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chan10608
Wydawnictwo: Chandos
Nr katalogowy: CHAN 10608
Nośnik: 1 CD
Data wydania: maj 2010
EAN: 95115160824
56,00zł
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Epoka muzyczna: współczesna
Obszar (język): angielski
Instrumenty: fortepian
Rodzaj: symfonia

Leighton: Symphony No. 1, Op. 42; Piano Concerto No. 3, Op. 57 Concerto estivo

Chandos - CHAN 10608
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DISC OF THE MONTH

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.

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