# Viola Concerto (Walton)

The Viola Concerto by William Walton was written in 1929 and first performed at the Queen's Hall, London on 3 October of that year by Paul Hindemith as soloist and the composer conducting. It had been written with the violist Lionel Tertis in mind, and he took the work up after initially rejecting it. The concerto established Walton as a substantial figure in British music and has been recorded by leading violists internationally. Walton revised the instrumentation of the concerto in 1961, lightening the orchestral textures.

## Background and first performances

In 1929 William Walton was regarded as an avant-garde composer, best known for Façade (1923), which had been a succès de scandale at its premiere. His exuberant and harmonically edgy concert overture Portsmouth Point (1926) maintained his reputation as an enfant terrible. Towards the end of 1928 the conductor Sir Thomas Beecham suggested that Walton should write a concerto for the violist Lionel Tertis, for whom composers including Vaughan Williams and Bax had written major works. After some preliminary discussion Walton agreed. He wrote the concerto while wintering in Amalfi, Italy, with his friends and patrons the Sitwells. He wrote in December 1928 that he was working hard on the piece, and in February 1929 that he had finished the second movement. He said he considered the concerto potentially his finest work to date, although whether this assessment would hold true would depend on how the third movement turned out.
On his return to England in the spring of 1929, Walton sent the completed concerto to Tertis, who immediately rejected it because of its modernity. Tertis later realised his error and wrote in his autobiography:
Walton was so disappointed by Tertis's refusal that he considered recasting the concerto for violin and orchestra. It is not clear where the suggestion came from that the German composer and violist Paul Hindemith should be invited to premiere the work. In 1974 Tertis wrote in his memoirs that he had recommended Hindemith to Walton, but Walton had recalled in 1962 that the idea came from Edward Clark of the BBC music department. Clark sent the manuscript to Hindemith, who agreed to give the first performance.
The first performance was at the Proms at the Queen's Hall, London, on 3 October 1929; Hindemith was the soloist and the Henry Wood Symphony Orchestra was conducted by the composer. Hindemith did not possess an immaculate technique, but played with strong character, a full tone and great emotion. The composer later wrote that Hindemith's "technique was marvellous, but he was rough—no nonsense about it. He just stood up and played." Tertis, who attended the premiere, realised that he had made a mistake in rejecting the concerto and soon took it up. When it was selected for performance at the International Society for Contemporary Music festival in Liège in September 1930, Tertis was the soloist, with Walton conducting. Over the next three years Tertis gave five more performances of the concerto.

### 1961 revision

Walton was given to revising his works after their first performances, and in 1961 he thinned the orchestration of the Viola Concerto, reducing the woodwind from triple to double, omitting one trumpet and the tuba, and adding a harp. The revised version was first performed at the Royal Festival Hall, London, on 18 January 1962, with John Coulling as soloist and the London Philharmonic Orchestra conducted by Sir Malcolm Sargent. There is some uncertainty about the solo part in this version. The violist Frederick Riddle, with whom Walton performed the work many times, made some adjustments to the solo line. He understood that Walton approved his changes and intended to incorporate them in the score of the revision, but when it was published, in 1962, the original line remained intact. In a 2006 study of the concerto, James F. Dunham attributes the omission of Riddle's revisions to a mistake by the publishers. A 2001 biography of Walton reports the composer's specific preference for his original version, without Riddle's alterations.

## Analysis

The concerto carries the dedication "To Christabel" (the Hon. Mrs Henry McLaren, with whom Walton had a platonic friendship despite mutual physical attraction). The original scoring is for piccolo, two flutes, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani and strings. The 1961 revision (published in 1962) stipulates two flutes (one doubling piccolo), oboe, cor anglais, two clarinets (second doubling bass clarinet), two bassoons, four horns, two trumpets, three trombones, timpani, harp and strings. The playing time of the concerto is about 25 minutes.
In his study of Walton, Michael Kennedy comments that in its design the Viola Concerto resembles Elgar's Cello Concerto in beginning with a slow ("or at any rate ruminative") movement followed by a quick scherzo, and concentrating most weight into the finale, "which ends in a mood of pathos by recalling the principal theme of the first movement". Influences suggested by other writers are Prokofiev in his First Violin Concerto (1923), and Hindemith in his Kammermusik No. 5 (1927).

### 1. Andante comodo

The first movement, marked andante comodo, is in what Howes describes as a regular but condensed sonata form. After a three-bar introduction in which muted strings and low clarinet establish the tonality of A minor the viola enters with a melancholy $^9$ $_8$ theme, in the middle register of the instrument. The theme is passed to the oboe, with the viola accompanying; then the viola repeats the theme in the high register. The pace quickens and a series of viola chords leads to the second subject, a tranquil theme in D minor, for the viola in its lower register. The themes are developed at varying dynamics and speeds, with solo viola and orchestra handing the themes to and fro and playing them in canon at times. There is no formal cadenza. After a vigorous tutti the movement ends quietly with the melancholic theme with which it began, clashing A Major over A Minor harmonies and unsettling the listener before quietly dying away.

### 2. Scherzo and trio

The second movement, unusually for a concerto, has the character of a scherzo. The first part, is in a quartal harmony, but it still suggests an E minor tonality. The tempo marking vivo con moto preciso, is in a basic $^2$ $_4$ time but with many changes of metre. There is a climactic section for the full orchestra.

### 3. Finale – allegro moderato

In the words of the musicologist Christopher Palmer, "Here Walton pulls out all the stops". It is the longest of the three movements and as Frank Howes puts it in his study of Walton's music, it gathers up the mercurial emotions of the first two movements and reveals their serious purpose. The first theme is lively, elongating the rising fourths heard in the scherzo to rising fifths. It is introduced by the bassoon, followed by the viola over a pizzicato bass line, and is continued by the winds in contrapuntal lines. The second subject, deriving from the rocking figure of the first movement, is in the minor key. The development section mainly features on the first theme, gradually dividing it into fragments accompanying a long cantabile theme for the viola and later the woodwind. In the recapitulation, the first theme is given to the full orchestra, and the second to woodwinds and horns, with a viola counter-theme. A development passage leads to the coda that draws the earlier themes into a characteristic Walton fugal treatment, leading to the climactic synthesis of the themes.

## Critical reception

The work was greeted with enthusiasm. It brought Walton to the forefront of British classical music. In The Manchester Guardian, Eric Blom wrote, "This young composer is a born genius" and said that it was tempting to call the concerto the best thing in recent music of any nationality. The musical scholar Sir Donald Tovey wrote:
In 1931 the teenage Benjamin Britten, later a friend but not an uncritical admirer of Walton, wrote in his diary about "Walton's wonderful Vla Concerto (beautifully played by Tertis) … a work of genius". A dissenting voice was that of Sir Edward Elgar, who heard the concerto at the Three Choirs Festival in 1932 – the only time the two composers met. Elgar did not like the work and is said to have expressed dismay privately that "such music should be thought fit for a stringed instrument".

## Ballet

In 1972 the choreographer Joe Layton used the concerto for a ballet about Oscar Wilde, O.W., given by the Royal Ballet at Sadler's Wells Theatre, London. The prologue of the ballet was danced to music from Walton's The Quest, and for the main section the Viola Concerto was used. At the premiere Riddle was the viola soloist.

## Recordings

| Soloist | Orchestra | Conductor | Year | Timing |
| Frederick Riddle | London Symphony Orchestra | William Walton | 1937 | 22'52" |
| William Primrose | Philharmonia Orchestra | William Walton | 1946 | 22'44" |
| William Primrose | Royal Philharmonic Orchestra | Sir Malcolm Sargent | 1954 | 21'15" |
| Yehudi Menuhin | New Philharmonia Orchestra | Sir William Walton | 1968 | 25'44" |
| Paul Doktor | London Philharmonic Orchestra | Edward Downes | 1969 | 24'46" |
| Peter Schidlof | BBC Symphony Orchestra | Colin Davis | 1972 | 22'28" |
| Nigel Kennedy | Royal Philharmonic Orchestra | André Previn | 1987 | 25'51" |
| Nobuko Imai | London Philharmonic Orchestra | Jan Latham-Koenig | 1992 | 26'21" |
| Yuri Bashmet | London Symphony Orchestra | André Previn | 1994 | 25'46" |
| Bruno Pasquier | Orchestre Symphonique Français | Layrent Petitgirard | 1994 | 25'10" |
| Tabea Zimmermann | RTVE Symphony Orchestra | David Shallon | 1994 | 24'59" |
| Lars Anders Tomter | English Northern Philharmonia | Paul Daniel | 1995 | 25'58" |
| Paul Neubauer | Bournemouth Symphony Orchestra | Andrew Litton | 1996 | 24'16" |
| Maxim Vengerov | London Symphony Orchestra | Mstislav Rostropovich | 2002 | 30'28" |
| Lawrence Power | BBC Scottish Symphony Orchestra | Ilan Volkov | 2007 | 24'51" |
| Karen Dreyfus | Warsaw Philharmonic Orchestra | Jerzy Swoboda | 2009 | 25'48" |
| Roberto Díaz | New Haven Symphony Orchestra | William Boughton | 2014 | 26'43" |
| Hong-Mei Xiao | Budapest Symphony Orchestra | János Kovács | 2017 | 26'06" |
| Eivind Holtsmark Ringstad | Oslo Philharmonic Orchestra | Joshua Weilerstein | 2017 | 27'24" |
| Nils Mönkemeyer | Bamberg Symphony | Markus Poschner | 2017 | 27'09" |
| James Ehnes | BBC Symphony Orchestra | Edward Gardner | 2018 | 23'22" |
| David Aaron Carpenter | London Philharmonic Orchestra | Vladimir Jurowski | 2018 | 25'08" |
| Helen Callus | New Zealand Symphony Orchestra | Marc Taddei | 2018 | 27'19" |
| Isabelle van Keulen | NDR Radiophilharmonie | Keri-Lynn Wilson | 2018 | 26'13" |
| Adrien la Marca | Liège Philharmonic Orchestra | Christian Arming | 2020 | 26:24 |
The Riddle, Primrose and Power versions use the original scoring.
    Source: Naxos Music Library.