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Robert Delcamp
American Record Guide, November 2015

In the preface, he lays out his system of “Modes of limited transposition”, a series of scales that form the basis for the colorful and inventive harmonic structure. He also aimed for a flexible style of rhythm, based on Hindu tƒlas and the fluidity of Gregorian Chant. © 2015 American Record Guide Read complete review on American Record Guide



The Organ Club Journal, June 2015

[Tom Winpenny] displays his talents in the performance of this seasonal work… Superb. © 2015 The Organ Club Journal



Roy Westbrook
MusicWeb International, April 2015

Winpenny certainly plays skilfully and idiomatically throughout, and has the measure of the piece overall…

The recording is…exemplary, with wide dynamic range and good detail, allowing us to enjoy the characterful treble sounds and the well-extended and very ‘present’ quiet bass sounds. © 2015 MusicWeb International Read complete review



BBC Music Magazine, March 2015

Winpenny plays with impressive precision and clarity. Each detail of the scintillating toccata of ‘Dieu parmi nous’ can be readily heard, even where Messiaen’s music deliberately obscures the texture.

Both the playing and the recorded sound are technically impressive. © 2015 BBC Music Magazine




Paul de Louit
Diapason, March 2015

Together with L’Ascension, Messiaen’s great organ cycle, La Nativité retains the freshness of a painted paradise where harps and lutes exist: its theological content…takes the form of visually evocative vignettes… It is for its outstanding readability that this is the preferred recording, for the transparency that comes close to Cambreling with an orchestra, but within a cycle that lends itself less like that of the Livre d’orgue or the Méditations sur le mystère de la sainte Trinité. © 2015 Diapason



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, January 2015

…this version is an excellent one…the performance is sensitively and passionately realized, very much characteristic of what Messiaen should sound like. © 2015 Gapplegate Classical-Modern Music Review Read complete review



Dan Morgan
MusicWeb International, January 2015

Messiaen’s epic meditation on the birth of Christ is not only one of the composer’s most luminous creations, it’s also one of the greatest solo organ works ever written.

There’s no doubt that Winpenny’s rendition of La Vierge et l’Enfant has the air of rapt adoration that the music demands, and the finer, more fretted writing is superbly articulated.

…a fine performance, very well recorded. © 2015 MusicWeb International Read complete review



David Denton
David's Review Corner, December 2014

Composed in the summer of 1935, Olivier Messiaen’s The Birth of the Saviour is one of the cornerstones of the established Twentieth century organ repertoire. Yet its structure of nine meditations requires a performance that can retain our attention through long periods when interest is only maintained by slowly changing harmonies, juxtaposed by passages that are brightly lit and powerful. It therefore calls for a performer of sensitivity and visionary outlook, and an instrument that can help them to achieve that vision. It has been well served on disc, and in the young British organist, Tom Winpenny it has found a persuasive advocate who has held firm to his concept in passages when he employs some very slow tempos. Neither has not been deterred from opening up the magnificent organ at St. Albans Cathedral in the south of England to create some massive outbursts. I like the ethereal and almost timeless passages, particularly in his expansive opening section The Virgin and Child, while at the other extreme the final God among us is an enormous statement. The ‘vibrato’ on the St. Albans instrument will be a matter of personal taste, but from a recording point of view I would place it among the finest available. I know those wedded to the estimable recording by Gillian Weir will always remain that way, but I strongly commend this disc to you. © 2014 David’s Review Corner





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