Auto boutiques-francophones Simple and secure cloud storage Personal Care Cook Music Deals Store NFL Barbecue
CDN$ 26.63 + CDN$ 3.49 shipping
In Stock. Sold by @ ALLBRIGHT SALES @
+ CDN$ 3.49 shipping
Used: Very Good | Details
Sold by Vanderbilt CA
Condition: Used: Very Good
Comment: VERY GOOD Condition CD. Includes all Artwork & Packaging. Ships from New York. Please allow 5-15 business days. Friendly Customer Service.
Compare Offers on Amazon
Add to Cart
CDN$ 26.62
+ CDN$ 3.49 shipping
Sold by: Vanderbilt CA
Have one to sell? Sell on Amazon

Symphony 3 / Cello Concerto Import

Price: CDN$ 26.63
Only 1 left in stock.
Ships from and sold by @ ALLBRIGHT SALES @.
3 new from CDN$ 26.62 4 used from CDN$ 21.80

Product Details

1. Concerto For Cello And Orchestra Op. 31: I. Allegro com moto - Meno mosso
2. Concerto For Cello And Orchestra Op. 31: II. Scherzo And Trio: Allegro molto e ritmico (il piu presto possible) - Moderato e dolce
3. Concerto For Cello And Orchestra Op. 31: III. Lentissimo: molto sostenuto
4. Symphony No.3 'Laudes Musicae' For Tenor Solo And Orchestra: I. Adagio molto - Allegro con moto
5. Symphony No.3 'Laudes Musicae' For Tenor Solo And Orchestra: II. Scherzo: Allegro molto e scherzoso
6. Symphony No.3 'Laudes Musicae' For Tenor Solo And Orchestra: III. Finale: Adagio molto e sostenuto

Product Description

Leighton (1929-1988) wrote a kind of rigid neo-romanticism, very much in the tradition of the British composers of his generation, i.e. Arnold, Walton, and Finzi. Leighton's Concerto for Cello and Orchestra (1955) is a morose, introspective work wherein the cello weaves in and out of tonal (and sometimes atonal) background characterizations of the orchestra. Leighton's Symphony 3 (1984), subtitled Laudes musicae, is for tenor and orchestra, with the verse provided by the composer. Here, the words "sing," "singing," and "praise" are extended by melismatic phrases. The symphony is about art and music, and is quite contemplative. A surprise masterpiece. --Paul Cook

Customer Reviews

There are no customer reviews yet on
5 star
4 star
3 star
2 star
1 star

Most Helpful Customer Reviews on (beta) 2 reviews
3 of 3 people found the following review helpful
Startling Dec 23 2008
By David Saemann - Published on
Verified Purchase
Kenneth Leighton was an English composer who spent most of his adult life in Scotland. When he died in 1988, this CD was recorded a few months later as a tribute album. It is haunting music. The Cello Concerto was premiered when Leighton was 26. It is a dark and brooding work, centered on a few recurring motifs in the cello part. It is not an easy work to play, and Raphael Wallfisch is an excellent advocate for the piece. The Third Symphony comes from some years later. It is a far less thorny, more euphonious piece. It contains settings of words by Sir Thomas Browne, Elizabeth Barrett Browning, Shelley, and the composer himself, all on the subject of music. Hence the title, The Praise of Music. The vocal line is given to a tenor, and it is highly reminiscent of Britten's operas. Neal Mackie was the soloist at the premiere, and he does a fine if sometimes taxed job on the lyrics. Throughout the CD, Bryden Thomson generates the kind of excitement in the orchestra that he always seemed to bring to British music. The sound engineering is good, if a little too resonant. I bought this disc to add to my understanding of Bryden Thomson's repertoire, but you would be well advised to buy it for the composer, too.
3 of 3 people found the following review helpful
Inventive "Neo-romantic" Oct. 24 2010
By Sturgis - Published on
I am writing this to second Mr. Saemann's insightful review (above) and to counter Paul Cook's snide and contradictory review printed in the product information above. Mr. Cook describes Leighton's work as "rigidly neo-romantic" and the cello concerto as "morose", only to go on to describe the concerto's tonality as shifting. I will concede that Leighton's musical vocabulary can seem limited to modernists, but the real issue is what he, like Finzi with whom his work is frequently coupled, does with that vocabulary. The work of both composers requires careful and repeated listening (as does the work of many modernist composers) to give up its particular pleasures. The English "pastoral" school of music is to my mind at least as valid a response to the horrors of the twentieth century as the abrasiveness of neo-classicism, atonality, and serialism. Let's not short change ourselves with categorical judgments.