The following example is about sound register, in the second movement. This is a totally contrasting, fast, energetic, and very rhythmic movement, even with jazz influences due to its numerous changes of metric and accentuation. In order to have a correct interpretation of this movement, it is necessary to play each note as articulated, accentuated, and clear as possible. Clarity, cleanliness, and control are more important than emotion in this case. Primose plays the beginning of this movement an octave higher. He adds a level of difficulty to the piece with these register changes so that he achieved a virtuosic interpretation of Walton Concerto. Riddle plays it in the original register and with other bowings. In my case, I have opted for all the separate bowings, remarking the energetic and very rhythmic character of the movement, and in the original register. I am really keen on feeling that stability and strength playing this passage.
The following example is about fingerings. In the second movement, Primrose plays bars 46 and 47 in the first position, with great clarity and articulation. However, Riddle plays it in a higher position, on the C string. In my personal opinion, this fingering gains much more strength in this lower register, on the powerful C string. It is a risky shift position, but it has a lot more personality and energy.
The last example is the opening of the third movement. To begin with, both Primrose and Riddle play this beginning at 85 the quarter note, a rather hasty speed. I prefer to play it a little slower, as I conceive this theme in a calmer way. On the other hand, both use a completely different character: Riddle more legato and cantabile, and Primrose more playful. According to my personal taste, my interpretation would be closer to that of Riddle, for the noble and simple character that this beginning conveys to me.
My conclusions after this study process of these early recordings were the following. Using these ideas, I found a very good way to feed my artistic practice and reaffirm my artistic taste. I asked myself questions about what I wanted and liked and what I did not, and what worked best for me. On the other hand, it is easier to identify the most important differences by the sound, rather than the score. So, these versions have been a great source of inspiration for me and I really enjoyed this creative process.