William Walton, born in 1902, was one of Britain's last great Romantic composers. A gifted musician, Walton grew up being nurtured by those around him. First by his Oxford choir director, and then by the plethera of teachers whom he studied with after. A great expirimentor, Walton did not achieve the initial fame and fortune other had enjoyed. One of his most famous works, Facade, written early in his career has only recently been accepted for the musical genius it was. Walton also wrote symphonic works, both large and small, that exemplify all that was romantic. His works are packed with emotion rising from defeat to triumph. Like the romantics before him, Walton also experiment with instrument combinations, but he also experimented with themes. A number of his most well-know works are based on the themes that were already famous - such as the Swiss Yodelling Song, based on the overture to Rossini's operaWilliam Tell.

The viola concerto, written in 1929, is one Walton's greatest musical efforts. He wrote a brilliant concerto for an instrument that does not necessarily have "The multi-faceted personality [of the violin]; and [cannot] always ride on top of the orchestra." (Christopher Palmer) He masterfully crafts the work to expose the viola's deep and emotional nature, and its uniquely brilliant tone. Walton never lets us know that the instrument in question has limitations. As an interesting sidenote, mentioned in the jacket of the CD this excerpt was taken from. The original concerto was orchestrated for a much more "Brahmsian" orchestra, that is, an orchestra lacking harp, percussion, etc. Following the advice of one of his editors, Walton expanded the orchestral accompianment in the early 60 to the orchestration we hear today. The original orchestration was never withdrawn, but Walton himself expressed a preferance to the latter.

Even though the opening Andante comodo lacks the traditional cadenza, it remains short and to the point. Sticking to a strict sonata-form, the movement does not linger in either the development or the exposition and the movement stays rather subdued dynamically.

The Vivo, written as a scherzo, is the most exciting movement of the work. It's playful and imaginative runs and rhythms serve to delight the listner's ear and the movement climaxes with a forte tutti section dominated by the horns.

Concluding in grand style, Walton allows his solo instrument free-reign. Three grand themes wander their way throught the piece and a magnificant coda, complete with the main theme from the first movement, closes out this wonderful concerto.

Click Here for the Sound Byte (note to Will - choose sound clip)

The soloist for the concerto is Nobuko Imai with the London Philharmonic, conducted by Jan Latham-Koening, on the Chandos lable. The disc is full-priced and revieved a three star rating in the most recent Penguin Guide. Others works on the disc are the Sonata for String Orchestra and Variations on a theme by Hindemith. A more full review will be added shortly. Return to Reperatoire and Sound Clips page.