Classical Music: Walton: Orchestral Works, Vol. 1

Walton: Orchestral Works, Vol. 1

Symphonic Suite from ‘Troilus and Cressida’
(arr. Christopher Palmer); Violin Concerto;
Portsmouth Point.

Charlie Lovell-Jones (violin)
Sinfonia of London - John Wilson
Chandos CHSA 5360
chandos.net

There is something of King Midas about John Wilson. Everything the conductor touches seems to transform into musical gold, and his latest collaboration with the Sinfonia of London for Chandos Records proves no exception. This outstanding release inaugurates a promising new series dedicated to Sir William Walton's orchestral works, brilliantly showcasing the composer's symphonic mastery.

At the heart of this recording stands the Violin Concerto, with Charlie Lovell-Jones as soloist. Commissioned by violin virtuoso Jascha Heifetz and premiered in America in 1939 to enthusiastic reception, the piece draws inspiration from Walton's relationship with Alice Wimborne. The result is a work of extraordinary lyricism and passion, featuring a wild, virtuosic Tarantella as its central movement.

Lovell-Jones delivers a tremendous performance, exhibiting a beautifully full-bodied tone and exhilarating technique. Wilson and the recording engineers have achieved perfect positioning, capturing the ideal balance between soloist and orchestra while allowing Lovell-Jones's mercurial virtuosity to shine through. The vehemence and excitement of his playing prove utterly captivating.

The disc opens with music from Walton's first grand opera, Troilus and Cressida—a work composed over nearly a decade—presented as a four-movement orchestral suite compiled by Christopher Palmer in 1987 at the behest of Lady Walton and Oxford University Press. Superbly performed and full of colour, the suite brilliantly functions as a standalone work while capturing the essence of Walton's operatic vision. Under Wilson's baton, the Sinfonia of London navigates these contrasting moods with remarkable sensitivity, highlighting the sumptuous orchestration that characterises Walton's operatic writing.

The album concludes with the sparkling overture Portsmouth Point, the earliest composition featured, dating from 1926. In both works, Wilson's Sinfonia demonstrates remarkable precision and vibrancy.

This superb recording not only launches what promises to be an outstanding Walton cycle but may well initiate a broader reevaluation of the composer's contributions.

Wilson deftly illuminates Walton's often-overlooked gift for colourful orchestration—a talent that deserves greater recognition in today's concert halls. If this recording is any indication, this new series will rightfully elevate Walton's reputation.