126 Nettle, David, 44, 54 New London Singers, 33 New Edinburgh Quartet, 56

233

New College Oxford, Choir of, 17, 71,74,82,99, 104, 121 Newbury String Orchestra, 57, 63 Newmann, Sydney, 15 Nichelson, Stuart, 111 Nicholas, Benjamin, 103 Nicholas, Michael, 31, 32, 93 Nicklin, Celia, 2 Nieminski, Simon, 125 Noon, Timothy, 102 North Wales Music Festival, 62 Northern Chamber Orchestra, 13, 70 Northampton, Church of St. Matthews, 32 Norwich Cathedral Choir, 31, 89, 97 Nurrell,, Bernard, 93 Oke, Alan, 12 Ormiston, Linda, 12 Orpheus Choir of Toronto, 97 Otaki, Byrony, 27 Over, Simon, 89, 91 Owens, Matthew, 30, 104, 110, 125 Oxford Bach Choir, 58 Oxford University, 1; Queen's College, 5, 38; Worcester College, 4; Oxley, James, 71 Pacific Chorale, 122 Pacific Children's Choms, 122 Paisley Abbey Choir, 93 Palmer, Felicity, 47 Palmour, Deidra, 83 Parnell, Andrew, 97, 99, 120 Parkin, Eric, 26, 53, 70, 78, 80, 83, 117 Parry, Wilfred, 42 Parsons, James, 76 Pask, Eric, 69 Pears, Peter, 58 Peebles, Charles, 70 Perrin, Ronald, 86

234

Index

Peterborough Cathedral, 37; Choir of, 37 Petrassi, Goffredo, 3 Phillips, Harvey, 15, 16 Phillips, Margaret, 65 Pleeth, William, 23 Plummer, Paul, 92 Poirier, Philip, 91,92 Pollard, Isabel, 53 Pollini, Maurizio, 21 Presbyterian Association of Musicians, 11 Prescott, Josephine Anne, See Leighton, Jo Preston, Simon, 42, 96, 99 Price, Jonathan, 67 Queen's College, See Oxford University Queen's College, Cambridge, Choir of, 132 Queen's College, Oxford, Choir of, 110 Queen's College Back Quad Glee Singers, 29 Quinney, Robert, 92 Rathbone, Christopher, 70, 85, 119 Rawsthome, Noel, 86 Rees, Owen, 132 Reid, Andrew, 68, 72, 87, 90, 91, 96,97, 110, 115,121 Reid School of Music, University of Edinburgh, Rennert, John, 106 Rhodes, Paul, 112 Richards Piano Quartet, 46 Riddle, Frederick, 16 Riout, Alan, 7 Ripon Cathedral, Choir of, 86, 95, 119 Robertson, Eric, 113 Robinson, Christopher, 71, 74, 82, 85,90, 108, 110,133 Roldan, Nancy, 83

Rolland, Mairi, 28 Rome, 3 Rose, Bernard, 2, 3, 9, 34, 51, 58, 62,91 Royal Ballet Sinfonia, 69 Royal College of Music, 7 Royal Liverpool Philharmonic Orchestra, 57 Royal Philharmonic Orchestra, 131 Royal Scottish National Orchestra, 85 Ruhm, Delia, 62 Runnett, Brian, 49, 89 Rutter, John, 128 St. Alban's Abbey Girls Choir, 88, 97,99 St. Alban's Cathedral Choir, 120 St. Alban's Chamber Choir, 126 St. Andrews, University of, 7,31 St. Andrews Musical Society Choir and Orchestra, 31 St. Bartholomew's Church, New York City, Choir of, 124 St. Catherine's College, Cambridge, Chapel Choir of, 68, 72, 87,90,91,96,97, 110, 115,121, 129, 130 St. Cecilia Festival, London, 58 St. Cecilia Orchestra, 16 St. Giles Cathedral, Edinburgh, Choir of, 72-73, 116,124

St. John's College, Cambridge, Choir of, 71,74, 82, 90,108,110,133 St. Leonard's-Mayfield School, 36 St. Magnus Festival (Kirkwall, Orkney), 58 St. Mary's Episcopal Cathedral, Edinburgh, 10, 44, 63, 68, 125, 132 St. Mary's School, Orchestra of, 132

Index St. Nicholas, Harpenen, Choir of, 69 St. Nicholas' Parish Church, Coventry, 9 St. Olaf Choir, 86 St. Paul's Cathedral, Choir of, 71, 77,81,87, 110,119, 122 St. Patrick's Cathedral, Dublin, 36 St. Philip & St. James, Church of (York), 40 Sargent, Malcolm, 16 Salisbury Cathedral, Choirs of, 48, 100, 109, 120 Saunders, Benjamin, 116 Saunders, Percy, 23 Schaeffer, Stephen G., 121 Scheffel-Stein, Renata, 16 Schola Cantomm of Oxford, 71, 125 Schwarz, Gerald, 45 Scot's Church, Melbourne, Choir of, 115 Scott, Christopher, 87 Scott, John, 62, 71, 77, 81, 87, 100, 106,110, 119,122 Scottish Baroque Ensemble, 22 Scottish Church Hymnary, 4, 2526,28 Scottish National Orchestra, 17, 57, 69, 118 Seal, Richard, 81, 100, 109, 120 Sealy, Marcus, 73, 90 Sears, Martin, 78 Sharpe, Robert, 74 Shaw, Colin, 4, 38, 39 Shaw, Ian, 110, 111 Shaw, Virginia, 14 Sheffield Cathedral Choir, 49, 73 Shenton, Andrew, 101 Shepard, Mark, 89 Sheppard, Honor, 10 Sixteen, The, 120, 121, 128 Smith, Kenneth, 112

235

Smith, Nicholas, 13 Snashall, John, 70 Sommerville, Murray, 71, 74, 82, 99 South African Broadcasting Corporation Chamber Choir, 123 Southern Pro Arte, 70 Southwark Cathedral, Choir of, 123 Southwell Munster Choir, 127 Spicer, Paul, 71, 81, 83, 85, 87, 92, 124, 132 Stanzeleit, Suzanne, 103, 104, 108 Steal, Richard, 48 Steele-Perkin, Christopher, 71, 74, 82,90,108, 110 Stokowski, Leopold, 3, 45 Strode, Christopher, 54 Suter, Jeremy, 91 Sutherland, Gavin, 69 Tanner, Stephen, 127 Taylor, Neil, 73, 97 Teilhard de Chardin, Pierre, 27 Tewkesbury Abbey School Choir, 103 Thomas, David, 65 Thomas, Jane, 27 Thomas, Julian, 68, 89 Thomesian Guilde of Singers, 12 Thomson, Bryden, 69, 118 Tiffin School, 17-18 Tilllman, Hans H., 105 Tilton, Stephen, 125 Townhill, Dennis, vii, 44, 45, 63, 68, 75, 76, 77, 79, 85, 92, 93, 98, 101,105,106,108,113,131,13 2 Trafka, William K., 124 Trio de Trieste, 43 Trieste, City of, Prize, 6, 7,57 Trimple, Joan and Valerie, 15 Trinity Church, Boston, Choir of, 122 Trinity College of Music, London, 32,57

236

Index

Trinity College of Music Chamber Orchestra, 14 Trotter, Thomas, 88 Turner, John, 13, 67, 69 Tuttle, John, 131 Underwood, Mark, 27 Ungerer, Christopher, 25 Vann, Stanley, 7 Vaughan Williams, Ralph, 2, 3 Vignapiano, Lydia, See Leighton, Lydia Vinalli, Graeme, 27 von Ibler, Eric, 116 Wakefield, City of, 1,4, 12 Wakefield Cathedral, 1, 5, 49; Choir of, 109,111, 112 Wallbank, Tosh, 1 Wallfisch, Peter, 4, 15, 23, 53-54, 62,67,79, 117,130 Wallfisch, Raphael, 10, 67, 69, 79, 131 Walker, Robert, 86 Walsh, Philip, 108 Walter, Christopher, 78, 107 Waltham Abbey, Choir of, 111, 115 Walton, William, 2, 3 Watts, Jane, 106 Weaver, John, 105, 106 Weaver, Marianne, 105 Webb, Hugh, 98 Weber, Geoffrey, 72, 81,82 Weir, Gillian, 70 Wellington Cathedral, Choir of, 108 Wells, Alison, 67 Went, David, 110 West Riding Cathedral Festival, 49 Westrop, Stephen, 93 Whiting, Edward, 132 Wicks, Allan, 37, 40 Wiggins, Bram, 71, 74, 82, 99 Wilkinson, Stephen, 64, 81, 85

Wilkinson, Roy, 119 Willcocks, David, 14 Williams, Glyn, 27 Williams, Huw, 81 Williamson, Magnus, 72,82 Wills, Arthur, Winchester Cathedral, 48, 124 Woan, Ronald, 86 Wood, Mark, 30 Wood, Ross, 122 Woodford Parish Church, Choir of, 114 Woodward, Nicola, 112 Worcester Cathedral, Choir of, 85 Wright, Keith, 102 Wright, Peter, 123 Wrigley, Yolande, 74

ABOUT THE AUTHOR CAROLYN J. SMITH is the Music Bibliographer and Head of the Gifts Department at Texas A&M University Libraries. Her previous publications include: William Walton: A Bio-Bibliography (Greenwood, 1988) and Peter Maxwell Davies: A Bio-Bibliography (Greenwood, 1995).

Recent Titles in Bio-Bibliographies in Music Pietro Mascagni: A Bio-Bibliography Roger Flury Toru Takemitsu: A Bio-Bibliography James Siddons Emma Lou Diemer: A Bio-Bibliography Ellen Grolman Schlegel Ernst von Dohnanyi: A Bio-Bibliography James A. Grymes Steve Reich: A Bio-Bibliography D.J. Hoek Vivian Fine: A Bio-Bibliography Judith Cody Benjamin Britten: A Bio-Bibliography Stewart R. Craggs George Crumb: A Bio-Bibliography David Cohen Louis Moreau Gottschalk: A Bio-Bibliography James E. Perone Peter Schickele: A Bio-Bibliography Tammy Ravas Henry F. Gilbert: A Bio-Bibliography Sherrill V. Martin Alan Rawsthorne: A Bio-Bibliography John C. Dressier

Kenneth Leighton: A Bio-bibliography (Bio-Bibliographies in Music)

Women in Music Vol. 1 : An Encyclopedic Biobibliography

Mendelssohn: A Life in Music

Music in Shakespeare: A Dictionary

Anton Rubinstein: A Life in Music (Russian Music Studies)

Music of a Life

Broken music: a memoir

Broken Music: A Memoir

A Certain Music

Menage a Music

Broken Music: A Memoir

A Darker Music

Music: a Mathematical Offering

A Certain Music

J.S. Bach: a life in music

Music in Youth Culture: A Lacanian Approach

J.S. Bach: A Life in Music

Music in Worship: A Mennonite Perspective

Dennis Brain: A Life in Music

Knife Music: A Novel

Music - A Mathematical Offering

Music in the USA: A Documentary Companion

Broken Music, A Memoir

A Little Night Music

Broken Music: A Memoir

Groups in Music: Strategies from Music Therapy

J.S. Bach: A Life in Music

Structural Functions in Music (Dover Books on Music, Music History)

The Devil in Music

music in the night

Kenneth Leighton: A Bio-bibliography (Bio-Bibliographies in Music)

Women in Music Vol. 1 : An Encyclopedic Biobibliography

Mendelssohn: A Life in Music

Music in Shakespeare: A Dictionary

Anton Rubinstein: A Life in Music (Russian Music Studies)

Music of a Life

Broken music: a memoir

Broken Music: A Memoir

A Certain Music

Menage a Music

Broken Music: A Memoir

A Darker Music

Music: a Mathematical Offering

A Certain Music

J.S. Bach: a life in music

Music in Youth Culture: A Lacanian Approach

J.S. Bach: A Life in Music

Music in Worship: A Mennonite Perspective

Dennis Brain: A Life in Music

Knife Music: A Novel

Music - A Mathematical Offering

Music in the USA: A Documentary Companion

Broken Music, A Memoir

A Little Night Music

Broken Music: A Memoir

Groups in Music: Strategies from Music Therapy

J.S. Bach: A Life in Music

Structural Functions in Music (Dover Books on Music, Music History)

The Devil in Music

music in the night

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