Leighton's Cello Concerto
was begun in 1955 and completed the
following year. It is cast in three
movements though the layout is rather
unusual, the slow movement being placed
third, The opening Moderato is
immediately followed by a nervous Scherzo
that precedes the long slow final
movement, Although the sleeve-notes
do not say anything about the background
of the composition of the work, one
is left with the impression of a very
personal, intimate utterance. The concerto
is impressive, powerfully lyrical but
Leighton's lyricism is very tense, uneasy
with a good deal of bitterness and moments
of violence. It undeniably belongs among
Leighton's best works,
Leighton wrote three
symphonies, though only one, Symphony
No. 1 Op. 42 (1954) is purely orchestral.
Symphony No. 2, Sinfonia Mistica
Op. 69 (1974) is for soprano, chorus
and orchestra while Symphony No. 3 is
for tenor and orchestra. It sets texts
by Sir Thomas Browne, Elizabeth Barrett
Browning, Shelley and the composer.
Browne's text in the first movement
is framed by a short verse by Leighton.
As the title implies, the texts are
concerned with the art of music. The
character of the first movement is mainly
one of luminosity of texture and
sensation of light (Lewis Foreman).
The second movement, setting Browning's
‘Hymn to Pan’, is really the symphony's
scherzo which disrupts the contemplative
nature of the first movement. It appropriately
includes an important part for flute.
The final movement is again slow, setting
Shelley's Music when soft voices
die. It has a slow introduction
of Mahlerian grandeur and intensity
leading to the short vocal interlude
on Shelley's poem, The initial passion
is then resumed and slowly quietens
down to a consoling finale.
All the participants
perform this music with conviction and
commitment. This is probably one of
the most beautiful records devoted to
Leighton's music and a significant tribute
to a very distinguished composer. One
hopes that it will lead to the recording
of Leighton's earlier symphonies and
some of his concertos, especially his
Piano Concerto No. 3.
Hubert Culot
see also review
by Rob Barnett
Raphael Wallfisch (cello) 
