In the 1940s Walton had been among the composers from whom the Chicago Symphony Orchestra had commissioned a work to mark its fiftieth anniversary; his contribution was the Scapino comedy overture.
In 18th-century toccatas an important element was the effect of repeated notes of equal length, and Walton here maintains a quaver motion throughout the movement, except for a quiet central episode.
It begins with a bustling introduction, followed, in Burton's phrase, by "a carefree string melody and an uproarious horn idea [and] a solo trumpet tune of catchy simplicity".
Walton told his publisher that in the uproarious vulgarity of the finale he was "sailing far too near the wind" but it would, he hoped, not only "make a rousing and diverting finish", but also annoy puritanical music critics such as "P.H.
A Cleveland music critic thought the work "masterfully orchestrated … filled with boisterous blasts of colour and sturdy uninhibited tunes",[17] The Manchester Guardian found it "exhilarating" and "first rate",[18] The Daily Telegraph thought it "witty" and "captivating",[19] and The Times judged it "a brilliant, entertaining work that has no close parallel in the modern repertory".
In 2002, Hilary Finch of The Times called the Partita "crackling with craft and confidence, and with a quizzical, sun-kissed Pastorale Siciliana at its heart, fragrantly led by solo viola and oboe".
[21] In 2017 the music critic of The Sunday Times, Hugh Canning, called the Partita "among Walton's most striking pieces – sheer pizzazz is the keynote".