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Organ music holds a special affection for leading UK composer Judith Bingham, and the repertoire on this second Naxos recording reflects a cross-section of her themes and work both recently composed and newly arranged.
Experienced broadcast performer Tom Winpenny is joined by the acclaimed group, The Dmitri Ensemble, for the atmospheric concerto Jacob’s Ladder, while the rebuilt St Albans Cathedral Organ is an ideal instrument for works such as the improvisatory Annunciation I and radiantly charming Hope, recorded, as was all the music on this album, in the composer’s presence.
Judith Bingham: Jacob's Ladder
I. Leaving home under a cloud
II. Anxiety Dream
Entr'acte: Falling into a deep sleep
III. Jacob's Ladder
Judith Bingham: St Bride, assisted by Angels
St Bride, assisted by Angels
Judith Bingham: Missa Brevis, "The Road to Emmaus": Prelude and Voluntary
Prelude: The road to Emmaus
Voluntary: Et cognaverunt eum
Judith Bingham: Annunciation I
Judith Bingham: Hope
Judith Bingham: Into the Wilderness
Into the Wilderness
Judith Bingham: The Gift
Judith Bingham: The Secret Garden: Vol de nuit (version for organ)
The Secret Garden: Vol de nuit (version for organ)
Judith Bingham: Festival of Hell: Gothick
Festival of Hell: Gothick
Judith Bingham: Incarnation with Shepherds Dancing
Incarnation with Shepherds Dancing
Judith Bingham: Ancient Sunlight
“Tom Winpenny opens an illuminating window on Bingham's richly-coloured, programmatically-driven engagement with the 'king of instruments'...Winpenny knows the St Albans instrument like the back of his hand, coaxing an array of voluptuous and apposite sounds. But he's also alert to the fluidity of her narratives, and, when called upon to do so, serves up virtuoso flair with incorrigible panache.”
“Bingham has injected new life into the repertory of an instrument that has been perhaps unjustly neglected by contemporary composers...The organ of St Albans Cathedral, newly restored, sounds splendid, and it has been realistically captured by Naxos.”
Awards Issue 2011
“The organ-writing may not be entirely idiomatic but the string scoring is highly accomplished, and there is a real sense of commitment behind Graham Ross's sharply focused direction...Tom Winpenny brings assurance with some adept handling of Bingham's complex organ-writing...his advocacy of this music will do much to consolidate Bingham's reputation as a distinctive and assured writer for the instrument.”
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