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- Kenneth Leighton
Sonata for Four Hands (1985)
- Novello & Co Ltd (World)
Programme Note
Kenneth Leighton: Sonata Op. 92
(commissioned by Richard Markham and David Nettle with financial assistance from West Midland Arts)
The medium of two pianists at one keyboard is a very difficult one simply because, without 'doubling' for a good deal of the time, the texture can become over-complicated. However this piece is an attempt to compose a major work for a medium which has often been thought of mainly as a kind of household hobby or as a means for transcription. The work is in three movements and the musical thought is symphonic. The first movement (based entirely on the opening motive) goes through a series of paragraphs which eventually culminate in an extended melodic line played entirely by the treble player. The middle movement is a playful Scherzo with a rather sardonic waltz for its Trio. The slow movement (which comes last) is much more relaxed and concentrates on a D major motive with sharpened fourths, but the more intense moods of the first movement return in a suddenly impassioned middle section. A kind of equilibrium is arrived at in the final section with its contrapuntal strands and entirely diatonic approach.
(commissioned by Richard Markham and David Nettle with financial assistance from West Midland Arts)
The medium of two pianists at one keyboard is a very difficult one simply because, without 'doubling' for a good deal of the time, the texture can become over-complicated. However this piece is an attempt to compose a major work for a medium which has often been thought of mainly as a kind of household hobby or as a means for transcription. The work is in three movements and the musical thought is symphonic. The first movement (based entirely on the opening motive) goes through a series of paragraphs which eventually culminate in an extended melodic line played entirely by the treble player. The middle movement is a playful Scherzo with a rather sardonic waltz for its Trio. The slow movement (which comes last) is much more relaxed and concentrates on a D major motive with sharpened fourths, but the more intense moods of the first movement return in a suddenly impassioned middle section. A kind of equilibrium is arrived at in the final section with its contrapuntal strands and entirely diatonic approach.