William WALTON (1902-1983)
String Quartet (1919-1922) (premiere recording of the original version) [35:17]
String Quartet in A minor (1944-1947) [26:47]
Doric String Quartet (Alex Redington (violin); Jonathan Stone (violin); Simon
Tandree (viola); John Myerscough (cello))
rec. Potton Hall, Suffolk, 14-16 July 2010. DDD
CHANDOS CHAN10661 [62:17] 
Given the relative paucity of string quartet repertoire from the UK, it is
surprising that Walton's two contributions to the genre are not heard more
often. In the case of his earliest quartet, there are a number of historical
factors to explain the fact, but the later quartet is a very fine work indeed.
Perhaps if the Elgar and Delius quartets didn't make such a convenient CD-length
pairing, we'd get to hear this one more often.
The quartets are unnumbered because Walton considered the first a student
work. True enough, he was an undergraduate when he started it. A dodgy first
performance didn't help its prospects, which Walton first attempted to improve
by introducing major cuts. He later gave up on the whole thing and withdrew
the work. This is the first recording of the full score; it has appeared before
now, again on Chandos, in a version edited by Christopher Palmer. Walton described
the work as 'full of undigested Bartók and Schoenberg', which to my ear is
only partly true. He certainly goes for Schoenberg's contrapuntal style when
it comes to string quartet writing, and the tonal basis for the music is often
difficult to pin down. But on the whole this is a very civilised and very
English response to central European developments. The urge to cut the score
is understandable, if it has one major failing it is that it overstretches
its material, and the fugal finale, clever as it is, would make a stronger
impact if it were more concise. But that is the only aspect of the music that
betrays its student origins.
By contrast, the maturity and accomplishment of the A minor quartet is everywhere
apparent. The music here is in the mould of the First Symphony, echoes of
which regularly peep though the textures, giving added support to the music's
symphonic scope. The Presto second movement in particular, could almost be
a transcription of the First Symphony's Scherzo. And unlike the earlier quartet,
this work really hangs together and fully justifies its almost half hour length.
The performances are excellent throughout: lively, focused and with plenty
of timbral variety. The Doric Quartet clearly live this music, to such an
extent that they even dress in sharp Walton-style suits for the liner photographs.
There is simply nothing to fault in their technique or ensemble.
The sound too is very good. Potton Hall provides a warm but clear acoustic,
creating an audio environment that is both inviting and engaging. The pizzicatos
in the A minor Quartet's Largo movement really benefit from the warmth of
the sound, taking on a lilting bounce. There is plenty of bass in the mix,
so the cello comes through well, yet the balance is finely judged throughout.
The track record of Chandos when it comes to promoting British music is as
good as anybody's, so it is no surprise that a recording of this quality should
come from them. Both quartets have their competitors on CD - the first in
both the fuller and shortened versions - but there is still plenty of space
in the catalogue for a recording with this level of commitment, insight and
audio quality.
Gavin Dixon
The Chandos track record in British music is as good as anybody's, so it is
no surprise that a recording of this quality should come from them.
Editor’s Note: The 1919-22 quartet was also recorded by the Gabrieli
String Quartet in a full version running to 35:45. It was heard in 1990 as
edited by Christopher Palmer and is on Chandos CHAN 8944. The Emperor Quartet
then recorded the work in a shortened edition [31:57] in 2000 and that can
be heard on Black Box BBM1035. The quartet carries the dedication: "for
Bumps from William, September 28th 1936". Bumps was the nickname for
Brighton-born Hyam Greenbaum (1901–42) – himself a composer of an orchestral
Sea Poem and Parfums de la Nuit for oboe and orchestra - who
is reported to have helped Walton in the orchestration of his early film scores.
It makes one wonder whether one will ever hear Walton’s similarly very early
overture Dr Syntax.