This collection is a straight transfer from an EMI Treasury LP issued four years ago (11/87), and gives as much pleasure in the new format as it did in the old. In every case the sound is just a little more vivid than on the LP, and I'm particularly pleased that much of the original body has been restored to the sound of the Viola Concerto. Walton first recorded his Concerto for Decca in 1937. The soloist at the work's first performance, Paul Hindemith, was to have taken part, but at the last moment he could not travel and the young Frederick Riddle took his place, with conspicuous success. I mention this version not only because it would be a good candidate for Decca's Historic series, but because it is a more reflective, inward performance than that of Primrose, who is particularly successful at bringing out the passionate and vehement side of the score. His playing is technically astounding, particularly in the second movement and Walton, who at this period conducted his music with tremendous vitality, is an admirable partner.
Those who know Walton's somewhat pedestrian 1970 performance of the Sinfonia concertante with Peter Katin (Lyrita, 6/71—nla), will be startled by the energy and high spirits that he brought to this score 25 years earlier. Phyllis Sellick plays with a good deal of vivacity and wit, and though the original recording was not ideally clear Anthony Griffith's 1970 transfer sounds very well still.
Flos campi shows Primrose's qualities in a different light from that of the Walton work. It's difficult to imagine the viola played with more beauty of tone and poetry than here, while Boult directs his orchestral and choral forces with a degree of flair and inspiration that he seldom found in the recording studios. The original 78s are rather fierce and hard to reproduce well, but the transfer is excellent. Menuhin's 1952 account of the Concerto accademico has plenty of spirit and insight, but technically his playing is a little fallible, and one can see why his performance was not originally published. Now it makes a good partner for the other three works, but it is not, I fear, a 'great recording of the century', as certainly the two Primrose performances are. A very fine collection in every other respect, however.'