Throughout the opening movement of Walton’s First Symphony, Andrew Litton ensures that crucial ostinato string rhythms are always sharply defined, sustaining a high degree of dramatic tension. The solo oboe’s plaintive enunciation of the first subject as the symphony gathers momentum is finely played, with the long-breathed phrasing then carefully matched by the violins, making the opening paragraphs highly effective. During the development (where there’s still no escape from those obsessive rhythms) Litton skillfully builds climaxes layer upon layer, and the cumulative result can be shattering, especially in concordance with Decca’s impressively clear instrumental and spatial detailing. In the scherzo, the Bournemouth strings don’t quite attain the venomous precision of Previn’s famous 1966 LSO recording (on RCA), but Walton’s “con malizia” instruction is heeded by acrid wind solos (great clarinets and bassoons here). The solo flute in the andante is superb, but the finale’s fugal sections again find the strings under-powered, though the coda (after the extra timpanist joins in) is certainly thrilling. Symphony No. 2 receives an equally committed performance, with the best playing reserved for the concluding Passacaglia, though this hardly matches the orchestral excellence of Szell’s Cleveland Orchestra reading (CBS/Sony). However, important percussion writing–for piano, vibraphone, and celesta–is vividly reproduced.
Tasmin Little’s reading of the violin concerto disappoints for its small tone and lack of clarity in bravura passages, most apparent in the “alla Napolitana” scherzo. Nor is Little’s phrasing of the reflective main idea (“sognando”) flawless, especially when it returns near the close of the work. Robert Cohen’s account of the cello concerto is better played but he doesn’t vary his timbre or speed of vibrato greatly, so the general effect can become dull. Naxos’ budget coupling of the violin and cello concertos with Dong-Suk Kang and Tim Hugh offers superior alternatives, but Decca’s box also includes Paul Neubauer’s recording of Walton’s viola concerto. This is more persuasive, since Neubauer’s fiery virtuosity in the central scherzo contrasts effectively with his rich-toned concentration and seamless phrasing in both outer movements.
Among the remaining Waltonia here, it’s a pity that Belshazzar’s Feast was taped in the massive acoustic cavern of Winchester Cathedral. Frankly, it’s amazing that some orchestral detailing you’d expect to be lost in such a boomy setting has been quite well reproduced, but this is a much too reverberant setting for so intricate a score as this. The section in praise of the pagan Babylonian Gods quickly reveals confused textures and instrumental imbalances, especially when the antiphonally placed off-stage brass groups enter. Inevitably, choral diction suffers too, and the orchestral strings are all but submerged in the tuttis. The coronation marches and Henry V suite come from the same sessions, and sonically they’re also unsatisfactory. The two symphonies achieve the best overall results here (hence the more detailed discussion above) but the balance of this set disappoints.
