The big challenge in Walton, as in most concertos, is the balance between soloist and orchestra. Balance between the soloist and orchestra So my first advice is to make sure you look at Walton’s markings in the viola part – you will find many interesting new things and a greater understanding of the work.ġ. What naturally happens is that one starts to focus on Riddle’s markings and forgets to look at Walton’s. There are two sets of tempos the one with a strong text is Riddle’s tempo and Walton’s is soft. In addition to these markings one can also see soft markings in the solo part. Dynamics, slurs, tempo changes and fingerings are clearly marked in the viola part. In the Oxford edition, Riddle made a lot of new markings to the solo viola part. In my opinion it is a good edition because Riddle worked with Walton himself and made the first recording of the concerto with the composer conducting. The viola and piano reduction was published by violist Frederick Riddle. The edition that most violists have today is from the publisher Oxford University Press. It’s written for a big orchestra where all the parts are very demanding. In addition to the demanding solo part, the concerto also has a broad symphonic character. It has everything from slow alluring melodies to fast and virtuosic passages. Walton’s Concerto for Viola is today considered a standard work for the violist as it shows many sides of the instrument, both technically and musically.
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