Andrew Baker, I concur! Perhaps Sir William is a bit too close to us in time. Perhaps he's too British to earn more respect? No matter. He was a master. I would note his masterful scores for the Olivier films. As with many mid century composers his career clashed with the serialists. Today I note Dave is discussing William Walton, not Luigi Nono.
Yes, I agree Walton is a great composer. For me it has to be the Viola Concerto, which is not only characteristic of Walton, but also the greatest viola concerto in my opinion. That said, I also think the Hindemith Variations is one of his finest works and one I love, too. But as you say there is so much wonderful Walton and he deserves to get programmed much more than he does.
I totally expected (hoped) your choice to be "Belshazzar's Feast" because that is one of my favorite works by anyone. However, I was unaware of the Variations on a Theme by Hindemith so I am delighted to discover a "new" Walton piece that is so highly thought of by you.
That violin concerto though... Sends the chills as soon as that soaring opening melody begins. I don't actually know the Variations, however, so I'm looking forward to delving into it after this talk -- thanks!
Good choice Dave. The Hindemith Variations has always been my favourite Walton piece, along with the Cello Concerto, my favourite among the three concertos.
I thought it was going to be the Viola Concerto, but the Hindemith Variations is a raging masterpiece and is a great choice. I think there still will be a viola concerto that is to be spared, and whose do I think it will be? Edmund Rubbra’s!
Of course, it's a masterpiece. It perfectly encapsulates all of Walton's magic and lyricism. The reason it's not played very much is that hoary old excuse, its soft ending...
Thanks so much Dave, It was, overall very much worth the wait. I appreciate so much your understanding the essence of the composers under discussion. One of the best parts was your praising his music as a whole for its greatness and the protest against its relative neglect. What I love about his music is not only it’s perfection of craft but its expressiveness-especially in regard to his harmonic language. I love the Hindemith Variations, just like I do everything else he wrote. But as I said in my first recommendation post, I think that the passionate side is relatively less present here-though there are some moments. Of course it makes sense given the nature of the work. Interestingly, it seems to me, the fugue is the most intense and passionate, and therefore the most characteristic. But I would choose one of the works that has more of that expressive bittersweet and passionate intensity evident throughout, in e.g. the Violin Concerto, the Gloria, the symphonies, or Belshazzar. But it’s hard to argue against the Hindemith Variations being one of the great later Walton works. I’m curious if you find his music to also be very expressive, we could say Romantic, as well perfect in craft and precision, and whether you find the Variations to have this quality as well. The more subtle expressiveness of this work has grown on me gradually.
1. Thanks Dave, you learn something new everyday. 2. I consider William Walton to be a musician's composer in that by grasping some of his tremendous command of technique, a more sophisticated listener has a better chance of appreciating his music. 3. For example, Walton's Hindemith Variations echo much of his earlier music, but its late life refinement borders on the ethereal. 4. That said, at times Walton could display a common touch that leaped out beyond his expertise. His two coronation marches, Crown Imperial for King George VI and Orb & Sceptre for Queen Elizabeth II, demonstrated his ability to combine both a foot-tapping march and a beautiful melody in each piece. 5. Too bad Sam Walton never commissioned him to compose an impressionistic Scenes From A Walmart.
i particularly appreciate the violin concerto by walton, a magnificent work, which i like with ida haendel, or jascha heifetz, or the score for the film ''the battle of ''britan''....about the concerto for violin, and at the same time how the name of william walton became known to me....thanks to the science fiction novel by arthur c. clark ''2001 space odyssey''.....astronaut david bowman, finding himself alone, on his journey to jupiter aboard his spaceship discovery, began to listen classical music, including the walton concerto which he greatly appreciated.
The Violin Sonata really is a great work, and like some of Walton’s other works, rather neglected. It’s such a perfect piece, balancing craft and subtle reflective emotions. The second movement variations are, on a smaller scale, just as impressive as the Hindemith Variations, maybe more so.
You’ve praised this marvelous work in a couple of past videos so it comes as no surprise that you’ve selected it to represent Walton’s output. And while I’m among those who revere Walton’s Symphony #1, I agree that the Hindemith Variations may well be his masterpiece. Cheers! Thanks for another great lesson!
Thinking about 'picking your tune' for a sequence of variations, who would have thought you could go anywhere with that trivial little Diabelli thingy? But composers did....and then Beethoven struck!
Great choice the variations. Interesting, you mentioned Walton's painstakingly slow, fastidious working methods - that did sometimes lead him into issues (the 1st Symphony for example had its premiere without it's final movement, because he was struggling to get it right - some argue he didn't finally!!). It's therefore always struck me as curious that he was quite a successful film composer (those Olivier Shakespeare film adaptations are graced with fine scores from him). He did, however, run into trouble with the preposed score for the film The Battle of Britain, which he was slow to produce (apparently Malcolm Arnold ended up helping him get it finished). That contributed to it ultimately getting rejected (apart from the splendid Battle in the Air cue) and replaced by the pedestrian, formulaic job done by Ron Goodwin. What a shame.
I have the film of Battle of Britain in a special edition where you can have Walton's film score, or Goodwin's as initially published. I tend to watch it with Walton's music! Walton has been a musical hero of mine for fifty years! I would be hard pressed to choose just one piece from him.
@George Johnson Yeah, I know of that version of the film. I think they managed to re-construct it because of the great Eric Tomlison (recording engineer) had the master tapes in his garage! The only slight issue is that Walton only completed a few cues before his services were dispensed with. It's worth noting too Battle in the Air was only included originally because the actor Laurence Olivier threatened to have his name removed from the credits if it wasn't!
@@curseofmillhaven1057 I knew that Olivier was far from happy to have his friend's music almost completely scrapped, but never knew that he threatened to have his name removed from the credits. Thinking of lovely Walton film music I love the two pieces for string, Touch her soft lips and gently part, and the Death of Falstaff. Miniature masterpieces if ever! Best wishes from George
May I ask if anyone has been able to locate the Szell/Cleveland recording on one of the streaming services? I have searched high and low but thus far I've been luckless.
There is only one stand-alone cello concert dating from 1940. The only other one is part of the Kammermusik series (No. 3), and shouldn't be confused with the concerto for cello and standard symphony orchestra. It has been recorded many times, always under the simple title of "Cello Concerto."
Thank you. Thank you. I love this work. It is a sythesis of his genius.
Hurrah! Yes it’s a masterpiece. I love the second symphony cello concerto and Hindemith variations most of his works.
Andrew Baker, I concur!
Perhaps Sir William is a bit too close to us in time. Perhaps he's too British to earn more respect?
No matter. He was a master.
I would note his masterful scores for the Olivier films.
As with many mid century composers his career clashed with the serialists.
Today I note Dave is discussing William Walton, not Luigi Nono.
Yes, I agree Walton is a great composer. For me it has to be the Viola Concerto, which is not only characteristic of Walton, but also the greatest viola concerto in my opinion. That said, I also think the Hindemith Variations is one of his finest works and one I love, too. But as you say there is so much wonderful Walton and he deserves to get programmed much more than he does.
Always good to hear an appreciation of the fine works that were on the shortlist but didn't make it as the final choice, for all these composers.
I totally expected (hoped) your choice to be "Belshazzar's Feast" because that is one of my favorite works by anyone. However, I was unaware of the Variations on a Theme by Hindemith so I am delighted to discover a "new" Walton piece that is so highly thought of by you.
That violin concerto though... Sends the chills as soon as that soaring opening melody begins.
I don't actually know the Variations, however, so I'm looking forward to delving into it after this talk -- thanks!
Good choice Dave. The Hindemith Variations has always been my favourite Walton piece, along with the Cello Concerto, my favourite among the three concertos.
I thought it was going to be the Viola Concerto, but the Hindemith Variations is a raging masterpiece and is a great choice. I think there still will be a viola concerto that is to be spared, and whose do I think it will be? Edmund Rubbra’s!
Of course, it's a masterpiece. It perfectly encapsulates all of Walton's magic and lyricism. The reason it's not played very much is that hoary old excuse, its soft ending...
Thanks so much Dave,
It was, overall very much worth the wait. I appreciate so much your understanding the essence of the composers under discussion. One of the best parts was your praising his music as a whole for its greatness and the protest against its relative neglect. What I love about his music is not only it’s perfection of craft but its expressiveness-especially in regard to his harmonic language. I love the Hindemith Variations, just like I do everything else he wrote. But as I said in my first recommendation post, I think that the passionate side is relatively less present here-though there are some moments. Of course it makes sense given the nature of the work. Interestingly, it seems to me, the fugue is the most intense and passionate, and therefore the most characteristic. But I would choose one of the works that has more of that expressive bittersweet and passionate intensity evident throughout, in e.g. the Violin Concerto, the Gloria, the symphonies, or Belshazzar. But it’s hard to argue against the Hindemith Variations being one of the great later Walton works. I’m curious if you find his music to also be very expressive, we could say Romantic, as well perfect in craft and precision, and whether you find the Variations to have this quality as well. The more subtle expressiveness of this work has grown on me gradually.
Yes, he was a very expressive composer, no doubt about that!
1. Thanks Dave, you learn something new everyday.
2. I consider William Walton to be a musician's composer in that by grasping some of his tremendous command of technique, a more sophisticated listener has a better chance of appreciating his music.
3. For example, Walton's Hindemith Variations echo much of his earlier music, but its late life refinement borders on the ethereal.
4. That said, at times Walton could display a common touch that leaped out beyond his expertise. His two coronation marches, Crown Imperial for King George VI and Orb & Sceptre for Queen Elizabeth II, demonstrated his ability to combine both a foot-tapping march and a beautiful melody in each piece.
5. Too bad Sam Walton never commissioned him to compose an impressionistic Scenes From A Walmart.
i particularly appreciate the violin concerto by walton, a magnificent work, which i like with ida haendel, or jascha heifetz, or the score for the film ''the battle of ''britan''....about the concerto for violin, and at the same time how the name of william walton became known to me....thanks to the science fiction novel by arthur c. clark ''2001 space odyssey''.....astronaut david bowman, finding himself alone, on his journey to jupiter aboard his spaceship discovery, began to listen classical music, including the walton concerto which he greatly appreciated.
Just ordered the CD it was just over 10 pounds from Japan.
Thanks for the heads up DH
Excellent choice! Also one of my favorite Walton pieces along with his Violin Sonata.
The Violin Sonata really is a great work, and like some of Walton’s other works, rather neglected. It’s such a perfect piece, balancing craft and subtle reflective emotions. The second movement variations are, on a smaller scale, just as impressive as the Hindemith Variations, maybe more so.
Puccini is saying, what am I? Chopped liver!
Not even.
My favorite by him is his last opera, which was about arms and munitions war profiteers, "Turret Dough."
Puccini was every bit as detailed as Walton in marking his scores.Perhaps even more so. So much so, his publisher Ricordi complained to him about it.
@@DavesClassicalGuide Not even chopped calamari?
In actuality, La Boheme for me - with Toscanini!
You’ve praised this marvelous work in a couple of past videos so it comes as no surprise that you’ve selected it to represent Walton’s output. And while I’m among those who revere Walton’s Symphony #1, I agree that the Hindemith Variations may well be his masterpiece. Cheers! Thanks for another great lesson!
Thinking about 'picking your tune' for a sequence of variations, who would have thought you could go anywhere with that trivial little Diabelli thingy? But composers did....and then Beethoven struck!
Great choice the variations.
Interesting, you mentioned Walton's painstakingly slow, fastidious working methods - that did sometimes lead him into issues (the 1st Symphony for example had its premiere without it's final movement, because he was struggling to get it right - some argue he didn't finally!!).
It's therefore always struck me as curious that he was quite a successful film composer (those Olivier Shakespeare film adaptations are graced with fine scores from him). He did, however, run into trouble with the preposed score for the film The Battle of Britain, which he was slow to produce (apparently Malcolm Arnold ended up helping him get it finished). That contributed to it ultimately getting rejected (apart from the splendid Battle in the Air cue) and replaced by the pedestrian, formulaic job done by Ron Goodwin. What a shame.
I have the film of Battle of Britain in a special edition where you can have Walton's film score, or Goodwin's as initially published. I tend to watch it with Walton's music!
Walton has been a musical hero of mine for fifty years! I would be hard pressed to choose just one piece from him.
@George Johnson Yeah, I know of that version of the film. I think they managed to re-construct it because of the great Eric Tomlison (recording engineer) had the master tapes in his garage! The only slight issue is that Walton only completed a few cues before his services were dispensed with. It's worth noting too Battle in the Air was only included originally because the actor Laurence Olivier threatened to have his name removed from the credits if it wasn't!
@@curseofmillhaven1057 I knew that Olivier was far from happy to have his friend's music almost completely scrapped, but never knew that he threatened to have his name removed from the credits.
Thinking of lovely Walton film music I love the two pieces for string, Touch her soft lips and gently part, and the Death of Falstaff. Miniature masterpieces if ever!
Best wishes from George
I remember Steve Race's scathing criticism of the choice of Ron Goodwin over Walton.
May I ask if anyone has been able to locate the Szell/Cleveland recording on one of the streaming services? I have searched high and low but thus far I've been luckless.
It's on Spotify!
@@paulb356 I've found it! Thank you most sincerely, it's even better than I'd imagined!
I'm not familiar with the Hindemith Cello Concertos, so which concerto are you referring to that the theme is taken from for the Walton Variations?
There is only one stand-alone cello concert dating from 1940. The only other one is part of the Kammermusik series (No. 3), and shouldn't be confused with the concerto for cello and standard symphony orchestra. It has been recorded many times, always under the simple title of "Cello Concerto."
Facade.
With or without the Sitwell poetry? I like it either way!