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Music : Vaughan Williams - The Lark Ascending; Walton - Viola Concerto; Violin Concerto
Rating: 
- In rhapsodic vein
This CD features three of the great twentieth century British works. It begins with Walton's Violin Concerto which, written in 1939 and revised in 1943, is serenely indifferent to its historical context. (In fact, much of it was written in the south of Italy and, certainly, its ethereal atmosphere is more suggestive of the Mediterranean than the blackout.)
As for the maverick soloist Nigel Kennedy, this piece is in many ways an ideal vehicle for him to display his talents. The second movement in particular, 'Presto capriccioso alla napolitana', makes huge demands on technical virtuosity. Kennedy is almost unfailingly accurate with intonation in the higher registers. His double-stopping is especially impressive. The Violin Concerto is a piece that cries out for a bravura performance of the kind we get here. Kennedy's style of playing, with its rich vibrato, creates a lush tone that probably reflects the composer's intentions well enough.
Walton's Viola Concerto, written a decade earlier and last revised in 1961, is of a more elegiac character but still inhabits the same beguilingly dream-like sound-world. Here, the nearest parallel (after his own Violin Concerto) is probably Prokoviev, whose Violin Concerto No 1 apparently provided the model for the piece. Kennedy seems almost as assured on his 'second' instrument, although this concerto isn't quite as technically demanding as the one for violin, nor is the soloist as prominent-dominant. Walton wrote his concertos with a particular soloist in mind. What he would have made of Kennedy's demotic persona - his dropped aitches, his Villa scarf and his haircut - is anyone's guess. But the chances are he would have been well impressed with his virtuosity on both violin and viola.
The CD concludes with one of the most original and evocative works of all - The Lark Ascending. The violin, which must soar, trill and transcend like the lark, is extremely exposed in a piece that tests the nerve as well as the artistry and technique. Kennedy is up to the challenge again.
In the main, the recordings are dated (those of the concertos are with Previn, 1987, RPO). But they have stood the test of time and compare favourably with the later recording of The Lark Ascending with Rattle (1997, CBSO).
- In rhapsodic veinThis CD features three of the great twentieth century British works. It begins with Walton's Violin Concerto which, written in 1939 and revised in 1943, is serenely indifferent to its historical context. (In fact, much of it was written in the south of Italy and, certainly, its ethereal atmosphere is more suggestive of the Mediterranean than the blackout.)
As for the maverick soloist Nigel Kennedy, this piece is in many ways an ideal vehicle for him to display his talents. The second movement in particular, 'Presto capriccioso alla napolitana', makes huge demands on technical virtuosity. Kennedy is almost unfailingly accurate with intonation in the higher registers. His double-stopping is especially impressive. The Violin Concerto is a piece that cries out for a bravura performance of the kind we get here. Kennedy's style of playing, with its rich vibrato, creates a lush tone that probably reflects the composer's intentions well enough.
Walton's Viola Concerto, written a decade earlier and last revised in 1961, is of a more elegiac character but still inhabits the same beguilingly dream-like sound-world. Here, the nearest parallel (after his own Violin Concerto) is probably Prokoviev, whose Violin Concerto No 1 apparently provided the model for the piece. Kennedy seems almost as assured on his 'second' instrument, although this concerto isn't quite as technically demanding as the one for violin, nor is the soloist as prominent-dominant. Walton wrote his concertos with a particular soloist in mind. What he would have made of Kennedy's demotic persona - his dropped aitches, his Villa scarf and his haircut - is anyone's guess. But the chances are he would have been well impressed with his virtuosity on both violin and viola.
The CD concludes with one of the most original and evocative works of all - The Lark Ascending. The violin, which must soar, trill and transcend like the lark, is extremely exposed in a piece that tests the nerve as well as the artistry and technique. Kennedy is up to the challenge again.
In the main, the recordings are dated (those of the concertos are with Previn, 1987, RPO). But they have stood the test of time and compare favourably with the later recording of The Lark Ascending with Rattle (1997, CBSO).