The present release
is the logical sequel to the Edinburgh
Quartet’s recording of Leighton’s works
for string quartet (Meridian CDE 84460
which I
reviewed here some time ago).
The Piano Quintet
Op.34 of 1959 is the largest
piece here as well as the richest and
weightiest in musical substance, although
it must be said that Leighton’s music
is never indifferent. In his music,
form, substance and will to communicate
go hand in hand; communication is at
the very heart of his music. The technical
and formal aspects of his music are
only a means by which to achieve communication
in the best possible way. The Piano
Quintet and the other works here are
no exceptions. As is often the case
with Leighton’s music, the work is based
on limited material which is constantly
varied and expanded, mostly in variation
form. This helps maintain a strong thematic
and stylistic coherence throughout,
although the composer’s resourceful
handling of his basic ideas also brings
considerable contrast. The Piano Quintet
is in four movements of which the first
one, Allegro con moto, is roughly
cast in sonata form. It is followed
by a beautiful, mostly elegiac, slow
movement, although it again has its
share of contrast and tension, particularly
so at the powerful climax. It nevertheless
ends in ethereal mood. This is disrupted
by a short, nervous Scherzo. The final
movement is cast as a Passacaglia, a
form to which Leighton often returns
This allows for a progressive build-up
to the majestic restatement of the opening
motif.
The Piano Trio
Op.46 is another major work
that has recently been recorded (Dutton
CDLX 7118 also reviewed here some time
ago). It is in three movements of fairly
equal length, though ending with a weighty
Hymn. The opening Allegro con moto
rises to some intense climaxes, and
its accumulated tension finds outlet
in the central Scherzo. The final Hymn,
following without a break, progressively
dispels the energy and fury of the preceding
movements to end in a peaceful, consolatory
coda.
The subtitle (Contrasts
and Variants) of the Piano
Quartet Op.63 gives a fairly
good idea of what the music is about.
This set of variations moves through
different moods, including a slightly
ironic Alla valzer: ironico and
a Presto precipitoso in which
the music almost disintegrates into
chaos; but the work – again – closes
with a hymn-like section. However, things
are never as simple as that, as far
as Leighton’s music is concerned. Indeed,
the hard-won peace is once again briefly
shattered by two violent, dissonant
chords before peace and calm are finally
restored.
Although a number of
major works (mostly orchestral) are
still unrecorded, Leighton’s discography
is slowly but steadily expanding, and
with it our appreciation of the considerable
achievement of this distinguished composer
whose honesty and sincerity command
respect.
Excellent performances
by artists who clearly have the full
measure of the music, illuminating and
detailed notes by the excellent pianist
Robert Markham and fine recording, if
a bit on the dry side. I cannot but
give the warmest recommendation to this
most welcome and really superb release
that no Leighton fan will want to miss.
Hubert Culot
Robert Markham (piano); Edinburgh Quartet 