|CHAMBER MUSIC : Trio; String Quartet no. 1; Second String Quartet; Third String Quartet; Fourth String Quartet; 'Cello Sonata; Five Etudes.|
|CHORAL : Two A Capella Choruses for Mixed Voices.|
|BALLET : Lysistrata.|
About Ladislas Lajtha:
CONSTANT LAMBERT, one of the youngest of modern English composers and one of the most richly gifted, who is rapidly assuming an important position in modern music, was born in London on August 23, 1905. He was raised in an atmosphere essentially artistic. His father, George Lambert, was a well-known painter, and his brother, Maurice, acquired considerable prestige as sculptor. Culture, refinement and artistic sensitiveness were, therefore, the boy's heritage.
In his youth Lambert lived for an extended period in St. Petersburg where his grandfather operated a locomotive factory. At one time in St. Petersburg he seriously considered studying engineering. But his life-long passion and talent for music disrupted this plan. As a child, he had learned how to play the piano by experimenting before a keyboard, and even before he had been taught to read or write he had begun to dabble with composition. Obviously music was his native language and so, from the very first, he had been given a rigorous musical training at the insistence of his father who recognized the importance of solid technical background in an artistic career. Constant learned rapidly, and at the age of sixteen, upon his return to England, he entered the Royal College of Music where, under the guidance and inspiration of Vaughan Williams, Adrian Boult and Malcolm Sargent, he quickly ripened into an excellent musician. During his schooling days he continued to compose with fertile imagination, but his sense of self- criticism was so strong that he destroyed everything he produced almost as soon as it left his pen.
It was not until 1923 that he began to produce music which, for the first time, he deemed to be of sufficient merit to deserve preservation. In that year he composed Prize-Fight for a music-hall band, in which his very spicy and pungent idiom already strongly makes its presence felt. Obviously, all the composing which Lambert had done until now, and which he had destroyed, had not been in vain; for his first work reveals a thoro sureness with his idiom which could be only the result of long and painful experimentation. Two years later, Lambert met the great director of the Russian Ballet, Diaghilev, who glanced over the manuscript of Lambert's new work, an overture, The Bird Actors. Diaghilev was so deeply impressed with the music that he urged the young composer to prepare a ballet specifically for his company. This ballet, Romeo and Juliet--produced on May 4, 1926--first brought the name of Constant Lambert to the attention of the music world which was startled to learn that this remarkable score--so tech-