Kenneth Leighton (1929-1988)

[albion]

I've not got round to him yet, but I'm aware that Chandos began a mini-series devoted to Leighton under the late-lamented Richard Hickox (continued in a third volume under Martyn Brabbins), which neatly complemented an earlier Bryden Thomson recording -





The Cello Concerto was a work first heard at the 1956 Cheltenham Festival and the symphonies sound very interesting, especially the large choral No.2. Have any members acquainted themselves with Leighton's music? 

[Alan Howe]

I've been tempted, but never got round to him. Can anyone characterise his music, please?

[Lionel Harrsion]

I was lucky enough to study with Kenneth Leighton in the early 1970s at Edinburgh.  I should characterise his music as tonally based though chromatic, and rather conservative and intellectually rigorous so far as structure is concerned.  I think his instinctive viewpoint is fundamentally contrapuntal but underpinning it all is a sort of muscular romanticism and the result, however complex it might be, is intensely lyrical.  The only piece of modern music ever to reduce me to tears was a performance in about 1973 of Leighton's Piano Trio op 46 (of which there is a fine performance by Lorraine McAslan (vln) Andrew Fuller (vc) Michael Dussek (pno) on Dutton).  Because of my personal connection I may not be entirely objective but I think his music is both beautiful and significant.

[albion]

Lionel, many thanks for this heart-felt appraisal: subjectivity is definitely no barrier to appreciation or advocation. The reviews of these discs at musicweb have also been very positive so I think I will simply have to investigate further (i.e. get the card out again). 

[Alan Howe]

Yes, that's a very helpful pointer, Lionel, thank you - and all the better for the personal connection. I'm very grateful. Now, next question: of the orchestral CDs available, where should I start?

[jimmattt]

Alan, you will NEED them all, now won't you, start with the organ concerto, my favorite, but his symphonies are wonderful, so just get them all, and hope for more.

[Alan Howe]

I may eventually need them all, but I'd still like to know where to start...

[Lionel Harrsion]

Alan, personally, I'd start with the Sinfonia mistica but don't take my word for it: 'I cannot do better than urge this new release on all those with ears to hear. For Leighton's Sinfonia mistica is, I humbly submit, indeed a masterpiece.' (International Record Review)

[Alan Howe]

Many thanks, Lionel!

[febnyc]

I am happy I did not start with the Sinfonia mistica.  Had I done so I would have given up on Leighton.  I found the work grating and the soprano's voice screechy and hooty - or, perhaps it was the mundane nature of the vocal parts which sounded like "Johnny McDonalds," songs made up on the spot and thrust into the breach.

I could not even get through the entire piece, but shut it down after a couple of movements howled by me.  I would reserve my definition of a "masterpiece" for other things.

Anyway, prior to hearing this disappointing Sinfonia, I was quite partial to Leighton's First and Third, the Piano Concerto and the Cello Concerto.  I think one has to be enamored of the human voice in any aspect to enjoy the Second and this is where I miss the point.