Walton Viola Concerto Program Notes

Walton came to prominence in 1923 with Façade, an Entertainment, for band and amplified speaker (Edith Sitwell, of the British Sitwell literary clan, reading her poetry: the work would be lampooned by Noël Coward). In 1929 the conductor Thomas Beecham encouraged Walton to send his new viola concerto to the British viola luminary Lionel Tertis. Although reputed to have returned it “by the next mail,” Tertis later embraced the work, especially after its première by composer and violist Paul Hindemith. The first movement introduces the viola with a searchingly lyrical and melancholic waltz. This journey leads toward muscular section, developed over the waltz material in the orchestra. The development ends with a restless (“Inquietamente”) recitativo, followed by a sinister orchestral tutti section, before settling back into a last wistful waltz with the soloist. Walton also composed music for the three Lawrence Olivier Shakespeare films, Henry V, Hamlet and Richard III. He wrote two symphonies (imagine, if you will, Mahler’s emotional range, with British flavor), operas and ballets, and music for two coronations (George VI in 1937 and Elizabeth II in 1953). Humorously self-depreciating, he once said “The critics have been saying that I’m out of date ever since they heard my Viola Concerto. I like being out of date so long as there’s nothing going on I don’t know about.”

Addtional Information

The Walton Viola Concerto, written by English composer Sir William Walton in 1929, is a cornerstone of the viola repertoire and a richly lyrical, highly expressive work. Here is some background, significance, and performance history in detail:

William Walton’s Biography

Sir William Walton (1902-1983) was a prominent 20th-century English composer known for his unique blend of modernist and Romantic influences. Born in Oldham, England, Walton was largely self-taught, studying briefly at Oxford but developing his musical voice independently. His early exposure to composers such as Stravinsky and Schoenberg led to a distinct style that blends lush harmonies, rhythmic inventiveness, and emotional depth. Walton’s work spans a variety of forms, including symphonies, concertos, chamber music, and film scores. Some of his notable compositions include Belshazzar’s Feast, Symphony No. 1, and Crown Imperial, a coronation march. Walton’s music is both vigorous and introspective, making it accessible yet profound.

History of the Viola Concerto and Its First Performance

Walton composed the Viola Concerto in 1929, following a commission from conductor Sir Thomas Beecham. However, it was the renowned violist Lionel Tertis, the leading violist in England at the time, who was initially asked to premiere the work. Tertis famously rejected it, finding the music too modern for his taste. This setback led to Paul Hindemith, a distinguished German violist and composer, stepping in to premiere the concerto. Hindemith quickly learned the piece and performed it at Queen’s Hall in London on October 3, 1929, with Walton conducting. The performance was a great success, establishing the work’s place in the repertoire and encouraging Tertis to later revise his opinion and champion the piece himself.

Notable Soloists and Performances

Over the years, the Walton Viola Concerto has been performed by many of the world’s leading violists, each bringing unique interpretations to the work:

• William Primrose recorded the concerto, setting a high standard for later violists with his technical prowess and nuanced interpretation.
• Yuri Bashmet, a celebrated Russian violist, is known for his intense, emotive renditions, bringing a darker, more dramatic quality to the piece.
• Nobuko Imai, one of the most respected contemporary violists, has also championed the concerto, highlighting its lyrical qualities.
• Lawrence Power, an acclaimed British violist, brings a refined, balanced interpretation that emphasizes both the virtuosic and expressive elements of Walton’s writing.

These performances have helped cement the concerto’s reputation as a must-perform piece for professional violists.

Importance to the Viola Repertoire

Walton’s Viola Concerto holds a special place in the viola repertoire due to its technical demands, emotional depth, and lush orchestration. The piece was groundbreaking in its time because few composers had written substantial solo works for the viola, an instrument that had been largely overshadowed by the violin and cello in solo settings. Walton’s concerto broke new ground, presenting the viola as an instrument capable of both dramatic intensity and lyrical warmth. It influenced later composers to write for the viola, helping establish a more substantial body of solo literature for the instrument. Alongside Bartók’s Viola Concerto and Hindemith’s viola works, Walton’s concerto is considered one of the three pillars of the modern viola repertoire.

Structure and Musical Characteristics

The Walton Viola Concerto is structured in three movements:

1. Andante comodo – The first movement opens with a melancholic, lyrical theme that sets a contemplative tone. Walton’s use of chromaticism and rich orchestration creates a lush, introspective atmosphere, showcasing the viola’s warm, expressive voice.
2. Vivo, con moto preciso – The second movement is lively and rhythmic, featuring intricate interplay between the viola and orchestra. The scherzo-like character, with its syncopated rhythms, highlights Walton’s rhythmic inventiveness.
3. Allegro moderato – The finale alternates between vigorous and reflective sections, incorporating a theme from the first movement in a kind of cyclical structure. The movement concludes with a virtuosic cadenza, allowing the soloist to display technical mastery and emotional depth before a sweeping, intense finish.

William Walton Born: March 29, 1902, Oldham, United Kingdom Died: March 8, 1983, Ischia, Italy