A thoughtfully designed Walton ‘concert’ – overture-concerto-symphony – superbly recorded, opening with the brilliant Scapino (1941 for the Chicago Symphony and Frederick Stock), its masterly composition matched by a performance of agile rhythms, vivid colours, and sensual expression, as well as relishing the music’s capacity for comedy, such as a witty bassoon solo from 6:12. The great First Symphony is less successful. That said, the first movement is gripping, with plenty of bite, attack and snarl, passion and purpose, details freshly considered, intensely driven forward, and emotionally searing, to a not-bad timpani stroke (13:10, if not as loud-struck as on Haitink’s Philharmonia recording, almost certainly the handiwork of Andrew Smith, and stunning on Leonard Slatkin’s LPO taping, probably Russell Jordan). The third movement flows nicely for its Andante marking if maybe not (as prescribed) melancholic enough, nostalgic certainly, and ravishing. The second movement is short of the identified malice, rather balletic, with highpoints underplayed (2:55-3:01, for example), and the Finale is rushed from the beginning (the opening Maestoso marking made meaningless), the music pushed through with little sense of achievement (including that Walton had finally completed the work; the first three movements had already been played) and with the piccolo hardly audible from 7:50. The remainder is somewhat inconsequential.
Alongside Scapino, this account of the elusive Cello Concerto is however a must-have, beautifully played and sounded by Jonathan Aasgaard, his notable technical address, and particular sensibilities, serving wonderfully this, at times, bittersweet work, written for Piatigorsky, and also U.S.-premiered (Boston, Charles Munch conducting, and then recorded by RCA). No shortage of virtuosity from Aasgaard for the demanding second movement and in which soloist, conductor and orchestra display exemplary teamwork, similarly in the can-be-discursive Finale, ‘Tema ed improvvisazioni’, holding interest throughout its unusual design, whether cello and orchestra, cello alone, or orchestra alone: not to be missed on Chandos CHSA 5328 [SACD].
https://www.chandos.net/products/reviews/CHSA%205328
I grew ip listening to Zino Franescatti in the Walton Violin Concerto.
Highly regarded for his lyrical tone and virtuosic style in his day, he relishes the sunshine in the music and promotes what is generally regarded as an “English” concerto to the long list of other superb “international” violin concertos from the 30’s.
He deserves a higher profile today. Perhaps a reissue of Walton’s fabulous concerto.