Three other great recordings
William Primrose (viola) Despite an occasional slight untidiness along the way, William Primrose’s July 1946 recording, with Walton conducting the Philharmonia, remains a must-hear for its no-nonsense emotional clarity. Primrose’s unmistakably violinistic, rapier-like thrust (shades of Jascha Heifetz in the Violin Concerto) generates the greatest excitement, surfing the fulsome textures of the original scoring with a charismatic intensity that few other players can match. Primrose virtually defined for two decades how this work should sound. (Naxos 8.110316)
James Ehnes (viola) Finest of all the violin virtuosos who stray occasionally into viola territory is James Ehnes. Those listeners who incline naturally towards the viola’s plangent chestiness may feel slightly shortchanged here, yet Ehnes produces a uniquely smooth, immaculately focused sound throughout the range, his intonation is spotless, and he seamlessly negotiates the score’s many intricacies. Edward Gardner and the BBC Symphony Orchestra respond with alacrity, complementing Ehnes’s eloquent advocacy with playing
of radiant distinction, captured in gloriously immersive, impactful sound. (Chandos CHSA 5210)
David Aaron
Carpenter (viola)
When originally reviewing David Aaron Carpenter’s beguiling account of the Walton Concerto, supported to the hilt by Vladimir Jurowski and the London Philharmonic, I was struck by the purity of his upper register, which soars aloft without the slightest hint of strain. When the notes start flying, absolute tonal focus is challenging to maintain, particularly in the viola’s lower register, yet Carpenter retains clarity at all dynamic levels. He also captures a sense of emotional despondency in the concerto’s slow epilogue that is deeply moving. (Warner Classics 90295 68769)
And one to avoid…
Musically speaking, Yehudi Menuhin is as compelling as ever in this 1969 recording. His characteristic timbre, enhanced by his close sense of identification with Walton’s nostalgic soundscapes, is truly memorable. With the composer conducting and the New Philharmonia on fine form, this should have been a sure-fire winner. Yet the technical frailties that beset Menuhin’s bowing arm during the latter part of his playing career are an undeniable distraction.