Sinfonia of London
Jonathan Aasgaard cello
John Wilson conductor
CHANDOS CHSA 5328
Walton, John Wilson, Chandos – the recommendation writes itself. But there is also the appearance of Jonathan Aasgaard as soloist in the concerto, a work which the liner notes remind us was not fully appreciated when it first appeared.
One commentator, whom I will not shame by naming, saying that it was ‘marred by a stagnant quality and was rundown and enervating’. Critical opinion has of course now realised that this is a very fine work indeed and a worthy companion to the earlier concertos for viola and violin.
I was much impressed by Mr Aasgaard’s playing – agile, very accurate and focussed, and beautifully projected, a performance to which I will certainly return.
John Wilson’s version of the symphony also commands our attention with its drive and drama, expertly despatched by his own Sinfonia of London. Walton famously had difficulty with the finale which was much delayed. The wags of the time said something to the effect that he ‘needed to change girl-friends before he could continue’.
The relationship with Baroness von Doernberg was clearly fractious and difficult, but there was still enough affection remaining for the dedication to her to be retained. On acquiring a new squeeze, Alice Wimbourne, the sun came out, and this was clearly and obviously reflected in the music. This is not usually the subject of comment and perhaps this does not need pointing out, but I was very much aware of the music’s warmth in this performance.
The notes quote from a letter to Walton from John Ireland saying that ‘(the symphony) is simply colossal, grand, original, and moving to the emotions to the most extreme degree. It has established you as the most vital and original genius in Europe. No one but a bloody fool could possibly fail to see this’. While this is a bit over the top, I confess to have come away from live performances of the work with similar feelings.
The comedy overture Scapino opens proceedings. This represents the more brittle, and flamboyant side of Walton’s character. I thought it taken, albeit expertly, slightly too quicky to make full effect, which I feel sometimes is the result of having such expert musicians at your disposal. However, the initial tempo indication is ‘molto vivace’, so what do I know about it?
Review by Geoffrey Atkinson