Walton, Sir William (1902-1983)

[Bryn]

Do without it? It's marvellous! Having rather specialised in the speaking parts, perhaps I'm biased.

Would that the Cathy Berberian, Robert Tear, Stuart Bedford recording (OUP of all labels) would make it to CD, replete, as it was, with Facade 2.

[Keraulophone]

Our overseas friends seem to play Walton’s music more than other British composers.

Only yesterday I happened to listen via the Digital Concert Hall archive to the Berlin Phil performing Walton’s Symphony No.1, led (as though by the scruff of the neck) by Semyon Bychkov. I was expecting to be wowed. However, they can’t be very familiar with the piece, despite having Sir Simon in residence, as they seemed ill at ease with its language and moods. Despite lovely individual sounds emanating from the various principals and their well-upholstered string section, phrasing was occasionally unexpected and belief in the virtues of the score seemed to be lacking from some players. Whereas this fine band might have played a series of fortissimo unisons by Shostakovich as though their lives depended on the it, Walton’s equivalent was made here to sound vacuous. I had to fish out Ed Gardner’s recent recording with an in-form BBCSO to remind myself that this is indeed a work of great merit, as, incidentally is Symphony No.2.

As for The Twelve, it comes around annually, usually towards the end of the choir year when sufficient virtuosity has been drilled into the front row, and it’s always a great treat for the whole choir and congregation. ‘The gin of old sin’ - Auden must have got it the wrong way round.

[richardfinegold]

Only yesterday I happened to listen via the Digital Concert Hall archive to the Berlin Phil performing Walton’s Symphony No.1, led (as though by the scruff of the neck) by Semyon Bychkov. I was expecting to be wowed. However, they can’t be very familiar with the piece, despite having Sir Simon in residence, as they seemed ill at ease with its language and moods. Despite lovely individual sounds emanating from the various principals and their well-upholstered string section, phrasing was occasionally unexpected and belief in the virtues of the score seemed to be lacking from some players. Whereas this fine band might have played a series of fortissimo unisons by Shostakovich as though their lives depended on the it, Walton’s equivalent was made here to sound vacuous. I had to fish out Ed Gardner’s recent recording with an in-form BBCSO to remind myself that this is indeed a work of great merit, as, incidentally is Symphony No.2.

As for The Twelve, it comes around annually, usually towards the end of the choir year when sufficient virtuosity has been drilled into the front row, and it’s always a great treat for the whole choir and congregation. ‘The gin of old sin’ - Auden must have got it the wrong way round.

Bychkov did Walton 1 here a few years ago.with the CSO. I thought it was pretty convincing, but it’s the only time I’ve heard it in concert. I think Solti and Barenboim both had prorgrammed it as well so perhaps the Orchestra was more conversant with the idiom than the Berliners

[Bryn]

Bychkov did Walton 1 here a few years ago.with the CSO. I thought it was pretty convincing, but it’s the only time I’ve heard it in concert. I think Solti and Barenboim both had prorgrammed it as well so perhaps the Orchestra was more conversant with the idiom than the Berliners

Even Karajan conducted it (in Italy), though he had the effrontery to introduce cuts in the first movement.

Not,however, to be confused with http://www.musicweb-international.co...n1_4574332.htm . Click one of the "BUY NOW" links on that page to clarify why.

[ardcarp]

Haven't some of the poems been accused of racism?

Well I suppose Mr Belaker was a Negro cocktail shaker, Rose and Alice had mouths like a calice [whatever that is] and Black Mrs Behemoth was 'black and not comely' [lovely misquote from the Song of Songs].

It never occurred to me that anything was racist. ES just loved the sounds of the words.

[rauschwerk]

I was there at the RFH in 1966 at Previn's London debut. Mozart in the first half: the Paris symphony and K491 with Kempff, no less. But Walton 1 after the interval was unforgettable. I had heard it but never like this! I managed to get both Previn and Walton to sign my programme, though I was overawed and hardly spoke.

Some of Walton' s later music bores me, though. I nearly went to sleep sitting by the fountain at a Proms performance of the cello concerto. Too much slow and quiet music in it IMHO.

[LMcD]

A performance of the 1st symphony with the BBC SSO under John Wilson was broadcast last Thursday.

[Bryn]

I was there at the RFH in 1966 at Previn's London debut. Mozart in the first half: the Paris symphony and K491 with Kempff, no less. But Walton 1 after the interval was unforgettable. I had heard it but never like this! I managed to get both Previn and Walton to sign my programme, though I was overawed and hardly spoke.

Some of Walton' s later music bores me, though. I nearly went to sleep sitting by the fountain at a Proms performance of the cello concerto. Too much slow and quiet music in it IMHO.

I took to the Cello Concerto like a duck to water on first hearing (Piatigorsky, Boston SO, Munch). Other 'late' works such as the 2nd Symphony, Partita and Variations on a Theme of Hindemith (theme from second movement of the latter's Cello Concerto of 1940) are also fine works, to my ears.

[BBMmk2]

Will Todd.

Re Walton:

Portsmouth Point, Belshazzar's Feast, the symphonies, Crown Imperial, Spitfire Prelude and Fugue, Henry V, Orb and Sceptre. Possibly other things. I don't hate them - there are many other composers who are less to my taste - but much of his output sounds like nondescript film music to me like Coates's The Dambusters if it had lacked a popular theme. Not being technical, I don't know how to explain this : for all of the theatrics I hear in the structures tight lines. That, in theory, is quite a good thing even if it isn't for those who prefer moments of wild abandon. But the problem is that most of his lines seem to run above or below what is being conveyed rather than being at the heart of it. It's all a bit off centre so that any emotion seems somewhat vacuous. He was dropped in favour of Ron Goodwin in the 1960s for the film The Battle of Britain. That it should have happened and that he should have been considered for it in the first place both seem entirely appropriate. But thanks for your post and to other contributors for theirs. I'll follow up on recommendations with an open mind.

Not liking The Dambusters' March? One of the best British marches written ever! All British bandsmen knows that! I think that's it with me having been a bandsmen, I am rather partial to those works you have mentioned.Make sure you hear The RAF Central band play them!

[BBMmk2]

I was there at the RFH in 1966 at Previn's London debut. Mozart in the first half: the Paris symphony and K491 with Kempff, no less. But Walton 1 after the interval was unforgettable. I had heard it but never like this! I managed to get both Previn and Walton to sign my programme, though I was overawed and hardly spoke.

Some of Walton' s later music bores me, though. I nearly went to sleep sitting by the fountain at a Proms performance of the cello concerto. Too much slow and quiet music in it IMHO.

I remember a TV programme that Previn did about S1. That was some performance!

[Nevilevelis]

2nd mvt from his (early) Sinfonia Concertante - a very fine work. I used to listen to a great deal of Walton; not so much now unless it's early, i.e. not full of the familiar ticks. Fond of the songs and song cycles, e.g. Anon. in Love, A Song for the Lord Mayor's Table.

https://www.youtube.com/watch?v=5Z9BHfJbpBs

Where does the uttered music go?

https://www.youtube.com/watch?v=5N5igbprPF0

Cantico del Sole

https://www.youtube.com/watch?v=ux5tpQBIeEc

Henry V (arr. Palmer) - some of his best music IMV. I made a recording of this some years ago with Slatkin and Samuel West, which I like very much.

https://www.youtube.com/watch?v=O3lNHVZiHmc

Try the Piano Quartet in D-minor too.

NVV

[Conchis]

Haven't some of the poems been accused of racism? If so, they're pretty innocuous, when compared to some of the stuff that went out unchallenged at the time.

Walton was that unusual thing: a 20th century composer of avowedly right-wing politics. He believed in the Patriarch. And I doubt he'd have recognised racism if it fell over him.

[Lat-Literal]

Not liking The Dambusters' March? One of the best British marches written ever! All British bandsmen knows that! I think that's it with me having been a bandsmen, I am rather partial to those works you have mentioned.Make sure you hear The RAF Central band play them!

I don't dislike The Dambusters at all. It does what it is designed to do.

Key pieces by Walton are halfway to The Dambusters, not that he was aiming for such a popular theme.

Walton was that unusual thing: a 20th century composer of avowedly right-wing politics. He believed in the Patriarch. And I doubt he'd have recognised racism if it fell over him.

This could be it actually but not in any real political sense.

His music is "conservative modernism" for better or worse.

[Serial_Apologist]

I don't dislike The Dambusters at all. It does what it is designed to do.

Indeed - it wouldn't have bombed in the charts!

[LMcD]

Indeed - it wouldn't have bombed in the charts!

Because it's got a nice bouncy tune?