Press Notices
Robert
Coleman, The Tribune
SEATTLE “… Cleobury’s playing was
distinguished throughout by an attention to clarity. At the same time, the music felt
astonishingly alive … Human emotions came enhanced through this aliveness … one
needed no title to hear sadness, even grieving in the music, and thoughtfulness
and helpfulness as well, through Cleobury’s interpretation. Bach’s Prelude and Fugue in C … was an
essay in heartfelt joy and overflowing happiness. Majesty, smoothness, sonorousness and depth
made their appearance, too – qualities one expects from a great organ – but
Cleobury often achieved them without resorting to the loudest stops on the
instrument. He did, though, use the
softest, and it was amazing to hear this huge organ sounding so gently,
floating the tone. The sound of one of
the lowest stops on the organ opening Rheinberger’s Introduction and
Passacaglia … could have been a bear stirring from sleep. The soft, furry, deep notes of the phrase
continued, then repeated themselves in endless permutations as the harmonies
built up in a fabulous structure overhead, all made clear for the listener to
follow and understand. This is at least
part of Cleobury’s art. He elucidated
the music for us.”
Philippa
Kiraly, Seattle Post, March 29, 1999
EDINBURGH (St. Giles’
Cathedral) “As the series of celebrity
organ recitals gets underway – this latest by Stephen Cleobury ... – more and
more facets of this fine instrument are revealed. … from the very first notes,
the all-enveloping directness and power of the new organ was immediately
apparent. ... Kenneth Leighton’s Prelude Scherzo and Passacaglia ...
felt just right. … Jongen’s Sonata Eroïca [was] a real virtuoso
showstopper whose ever-present theme is subjected to increasingly extravagant
variations. Just when you think that the
organ simply can’t get louder, it does, producing sounds that go straight to
the backbone and make the hairs on the back of your neck stand up on end.”
The
Scotsman, June 25, 1992
BELFAST (Belfast Cathedral) “The present season of organ recitals reached a splendid
climax last night when Stephen Cleobury, Director of Music at King’s College,
Cambridge, gave a memorable recital in St Anne’s Cathedral. It is to Mr Cleobury’s credit that he
overcame all problems of organ placement and echo with surprising ease, while
his handling of the resources was exemplary.
Indeed, not since the splendid recital on this organ in its old position
many moons ago by Jeanne Demessieux, has any recitalist been so successful in
this respect. … The evening reached a superb climax in the Liszt Prelude and
Fugue, a spectacular performance by any standards. Technically, this was masterly and the rising
excitement and thrust of this virtuoso account of a masterpiece rightly aroused
the audience to a high degree of enthusiasm.”
Rathcol, Belfast Telegraph, June 26, 1993
“Never one to miss an opportunity to hear two
of my favourite artists, Stephen Cleobury, organist of King’s College,
Cambridge, and the Jaques Loussier Plays Bach Trio, even if performed
simultaneously, the problem was solved by first hearing the former on the
Ulster Hall’s Mulholland Organ and then migrating to the Opera House in time to
take in the second part of the Loussier programme. Cleobury’s excellent programme embraced both
popular and lesser played works, with a common denominator with Loussier in the
presence of a major work by Bach, in this case the Prelude and Fugue in G,
a performance that displayed both music and player to best possible advantage.
Gigout’s Toccata in B minor demands brilliant treatment and this was a
stirring performance. There was a
suitably relaxed contrast in Jongen’s charming Chant de Mai, while the
dissonance of Messiaen’s La banquet célèste brought us cleverly into
this century with a subtle use of tone colours.
An old friend, Mendelssohn’s sixth sonata, displayed the organ’s
resources in a very happy light in a fine performance, while the recitalist’s
splendid technique, and rock-like stability of rhythm, allied to the organ’s
brilliant resources … all made Mulet’s Carillon-Sortie a tour de force.”
Belfast
Telegraph, March 29, 1995
“The first Ulster organ
recital of the New Year brought a visit from Stephen Cleobury ... The evening
got off to a brilliant start with the ever-popular Liszt Prelude and Fugue
on B.A.C.H., a performance that immediately raised the spirits … Some of
the finest playing of the recital came ... with Franck’s well known third
Choral, followed by a really atmospheric and splendidly played account of
Messiaen’s Dieu parmi nous. Here
the full gamut of the instrument’s possibilities was fully explored.
Rathcol, Belfast Times, January 12, 1988
COLUMBUS,
GA “…played with a
blazing technique which confirmed what the listener knew from the beginning of
the programme: Stephen Cleobury is a first-class artist.”
Columbus
Enquirer
OXFORD (Christ Church
Cathedral) “On Sunday evening, his [SC’s] finely-balanced programme was the
more vivid for the exceptional clarity of every feature. The wholesome vigour
of a Prelude and Fugue in G minor by Buxtehude was followed by the
subtle energies of the Kyrie from the “Messe pour les Paroisses” by
Couperin. Hindemith’s Sonata no. 1
was an exhilarating contrast in purpose and style. Liszt’s Variations on
‘Weinen, Klagen, Sorgen, Zagen’ drew wide expressiveness from Mr Cleobury.
..Bach’s Fantasia and Fugue in G minor [was] lucid and magnificently
delivered.
The
Oxford Times
“Stephen Cleobury plays a recital at King’s College Chapel, Cambridge. The restored Harrison and Harrison instrument
is magnificently recorded … and an award of five stars to Stephen Cleobury for
brilliant playing on an unashamedly popular and delightful programme.”
Church
Music Quarterly on “The Splendour of King’s”
“Stephen Cleobury’s playing of Elgar’s two organ sonatas … brings out
the majesty of the music and conjures most beautiful effects from the organ
which sound entirely appropriate.”
The
Gramophone (Critic’s Choice)
“An irresistible golden opulence pervades this recording, the centrally
placed organ pouring forth nobilimente for all it’s worth. [In] the second movement of the G major
Sonata…Stephen Cleobury dips his fingers into the orchestral magic. … Elgar
certainly sounds good at King’s and Cleobury leans into the broad phrasing,
coaxing rather than driving. … There are lot of melting moments too. Listen to the solo flutes spilling liquid joy
in the cadenza … The almost unbearable nostalgia of the Imperial March …
depends as much on the ebb of swift fades as it does on vivid crescendos. These are done so well that one might think
Elgar wrote the work for organ. And
Harris and Cleobury between them manage to make the organ weep in Nimrod
with manlier tears than any orchestra would permit. … An indispensable
indulgence for those whose throats tighten when Elgar speaks at his most direct
– and for those who can’t get enough of the sound of this instrument in its
heavenly environment.”
Gordon
Reynolds, The Gramophone, on Elgar disc
(Nimrod arr. by Harris)
“…this [new recording] is certainly the finest to come in my direction
not only musically, but also technically. … it doesn’t sound like a
recording! There is a feeling of
presence that captures the King’s acoustic in a quite uncanny way … It is the
overall structure of the piece [the G
major Sonata] that emerges most strongly in Cleobury’s playing, enhanced by
skilful changes of registration and imaginative phrasing. In many performances
the central movements sound too similar with little distinction between their
moods. Cleobury allows the 2nd
movement to flow forward at a swiftish pace, much to its advantage, contrasting
it with a serious view of the 3rd.
The ppp tranquillo section is
breathtaking, the whole a portent of slow movements to come. For me organ
transcriptions of orchestral works remain expedients rather than preferred
versions but I have to admit that Cleobury’s account of Nimrod has a striking
eloquence and makes a deep impression.”
Michael
Woodward, Elgar Society Journal
“This is one of the outstanding organ records of the year.”
The
Organist’s Review
“His sensitive and intelligent reading of the Franck Grande Pièce
Symphonique is a model of well-rounded phrasing while Duruflé’s Suite’s
inbuilt contrasts between introspection and almost savage brilliance give
further scope for performance of a high order.”
Musical
Opinion
“I’m so pleased that the “Great European Organs” series on the Priory
label has King’s College, Cambridge, for its No. 1. It has an aura all its own. Its rich warmth, haloed by golden mixtures,
sails on a different ocean from the sterner vessels of the neo-classic line,
and it rejoices to tremendous effect in such a colourful programme as this. And what a start Reger’s Dankpsalm makes,
its pedal line especially digging into incredible depths. Mendelssohn billows in, dressed overall with
shining colours in his upperwork – and even his fugal divisions are
individually spruced as for an Admiral’s inspection. Mozart’s Fantasia is reasonably scaled
down in deference to its original mechanical destination (it too often sounds
like an eighteenth century air raid ...) and the charm of its long fluted
passages maintains enchantment throughout. Karg-Elert is treated with abundant
majesty and Hindemith gains a great deal from colourful treatment and an
edge-softening acoustic. It is, of
course, Stephen Cleobury who is the weaver of all these spells (it’s too often
the organ and the building which gets all the credit here) and anyone requiring
further proof of his abilities to thrill and enchant should play the Liszt Variations
over and over again until further notice.”
Gordon
Reynolds, The Gramophone
“A brief note now of the only organ record for inclusion in this
quarter (and considering its very high standard, perhaps deservedly so). In the “Great European Organs” series, Priory
have released on CD Stephen Cleobury’s recital on the organ of King’s College,
Cambridge ... this is a performance to please addicts, and to make new
converts. A marvellously engineered
release, glowing with warm, delicious sounds.”
John
Garmonsway, Church Music Quarterly
“Cleobury’s vaguely dispassionate approach, letting the music speak for
itself – not to mention his absolute faithfulness to the letter of the score
and his adept handling of this lovely instrument – pays handsome dividends in
remarkably compelling performances of what can so often sound like mere mood
music. A first-rate start to Priory’s
projected series.”
Gramophone
Review on Howells CD
“The Westminster Abbey organ is ideal for ceremonial music and Cleobury
plays these stirring pieces with panache as well as an assured sense of style,
making this a highly enjoyable record.”
Music
and Musicians on album of Wedding Music