ends in a mood of pathos by recalling the principal theme of the first movement". Influences suggested by other writers are Prokofiev in his First Violin Concerto (1923), and Hindemith in his Kammermusik No. 5 (1927). 1. Andante comodo The first movement, marked andante comodo, is in what Howes describes as a regular but condensed sonata form. After a three-bar introduction in which muted strings and low clarinet establish the tonality of A minor the viola enters with a melancholy theme, in the middle register of the instrument. The theme is passed to the oboe, with the viola accompanying; then the viola repeats the theme in the high register. The pace quickens and a series of viola chords leads to the second subject, a tranquil theme, con moto, mostly in E-flat minor for the viola in its lower register. The themes are developed at varying dynamics and speeds, with solo viola and orchestra handing the themes to and fro. There is no formal cadenza. After a vigorous tutti the movement ends quietly with the melancholic theme with which it began. 2. Scherzo and trio The second movement, unusually for a concerto, has the character of a scherzo. The first part, is in a quartal harmony, but strongly suggesting an E minor tonality. The tempo marking vivo con moto preciso, is in a basic time but with many changes of metre. There is a climactic section for the full orchestra. 3. Finale – allegro moderato In the words of the musicologist Christopher Palmer, "Here Walton pulls out all the stops". It is the longest of the three movements and as Frank Howes puts it in his study of Walton's music, it gathers up the mercurial emotions of the first two movements and reveals their serious purpose. The first theme is lively, elongating the rising fourths heard in the scherzo to rising fifths. It is introduced by the bassoon, followed by the viola over a pizzicato bass line, and is continued by the winds in contrapuntal lines. The second subject, deriving from the rocking figure of the first movement, is in the minor key. The development section mainly features on the first theme, gradually dividing it into fragments accompanying a long cantabile theme for the viola and later the woodwind. In the recapitulation, the first theme is given to the full orchestra, and the second to woodwinds and horns, with a viola