William Walton Catalogue

C21 Si n f o n i a Co n

C21 Si n f o n i a Co n c e r t a n t e for orchestra with pianoforte (continuo) 1. Maestoso—Allegro spiritoso; 2. Andante comodo; 3. Allegro molto Date of composition: 1926–7 Composed as a ballet for Diaghilev, but rejected. Recast as Sinfonia Concertante in 1927. Holograph: Beinecke: GEN MSS 601 (FRKF 587a) • A second holograph score of the 1927 version (deriving from a private collection in Australia) was acquired by the Beinecke Library at a sale at Sotheby’s, London in December 1999 (Lot 265) • The work is scored for double woodwind, two horns, two trumpets, two trombones, tuba, timpani, percussion, and strings. The MS has had extra parts for third and fourth horns added in red ink, apparently by Walton. (Beinecke: GEN MSS 601, File 330.) Instrumentation: picc.2.2.ca.2.bcl.2.cbn/4.3.3.1/ timp/perc (3: tri, cyms, glock, xyl, sd, bd, tamb)/strings Dedication: 1. To Osbert [Sitwell]; 2. To Edith [Sitwell]; 3. To Sachie [Sitwell] Duration: 19 minutes First performance: London, Queen’s Hall, 5 January 1928 (Royal Philharmonic Society Concert, broadcast by the BBC); York Bowen and the Royal Philharmonic Society Orchestra, conducted by Ernest Ansermet. First American performance: Boston, Symphony Hall, 2 March 1928; Bernard Zighera and the Boston Symphony Orchestra, conducted by Serge Koussevitsky First European performance: Berlin (Witzlehen), Radio HQ, 24 April 1930 (broadcast on German Radio); Harriet Cohen and an ad hoc orchestra, conducted by William Walton Other early performances: Bournemouth, Winter Gardens, 12 April 1928 (broadcast by the BBC on the Daventry Experimental Station); Gordon Bryan and the Bournemouth Municipal Orchestra, conducted by William Walton • London, BBC Studios, 3 June 1929 (broadcast on the London Station); Victor Hely-Hutchinson and the Wireless Symphony Orchestra, conducted by Ernest Ansermet • London, Queen’s Hall, 14 September 1929; Victor Hely-Hutchinson and the Henry Wood Symphony Orchestra, conducted by William Walton Publication: OUP, 1928 at 21s • WWE vol. 13, pp. 1–82 C21 Sinfonia Concertante 27 Bibliography: Lionel Friend, WWE vol. 13 (see below) • Helen Fry, Music and Men: The Life and Loves of Harriet Cohen (Stroud: History Press, 2008), 123, 181 • The Listener, 7 April 1937, p. 676 (A. Frank); MMR 58 (February 1928), 43 (R. Capell); MT 69 (February 1928), 165 (M); 70 (October 1929), 931 (F. Howes); 73 (October 1932), 935 (W. McN.); Times, 6 Jan 1928, p.10; 7 Jan 1928, p. 8; 12 April 1928, p. 4; 13 April 1928, p. 12; 16 Sept 1929, p. 10; 9 Sept 1932, p. 8. Recordings: CD Kathryn Stott / Royal Phiharmonic Orchestra / Vernon Handley. Conifer CDCF 175 (1990); RCA 74321 92575 2 (2002) • Eric Parkin / London Philharmonic Orchestra / Jan Latham-Koenig. Chandos CHAN 9148 (1994); CHAN 9426 (1995) • Peter Donohoe / English Northern Philharmonia Orchestra / Paul Daniel. Naxos 8.553869 (1999) Note: In a letter to Zena Taylor (dated 15 September [1927] and quoted in Hayes, ed., Selected Letters), Walton wrote that, ‘I met Sir Thomas B[eecham] who was affability itself and wants the score of my Sinfonia.’ In the same letter, Walton also mentions that Koussevitsky ‘was pressing for my new work.’ Three months later, Walton was telling Christabel McLaren (dated 3 January 1928, BL), ‘my concerto is on Tuesday. Do listen . . . it is broadcast from all stations.’ However in another letter to McLaren (9 January 1928), Walton described the first performance as ‘bloody, though the applause tumultuous. The work was terribly under rehearsed, in fact the players just about knew the notes and that was all.’ Other versions C21a Sinfonia Concertante arrangement of the original version by Christopher Palmer Instrumentation: 2(II + picc).2.ca.1.bcl.2.cbn/4.3.3.1/ timp/perc (3: tri, cyms, cast, xyl, sd, tamb)/strings First performance: unable to trace Publication: score and parts on hire: OUP, 1989 C21b Sinfonia Concertante arrangement for two pianos by the composer Publication: piano score: OUP, 1928 at 7s 6d • WWE vol. 20, pp. 88–131 Bibliography: Michael Aston, WWE vol. 20 For perusal purposes only

28 C22 Concerto for Viola and Orchestra Revised version Walton revised the work in 1943 describing it as Sinfonia Concertante ‘with piano obbligato’. In the first movement a great deal of counterpoint was removed and the last section tightened up. The slow movement was trimmed but no cuts were made—in fact it was lengthened by one bar at the end, the last chord being held for an extra bar and a half. The introduction was transferred from the solo piano to the orchestra and the piano writing simplified. In the last movement, some counterpoint was also removed. Much of the barring was simplified and many changes were made to the orchestration throughout. The dedications were omitted in the revised printed score, and the third movement was also changed to ‘Allegro vivo, sempre scherzando’. Holograph: Beinecke: GEN MSS 601 (FRKF 587c). Yale University also possesses the solo piano part of the revised version in the hand of a copyist, with one page rewritten in Walton’s hand, and Cyril Smith’s fingerings (FRKF 587b). See WWE vol. 13. Instrumentation: picc.2.2(II + ca).2.2/4.2.3.1/timp/ perc (2: cyms, glock, xyl, sd, bd, tamb)/strings Duration: 19 minutes First performance: Liverpool, Philharmonic Hall, 19 February 1944; Cyril Smith and the Liverpool Philharmonic Orchestra, conducted by Malcolm Sargent First broadcast performance: London, BBC Home Service, 23 May 1945; Valda Aveling and the BBC Symphony Orchestra, conducted by Sir Adrian Boult Other early performances: London, Royal Albert Hall, 21 August 1945 (Promenade concert); Phyllis Sellick and the BBCSO, conducted by Constant Lambert. (Phyllis Sellick replaced Arthur Grumiaux, who was to play Walton’s Violin Concerto C37.) • London, BBC Home Service, 10 September 1946; Phyllis Sellick and the BBC Theatre Orchestra, conducted by William Walton • London, Royal Albert Hall, 21 September 1946; Phyllis Sellick and the BBCSO, conducted by Constant Lambert Publication: study score: OUP, 1953 at 15s • WWE vol. 13, pp. 83–177 Bibliography: Lionel Friend, WWE vol. 13 • MT 85 (June 1944), 189 (F. Bonavia) Recordings: 78, CD Phyllis Sellick / City of Birmingham Symphony Orchestra / Walton (recorded Dudley Town Hall, 8 August 1945). HMV C 3478/80 (1945); HMV C 7635/7 auto (1946); World Record Club SH128 (1970); HMV EH29 1276 1(1987); EMI CDH7 63828 2 (1991); EMI Collector’s Edition 4 40865 2 (2012) LP, CD Peter Katin / London Symphony Orchestra / Walton (recorded Walthamstow Assembly Hall, 14 April 1970). Lyrita SRCS47 (1971); Lyrita SRCD224 1992) Note: In a letter to Alan Frank, dated 10 June 1968, Walton stated that ‘the revision of S.C. was largely on practical grounds—a smaller orchestra and a much less complicated piano part (perhaps now too easy) so that it could be played by the pianist attached to the orchestra, without having to obtain the services of a virtuoso’ (OUP archive). In a letter to the present author, dated 25 February 1978, Walton maintained that the original version was better and more interesting (Craggs archive). Other versions C21c Sinfonia Concertante arrangement for two pianos by Roy Douglas Publication: score: OUP, 1947 at 10s 6d Note: On 30 January 1945, Walton asked Roy Douglas to prepare a second pianoforte part for the Sinfonia Concertante, ‘reducing it from the score and not including anything which is doubled by the solo part. This was done between 1 February and 21 April 1945 (Douglas archive). C21d Unrequited Moments Ballet in one act (using the two-piano arrangement of the original version) with choreography by Patrick Lewis. First performance: Cambridge, Corn Exchange, 7 May 1996; English National Ballet. Further performances then took place in the Queen’s Theatre, Barnstaple, 10–11 May; Charter Theatre, Preston, 15 May; Forum 28, Barrow-in- Furness, 21–2 May; Lyceum, Crewe, 24–5 May. C22 Co n c e r t o fo r V i o l a an d Orc h e s t r a 1. Andante comodo; 2. Vivo, e molto preciso; 3. Allegro moderato Date of composition: 1928–9; revised 1936–7 and 1961 Holograph: London, Royal College of Music: MS 4234 Note: In a letter, dated 5 November 1948, Sir George Dyson (then director of the Royal College of Music) asked WW whether he would consider giving the college an For perusal purposes only