The 1930s were particularly
fruitful years for the symphony in England.
Bax, Moeran, Vaughan Williams, Dyson
and Lloyd are amongst the significant
composers to produce memorable works
in the genre during this decade. So
too was a young composer named William
Walton, whose previous successes with
Belshazzar’s Feast and the Viola
Concerto guaranteed public anticipation
when word got out that he was working
on a symphony. The music did not, however,
come easily, and the composer had to
overcome a number of writing blocks.
It would take him four years to complete
the work. In fact, his publisher became
so frustrated with him that there were
at least two performances of the work
without its finale - all very well received
- before the work was heard in its complete
form in 1935. It was but a month later
that the Decca Record Company gave the
symphony its first recording.
The wait was worthwhile!
Walton’s unique and what I like to call
"Imperial" voice comes through in the
remarkable use of dissonance over long
sustained tones, giving a sense of harmonic
unity. The music can at times be icy
and striking, yet it is never threatening
or oppressive. The scherzo is interesting
in that it is marked to be played "with
malice". The driving rhythms that are
a hallmark of Walton’s music are present
here in spades. The slow movement, with
its achingly beautiful flute theme,
almost looks back at the scherzo with
some regret for its outburst. Marked
Andante con malincolia, one commentator
quipped that "Willy changed girlfriends
between movements". Whether the angry
scherzo followed by the mournful slow
movement is a reflection of the composer’s
personal life emotions must be left
to speculation. The finale is signature
Walton, jammed with the triumphant rhythms
and open harmonies that bring the listener
to a glorious mountain summit. The movement
is over twelve minutes of sheer passionate
exhilaration.
Of the several LSO
Live releases that I have reviewed in
recent weeks, this one is by far the
finest. Sir Colin Davis brings out the
best in this orchestra with disciplined
taut playing, excitement and energy
that never gets out of control, and
finely thought out contrasts in mood
and emotion. Thankfully, the producers
have left off the unsettling applause
that has marred other releases in the
series. I firmly believe that there
is a difference between the home and
public listening experience, and that
applause on recordings unduly jars the
home listener out of his comfort zone.
On another production note, I have to
give mention to the program booklet
as well. The notes for everything I
have received from this series are well
written, concise and to the point. Best
yet, they are set in a very readable
typeface and the page layouts are superb.
Sound quality is warm, rich and present.
Studio recordings of this work by André
Previn and Andrew Litton are not to
be discounted, but this is a superb
reading of an early twentieth century
masterpiece, and well worth owning,
even as a duplicate.
The London Symphony
have hit upon a potential goldmine by
releasing recordings such as this. Let
us hope the effort is prosperous enough
for it to continue indefinitely.
Kevin Sutton
see overview
of recordings of this symphony by Len
Mullenger
London Symphony Orchestra/Sir Colin Davis 
