Kenneth Lieghton Orchestral Music, Vol. 3 Martyn Brabbins & Fabien Gabel

• Kenneth Leighton (1929 - 1988): Symphony No. 1, Op. 42 (1963-64):
• 1 Leighton: I. Lento ma non troppo - Movendosi un poco di piu - Piu sostenuto - Ardente - Piu largo. Maestoso e sostenuto - Tempo giusto alla fine - 11:36
• 2 Leighton: II. Allegro molto ed impetuoso - Piu animato - Molto cantabile 08:21
• 3 Leighton: III. Molto adagio e sostenuto - Piu sostenuto - Declamato - A tempo. Sempre sostenuto - Sostenuto - Tempo giusto 15:34
• Concerto No. 3, Op. 57 'Concerto estivo' (1969):
• 4 Leighton: I. Introduction and allegro. Lento maestoso - 13:00
• 5 Leighton: II. Pastoral. Adagio, delicato e lontano - 11:54
• 6 Leighton: III. Final Variations. Allegro molto e brillante 12:06
• Total Runtime 01:12:31

Info for Kenneth Lieghton Orchestral Music, Vol. 3

This is the third volume in Chandos’ latest championing of the music of Kenneth Leighton, presenting two further premiere recordings. The previous volume, including Symphony No. 2 (Sinfonia mistica), received tremendous critical acclaim, earning a Rosette in the latest Penguin Guide to Recorded Music. It was a Critic’s Choice in the December 2009 issue of Gramophone, Andrew Achenbach writing: ‘Chandos’ most valuable exploration of Kenneth Leighton’s large-scale output continues with this exhilarating coupling… Miss at your peril.’ International Record Review wrote: ‘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.’

This latest volume includes the very successful First Symphony, completed in 1964, which won first prize in the 1965 City of Trieste international competition for a new symphonic work. It received its British premiere in October 1967 with the Royal Liverpool Philharmonic Orchestra conducted by Charles Groves. In three movements, it is the only Leighton symphony to employ purely orchestral forces. The composer says that the opening movement ‘sets a mood of elegiac lyricism, and eventually becomes a strong, even desperate protest’, while the second movement, a vibrant scherzo, ‘loosens the reins, and on a spirit of rebellion seeks to arrive at an affirmative answer by sheer force of will’. He describes the final movement as the ‘expressive essence of the symphony… a movement of great beauty’.

The Third Piano Concerto was written in 1968 when the composer succeeded Edmund Rubbra as a fellow of Worcester College, Oxford. Leighton wrote: ‘On the whole the music is more relaxed, more lyrical, and certainly more tonal than that of the previous two piano concertos. And there is also much less emphasis on counterpoint and more on vertical sonorities. Its three movements follow the traditional fast – slow – fast form.’ The central Pastoral evokes ‘the warmth and stillness of a long hot summer afternoon… with a more agitated and dance like central section’. The final movement comprises a set of variations, based on the main theme of the work.

One of the most famous and recorded of pianists in the world today, Howard Shelley receives unanimous critical acclaim for his many recordings, whether on Chandos or other labels. Like the conductor, Martyn Brabbins, he has championed much rarely performed repertoire, this disc being only his his latest example.

“Shelley proves a marvellously stylish, involving exponent and is backed to the hilt by Brabbins and the BBC NOW. Chandos's sound and balance, too, are beyond reproach.” (GRAMOPHONE)

BBC National Orchestra of Wales
Martyn Brabbins
Howard Shelley, piano

KENNETH LEIGHTON (1929-1988)
Symphony No. 1, Op. 42 (1963-64)
I Lento ma non troppo - Movendosi un poco di più - Più sostenuto -
II Allegro molto ed impetuoso - Più animato - Molto cantabile -
III Molto adagio e sostenuto - Più sostenuto - Declamato - A tempo.
Concerto No. 3, Op. 57 'Concerto estivo' (1969)
for Piano and Orchestra
I Introduction and allegro. Lento maestoso - Con moto, dolce e ritmico -
II Pastoral. Adagio, delicato e lontano - Intenso - Molto adagio.
III Final Variations. Allegro molto e brillante - Più largo, ma tempo giusto sempre -

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