Composer: William Walton
Works: Viola Concerto (1929), Belshazzar’s Feast (1933), Façade – Suite No. 1 (1926), Façade – Suite No. 2 (1936)
Performers: Frederick Riddle (viola), Dennis Noble (baritone), Huddersfield Choral Society, London Philharmonic Orchestra, London Symphony Orchestra
Recording: 5 Mar 1936, 25 Oct 1938 (Façade), 6 Dec 1937 (Concerto), 3, 10 Jan 1943 (Belshazzar’s Feast)
Label: Pearl GEM 0171
William Walton, a towering figure in 20th-century British music, left an indelible mark on the landscape of orchestral and choral composition. The present collection, featuring Walton conducting his own works, serves as a fascinating retrospective that illuminates not only the composer’s stylistic evolution but also the vibrant musical milieu of the early 20th century. The selections span over a decade, from the jazzy, cabaret-inspired “Façade” to the grand, monumental “Belshazzar’s Feast,” encapsulating the diversity of Walton’s output.
The performances captured here merit close examination, particularly the interpretation of “Façade,” which emerges as a work of remarkable stylistic juxtaposition. Walton’s orchestration is brilliantly executed by the London Philharmonic Orchestra, whose vibrant palette brings to life the work’s inherent contradictions—jazziness collides with classical sophistication, creating an atmosphere reminiscent of a roaring 1920s soirée. However, one could argue that the work’s cleverness occasionally overshadows emotional depth, leaving moments feeling a touch superficial. The performances are lively, but the interpretative choices seem to lean towards an exuberant display rather than a profound exploration of the underlying themes.
The recording quality presents a dual-edged sword; while the context of the 1936 and 1937 sessions is acknowledged, the sound remains surprisingly robust for its age. The brass sections resonate with a boldness that occasionally borders on distortion, particularly in the opening bars of “Belshazzar’s Feast,” where the anvil clangs with an unsettling intensity. Yet, this raw energy is matched by the choral contributions from the Huddersfield Choral Society, who deliver an impressive blend of clarity and power. The textural richness of the choral parts is noteworthy, though the absence of printed lyrics in the booklet is a missed opportunity for listeners to fully engage with Walton’s vivid word painting.
Particular attention must be given to the “Viola Concerto,” which, while perhaps not as illustrious as Walton’s more expansive orchestral works, offers a unique insight into his lyrical capabilities. Frederick Riddle’s interpretation is marked by a gentle lyricism that contrasts with the more angular phrasing often associated with this piece. The recording demands a careful adjustment of volume to appreciate the nuances, revealing a mellowness that may not fully capture the ‘bite’ expected from this concerto. The parallels drawn with Prokofiev’s Violin Concerto No. 1 are compelling, suggesting a shared melodic language that is both intriguing and enriching.
Walton’s “Belshazzar’s Feast,” however, stands as the crowning achievement of this collection. The performance showcases a masterful interplay of orchestral and vocal forces, with Dennis Noble’s baritone providing a compelling narrative thread. His control and expressiveness shine, particularly in the climactic moments where the choir and soloist intertwine in a dramatic dialogue. Walton’s dynamic shifts within the score are executed with precision, creating a palpable tension that is expertly navigated by both the conductor and performers.
This collection is a valuable addition to the Walton discography, offering insights that will undoubtedly resonate with both seasoned aficionados and new listeners alike. The juxtaposition of youthful exuberance in “Façade” against the weighty grandeur of “Belshazzar’s Feast” illustrates Walton’s remarkable ability to traverse diverse musical landscapes. While certain interpretative choices may elicit debate, the overall execution and historical significance of these recordings solidify their status as essential listening for anyone wishing to delve into the rich tapestry of Walton’s music.