William Walton - Viola Concerto [With score]
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- Опубликовано: 21 июл 2024
- Composer: Sir William Turner Walton (29 March 1902 - 8 March 1983)
Orchestra: Sofia Symphonic Orchestra
Conductor: Ljubka Biagioni
Viola: Simonide Braconi
Viola Concerto, written in 1928/ revised in 1961
00:00 - I. Andante comodo
09:02 - II. Vivo, con molto preciso
13:34 - III. Allegro moderato
In 1928, the conductor Sir Thomas Beecham suggested to Walton that he write a concerto for the eminent violist Lionel Tertis. The composer agreed and started work on it almost immediately; on completion he sent it to Tertis who, much to Walton's disappointment, rejected it. In his biography, My Viola and I (Elek, 1974) Tertis relented: "I had not learnt to appreciate Walton's style. The innovations in his musical language which now seem so logical and so truly in the mainstream of music then struck me as far-fetched." The composer and violist Paul Hindemith gave the first performance in London in October 1929, when the Sunday Times critic Ernest Newman wrote, somewhat unenthusiastically, "The composer has a grasp of musical logic, a sense of fitness and a command of craftsmanship that is very unusual in a young man." In 1960, and again in 1961, Walton -- ever the perfectionist -- extensively revised the work, but it has never been among his most-admired compositions.
Tertis' original reservations may well have had something to do with the fact that the concerto is not, in any obvious sense, a showpiece for the viola. It certainly makes virtuosic demands on the soloist, but its strengths lie in the intimate dialogues between viola and orchestra and the intricate, almost casual, way in which the themes are crafted.
In the first movement, Andante commodo, the music, though lyrical, is haunted by feelings of restlessness, with frequent time changes and shifts of harmony. There is even a trace of impatience in the way, rising to its highest register, the viola delivers its own version of the second subject.
The second movement, Vivo con molto preciso, has three main thematic ideas. It opens with fast, rhythmic figures tossed between orchestra and soloist, abruptly cut short by quiet chords in the brass and followed by lively explorations by the soloist. The movement closes with a more contemplative version of the opening theme, and ends quietly.
The final movement, Allegro moderato, the longest of the three, starts with a rather unpromising melody for bassoon, soon to be expanded, enriched, and brought to a climax by the viola before being passed to the orchestra. The poetic sincerity with which Walton returns to earlier themes as the movement draws to a close is among the concerto's finest moments.
[allmusic.com]
Original Performance: • W. Walton: viola conce...
NB: Please note that both audio and sheet music are NOT mine. If you have complains about this upload concerning copyright issues, please write me a direct message. In that case, I will delete the video immediately. 
Видеоклипы
![Paul Hindemith - Viola Concerto "Der Schwanendreher" [With score]](http://i.ytimg.com/vi/wPgmUji_bBM/mqdefault.jpg)
![Paul Hindemith - Viola Concerto "Der Schwanendreher" [With score]](/img/tr.png)
1) I apologize for the bad quality of the sheet music, I really tried everything to improve the quality but it didn't work...
2) I realized that Walton made a revision in 1961, and since the sheet music is the original version from 1928, you'll see lots of mistakes and differences between the sheet music and the audio. I also apologize for this, I really gave my best to find a good score but I only found this original version score.. (1- for example Walton added Harp in the score which wasn't in the original version, 2- in some passages the instruments are changed, the melody is completely different, etc.)
So if you want, I'll try to 1) find a better score or 2) make a new video with piano-reduction-score version.
Also, I suggest to watch this video on devices with larger screens.
Damon J.H.K. Thank you very much for taking my request!
I know about the different versions. The only recordings with the first orchestration by Walton is by Lawrence Power with Hyperion, but it's probably under copyright.
You've done and amazing work, and I can't thank you enough for all the hard work. You really make me very happy.
I'm glad you liked it despite the bad quality of the score and wrong version..! And I must say that I always enjoy listening to this!
Thank you very much for this! I have the sheet music somewhere but lost track of if a long time ago since I no longer play. I'm particularly grateful for highlighting the solo.
Thanks again!
I was wondering why I could hear loads of harp, but couldn't see it in the score!
As an Italian, I've always loved the "Allegro CON MOLTO PRECISO" tempo, because, well, actually it doesn't mean anything. :D
"with much precise"😂
@@miolinista with much precision
he means that the conductor stays precise and strict, no mater how many groupies come later
@@emanuel_soundtrack Gotta be strict with those groupies for sure.
@@JayBassoon they can blurr his perception of time
Love it when the 1st movt theme comes back in the end.
Back in the 1920's, Walton was the 'enfant terrible' of British music. It's hard to imagine this beautiful, romantic concerto as too avant guard . But it was back then
Or that after about 1940 his music would become less interesting. This, facade and the 1st symphony are some of the truly great works of British music.
@@victorrobin642 Not so, there's definitely some really strong pieces by British composers, masterpieces even, just look at Peter Grimes. Grant you there's a total dearth between Purcell and the odd Elgar work but there's some great stuff there.
@@stephenkenny1647 I don't think he ever became less interesting. His 2nd symphony is my favourite later work of his and i will say that it's better than the 1st symphony
There are two recordings of the original orchestration with Walton conducting. It's an outstanding concerto in either version.
Weird programme note 'but it has never been among his most-admired compositions' it is one of his most admired and most performed works and a keystone of the viola repertory
Beautiful, viola is amazing in its unique sound
This concerto will always have a special place in my heart 💖
I'm surprised by the comment above, ". . . it has never been among his most-admired compositions." Though there is much of Walton's music I haven't heard, of the pieces I have this is for me the best--wears better through repeated listenings than the First Symphony.
brings back a lot of memories. 😊
William Walton:Brácsaverseny
1.Andante comodo 00:00
2. Vivo, con molto preciso 09:02
3.Allegro moderato 13:34
Simonide Braconi-brácsa
Szófiai Szimfonikus Zenekar
Vezényel:Ljubka Biagioni
You're the best Thank you so much for sharing this with me
Thank you for posting this. I've never been able to find a copy of the original version. I only know Walton's comments about it so it's nice to see the original orchestration even though he lightened up somewhat in 1961. Along with the Hindemith works for Viola and Orchestra it represents a special place in the viola repertoire.
Love both you and your Shares Thank you
Damon. Thank you for uploading this score! Am so thirsty for viola works as there seems to be so few. I wish the Asians or some other group would concentrate on composing for this, the loveliest of instruments 🎻. The viola (in my simple mind) equates to the contralto). You, dear viola, need not languish in the shadow of your sister (the violin). It is time for you to shine using your own glorious light!!!
Thank you so much for sharing
I like this a lot, principally the feeling of freedom and optimism. The viola speaks the WHOLE time, I wonder if this is a problem of compositional neuroticism or if there is other reason behind it. The advantage is that it makes all more virtuoso, and and when the orchestral does the intermezzos it is breathtaking, like on III mov. There is a lot of notes for the viola, but the orchestra plays another concert for itself behind it as well, with finest counterpoint. The ending is very self-aware of the fact that he was brillant before,having said all, so it was not necessary to end like a jumping clowing or with any other virtuosistic manouvre.
It's quite Baroque in its very well-wrought counterpoint
The viola does have a sort of Harold in Italy quality to it - as if this were a disembodied Walton speaking?
My friend Thanks for sharing this
So very Fabulous
This looks incredible!!!
In 1928, the conductor Sir Thomas Beecham suggested to Walton that he write a concerto for the eminent violist Lionel Tertis. The composer agreed and started work on it almost immediately; on completion he sent it to Tertis who, much to Walton's disappointment, rejected it. In his biography, My Viola and I (Elek, 1974) Tertis relented: "I had not learnt to appreciate Walton's style. The innovations in his musical language which now seem so logical and so truly in the mainstream of music then struck me as far-fetched." The composer and violist Paul Hindemith gave the first performance in London in October 1929, when the Sunday Times critic Ernest Newman wrote, somewhat unenthusiastically, "The composer has a grasp of musical logic, a sense of fitness and a command of craftsmanship that is very unusual in a young man." In 1960, and again in 1961, Walton -- ever the perfectionist -- extensively revised the work, but it has never been among his most-admired compositions.
Tertis' original reservations may well have had something to do with the fact that the concerto is not, in any obvious sense, a showpiece for the viola. It certainly makes virtuosic demands on the soloist, but its strengths lie in the intimate dialogues between viola and orchestra and the intricate, almost casual, way in which the themes are crafted.
In the first movement, Andante commodo, the music, though lyrical, is haunted by feelings of restlessness, with frequent time changes and shifts of harmony. There is even a trace of impatience in the way, rising to its highest register, the viola delivers its own version of the second subject.
The second movement, Vivo con molto preciso, has three main thematic ideas. It opens with fast, rhythmic figures tossed between orchestra and soloist, abruptly cut short by quiet chords in the brass and followed by lively explorations by the soloist. The movement closes with a more contemplative version of the opening theme, and ends quietly.
The final movement, Allegro moderato, the longest of the three, starts with a rather unpromising melody for bassoon, soon to be expanded, enriched, and brought to a climax by the viola before being passed to the orchestra. The poetic sincerity with which Walton returns to earlier themes as the movement draws to a close is among the concerto's finest moments.
This is a beautiful explanation
Gorgeous! I love William Walton.
Absolutely the top video of today
세상에 이 마이너한(?)곡을 자세한 설명에 악보까지 해서 올려주시다니 이러시면 감사합니다 ㅠㅠ
wow!! I am just beginning to learn viola but I hope one day to play this beautiful song🥰🥰
I really appreciate that somebody took the time to bring this music with the score to RUclips. I really thank you for that... it makes it for us musicians extremely convenient to study our pieces. The only fact that makes it uncomfortable to study is the orchestra not following the soloist in far too many points!! hehehe
I'm working on this piece now. It is definitely one of my favorites! Thank you!
You inspire me
Hearing some Prokofiev Violin Concerto no. 1 influence here - love it
Total genius!
Beautiful
Great
Why does Walton's music sound so good?
Very great work! Thanx for uploading this score! Ive been looking for it for a long time, to my own mind could you please tell me where you got this pdf score? I will appreciate it so much!
It's interesting!
Superlike
Hello, can you tell me what edition of the score is?
Thank you!
Very good !!!!!!!! But I want piano acc ~~~ please
fire flames
on the side of my face
Hey, thankyou so much for post this, i appreciate it so much, can you please send it to my email?
I'm doing a thesis about this concert
schöne Sendung
구독자 많이 늘으셨네요ㅋㅋ
ㅋㅋㅋ저 같으면 시간 없어서 못 한다고 할 것 같아요ㅋㅋㅋ 그런데 무슨 도서관이길래 이런 악보도 있나요?
Polytonality, I suppose? But the first movement begins in A minor.
The high registers of the viola sound like violin.
I may be completely wrong, but this sounds like an English composer very well acquainted with Prokofiev. Specifically with his first violin concerto. It sounds frantic and underdeveloped, but played well, much like most of my early compositions. It’s not to say he couldn’t have done better because I know he had mountains of music within, but that’s what I hear. That being said, the last movement has a lot of moments of brilliance.
15:13 ???
18:05
16:11
The low brass in this recording were out of tune and sounded like farts the whole time. The trumpets and horns were brilliant tho.
10:46
14:09
15:48
16:20
20:50
11:50
Nice performance, and some beautiful spots here and there, but overall a tedious composition that begins to sound all alike. Why does ALL British music sound like Bridge on River Kwai? Sorry, you dont' need a corny march in EVERYTHING.
This sounds like sour grapes:
"I wish I could play the violin, instead of the viola that my teacher MADE me play!" ;)
zachsplep Please take your unjustified viola hate elsewhere.
zachsplep You, should be down on your knees in gratitude for the blessing of being “allowed” to play the viola! I pray that someday you will understand the privilege you were given!
it’s a really well written concerto that shines light on everything the viola and violist can achieve. also just saying, the violin and viola both have their own qualities and shouldn’t be compared to one another.