Walter Leigh first studied composition at Cambridge University under Dent; later at the Berlin Hochschule fur Musik under Hindemith. The two dissimilar experiences (though perhaps not all that dissimilar, for Dent and Hindemith both had lively minds transcending their immediate academic surroundings!) gave Leigh a wide-ranging view of composition. He never, though, reached full maturity, killed in action in the Western Desert in 1942.
There was, however, time for one major keyboard work, the Concertino for harpsichord (or piano) and strings. This piece does not appear here although it has been recorded in the past. Instead, the piano is featured as both soloist and accompanist. The predominantly light to lightish style of the music involves shorter durations than usual, ranging from 21 seconds (the second shortest movement in music?) up to a Brucknerian 7'31''. This last is a song from a collection (not a cycle) of such things; during the course of the collection many styles can be identified in the sources: a touch of the antique for Shakespeare, a touch of the music-hall for Clinton-Baddeley. But, of course, more than a touch of Leigh himself throughout. It is indeed a splendid song-collection, in which Elizabeth Nash and Sarah Down distinguish themselves.
There is variety, too, in the piano music; and not only in the number of pianos used, which varies from one to three (very well written for, as it happens). Here, too, there is much distinction in the playing, as well as much variety in the style of the music: some written—wholly successfully—for serious adults, some for not quite so serious children, and some presumably for dancers, as well as for listeners. Everywhere the very varied music is beautifully played, and most acceptably recorded. Perhaps, though, the disc's booklet, informative about the artists, could usefully have given more information about the music itself.'