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Symphony 2 / Viola Concerto

W. Walton (Artist) Format: Audio CD
4.2 out of 5 stars 9 customer reviews
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MP3 Music, February 7, 1996
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Audio CD, April 23, 1996
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Next
  • Sample this album Artist - Artist (Sample)
1
30
Johannesburg Festival Overture
by English Northern Philharmonia
7:46
Play in Library $0.89
 
2
30
Viola Concerto: I. Andante comodo - con spirito
by Lars Anders Tomter
8:26
Album Only
3
30
Viola Concerto: II. Vivo, con molto preciso
by Lars Anders Tomter
4:31
Play in Library $0.89
 
4
30
Viola Concerto: III. Allegro moderato
by Lars Anders Tomter
13:00
Album Only
5
30
Symphony No. 2: I. Allegro molto
by English Northern Philharmonia
9:08
Album Only
6
30
Symphony No. 2: II. Lento assai
by English Northern Philharmonia
9:10
Album Only
7
30
Symphony No. 2: III. Passacaglia: Tema - Risoluto
by English Northern Philharmonia
9:23
Album Only

Product Details

  • Audio CD (April 23, 1996)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Naxos
  • ASIN: B000001487
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (9 customer reviews)
  • Amazon Best Sellers Rank: #282,317 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

4.0 out of 5 starsExcellent Performance of the Walton Viola Concerto
By josh1000 on June 10, 2000
Format: Audio CD Verified Purchase
Has anyone ever noticed that it is impossible to find a good recording of the Walton Viola Concerto? The William Primrose recordings just sound harsh and ugly to me; Nigel Kennedy's is OK, but he sounds like a violinist (which he is); and other recordings by Nobuko Imai and Karen Dreyfus just don't stand out for me. Most violists agree the Walton Concerto is an extremely difficult piece-- technically awkward, hard to play in tune, hard to make sound nice. For some strange reason none of the viola superstars-- Kim Kashkashian, Yuri Bashmet, and Pinchas Zukerman-- have recorded this piece. (Are they ducking it, perhaps?) Anyway, all this is prelude to my pleasant surprise with this recording. I had never heard of this violist, but he gives a darn-good performance-- solid technique and a round, warm, satisfying viola sound. I would almost venture to say it's my favorite recording of this piece available. Naxos is a really great label-- although it's a "bargain brand," you wouldn't know it from the recordings it puts out. I have several Naxos recordings, and the quality is consistently good.
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4.0 out of 5 starsWalton's Second Vindicated
By Thomas F. Bertonneau on October 24, 2000
Format: Audio CD
When William Walton's (1902-1983) Second Symphony appeared in 1960, critics expressed disappointment. They expected a follow-up, it seems, on the same scale and of the same seriousness as Walton's first essay in the genre, the B-Flat Minor of 1934. The Second contrasted with the First by its slighter structure and less driven character, and so disappointed the judges; but it added up to much, much more than the critical assessment at the time would admit. Nevertheless, it has remained little recorded, with Previn (EMI) offering the most widely circulated interpretation. Paul Daniel's recording for Naxos makes the best case yet for this underappreciated masterpiece. Daniel understands that this is a scherzo-symphony, an English counterpart of the Shostakovich Ninth, and with some relation to the balletic works that Stravinsky called symphonies. Yet underneath the jests and even the japes of the First Movement (Allegro Molto) Daniel finds some of the same steely musculature that gave such sturdy shape to the B-Flat Minor. He then relaxes in the Second Movement (Lento), tearing suddenly into the growling commencement of the Third Movement Finale. Like William Alwynn's Fourth Symphony, also premiered in 1960, the Walton Second offers as its concluding movement a passacaglia (a baroque form beloved of British composers - think of Britten and Vaughan Williams). Walton's Passacaglia employs a theme using all twelve notes of the chromatic scale, but the music, though imposing at times, is hardly atonal. The Viola Concerto (1929) saw Walton move from his jazzy bad-boy phase, the culmination of which was his Sinfonia Concertante for Piano and Orchestra, into his mellower post-Elgar phase. It is long-lined and very British. Soloist Lars Anders Tomter has the suave tone that the work needs. Can't be beat for its program or for its price.
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5.0 out of 5 starsFine Performances, Great Sound, Excellent Compositions
By Ed Luhrs on March 25, 2010
Format: Audio CD
My fascination with Walton's music has had me listening to several versions of the same work. I've heard two other versions of Viola Concerto, performed by Maxim Vengerov and Yuri Bashmet. Lars Anders Tomter is on par with Bashmet - a solid execution, warmly expressed. What makes this particular recording shine is the clarity of sound.

The same can be said of Symphony No. 2. Paul Daniel conducts it well. Andrew Litton's recording of the symphony is particularly well-paced and remarkable for how the harp and melodic percussion sound. This recording, however, is quite an excellent introduction to the symphony. The Second Symphony has a playfully spooky introduction and a beautiful middle movement. The concluding Passacaglia was quite a puzzle to me at first. After listening to it a few times, I understood the structure of it better, but it's still a strange conclusion to a symphony. I think that's the charm of it. I've listened to the symphony many times since. It is an engaging work to hear.

What rounds out this recording quite well is the Johannesburg Festival Overture, a brilliant piece of orchestral writing. Naxos shines at bringing less-often heard music to light, as do Paul Daniel and the English Northern Philharmonia in this recording. Thumbs up.
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5.0 out of 5 starsEvidence that less can be more (money versus quality)
By I. Giles TOP 500 REVIEWER on June 11, 2013
Format: Audio CD
This well recorded disc from 1995 is a tremendous bargain and offers just over an hour of high quality music making that is able to see off most of the competition at any price.

The star item on this disc is the viola concerto in arguably the best ever performance yet recorded. This is given by Lars Tomter who has a rock steady technical capability which enables him to overcome with seeming ease all the technical hurdles that Walton puts before him. This was Walton's first of three outstanding string concertos and came about from a suggestion by Beecham. The intended player was to be Lionel Tertis who rejected the piece as not to his taste. However, after hearing the first performance and disagreeing about how it had been performed in just about every way, he took it into his repertoire and thus the concerto found its way into the modern regularly played repertoire. In many ways it paved the way for the following two concertos being essentially lyrical with a distinctly jazzy flair including a spectacular central movement. Other performances are blown away by this one which sounds like a true viola concerto rather than a violin concerto played on a bigger instrument - the problem with violinists who also play the viola. So far the big name specialists have yet to record this work and now they are up against real competition.

The symphony withstands direct comparison with the famous recording made by Szell and the Cleveland orchestra. That, despite stunning playing, now really sounds its age with close balances and rather wooden recorded sound lacking in depth of perspective. That is a comment concerning the latest remastered version.Read more ›
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