Purcell: Blow up the trumpet in Sion, Z10

“I would say that any disc which offered such a 24-carat Purcell selection in performances even half as good as these would be hard to resist.” Gramophone Magazine

“this glorious, darkly intense funeral music is given an outstandingly fresh and clear rendition, vividly recorded, matching even the finest rival versions. The sharpness of focus in the sound means that Purcell's adventurous harmonies with their clashing intervals are given extra dramatic bite in these dedicated performances, marked by fresh, clear soprano tone in place of boy trebles.” Penguin Guide, 2011 edition

“This CD is made up predominantly of anthems, devotional songs and a morning service (a functional, though not perfunctory, setting of the TeDeum and Jubilate) most of which disclose the range and quality of the composer's sacred oeuvre near its best. Of the two settings of I was glad, the first was, until not long ago, thought to be the work of John Blow. This full anthem more than whets our appetite with its agreeable tonal and melodic twists; when the Gloria arrives, we're assured that this is vintage Purcell by the sensitive pacing as much as an exquisite contrapuntal denouement. The earlier setting is more poignant. Opening with a string symphony in the spirit of a Locke consort, the music blossoms into a deliciously Elysian melodic fabric. Good sense is made of the overall shape and the soloists are, as ever, excellent. Beati omnes is a positive gem; this may well have been written for the composer's wedding. Of the small-scale pieces, In the black dismal dungeon is the real masterpiece; it's delivered astutely by the secure and musicianly voice of Susan Gritton.
Finally to the funeral pieces. Here we have an ominous procession from the Guild of Ancient Fifes and Drums and the first appearance of four 'flatt' trumpets – as opposed to two plus two sackbuts; the effect of this subtle timbral change makes extraordinary sense of the music, engendering a new grandeur and uncompromising clarity as would have befitted such an occasion. The vocal performances are earthy and impassioned.” Gramophone Classical Music Guide, 2010

“An outstanding series, full of treasures, with King varying the scale of forces he uses for each item. Often he uses one voice per part, but he regularly expands the ensemble with the King's Consort Choir or turns to the full New College Choir, which includes trebles. The individual discs are no longer available separately, but all 11 CDs come neatly packaged in cardboard sleeves.” Penguin Guide, 2011 edition

“Gustav Leonhardt's patrician demeanour and Calvinistic refusal to indulge his ego run contrary to the common trend for keyboard players to emulate performing seals. And yet he has the power to transfix an audience, as he did throughout his Wigmore Hall recital, without the need for gratuitous showmanship or wild musical gestures. Austerity and sobriety are the names of his particular performing game, tempered by a compelling mix of passion and commitment to the broad repertoire within his command.” Andrew Stewart, The Independent, 10th January 1996

“Among the scholar-performers who have sparked and led the early music revival, surely none has played a greater part and exerted a more benificent influence on younger musicians and the public than Gustav Leonhardt. Harpsichordist, organist, conductor, teacher, musicologist and editor are all roles in which he has distinguished himself.” Howard Schott, The Musical Times, October 1992