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Robert Delcamp
American Record Guide, January 2017

Winpenny is a fine player and manages the technical demands with ease and a fluid musicality. Playing on the organ the composer presided over, he makes as good a case as possible for this music. © 2017 American Record Guide Read complete review on American Record Guide



Marc Rochester
Gramophone, December 2016

This music is lucky to have such a conscientious advocate. Winpenny presents it all with clinical technical precision and close attention to textural detail, easily moving between moments of demanding virtuosity (the ‘Sortie’ from Mass of a Medieval Saint) and almost embarrassing naivety (the meandering Fantasy on ‘This is my Father’s World’), while flowing easily through Williamson’s long swathes of utter harmonic charmlessness. © 2016 Gramophone Read complete review on Gramophone



John France
MusicWeb International, October 2016

Tom Winpenny, the Assistant Master of Music at St Alban’s Cathedral, plays all these pieces with skill and commitment. © 2016 MusicWeb International Read complete review



David Denton
David's Review Corner, September 2016

Though highly respected in musical circles, and elevated to Master of the Queen’s Music in his adopted English home, Malcolm Williamson still awaits popularity. Australian by birth in 1931, he numbered Sir Eugene Goossens among his mentors before he was persuaded to go to London where he became a composition pupil of Elisabeth Lutyens. Among the British establishment, he was highly regarded, and it was said he became the most commissioned composer in Britain. Yet somehow he never found a place in the affection of mainstream classical audiences, though he was to write in every genre, and prolific in most of them, his orchestral output including eight symphonies. He had been a church organist as a young man, and was inspired to return to the instrument when he discovered the music of Olivier Messiaen, he then played and composed for the instrument through much of his life. Maybe it was a similarity that has rather left his works overshadowed by the French composer, and that you would certainly find true for the opening work, Peace Pieces. It is a series of six pieces looking at peace in its various guises, Peace in America, for instance, becoming a massive outburst of anguish for all those who gave their lives in an effort to bring peace. That work alone takes up the first of this double-disc package, and presents a technical challenge to the performer, while displaying the extent of the organ’s tonal colours. The second disc offers six much shorter works, mostly from the 1970’s, pungency being the main constituent, though the threnody on the death of John F Kennedy is very moving. Just briefly, in Mass of a Medieval Saint, we hear him looked for popular approbation, its five sections of a pleasing disposition. In Tom Winpenny—the Assistant Master of Music at the fine English cathedral situated in St. Albans—the composer has a brilliant exponent who makes light of the often complex passages. With the modern organ in London’s St. John the Evangelist Church, he has a vast array of tonal resources on which the works thrive, his articulation bringing clarity in pages of densely scored music, and a transient beauty in quiet moments, as we hear in the Communion from the Mass. The recording is exceptionally fine, the weight carried without reducing transparency, while the acoustic is that of a very fine church. An essential purchase for organ lovers. © 2016 David’s Review Corner





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