JAVS Fall 2022

reaching a fever pitch as the soloist expands on the cross relation interjections in an anguished outburst that ends the transition phase and forms the climax of the exposition (Fig. 4). Combined with the topical content of the opening theme, we might interpret this as Walton’s distress growing, as his class dysphoria weighed on him. 19 The second theme, with its disorienting meters and confusing harmonies, can be thought of as a dream sequence. Indeed, in the revised 1962 edition, Walton even spelled this out with the marking sognando, or “dreaming.” 20

during the primary and transition theme spaces. Finally, the closing theme drives forward like a runaway train, rudely awakening Walton from his dream. While using the same material as the principal theme, the closing theme varies in character, marred by the anxieties of industrial urban life, mirroring Walton’s own journey from the pastures of Lancashire to the bustle of London (Fig. 6). 22 A careful examination of the development indicates that Walton does indeed cycle through each of these themes and in this same order. The first theme develops into a

Fig. 4: Walton Viola Concerto I. mm. 29-31.

Its rounded binary structure lends itself to a song-like cadence, almost like a lullaby. We can perhaps read this as a young Walton in London, dreaming of his new home, his new culture, and his new beau (Fig. 5).

circle of fifths sequence figuration, remarkably similar to developments of 18th century symphony allegros. 23 By modulating through various distant and foreign keys, composers created a sense of uncertainty and unease in the first half of the development, similar to the unease Walton

Fig. 5: Walton Viola Concerto I. mm. 33-37.

Further, in sonata form pieces, it was common—but by no means a rule—that the secondary theme would contrast with the primary theme, in the service of providing a “restart” after the first half of the exposition. In many cases, it was more subdued in character than the primary theme, an attribute more common in the 19th century than in the 18th. 21 This is certainly true of the Walton Concerto. In weaving this into our narrative of the exposition, we might interpret this contrast as a sense of relief from the anguish felt by Walton

created in the first half of the exposition. Like the exposition, the cross relations that characterized the transition theme return in the orchestra at the end of the sequential section, over almost diabolically discordant chords in the viola. The second theme takes the form of an outspoken duet in the singing style, and the development ends with a transposition of the same industrial alarm call. 24

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Journal of the American Viola Society / Vol. 38, No. 2, Fall 2022