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Concerto pour orgue op.58 - Concerto pour orchestre à cordes op.39 - Symphonie pour cordes op.3 / John Scott, orgue - BBC National Orchestra of Wales - Richard Hickox, direction
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By S. H. Smith
TOP 1000 REVIEWER
Format:Audio CD
Kenneth Leighton (1929-88) was born in Wakefield, Yorkshire, where he began his musical life as a chorister at the local cathedral before going up to Oxford in 1947, initially to read Classics. He first came to prominence as a composer with a clutch of impressive orchestral works, including the Symphony for Strings (1949), recorded here, and "Veris Gratia" for oboe, cello and strings (1950). Both these works were premiered by Gerald Finzi and his Newbury String Players. Leighton went on to hold a number of academic posts, including a long tenure as Reid Professor of Music at Edinburgh University.
The Symphony for Strings begins in sombre mood before a brisk, breezy central section, very much in the English string tradition, with an echo or two of Frank Bridge here and there. The second movement is a restrained lento which seems to sigh regretfully and contains some lovely solo passages. There is a more agitated middle section before the return to the opening mood. In the finale the shadows are lifted to conclude what, by any standards, is a remarkably confident orchestral effort for an Opus No.3.
The Concerto for Organ, Timpani and Strings (the scoring is that of Poulenc's concerto) dates from 1970. The first movement, "Lament", opens with three quiet chords on the solo instrument before the strings steal in softly. These chords are the germ of the whole work. There is a gradual growth of intensity as the timpani add weight to the proceedings until, after a climax, the tension is momentarily released. The second movement is full of jazzy syncopations in both organ and orchestra, reminiscent, at times, of the neo-classical Stravinsky. The extensive finale is a chorale and variations, beginning with a slow statement of the chorale.... Read more ›
The Symphony for Strings begins in sombre mood before a brisk, breezy central section, very much in the English string tradition, with an echo or two of Frank Bridge here and there. The second movement is a restrained lento which seems to sigh regretfully and contains some lovely solo passages. There is a more agitated middle section before the return to the opening mood. In the finale the shadows are lifted to conclude what, by any standards, is a remarkably confident orchestral effort for an Opus No.3.
The Concerto for Organ, Timpani and Strings (the scoring is that of Poulenc's concerto) dates from 1970. The first movement, "Lament", opens with three quiet chords on the solo instrument before the strings steal in softly. These chords are the germ of the whole work. There is a gradual growth of intensity as the timpani add weight to the proceedings until, after a climax, the tension is momentarily released. The second movement is full of jazzy syncopations in both organ and orchestra, reminiscent, at times, of the neo-classical Stravinsky. The extensive finale is a chorale and variations, beginning with a slow statement of the chorale.... Read more ›
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