WILLIAM WALTON • SAMUEL BARBER WALTON, William (Turner) In spring 1938 Walton received an invitation (b Oldham 1902, d Ischia 1983) from the British Council to compose a violin Violin Concertos & Works for Strings concerto for the New York World Fair. He Concerto for Violin and Orchestra accepted, stipulating that Heifetz, who had Andante tranquillo already commissioned a violin concerto from Presto capriccioso alla napolitana – Trio (Canzonetta) him, should give the first performance. Happily, Concerto for Violin and Orchestra William Walton Vivace a simultaneous, lucrative offer to compose a th 1 I. Andante tranquillo [11.06] film score was resisted by Walton. On 11 May Two Pieces for Strings from Henry V 1938 he wrote to Hubert Foss from Ravello, Italy: 2 II. Presto capriccioso alla napolitana – Trio (Canzonetta) [6.21] Passacaglia: Death of Falstaff “It [the concerto] seems to be developing in 3 III. Vivace [13.09] Touch Her Soft Lips and Part an extremely intimate way, not much show and bravura”. But shortly afterwards fate took a Two Pieces for Strings from Henry V William Walton Walton’s musical output, though relatively hand in shaping the character of the work. He 4 Passacaglia: Death of Falstaff [3.08] modest in quantity, includes substantial wrote again to Foss: “Having been bitten by 5 Touch Her Soft Lips and Part [1.28] masterpieces, among them unquestionably the a tarantula a rare & dangerous & unpleasant Violin Concerto. His family background was experience I have celebrated the occasion by Concerto for Violin and Orchestra op. 14 Samuel Barber primarily singing (his father was a choirmaster). the 2nd movement being a kind of tarantella 6 I. Allegro [9.44] While a chorister at Christ Church Cathedral, ‘Presto cappricciosamente [sic] alla napolitana’. 7 II. Andante [8.27] Oxford, he began to compose. At the age of 16 Quite gaga I may say, & of doubtful propriety st 8 III. Presto in moto perpetuo [3.45] he became an Oxford undergraduate but left after the 1 movement – however you will be after 2 years still lacking part of his degree. able to judge.” In the event the work was 9 Adagio for Strings op. 11 Samuel Barber [8.52] He had formed a friendship with the brothers premiered in Cleveland, Ohio, on 7th December Sitwell (Osbert and Sacheverell), who took him 1939. The outbreak of war kept Walton at Total Timings [66.02] under their wing. Sitwell texts, including those home, but Heifetz cabled: “Concerto enormous by their sister Edith, were subsequently used success. Orchestra played superbly you would in some of his best-known compositions, for have been extremely pleased. Congratulations THOMAS BOWES VIOLIN example in Belshazzar’s Feast (Osbert) and your most successful concerto.” Walton conducted MALMÖ OPERA ORCHESTRA Façade (Edith). the British premiere at the Royal Albert Hall JOSEPH SWENSEN CONDUCTOR on 1st November 1941, with Henry Holst as www.signumrecords.com - 3 - soloist. Heifetz recorded the work first in 1941 • On the same day he wrote to Griselda Kentner: escape, the soloist will be no less fortunate to film are the ones most often played. with Eugene Goosens (predating the composer’s “You must get the recording your brother-in-law survive the poisonous, but exhilarating, virtuosity 1943 revisions to the scoring), and again in 1950 has made of my Viola & Violin Cons. Both that courses through the veins of this music. The BARBER, Samuel with the Philharmonia under Walton’s baton. performances are fantastically good – I can Canzonetta trio section, with its beautiful horn (b West Chester PA, USA, 1910, d New York 1981) hardly believe it – & won’t J.H. [Heifetz] solo, attempts to administer a calming vaccine. Walton was generous in his praise of artists who be cross.” After a little while it takes effect on the soloist Concerto for Violin and Orchestra op. 14 played his Violin Concerto. but, like an addiction, the poison returns and Allegro • To Malcolm Arnold, 4th October 1972, about orchestra and soloist dance together in step, Andante • To George Barnes, Head of BBC Third the recording made by Kyung-Wha Chung, brushing aside a doomed second attempt to bring Presto in moto perpetuo Programme, 31st January 1947: “Would it be conducted by André Previn: “What a girl! the venom under control. The Finale commences possible to bring over David Oistrakh the She has to be heard to be believed. In addition with a dry staccato theme given out initially by Adagio for Strings op. 11 Russian violinist? I heard him in a quite she’s very easy on the eye.” the lower strings. The intensely warm, soaring stupendous performance of my Vl. Con. in second subject arrives, therefore, with maximum Samuel Barber showed early musical aptitude, Moscow last week … I believe he would • To Walter Legge, 18th April 1978: “Talking of effect. In the development it proves contrapuntally playing piano and cello and completing the first make a tremendous sensation, nothing like recordings have you heard Jung-Wha Jungs compatible with the first subject, as does the act of an opera, The Rose Tree, by the time he him having been heard over here since [Kyung-Wha Chung’s] recording of mine [my first movement’s opening melody when introduced was ten. He was organist at his local church Kreisler at his best.” Violin Concerto]. Superb! as good as Heifetz at the recapitulation. A ravishing, accompanied in West Chester, Pennsylvania, from about the or Francescatti.” cadenza completes this brilliantly creative and age of 12 and at 14 entered the newly-founded • To Yehudi Menuhin, 21st April 1970, after melodic work. Curtis Institute in Philadelphia, studying piano, recording both the Violin and Viola Concerto The first movement demonstrates Walton’s singing and composition. Four years later he with him: “Your playing is absolutely ability to change the character of his themes Walton wrote his first film score in 1934 and made his first journey to Europe, absorbing the astounding, in fact I am unable to conjure by rhythmical transformation. The lyrical subjects his last big project for the cinema was his cultural influences of France, Italy, Austria and up adequate superlatives for your of the exposition become almost unrecognisably music for “The Battle of Britain” in 1968. Of Germany which were to engage and influence him interpretation and performance – nor can angular and dramatic in their treatment in the the many scores written between, the three throughout his life. I thank you enough for having brought to development section, providing both contrast and Olivier-Shakespeare films, Henry V, Richard III life a dream which I thought would never unity. The ending restores the tranquillity of the and Hamlet all possess music worthy of the His musical style is seen as conservative, tonal come true.” opening bars, only to be shattered by the biting concert hall. Various suites of the music from and based on traditional forms. In a century in attack of the 2nd movement’s tarantula, which Henry V have been put together but these which the new, the iconoclastic and the radical enters unannounced. If Walton had a miraculous movements from two touching moments in the dominated the artistic scene it was not an easy - 4 - - 5 - position to take. As he himself said: “I think that The work is deeply lyrical. Barber dispenses learn the solo part and play it to him within two may have irked him (though probably not his what’s been holding composers back a great deal with the conventional orchestral tutti, giving hours appears to be true. It seems to have been bank manager!), considering the wide range is that they feel they must have a new style every the opening first subject directly to the soloist. only up to bar 94 (1’48” see Barbara Heyman, of his output. In an interview with Allan Kozinn year. This, in my case, would be hopeless … I The delicacy of the orchestral scoring by no means Samuel Barber: The Composer and his Music, (High Fidelity, June 1981) Barber said: “Sometimes just go on doing, as they say, my thing. I believe precludes contrapuntal interest. The second 193-4), but that was enough for Barber to I get tired of hearing the Adagio for Strings. But this takes a certain courage” (John Gruen, subject, presented first by the clarinet, bears proclaim that it was playable. The final bars I amuse myself during performances because I “And Where Has Samuel Barber Been …?” New the distinctive stamp of American folk music introduce even faster notes and the work know there’s going to be a mistake somewhere. York Times 3 October 1971). Barber ventured with its fourths and a dotted snap. The material concludes with a dazzling arpeggio disappearing Happens everytime.” into instrumental and vocal genres, both sacred is developed extensively, with opportunities into the upper atmosphere. and secular, though he seems particularly provided for the soloist to melt the heart, rather © Adam Chambers 2011 comfortable writing for voices. than merely to dazzle. A brief cadenza marks Barber’s most enduring legacy is, of course, the the start of the coda. Adagio from his string quartet op. 11. He had The Violin Concerto was composed in 1939-40 considerable difficulty in arriving at a shape and premiered the following year with Albert The character of the expressive slow movement for the quartet with which he was happy. He Spalding (violin) and the Philadelphia Orchestra, is laid down by the oboe, with the melodic seemed though, to know immediately that the conducted by Eugene Ormandy. It was line taken up subsequently throughout the Adagio would work, writing in September 1936, commissioned by Samuel Fels, a trustee of orchestra.