Kenneth Leighton: Burlesque, op.19 (1959)

In the past 30 years, much of Kenneth Leighton’s catalogue has been recorded, including all the organ works, the three symphonies, and choral music. Sadly, there are still gaps in this repertoire. One of the missing numbers is the vivacious Burlesque, op. 19 which epitomises Leighton’s balance of humour and sophistication. Fortunately, a broadcast recording from (probably) the BBC has been uploaded to YouTube, here. Colin Davis conducts the BBC Scottish Symphony Orchestra.

Kenneth Leighton (1929-1988) was a notable British composer and pianist as well as a professor of music. Born in Wakefield, Yorkshire, on 2 October 1929, he showed early musical talent and became a chorister at Wakefield Cathedral. Leighton studied Classics and Music at Oxford, where he was mentored by Bernard Rose and later by Gerald Finzi. He won the prestigious Mendelssohn Scholarship, which allowed him to study in Rome with Goffredo Petrassi.

Leighton's compositions spanned various genres, including church and choral music, pieces for piano, organ, cello, oboe, chamber music, concertos, symphonies, and an opera. He held academic positions at the Universities of Leeds, Oxford, and Edinburgh, where he was appointed Reid Professor of Music. His opera St Columba and other works reflect his deep love for Scotland's landscape and Celtic traditions. Kenneth Leighton died in Edinburgh on 24 August 1928.

In music, the term "burlesca" (or "burlesque") refers to a work that is light-hearted, playful, and often comic. Originating from the Italian word "burlesco," which means jest or mockery, a burlesca typically incorporates witty, lively, and whimsical elements. It often uses unexpected twists, contrasting themes, and playful rhythms to entertain and amuse the listener. Examples of the genre would include Bartok’s Scherzo Burlesque, Richard Strauss’s early Burleske in D minor for piano and orchestra and the fifth movement of J.S. Bach's third Partita, in A minor, BWV 827.

Kenneth Leighton’s Burlesque for orchestra was written during the Spring-Summer of 1957. On the Wise Music website, the composer is quoted as stating that "There is no programme to it. It sets out simply to express feelings of exuberance and sometimes playfulness with a good deal of orchestral brilliance, as I hope!". The following note then explains that “There are two main ideas, the first is a fast rhythmic motive given out at once by the strings, punctuated by loud brass chords. A brass fanfare contributes a subsidiary idea, and these two themes are immediately given rhythmic development. The second main theme, entering at the peak of a climax on the horns, is a broader tune marked ardente. The piece follows roughly the design of classical sonata form, but there is an extended Coda, in which the second broad theme achieves a final transformation on full brass. There is a good deal of antiphonal treatment in the orchestration.”

The premiere performance was given during a Promenade Concert on 3 September 1959. The BBC Symphony Orchestra was conducted by Leighton. This concert was packed with music. It opened with Elgar’s Introduction and Allegro, before Witold Malcuzynski played Franz Liszt’s Piano Concerto No.2 in A major. Before the interval Prommers heard Jean Sibelius’s Symphony No.2 in D major. Refreshed, the second half began with Leighton’s Burlesque, followed by piano solos. The concert concluded with Antonin Dvorak’s Carnival Overture. The other conductors that evening were Malcolm Sargent and Maurice Miles. The concert was broadcast on the BBC Third Programme.     

The Daily Telegraph (4 September 1959, p12) critic “J.W.” refers to the Burlesque as a “prom titbit.” Despite the work’s nods to Bartok’s Concerto for Orchestra and William Walton’s overtures, Leighton saw that the “the orchestra is put through these hoops with many a crack of the whip.” On the downside, he considered that “jollity without a strong personality behind it has a shadow ring, and it is difficult to feel that this piece has resulted from an over brimming of personal high spirits.” Despite this the BBC Scottish Symphony Orchestra played “brightly for the composer.”

The score was published by Novello in 1960. Stephen Plaistow (Musical Times June 1961, p.373), reflecting on some recently published scores, suggests that Leighton has avoided any search for his “individual voice.”  In fact, in the Burlesque, he “shelves the problem and gives the impression of marking time as far as individuality is concerned.” This would not be deemed a problem nowadays. Plaistow notes that the piece “owes much to Walton of the Portsmouth Point and Johannesburg Festival overtures” and has “strong, bright colours and exhilarating rhythmic variety.” Finally, he thinks that it has “solid workmanship” and “restrained scoring,” which give it an “engaging unpretentiousness.”