Composer: Sir William Walton (1902-1983)
Works: Cello Concerto, Symphony No. 1; Scapino: A Comedy Overture, Violin Concerto, Symphony No. 2; Façade, Suites Nos I and II; Viola Concerto, Variations on a Theme by Hindemith; Coronation March: Crown Imperial, Coronation March: Orb and Sceptre, Belshazzar’s Feast, Coronation Te Deum, Suite: Henry V (adapted by Muir Mathieson)
Performers: Robert Cohen (cello), Tasmin Little (violin), Paul Neubauer (viola), Bryn Terfel (bass-baritone), Timothy Bryam-Wingfield (organ), Bournemouth Symphony Chorus, Waynflete Singers, L’inviti, Choir of Winchester Cathedral, Bournemouth Symphony Orchestra, Andrew Litton, David Hill
Recording: Various dates from 1991 to 1996, Guildhall Southampton, Winchester Cathedral
Label: DECCA
Sir William Walton, a towering figure in 20th-century British music, occupies a unique position within the pantheon of classical composers. His works, often steeped in the textures of Englishness while embracing a modernist edge, reveal a rich interplay of lyricism and rhythm. DECCA’s Centenary Edition serves as both a tribute and a comprehensive survey of Walton’s orchestral oeuvre, gathering performances from the Bournemouth Symphony Orchestra under Andrew Litton that span the composer’s career, from the youthful exuberance of the Cello Concerto to the grand ceremonialism of Belshazzar’s Feast.
The First Symphony, featured on the first disc, showcases Walton’s early mastery of orchestration and thematic development. Litton’s interpretation reveals a keen rhythmic vitality, propelling the music forward with an exhilarating directness. The Bournemouth Symphony Orchestra exhibits impressive virtuosity, particularly in the slow movement, where the strings’ lyrical utterances resonate with emotional depth. The finale, often criticized as the weakest link, emerges here with a shattering intensity that Walton himself would have appreciated, affirming his belief in its strength. The recorded sound supports this dynamism, allowing the orchestral colors to bloom fully in the Southampton Guildhall’s favorable acoustic.
The coupling of the Cello Concerto, performed with eloquence by Robert Cohen, offers a contrasting emotional landscape. Walton’s characteristic blend of introspection and bravura is evident in the opening movement, where Cohen’s rich tone and thoughtful phrasing breathe life into the cello’s extended first theme. The finale’s cadenza is particularly striking, demonstrating both technical prowess and lyrical sensitivity. Cohen’s interpretation aligns seamlessly with Walton’s intent, capturing the essence of a work that the composer regarded as his finest cello concerto, albeit with a light-hearted nod to his rivalry with Heifetz.
The second disc features the Scapino Overture, the Violin Concerto, and Symphony No. 2. Tasmin Little’s performance of the Violin Concerto stands out for its remarkable fusion of technical brilliance and intimate expressiveness. The collaboration between Little, Litton, and the orchestra is palpable, as they navigate the concerto’s demanding passages with both flair and finesse. The Scapino Overture, written for the Chicago Symphony, is delivered with an engaging lightness and charm, underscoring the playful spirit of Walton’s vision. The Symphony No. 2, often overshadowed by its predecessor, reveals its profound character through Litton’s nuanced direction, particularly in the passacaglia finale, where the music’s emotive weight is compellingly articulated.
CD3 diverges into the instrumental suites from Façade and the Variations on a Theme by Hindemith, demanding a critical ear. While the suites offer delightful moments, their effectiveness is diminished when stripped of the original narrations, leaving the music somewhat bereft of the personality inherent in Walton’s conception. Paul Neubauer’s performance in the Viola Concerto, however, is a highlight, showcasing the work’s rich emotional palette and technical demands with an enviable balance. The orchestra supports him with a commendable grasp of the score’s intricacies, although a more intimate familiarity with the material might have yielded even greater results.
The final disc is anchored by a powerful rendition of Belshazzar’s Feast, a hallmark of Walton’s choral writing. Bryn Terfel’s commanding presence as the bass-baritone soloist complements the thrilling contributions of the Bournemouth Symphony Orchestra and chorus. The engineering captures the dramatic nuances of the work beautifully within the spacious confines of Winchester Cathedral, allowing the choral forces to shine against the orchestral backdrop. Muir Mathieson’s adaptations of the Henry V film score and the coronation marches are also executed with flair, though the latter could benefit from a clearer orchestral detail that the cathedral’s acoustics at times obscure.
This comprehensive four-disc set is undeniably an essential addition to any Walton enthusiast’s collection. It not only celebrates the composer’s diverse output but also showcases the Bournemouth Symphony Orchestra’s considerable talents under Litton’s insightful direction. Through their interpretations, the ensemble breathes new life into Walton’s music, ensuring that his legacy continues to resonate with vigor and relevance in the contemporary concert landscape.
