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And like Barber's Concerto, the Violin Concerto in B minor by Walton has a beautiful floating quality, but not without complex rhythms and great demands on the soloist.Įrnest Bloch - Baal Shem, Three Pictures from Hassidic LifeĮrnest Bloch's Baal Shem is an exploration of Jewishness, both joys and the sorrows. Like Barber, Walton wrote melodic, romantic music when the rest of the musical world was experimenting with dissonance and atonality. It continues to be his only orchestral work that regularly gets perfomed today, especially this year, the centenary of his birth. The Violin Concerto however is widely praised. Even his famous choral work Belshazzar's Feast is more fun to sing than to listen to. The viola and cello concertos are light on musical ideas. He spent much of the post-War years writing film scores. Walton's music could best be described as patchy. Walton was the decadent man of leisure, a university dropout, living on the patronage of the Sitwell family, and basking in the glory that his Belshazzar's Feast had brought him. In the same year as Barber, William Walton wrote his Violin Concerto, commissioned by Jascha Heifetz whom he had met two years earlier. William Walton - Violin Concerto in B minor We take little risk in declaring this performance of the Barber Violin Concerto as the definative version. It is no surprise that he is widely regarded as the greatest violinist of his generation.įrom the opening expansive soaring melody to the tour de force perpetual motion finale, Bell's performance shines and the listener is captivated.
This is one work where youth is a definite advantage and Bell brings all these characteristics to the Barber. Bell is known for his lyrical tone, intelligent interpretation and technical mastery. Joshua Bell was the same age when he recorded this concerto in 1996 as Barber was when he wrote it. For this he is known as the American Romantic. He rejected modernism and deliberately wrote music that was rich in melody, lush in tone, progressive in harmony without being harsh. Much of it is just as briliant and beautiful as music of previous centuries, with new ideas and colors added of course. Modern music is not all dissonant, percussive and ugly. There is a recurring theme in these pages regarding the music of the twentieth century. Not surprisingly, the Violin Concerto bears no dedication. The resulting finale, a thunderstorm of four minutes duration was so difficult that Briselli declared that he would not (or could not) play it Fels asked for his money back.
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When Briselli previewed the first two movements, he complained that they were too full of Barber's characteristic lyricism, and without enough technical fireworks to show off his virtuoso skills.īarber promised to deliver.
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It was commissioned by millionaire businessman Samuel Fels for his adopted son, the Russian-born Iso Briselli. He had already achieved recognition with some small-scale orchestral works, but a violin concerto, that most romantic of forms, was to be his big success. It was written in 1938, when Barber was just 28. I found the first release, of the First Symphony and Violin Concerto (reviewed in July/August 2010), to be broadly acceptable, although the performances did not wholly compare with the best available, and much the same comment can be levied at this new CD.Samuel Barber's Violin Concerto Opus 14 is a work that bursts with youth. Koch Collection of Walton’s original manuscripts, which therefore gives a veneer of authenticity to the undertaking that has to be taken into account. This has the inestimable advantage of having access to the extensive Frederick R.
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"Here is the second release in what promises to be a series of recordings of Walton’s music by this orchestra and conductor under the title of the ‘William Walton Project’. (.) Beautifully recorded in live performances in Woolsey Hall, New Haven, this is another winner among Walton discs." Edward Greenfield, Gramophone March 2015 Nonetheless, William Boughton draws from the New Haven orchestra a comparably magnetic performance. The second symphony is a wonderfully crafted work in which Waltonian electricity is not of such a high voltage as in the first. It came as rather a surprise to me in that earlier disc that an orchestra I had hardly heard of should play Walton with such finesse and warmth, a lesson for some of our British orchestras and a fine tribute to American standards. "The latest Nimbus disc of Walton is a companion for the outstanding earlier issue of the First Symphony and Violin Concerto from the same forces (10/10).