Walton's first successful large-scale concert work, the Viola Concerto (1929) is in marked contrast to the raucous "Portsmouth Point"; despite the common influence of jazz and of the music of Hindemith and Ravel, in its structure and romantic longing it owes much to the Elgar Cello Concerto. In this work, wrote Edward Sackville-West and Desmond Shawe-Taylor in "The Record Guide", "the lyric poet in Walton, who had so far been hidden under a mask of irony, fully emerged." Walton followed this pattern in his two subsequent concertos, for Violin (1937) and for Cello (1956). Each opens reflectively, is in three movements, and contrasts agitated and jagged passages with warmer romantic sections. The Cello Concerto is more introspective than the two earlier concertos, with a ticking rhythm throughout the work suggesting the inexorable passage of time.