William Walton Catalogue
This revised, updated, and expanded edition of the definitive catalogue of works by Sir William Walton (1902-83) follows the completion of the William Walton Edition. A comprehensive source of musical and documentary information relevant to Walton's life and work, the catalogue features full details of composition dates, instrumentation, first performance, publication, the location of autograph manuscripts, critical comment, and significant recordings, as well as previously undiscovered pieces. Appended are a helpful bibliography for further reading and indexes including for works, authors of texts, first lines, and dedicatees.
This revised, updated, and expanded edition of the definitive catalogue of works by Sir William Walton (1902-83) follows the completion of the William Walton Edition. A comprehensive source of musical and documentary information relevant to Walton's life and work, the catalogue features full details of composition dates, instrumentation, first performance, publication, the location of autograph manuscripts, critical comment, and significant recordings, as well as previously undiscovered pieces. Appended are a helpful bibliography for further reading and indexes including for works, authors of texts, first lines, and dedicatees.
- TAGS
- walton
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
General Editor: DAVID LLOYD-JONES<br />
Consultant: STEWART CRAGGS<br />
WiLLIAM<br />
WALTON<br />
EDITiON<br />
volume 24<br />
A <strong>Catalogue</strong> of Works<br />
Third edition<br />
compiled and edited by<br />
stewart R. craggs<br />
For perusal purposes only
3<br />
Great Clarendon Street, Oxford ox2 6dp, England<br />
Oxford University Press is a department of the University of Oxford.<br />
It furthers the University’s aim of excellence in research, scholarship,<br />
and education by publishing worldwide in<br />
Oxford New York<br />
Auckland Cape Town Hong Kong Karachi<br />
Kuala Lumpur Madrid Melbourne Mexico City Nairobi<br />
New Delhi Shanghai Taipei Toronto<br />
With offices in<br />
Argentina Austria Brazil Chile Czech Republic France Greece<br />
Guatemala Hungary Italy Japan Poland Portugal Singapore<br />
South Korea Switzerland Thailand Turkey Ukraine Vietnam<br />
Oxford is a registered trade mark of Oxford University Press<br />
in the UK and in certain other countries<br />
© Oxford University Press 2014<br />
Database right Oxford University Press (maker)<br />
First published 2014<br />
All rights reserved. No part of this publication may be reproduced,<br />
stored in a retrieval system, or transmitted, in any form or by any means,<br />
without the prior permission in writing of Oxford University Press,<br />
or as expressly permitted by law. Enquiries concerning reproduction<br />
outside the scope of the above should be sent to the Music Copyright<br />
Department, Oxford University Press, at the address above<br />
Permission to perform these works in public should normally be obtained from<br />
the Performing Right Society Ltd. (PRS), 29/33 Berners Street, London W1T 3AB,<br />
or its affiliated Societies in each country throughout the world, unless the owner<br />
or the occupier of the premises being used holds a licence from the Society<br />
Permission to make a recording must be obtained in advance<br />
from the Mechanical-Copyright Protection Society Ltd. (MCPS),<br />
Elgar House, 41 Streatham High Road, London SW16 1ER,<br />
or its affiliated Societies in each country throughout the world<br />
ISBN 978–0–19–368322–8<br />
Printed in Malta on acid-free paper by<br />
Melita Press, Malta<br />
For perusal purposes only<br />
The illustrated panel on the front of this edition reproduces in miniature the distinctive<br />
cover designed for <strong>Walton</strong> in the 1920s by the Italian artist Gino Severini.<br />
The design was used by OUP for <strong>Walton</strong>’s scores until 1951.<br />
Performing material is available for hire from the publisher’s hire library.
CONTENTS<br />
Introduction – James Brooks Kuykendall page vii<br />
Organization of the <strong>Catalogue</strong><br />
<strong>William</strong> <strong>Walton</strong> Edition<br />
Acknowledgements<br />
Abbreviations<br />
Selective Chronology<br />
Facsimiles<br />
List of Main Titles<br />
ix<br />
xi<br />
xiii<br />
xiv<br />
xvii<br />
xxiii<br />
xxxiv<br />
<strong>Catalogue</strong> of Works 1<br />
General Bibliography 119<br />
Personalia 127<br />
Classified Index of Works 134<br />
Index of Authors of Texts 139<br />
Index of First Lines 140<br />
Index of Dedicatees 142<br />
General Index 144<br />
Alphabetical List of Works 162<br />
For perusal purposes only
For my grandson<br />
sam james mills<br />
and to the memory of<br />
alan c. frank<br />
(1910–1994)<br />
Head of the Music Department at Oxford University Press<br />
without whose vision much of this would<br />
not have been possible<br />
and<br />
robin langley<br />
(1949–2006)<br />
Musician and Music Editor at<br />
Oxford University Press<br />
For perusal purposes only
Anyone taking this volume down from the shelf is very<br />
likely in search of answers; indeed, facts it contains in abundance.<br />
But the labour that produced it was one dedicated<br />
to hunting out facts even when they seemed contradictory,<br />
or when the pattern they produced seemed at odds with<br />
received wisdom. The result is a nuanced account of the<br />
documents surrounding <strong>William</strong> <strong>Walton</strong>—documents that<br />
assemble together to reveal much of the life and works of<br />
the man. Motivating all of the archival research, however, is<br />
an abiding passion for the music itself. Stewart Craggs can<br />
recall a fascination which had already begun in his childhood<br />
beside the radio, ‘when the strength and majesty of the first<br />
symphony created an impression that has never faded’.<br />
Craggs’s formal research on <strong>Walton</strong> began in the late<br />
1960s, when he selected the composer as the topic for a thesis<br />
to be submitted in application to become a Fellow of the<br />
Library Association (now the Chartered Institute of Library<br />
and Information Professionals). At first Craggs conceived of<br />
the work as mainly a bibliography and discography, but as<br />
his spadework uncovered a body of material that had been<br />
completely forgotten (for example, the incidental music for<br />
The Son of Heaven, The Boy David, and Macbeth), his supervisor,<br />
Alec Hyatt-King, advocated that the thesis include a work catalogue<br />
as well. Alan Frank, Head of Music at Oxford University<br />
Press and thus a key contact during the gestation of the thesis,<br />
proposed publishing Craggs’s research as a complete thematic<br />
catalogue. This appeared in 1977, and it was perhaps the most<br />
tangible and significant of the many 75th birthday tributes to<br />
the composer. The extended prefatory ‘critical appreciation’ by<br />
Michael Kennedy formed the nucleus of the authorized biography<br />
that was to appear only in 1989. Kennedy had deferred<br />
writing his full-length biography until after the death of his<br />
subject; the publication of the catalogue before the composer’s<br />
death made a second edition a foregone conclusion, even with<br />
the decline in <strong>Walton</strong>’s compositional output in his last years.<br />
Hardly had the 1977 catalogue emerged from the presses<br />
before Craggs embarked on further <strong>Walton</strong> research for a<br />
Master of Arts at the University of Strathclyde. His threevolume<br />
thesis, ‘<strong>William</strong> Turner <strong>Walton</strong>: His Life and<br />
Music’, was completed in 1978 under the supervision of<br />
the eminent bibliographer <strong>William</strong> R. Aitken. In the preface,<br />
Craggs remarks:<br />
There has been so far no entirely satisfactory and detailed<br />
biographical account of <strong>Walton</strong>. Those that have been<br />
published all seem to have been based upon factual<br />
INTRODUCTION<br />
James Brooks Kuykendall<br />
information communicated by <strong>Walton</strong> to H. J. Foss in<br />
1932, to which nothing much has been added over the<br />
years. In my research I have tried to discover the true<br />
facts rather than those purported to be true. To do this,<br />
I have approached many individuals involved in <strong>Walton</strong>’s<br />
career. Thus I have been able to begin correcting prior<br />
misapprehensions and have filled in much missing detail<br />
of considerable musicological interest.<br />
<strong>Walton</strong> himself was only partially helpful, in that he tended<br />
to favour the briefest possible reply to any query. He was<br />
wary of the painstaking efforts of ‘Mr. Scraggs’ to verify<br />
every detail and to supplant a simple explanation with a<br />
more complicated truth. His ‘Grand Old Man’ image had<br />
been codified by the press and the BBC in the 1972 and 1977<br />
birthday celebrations, and it was the story as the composer<br />
wished it to be told. Although <strong>Walton</strong> himself had maintained<br />
an arm’s-length relationship with his chronicler<br />
(they never met), his widow recognized that Craggs knew<br />
the music and the documents more intimately than anyone<br />
had known the man himself. At her suggestion, Craggs<br />
was given the task of examining the voluminous archive of<br />
<strong>Walton</strong> correspondence held by Oxford University Press;<br />
this yielded substantial new factual data for many works,<br />
and the more complete documentation is clearly evident<br />
in the 1990 second edition of the catalogue. Moreover, if<br />
the composer himself was sometimes obfuscatory, many of<br />
<strong>Walton</strong>’s contemporaries with whom Craggs corresponded<br />
were more forthcoming. Craggs’s archive of these letters<br />
is impressive to behold, and the 1990 edition is enriched<br />
by these recollections. It was perhaps this aspect that led<br />
the late Christopher Palmer to describe that edition (in his<br />
Preface) as ‘reading-in-bed material’—a remarkable characteristic<br />
for a work that was awarded the Library Association’s<br />
1990 McColvin Medal for the outstanding reference<br />
book of that year.<br />
As before, the publication of the catalogue left Craggs’s<br />
energies for <strong>Walton</strong> research unabated, and he produced<br />
two further books even as he simultaneously developed<br />
substantial reference works encompassing a very wide<br />
scope of related figures, including Arthur Bliss, Alun<br />
Hoddinott, and John Ireland, as well as a dictionary of<br />
film composers (Soundtracks: An International Dictionary<br />
of Composers for Film, Aldershot: Ashgate, 1998). All the<br />
while he was also fulfilling his professional responsibilities<br />
as an academic librarian and a county magistrate. In 1993<br />
For perusal purposes only
viii<br />
introduction<br />
Craggs was appointed Professor of Music Bibliography at<br />
the University of Sunderland, producing in the same year<br />
<strong>William</strong> <strong>Walton</strong>: A Source Book (Aldershot: Scolar, 1993),<br />
which offered comprehensive documentation of the extant<br />
manuscripts, first editions, letters, and recordings. In 1999<br />
he edited a collection of essays, <strong>William</strong> <strong>Walton</strong>: Music and<br />
Literature (Aldershot: Ashgate, 1999), that has acted as a<br />
catalyst for much later work.<br />
Internal OUP documents indicate that soon after<br />
<strong>Walton</strong>’s death some thought was already being given to<br />
reissuing all of his published works in a uniformly bound<br />
edition. This project was not ultimately realized; perhaps<br />
this was just as well, as at that stage there were no plans for<br />
a thorough critical examination of each work. When the<br />
subject was revisited in 1994, it was decided that a credible<br />
new edition would require more than photographic<br />
reproductions of the already published text. David Lloyd-<br />
Jones was appointed General Editor of the <strong>William</strong> <strong>Walton</strong><br />
Edition in 1995 and Craggs was appointed Consultant. He<br />
has given considerable assistance to several volume editors,<br />
as well as contributing a Preface to the Façade Entertainments<br />
volume (WWE, vol. 7) that eloquently navigates the<br />
complex web of material witnesses. Twenty-three volumes<br />
were envisaged for the new edition. This additional final<br />
volume—a third edition of the catalogue—was subsequently<br />
deemed essential and serves as a fitting culmination<br />
to the entire project.<br />
It may seem remarkable that barely three decades since<br />
his death <strong>Walton</strong>’s work catalogue is already in its third<br />
edition when many of his contemporaries await any catalogue<br />
at all. Many factors bear upon this. With just 105<br />
catalogue numbers, <strong>Walton</strong>’s oeuvre is manageable (particularly<br />
because of his habit of destroying or otherwise obliterating<br />
unsatisfactory efforts), even if each work brings its<br />
own specific set of bibliographical and philological problems.<br />
With the sole exception of the piano quartet, all<br />
of the published works were issued by a single publisher,<br />
making the production files of the OUP Music Department<br />
a particularly vital primary source. More significantly, the<br />
bulk of <strong>Walton</strong>’s Nachlass is generally well preserved and<br />
available to be consulted in a handful of locations (with<br />
the autographs principally in the Koch collection at Yale’s<br />
Beinecke Library, and large portions of the correspondence<br />
in the Harry Ransom Humanities Research Center at<br />
the University of Texas at Austin, the files of the BBC and<br />
the substantial collection at the <strong>Walton</strong> Museum in Ischia,<br />
in addition to the OUP holdings). This notwithstanding,<br />
the task facing anyone attempting to verify every possible<br />
detail is herculean; at least Craggs got an early start. The<br />
reader of this catalogue can be assured that ‘Holograph:<br />
whereabouts unknown’ is not the idle phrase of an armchair<br />
bibliographer, but a testament to decades of indomitable<br />
search. But there is hope. ‘Tribute to the Red Cross’<br />
(1944), a manuscript collection containing contributions<br />
from men and women distinguished in politics, literature,<br />
art, and music (including <strong>Walton</strong>, Bliss, Vaughan <strong>William</strong>s,<br />
Bax, Ireland, Lambert, and Moeran), was auctioned at<br />
Sotheby’s in 1944, and lost from sight for almost seven<br />
decades, only to be tracked down by Craggs as this volume<br />
was being finished. His spadework will enable others to<br />
continue these pursuits in the future.<br />
Stewart Craggs has devoted a lifetime of tireless labour<br />
to clarifying the facts of the music of <strong>Walton</strong> and his<br />
contemporaries. Michael Kennedy’s remark in 1993 that<br />
‘present and future music historians will have every reason<br />
to bless the name of Stewart Craggs’ is a prophecy already<br />
fulfilled. Moreover, his caginess notwithstanding, <strong>Walton</strong>’s<br />
own appreciation is manifest in an avuncular gesture: one<br />
of his last compositions was the Duettino for Oboe and<br />
Violin (C101) for Barnaby and Cordelia Craggs, published<br />
here for the first time. Craggs himself views all of his<br />
efforts as a lifetime labour of love: ‘to study <strong>Walton</strong>’s music<br />
has been a rewarding experience; to submit to its impact,<br />
unforgettable’.<br />
For perusal purposes only
ORGANIZATION OF THE CATALOGUE<br />
This catalogue, a revision and expansion of those previously<br />
published by Oxford University Press in 1977 and 1990,<br />
is the outcome of research which has continued since the<br />
early 1990s. It aims, as before, to be a comprehensive and<br />
definitive source of musical and documentary information<br />
relating to Sir <strong>William</strong> <strong>Walton</strong>’s life and work. The information<br />
in this catalogue has been collected by examining a<br />
wide variety of published and unpublished sources, including<br />
a study of <strong>Walton</strong>’s holographs and available collections<br />
of letters.<br />
The present volume is arranged in chronological order,<br />
the information for each work being listed as follows:<br />
1. The catalogue or C (Craggs) number followed by the<br />
title of the work, which is derived from the original<br />
holograph. Where a work exists in more than one<br />
version, it has been given the same number followed<br />
by ‘a’, ‘b’, ‘c’, etc. The ‘C’ numbers from the 1990<br />
catalogue have been extended to include four newly<br />
discovered works. Names and authors of texts relating<br />
to choral and vocal works are also given here.<br />
2. The date of composition, mostly ascertained from<br />
holographs.<br />
3. The location of holographs, the majority of which are<br />
now housed in the Beinecke Library at Yale University,<br />
New Haven, Connecticut.<br />
4. The body or person responsible for a work’s<br />
commission.<br />
5. The instrumentation required for each work. Instrumentation<br />
is shown numerically in the standard orchestral<br />
order of woodwind, brass, timpani, percussion,<br />
harp, other instruments, and strings, as follows:<br />
flutes, oboes, clarinets, bassoons<br />
horns, trumpets, trombones, tuba<br />
timpani<br />
percussion (listed by metal, wood, pitched, drums,<br />
and effects instruments)<br />
piano, celesta, harp, etc.<br />
strings (assumed to comprise violins I and II, violas,<br />
cellos, and double basses)<br />
The sections are usually separated by oblique strokes.<br />
Additional instruments, doublings, and optional<br />
instruments are shown by appropriate abbreviations:<br />
+ means ‘doubling’ and opt means ‘optional’. A zero (0)<br />
in the list indicates that an instrument is not scored.<br />
6. The dedication, which is usually found at the head of<br />
the holograph, though some published scores have<br />
dedications not found in the holograph, indicating that<br />
<strong>Walton</strong> added them at proof stage.<br />
7. The approximate duration of the piece, rounded to the<br />
nearest quarter minute, based on timings cited in the<br />
<strong>William</strong> <strong>Walton</strong> Edition.<br />
8. First and important performances: details of a work’s<br />
performance (public unless otherwise noted), including<br />
the name(s) of the performer(s), the venue, and the<br />
date. If the first performance took place abroad, the<br />
British premiere is also noted.<br />
9. Details of publication, including publisher, date, and<br />
original price. Dates are given for those works first<br />
published in the <strong>William</strong> <strong>Walton</strong> Edition.<br />
10. Bibliographies listing references relevant to a work.<br />
Books, dissertations and theses, and substantial journal<br />
articles are listed first, including details of a work<br />
appearing in the <strong>William</strong> <strong>Walton</strong> Edition, followed<br />
by references in newspapers, music journals, and<br />
other periodicals, arranged alphabetically by title of<br />
the newspaper or journal. These last references are<br />
mostly reviews and critical notices, especially of first<br />
performances and publications. Unattributed items are<br />
anonymous.<br />
11. A discography, providing details of recordings of<br />
a particular work. 78, 33, and 45 rpm recordings,<br />
together with their transfer to compact disc, are<br />
included:<br />
(a) those conducted by <strong>Walton</strong> and other conductors<br />
especially associated with his music: Sir Malcolm<br />
Sargent, Sir Adrian Boult, André Previn, Sir Charles<br />
Groves, Sir Colin Davis, Bryden Thomson, George<br />
Szell, Louis Frémaux, Bernard Haitink, Paavo<br />
Berglund, Sir Simon Rattle, Vernon Handley,<br />
Lawrence Foster, David Lloyd-Jones, Carl Davis,<br />
and Paul Daniel;<br />
For perusal purposes only
x<br />
ORGANIZATION OF THE CATALOGUE<br />
(b) those made by artists involved in a work’s first<br />
performance;<br />
(c) those made by the performers for which the work<br />
was originally written;<br />
(d) other important modern recordings are also<br />
included, such as the Chandos series of <strong>Walton</strong>’s<br />
works, with conductors such as Sir David Willcocks,<br />
Sir Neville Marriner, and Richard Hickox.<br />
For further details see: Martin Rutherford, Sir<br />
<strong>William</strong> <strong>Walton</strong> (1902–1983): A Data Base Discography<br />
(Melbourne, M. Rutherford, 2006) and online<br />
updates.<br />
12. Notes—mainly concerned with aspects of a work’s<br />
history; they may include useful background information,<br />
for example from letters, which has not been<br />
otherwise covered by any of the above sections.<br />
For perusal purposes only
WILLIAM WALTON EDITION<br />
General Editor: David Lloyd-Jones<br />
Consultant: Stewart Craggs<br />
1. Troilus and Cressida, edited by Stuart Hutchinson, 2003<br />
2. The Bear, edited by Michael Burden, 2010<br />
3. Ballets, edited by David Lloyd-Jones, 2014<br />
4. Belshazzar’s Feast, edited by Steuart Bedford, 2007<br />
5. Choral Works with Orchestra, edited by Timothy Brown, 2009<br />
6. Shorter Choral Works without Orchestra, edited by Timothy Brown, 1999<br />
7. Façade Entertainments, edited by David Lloyd-Jones, 2000<br />
8. Vocal Music, edited by Steuart Bedford, 2011<br />
9. Symphony No. 1, edited by David Lloyd-Jones, 1998<br />
10. Symphony No. 2, edited by David Russell Hulme, 2006<br />
11. Violin and Cello Concertos, edited by David Lloyd-Jones, 2011<br />
12. Concerto for Viola and Orchestra, edited by Christopher Wellington, 2002<br />
13. Sinfonia Concertante, edited by Lionel Friend, 2004<br />
14. Overtures, edited by David Lloyd-Jones, 2002<br />
15. Orchestral Works 1, edited by James Brooks Kuykendall, 2007<br />
16. Orchestral Works 2, edited by Michael Durnin, 2012<br />
17. Shorter Orchestral Works 1, edited by David Lloyd-Jones, 2009<br />
18. Shorter Orchestral Works 2, edited by David Lloyd-Jones, 2007<br />
19. Chamber Music, edited by Hugh Macdonald, 2008<br />
20. Instrumental Music, edited by Michael Aston, 2003<br />
21. Music for Brass, edited by Elgar Howarth, 2006<br />
22. Shakespeare Film Suites, edited by James Brooks Kuykendall, 2010<br />
23. Henry V: A Shakespeare Scenario, edited by David Lloyd-Jones, 1999<br />
24. <strong>William</strong> <strong>Walton</strong>: A <strong>Catalogue</strong> of Works, compiled and edited by Stewart Craggs, 2014<br />
For perusal purposes only
For perusal purposes only
ACKNOWLEDGEMENTS<br />
I am deeply indebted to many people (some now deceased),<br />
who have helped me in numerous ways over nearly 50 years<br />
of research into <strong>William</strong> <strong>Walton</strong> and his music.<br />
I owe a special debt of gratitude to Lady <strong>Walton</strong> and<br />
the members of the <strong>Walton</strong> Trust, for all their help and<br />
for the generous grant which enabled me to complete my<br />
researches. To Maureen Murray, archivist of the <strong>William</strong><br />
<strong>Walton</strong> archive in Ischia, who kept me up to date with<br />
details of the latest acquisitions to the archive; and to Paul<br />
Zuckerman, Colin Graham, Martin Denny, and Alessandra<br />
Vinciguerra for their assistance.<br />
I am grateful to Professor James Brooks Kuykendall<br />
(Erskine College, Due West, South Carolina), for his enthusiastic<br />
encouragement at all times, for writing the introduction<br />
to this volume, and for his selfless generosity in sharing<br />
the results of his own <strong>Walton</strong> investigations. I owe a particular<br />
debt of gratitude to Professor John Dressler (Murray<br />
University, Kentucky) for his help over many years, both<br />
in the UK and in the USA, and for supplying numerous<br />
American bibliographical items; also to Roy Douglas, for<br />
his unstinting interest in my work and for allowing me<br />
access to his <strong>Walton</strong> archive.<br />
I would also like to thank Nicolas Bell (Curator of the<br />
Music Collections at the British Library) for allowing<br />
me access to new acquisitions connected with <strong>Walton</strong>;<br />
Jacqueline Kavanagh and her staff at the BBC’s Written<br />
Archive Centre, and in particular Jeff Walden, the value of<br />
whose assistance with my research over many years at the<br />
BBC Archives cannot be overestimated; Kevin McBeath,<br />
Australian journalist, musician, and writer, who provided<br />
much help with the many intricacies of Façade and to whose<br />
memory this entry is dedicated; and John B. Marsden and<br />
Martin Rutherford for their help with the <strong>Walton</strong> discography.<br />
Sincere thanks are due to David Lloyd-Jones, General<br />
Editor of the <strong>William</strong> <strong>Walton</strong> Edition, for his advice and<br />
many valuable suggestions, and to him and his wife Carol<br />
for all their kind hospitality. I should also like to thank the<br />
staff (past and present) of Oxford University Press for their<br />
help and constant encouragement.<br />
Finally, I should like to thank my wife, Valerie, and my family,<br />
for their support, constant help, and advice over many years.<br />
Stewart R. Craggs<br />
Sunderland, 2013<br />
For perusal purposes only
General abbreviations<br />
a alto (instrument)<br />
A alto (voice)<br />
acc. accompanied<br />
B bass (voice)<br />
bar baritone (instrument)<br />
Bar baritone (voice)<br />
BBC British Broadcasting<br />
Corporation<br />
BBCSO BBC Symphony Orchestra<br />
BC British Council<br />
bcl bass clarinet<br />
bd bass drum<br />
Beinecke Beinecke Rare Book and<br />
Manuscript Library, Yale<br />
University<br />
BL British Library, London<br />
BMus Bachelor of Music<br />
bn bassoon<br />
BWV Bach-Werke-Verzeichnis<br />
(Schmieder, catalogue of J. S.<br />
Bach’s works)<br />
ca cor anglais<br />
cast castanets<br />
cb contrabass (instrument)<br />
cbn contrabassoon<br />
cel celesta<br />
chor chorus<br />
cl clarinet<br />
crot crotales<br />
ct cornet<br />
cym cymbal(s)<br />
d penny/pennies<br />
DA Doctor of Arts<br />
db double bass<br />
DMA Doctor of Musical Arts<br />
DMus Doctor of Music<br />
DoM Director of Music<br />
edn edition<br />
EMI Electrical and Musical<br />
Industries<br />
ENSA Entertainments National<br />
Service Association<br />
euph euphonium<br />
fl flute<br />
FRKF Frederick R. Koch<br />
Foundation<br />
flugel flugelhorn<br />
glock glockenspiel<br />
gtr guitar<br />
HMV His Master’s Voice<br />
hn horn<br />
hp harp<br />
hpd harpsichord<br />
HRHRC Harry Ransom Humanities<br />
Research Center, University<br />
of Texas at Austin<br />
HS Home Service (BBC)<br />
ISCM International Society for<br />
Contemporary Music<br />
ITA Independent Television<br />
Authority<br />
LCMC London Contemporary Music<br />
Centre<br />
LoC Library of Congress<br />
LPO London Philharmonic<br />
Orchestra<br />
LSO London Symphony Orchestra<br />
LWT London Weekend Television<br />
mar marimba<br />
m.b. military band<br />
md military drum<br />
Mezz Mezzo-soprano<br />
MoI Ministry of Information<br />
movt. movement<br />
NA National Archives<br />
NBC National Broadcasting<br />
Company<br />
NPG National Portrait Gallery<br />
n.d. no date of publication<br />
ob oboe<br />
opt optional<br />
orch. orchestra<br />
org organ<br />
perc percussion<br />
perf performance<br />
pno piano<br />
picc piccolo<br />
PO Philharmonia Orchestra<br />
pref preferred<br />
PRO Public Record Office<br />
PRS Performing Right Society<br />
pubd published<br />
QEH Queen Elizabeth Hall<br />
qnt. quintet<br />
qt. quartet<br />
RAH Royal Albert Hall<br />
RAM Royal Academy of Music<br />
RCM Royal College of Music<br />
rev. revision, revised<br />
revd. Reverend<br />
ROH Royal Opera House, Covent<br />
Garden<br />
RPO Royal Philharmonic<br />
Orchestra<br />
RPS Royal Philharmonic Society<br />
s shilling(s)<br />
S soprano (voice)<br />
sax saxophone<br />
sd side drum<br />
sext sextet<br />
SO Symphony Orchestra<br />
sop soprano (instrument)<br />
str strings<br />
sus suspended<br />
T tenor (voice)<br />
tamb tambourine<br />
tamt tam-tam<br />
t bells tubular bells<br />
tbn trombone<br />
td tenor drum<br />
timp timpani<br />
tom tom-tom<br />
tpt trumpet<br />
tri triangle<br />
v, vv. voice, voices<br />
va viola<br />
vc violoncello<br />
vib vibraphone<br />
vn violin<br />
wb woodblock<br />
w.w. woodwind<br />
For perusal purposes only
Bibliographical abbreviations<br />
Add.Mss.<br />
anon.<br />
arr.<br />
BBC WAC<br />
BETr<br />
BL<br />
BM Bull<br />
BMSJ<br />
BNB<br />
BPost<br />
BWJ<br />
CMJ<br />
Chic DTrib<br />
Chic DN<br />
Chic DT<br />
CinQ<br />
Cinc Enq<br />
Cinc Post<br />
Classic CD<br />
Cleveland PD<br />
CMW<br />
comp.<br />
cond.<br />
CraggsML<br />
Danc T<br />
D&D<br />
DE<br />
DGr<br />
DM<br />
DocNL<br />
DT<br />
EandS<br />
EADT<br />
ed.<br />
Ev St<br />
FMN<br />
Additional Manuscript<br />
anonymous<br />
arranged by; arrangement<br />
BBC Written Archives<br />
Centre<br />
Boston Evening Transcript<br />
British Library<br />
British Music Bulletin<br />
British Music Society Journal<br />
British National<br />
Bibliography<br />
Birmingham Post<br />
Berrow’s Worcester Journal<br />
Canadian Music Journal<br />
Chicago Daily Tribune<br />
Chicago Daily News<br />
Chicago Daily Telegraph<br />
Cinema Quarterly<br />
Cincinnati Enquirer<br />
Cincinnati Post<br />
Classic Compact Disc<br />
Cleveland Plain Dealer<br />
Classical Music Weekly<br />
compiler<br />
conductor<br />
Stewart A. Craggs, ed.,<br />
<strong>William</strong> <strong>Walton</strong>: Music and<br />
Literature (Aldershot:<br />
Ashgate, 1999)<br />
Dancing Times<br />
Dance and Dancing<br />
Daily Express<br />
Daily Graphic<br />
Daily Mirror<br />
Documentary News Letter<br />
Daily Telegraph<br />
Express and Star<br />
East Anglian Daily Times<br />
editor<br />
Evening Standard<br />
Film Music News<br />
FMR<br />
F&F<br />
FRKF<br />
FT<br />
Gdn<br />
GlasHer<br />
Gram<br />
HiFi/MusAm<br />
Illus Lon N<br />
Indep<br />
IP<br />
JAVaS<br />
JofS<br />
KineW<br />
Liv D Post<br />
Liv Ev Exp<br />
LATimes<br />
LM<br />
M&L<br />
M&M<br />
ME News<br />
MEJ<br />
MEvents<br />
MFB<br />
MGn<br />
MMR<br />
MorPt<br />
MO<br />
MQ<br />
MS<br />
MT<br />
MRev<br />
MusAm<br />
MusC<br />
MusEd<br />
NewS<br />
NY<br />
NYHT<br />
NYT<br />
Film Monthly Review<br />
Films and Filming<br />
Frederick R Koch<br />
Foundation<br />
Financial Times<br />
The Guardian<br />
Glasgow Herald<br />
Gramophone<br />
HiFi/Musical America<br />
Illustrated London News<br />
The Independent<br />
Irish Press<br />
Journal of the American Viola<br />
Society<br />
Journal of Singing<br />
Kinematograph Weekly<br />
Liverpool Daily Post<br />
Liverpool Evening Express<br />
Los Angeles Times<br />
London Music<br />
Music and Letters<br />
Music and Musicians<br />
Manchester Evening News<br />
Music Educational Journal<br />
Musical Events<br />
Monthly Film Bulletin<br />
Manchester Guardian<br />
Monthly Musical Record<br />
Morning Post<br />
Musical Opinion<br />
Musical Quarterly<br />
Music Survey<br />
Musical Times<br />
Music Review<br />
Musical America<br />
Musical Courier<br />
Musical Education<br />
New Statesman<br />
New Yorker<br />
New York Herald Tribune<br />
New York Times<br />
NZZ<br />
OCS<br />
Ob<br />
ObR<br />
OpN<br />
orch.<br />
OUP<br />
OxM<br />
p(p).<br />
PMGaz<br />
Penguin FN<br />
Penguin FR<br />
Phila Inq<br />
PMM<br />
PR<br />
R&R<br />
RM<br />
RT<br />
S&S<br />
SalzV<br />
SatRev<br />
SExp<br />
SFE<br />
Sheff T<br />
Spec<br />
ST<br />
St Louis PD<br />
SMail<br />
S Referee<br />
STel<br />
TW<br />
TCin<br />
t.p.<br />
WA<br />
WScots<br />
WFN<br />
WWE<br />
YE News<br />
Y Ob<br />
YPost<br />
Neue Zürcher Zeitung<br />
Oxford Choral Songs<br />
The Observer<br />
Observer Review<br />
Opera News<br />
orchestrated; orchestration<br />
Oxford University Press<br />
Oxford Mail<br />
page(s)<br />
Pall Mall Gazette<br />
Penguin Film News<br />
Penguin Film Review<br />
Philadelphia Inquirer<br />
Penguin Music Magazine<br />
Performing Right<br />
Records and Recordings<br />
La Rassegna Musicale<br />
Radio Times<br />
Sight and Sound<br />
Salzburger Volksblatt<br />
Saturday Review<br />
Sunday Express<br />
San Francisco Examiner<br />
Sheffield Telegraph<br />
The Spectator<br />
Sunday Times<br />
St Louis Post Dispatch<br />
Sunday Mail<br />
Sunday Referee<br />
Sunday Telegraph<br />
Theatre News<br />
Today’s Cinema<br />
title-page<br />
Western Australia<br />
Weekly Scotsman<br />
World Film News<br />
<strong>William</strong> <strong>Walton</strong> Edition<br />
(see p. xi)<br />
Yorkshire Evening News<br />
Yorkshire Observer<br />
Yorkshire Post<br />
For perusal purposes only
For perusal purposes only
SELECTIVE CHRONOLOGY<br />
1866<br />
11 Oct Louisa Maria Turner (mother) born at Herbert<br />
Street, Stretford, Lancashire<br />
1867<br />
28 Feb Charles Alexander <strong>Walton</strong> (father) born at Albert<br />
Terrace, Hale, Cheshire<br />
1898<br />
10 Aug marriage of Charles Alexander and Louisa Maria at<br />
the MacFadyen Memorial Congregational Church,<br />
Chorlton-cum-Hardy<br />
1902<br />
29 March <strong>William</strong> Turner <strong>Walton</strong> born at 93 Werneth Hall<br />
Road, Oldham. Siblings: brothers Noel (1899–1981)<br />
and Alexander (1909–1979), and sister Nora<br />
(born 1908).<br />
1908 starts to learn piano, organ, and violin<br />
1912 enters choir of Christ Church, Oxford, after his<br />
father sees a newspaper advertisement for choral<br />
scholarships<br />
1914<br />
4 Aug war declared<br />
1916<br />
15 March confirmed in Christ Church Cathedral by Charles<br />
Gore, Bishop of Oxford. First known compositions<br />
performed in the cathedral. The Dean of Christ<br />
Church arranges for him to stay on at the choir<br />
school.<br />
1917<br />
10 April his March for organ (C104) is played at the<br />
wedding of Dr Henry Ley<br />
June meets Sir Hubert Parry<br />
1918<br />
11 June as an undergraduate, passes the first half of his<br />
BMus examination at New College, Oxford<br />
11 Nov Armistice marking the end of World War I is<br />
announced<br />
13 Nov granted an in-college exhibition for two years by<br />
the governing body of Christ Church<br />
1919<br />
Feb meets Osbert Sitwell<br />
12 Feb meets John Masefield and Siegfried Sassoon<br />
June fails Responsions<br />
Sept<br />
Dec<br />
fails Responsions at second attempt<br />
fails Responsions at third attempt<br />
1920<br />
spring visits Italy for the first time with the Sitwells<br />
8–9 June passes second part of his BMus<br />
20 Oct Christ Church governors postpone the renewal of<br />
<strong>Walton</strong>’s exhibition<br />
10 Nov Governors agree to pay <strong>Walton</strong> £150 ‘to clear him<br />
from his reasonable liabilities’<br />
1921<br />
Sept has lessons from Ernest Ansermet and E. J. Dent<br />
24 Sept tells his mother that ‘Goossens has [his overture]<br />
Syntax’<br />
Nov starts to compose Façade<br />
1922<br />
24 Jan Façade given its first (private) performance<br />
1923<br />
4 Aug meets Schoenberg and Berg while attending the<br />
ISCM Festival in Salzburg<br />
1924 begins to compose the overture Portsmouth Point<br />
1925<br />
28 May meets George Gershwin in London<br />
25 Oct acts as best man at the wedding of Sacheverell<br />
Sitwell in Paris<br />
1926<br />
30 Aug Susana Gil Passo (Lady <strong>Walton</strong>) born in Argentina<br />
Sept signs a publishing contract for five years with<br />
Oxford University Press<br />
1927<br />
26 June attends an all-Elgar concert at Queen’s Hall, London<br />
autumn meets Spike Hughes<br />
10 Nov Sacheverell Sitwell publishes German Baroque Art<br />
(London: Duckworth), which is dedicated to<br />
<strong>William</strong> <strong>Walton</strong><br />
1928<br />
14 Sept first European performance of Façade<br />
Dec starts work on the Viola Concerto<br />
For perusal purposes only<br />
1929<br />
12 June meets Imma Doernberg at the Daye House,<br />
Quidhampton, Wiltshire<br />
21 Aug BBC commissions ‘the writing of special music for<br />
broadcasting’
xviii<br />
SELECTIVE CHRONOLOGY<br />
1930<br />
March<br />
Approached by C. B. Cochran for music to one of<br />
his revues<br />
1931<br />
8 Oct first performance of Belshazzar’s Feast in Leeds<br />
Town Hall<br />
1932<br />
Jan<br />
receives a lifetime annuity of £500 per annum in<br />
the will of Mrs Samuel Courtauld<br />
Hamilton Harty asks <strong>Walton</strong> for a symphony, for<br />
the Hallé Orchestra<br />
asked by Herbert Hughes to contribute a song to<br />
The Joyce Book. Refuses.<br />
1933 working on the first symphony<br />
1934<br />
spring meets Alice Wimborne<br />
3 Dec first performance of the first three movements of<br />
Symphony No. 1<br />
1935<br />
11 Aug mention of a ballet about Bath to a libretto by<br />
Osbert Sitwell for the de Basil Ballet<br />
Oct moves to 56A South Eaton Place, Belgravia, London<br />
1936<br />
28 Feb report in The Times that <strong>Walton</strong> has been elected to<br />
membership of the Performing Right Society<br />
March offered a contract for a René Clair film, Break the<br />
News (released in 1938). Refuses.<br />
11 Aug conducts part of an all-<strong>Walton</strong> Promenade concert<br />
at Queen’s Hall, London<br />
Oct offered contract for The Amateur Gentleman (film).<br />
Refuses.<br />
1937<br />
12 May Crown Imperial played in Westminster Abbey before<br />
the Coronation Service of King George VI and<br />
Queen Elizabeth<br />
28 June receives an honorary DMus degree from the<br />
University of Durham<br />
2 July receives an honorary Fellowship of the Royal<br />
College of Music<br />
15 July attends a memorial service for Lady Ida Sitwell at<br />
St George’s, Hanover Square, London<br />
28 July meets Benjamin Britten<br />
Aug approached for music for the film The Last Curtain.<br />
Refuses.<br />
16 Aug approached for a test piece for the 1940 National<br />
Band Festival at the suggestion of John Ireland<br />
1938<br />
24 Feb Hubert Foss gives an interval talk about <strong>Walton</strong> on<br />
BBC Radio<br />
spring<br />
April<br />
June<br />
July<br />
asked for a work for clarinet and violin by Benny<br />
Goodman and Joseph Szigeti. Refuses.<br />
approached for a choral work ‘In honour of<br />
the City of New York’ for the 1939 New York<br />
World’s Fair. Also asked for music to the film<br />
Pygmalion. Refuses both offers.<br />
receives an honorary Fellowship of the Royal<br />
Academy of Music<br />
visited by Frederick Stock to discuss and confirm<br />
his proposed commission for the Chicago<br />
Symphony Orchestra<br />
1939<br />
20 June signs a contract to write an orchestral work for the<br />
Chicago Symphony Orchestra<br />
3 Sept World War II begins; joins the Daventry Mobile<br />
First-aid Unit as an ambulance driver<br />
7 Dec first performance of the Violin Concerto in<br />
Cleveland, Ohio<br />
20 Dec considers writing an overture for Chicago about<br />
Monsieur Mongo (Nashe)<br />
1940<br />
Jan<br />
autumn<br />
considers writing an overture for the Ministry of<br />
Information, having been offered the job of general<br />
music director of the MoI film unit<br />
asked by the MoI to arrange a simple overture of<br />
popular music to run for about eight minutes<br />
1941<br />
March is included in a new ENSA advisory music council<br />
established to promote the provision of good music<br />
for the forces and munition workers<br />
spring receives call-up papers from the Ministry of Labour<br />
May London home destroyed by enemy bombing<br />
8 May considers an opera about Carlo Gesualdo with<br />
Cecil Gray<br />
1942<br />
Jan asked for music for a production of Oedipus Rex in<br />
the Royal Albert Hall. Refuses.<br />
12 Feb receives honorary DMus degree (with Malcolm<br />
Sargent) from Oxford University<br />
24 March Arthur Bliss (director of music, BBC) commissions<br />
<strong>Walton</strong> for a brass band suite<br />
summer approached for choral work for St Matthew’s<br />
Church, Northampton<br />
27 Aug report in The Times that a letter from English<br />
composers, including <strong>Walton</strong>, Bax, and John<br />
Ireland, had been sent in reply to one received<br />
from their Soviet contemporaries expressing<br />
mutual appreciation of their work<br />
7 Nov attends a reception at 13 Kensington Park Gardens,<br />
London, celebrating the 25th anniversary of the<br />
USSR<br />
For perusal purposes only
SELECTIVE CHRONOLOGY<br />
xix<br />
1943<br />
Feb offered a contract to write music for the film The<br />
Bells Go Down. The BBC asks <strong>Walton</strong> for a setting of<br />
the Te Deum to mark the 50th anniversary of the<br />
Promenade Concerts in Nov 1943.<br />
7 May joins the music committee of the British Council<br />
1944<br />
May completes composition of the music for the film<br />
Henry V<br />
23 June attends a lunch at Claridge’s for Sir Henry Wood<br />
20 July named as one of the committee of five controlling<br />
Royal Opera House, Covent Garden<br />
6 Dec contributes a manuscript which is included in<br />
the album ‘Tribute to the Red Cross’ and sold at<br />
Sotheby’s<br />
1945<br />
5 April contributes to a letter in The Times requesting<br />
British musicians take the lead in coming to the aid<br />
of the destitute 80-year-old Finnish composer Jean<br />
Sibelius<br />
summer considers writing a choral ballet about Agamemnon<br />
for the Sadler’s Wells Ballet Company<br />
29 Sept considers setting six verses of John Masefield’s<br />
poetry for the Henry Wood memorial service<br />
29 Oct considers a setting of Dream Play by Strindberg<br />
31 Oct conducts part of an all-<strong>Walton</strong> concert on a British<br />
Council visit to Stockholm<br />
5 Dec elected an honorary member of the Royal Academy<br />
of Music<br />
1946<br />
Jan considers music for the film of King Lear<br />
20 April appointed to the board of the Performing Right<br />
Society in place of the late Dr Thomas Dunhill<br />
summer joins the board of the Covent Garden Opera Trust<br />
22 Nov attends a lunch at the Savoy arranged on behalf of<br />
the Musicians’ Benevolent Fund to commemorate<br />
the festival day of St Cecilia<br />
31 Dec nominated for Academy Award for scoring of<br />
Henry V<br />
1947<br />
Feb considers an overture to celebrate the first<br />
anniversary of the BBC’s Third Programme. Also<br />
considers an opera about Inez de Castro, with<br />
libretto by Cecil Grey, and another with libretto by<br />
Dylan Thomas<br />
14 March Imma Doernberg dies<br />
31 March The Times reveals that <strong>Walton</strong> had been appointed<br />
to Honorary Studentship of Christ Church, Oxford<br />
20 May visits Prague with Alice Wimborne, Alan Bush,<br />
and Gerald Abraham for the International Music<br />
Festival<br />
15 July decides upon the story of Troilus and Cressida for<br />
an opera<br />
12 Aug asked by the BBC to set one of six special poems<br />
for broadcasting<br />
19 Nov presented with the Gold Medal of the Royal<br />
Philharmonic Society by Ralph Vaughan <strong>William</strong>s<br />
at a RPS concert in the Royal Festival Hall<br />
1948<br />
30 June receives an honorary DMus degree from Trinity<br />
College, Dublin<br />
1 July first performance of Alan Rawsthorne’s first violin<br />
concerto, which is dedicated to <strong>William</strong> <strong>Walton</strong><br />
13 Sept sails to Buenos Aires as a delegate to a Performing<br />
Right Society conference<br />
13 Dec marries Susana Gil Passo in a civil wedding ceremony<br />
1949<br />
20 Jan marriage blessed in a church ceremony<br />
2 June asked to be visiting professor at the Yale School of<br />
Music for 1949–50 but declines<br />
summer moves to Ischia<br />
1950<br />
27 Nov writes to The Times with other composers and<br />
musicians about the London County Council grant<br />
to the London Philharmonic Orchestra<br />
1951<br />
1 Jan appointed a Knight Bachelor in the New Year’s<br />
Honours List<br />
March considers writing a work for the Festival of Britain<br />
celebrations<br />
30 July writes to The Times with other composers about<br />
the rejected request for money to restore wardamaged<br />
Morley College<br />
31 July knighted by King George VI at an investiture, the<br />
king’s first official engagement since his illness<br />
21 Aug Constant Lambert dies<br />
23 Aug appointed, with Benjamin Britten, to the<br />
National Arts Foundation of New York’s Advisory<br />
Committee on Music<br />
25 Aug attends the funeral service for Constant Lambert at St<br />
Bartholomew the Great’s Church, Smithfield, London<br />
28 Sept presents a tribute to Arnold Schönberg at a<br />
memorial programme arranged by the London<br />
Contemporary Music Centre<br />
7 Oct contributes a talk about Lambert to the BBC’s<br />
Music Magazine<br />
22 Oct writes to The Times with others including Benjamin<br />
Britten about the Arts Council’s policy in the visual<br />
arts<br />
25 Oct publication of Foyer, a new quarterly magazine with<br />
<strong>Walton</strong> and Sacheverell Sitwell on the editorial<br />
board<br />
For perusal purposes only
xx<br />
SELECTIVE CHRONOLOGY<br />
1952<br />
17 Jan appointed an honorary member of the Royal<br />
Swedish Academy of Music<br />
6 Feb death of King George VI<br />
Oct declines a request to contribute a madrigal to<br />
A Garland for the Queen<br />
31 Oct formal commission from the Arts Council for Orb<br />
and Sceptre<br />
1953<br />
4 Feb receives a telegram from George Neikrung in<br />
California asking for a cello concerto<br />
20 May receives an honorary DMus degree from the<br />
Victoria University of Manchester<br />
2 June Orb and Sceptre and Coronation Te Deum are<br />
performed at the Coronation Service in<br />
Westminster Abbey of Queen Elizabeth II<br />
8 June attends the gala performance, at Covent Garden,<br />
of Britten’s Gloriana; <strong>Walton</strong>’s arrangement of the<br />
National Anthem is played before the start and at the<br />
end of the opera<br />
Aug sails to the USA and visits the West Coast; first<br />
American appearance as a conductor<br />
Dec approached for a score to the film Antony and<br />
Cleopatra. Refuses.<br />
1954<br />
3 Dec first performance of Troilus and Cressida, Royal<br />
Opera House, Covent Garden, London<br />
1955<br />
27 April attends the Royal Academy Dinner at Burlington<br />
House<br />
10 June receives an honorary DMus degree from the<br />
University of Cambridge<br />
summer considers writing music for the ballets Macbeth and<br />
The Tempest for Margot Fonteyn and Covent Garden<br />
16 Nov writes to The Times with other composers about the<br />
Copyright Bill; conducts an all-<strong>Walton</strong> concert in<br />
the Royal Festival Hall, organized by the RPS<br />
24 Nov receives an honorary DMus degree from the<br />
University of London<br />
7 Dec writes another letter to The Times with other<br />
composers about further concerns over the<br />
Copyright Bill<br />
1956<br />
10 Jan interviewed by Felix Aprahamian (BBC Home<br />
Service) on the premiere of Troilus and Cressida at<br />
La Scala, Milan<br />
spring considers a Sinfonietta for the City of Birmingham<br />
Symphony Orchestra<br />
summer considers a double concerto for Heifetz and<br />
Piatigorsky<br />
6 Nov considers a flute concerto for Elaine Schaffer<br />
1957<br />
17 Jan <strong>William</strong> and Lady <strong>Walton</strong> are involved in a serious<br />
car accident in Italy<br />
Nov considers a choral work about Moses and Pharaoh<br />
for the Huddersfield Choral Society<br />
12 Dec resigns from the PRS General Council<br />
1958<br />
summer<br />
considers adapting and expanding his music for<br />
Macbeth for a film directed by Laurence Olivier<br />
1959<br />
spring moves from Casa Cirillo to San Felice in Ischia<br />
24 June considers a piano concerto for Louis Kentner<br />
1960<br />
Feb visits the USA; considers writing music for the film<br />
The Reason Why; asked by David Lean for a joint score<br />
(with Malcolm Arnold) for his film Lawrence of Arabia<br />
22 July completes the composition of Symphony No. 2<br />
17 Oct considers a Concerto Grosso for George Szell<br />
24 Nov mention of the Koussevitsky Foundation pieces<br />
which ‘could be a Suite Concertante for five solo<br />
wind and orchestra’<br />
1961<br />
21 March conducts the Hallé Orchestra in a performance of<br />
Symphony No. 2<br />
18 April becomes the 14th honorary Freeman of the<br />
Borough of Oldham<br />
Nov work commences on the building of La Mortella,<br />
Ischia<br />
27 Dec the proposed Suite Concertante loses ‘its priority’<br />
1962<br />
18 Jan musical tribute to <strong>Walton</strong> is broadcast by the BBC<br />
from the Royal Festival Hall<br />
4 Feb appointed Accademico Onorario della Accademia<br />
Nazionale di Santa Cecilia in Rome<br />
spring asked by Erich Leinsdorf to write a piece for the<br />
Boston Symphony Orchestra<br />
May visits Canada for the first time<br />
Aug takes possession of La Mortella<br />
23 Aug considers writing an opera based on Oscar Wilde’s<br />
play The Importance of Being Earnest<br />
27 Aug writes a letter to The Times about the RPS<br />
9 Oct conducts a performance of Façade at Edith Sitwell’s<br />
75th-birthday concert in the Royal Festival Hall,<br />
London<br />
For perusal purposes only<br />
1963<br />
24 April death of Christopher Hassall<br />
July visits Israel<br />
Aug visits the USA and conducts a concert of his works<br />
on 8 Aug at Lewisohn Stadium, New York
SELECTIVE CHRONOLOGY<br />
xxi<br />
Nov<br />
Symphony No. 2 receives a nomination from the<br />
National Academy of Recording Arts and Sciences<br />
1964<br />
Feb–April visits New Zealand and Australia, conducting his<br />
own works; visits his sister, Nora Donnelly, and her<br />
family in New Zealand<br />
1965<br />
19 July asked to compose an anthem for the 1966<br />
Southern Cathedrals Festival<br />
1966<br />
10 Jan has operation for cancer at the London Clinic<br />
4 March promises Piatigorsky that ‘it won’t be too long<br />
before I start on the Double Concerto’<br />
1967<br />
3 June first performance of The Bear<br />
summer considers writing the music for Tony Richardson’s<br />
film The Charge of the Light Brigade<br />
10 July Alun Hoddinott commissions a chamber work<br />
from <strong>Walton</strong> to commemorate the opening of the<br />
new building at University College, Cardiff<br />
20 Sept visits Expo ’67 in Montreal<br />
21 Nov receives the Order of Merit from the queen<br />
1968<br />
26 April receives an honorary DLetts degree from the<br />
University of Surrey<br />
25 May BBC broadcasts Workshop: <strong>William</strong> <strong>Walton</strong> on BBC2,<br />
with script and narration by John Warrack<br />
15 Aug first American performance of The Bear at Aspen,<br />
Colorado<br />
14 Nov Alan Frank informs <strong>Walton</strong> that Gary Kerr, the<br />
American double bass player, wants to commission<br />
a double bass concerto from him<br />
1969<br />
Jan<br />
visits Houston, Texas<br />
1970<br />
Jan considers writing music for the film Upon this Rock,<br />
which he later refuses<br />
10 July Paul Dehn sends <strong>Walton</strong> a new suggestion for a<br />
one-act opera (The Panic)<br />
autumn considers a setting of a Cecil Day-Lewis poem for<br />
the Brighton Festival<br />
1971<br />
April<br />
visits the USSR with the London Symphony<br />
Orchestra and André Previn<br />
1972<br />
17 Jan awarded the Benjamin Franklin Medal<br />
March considers writing a third symphony for André<br />
Previn and the LSO<br />
15 March honorary membership of the Royal Northern College<br />
of Music conferred on <strong>Walton</strong> and Michael Kennedy<br />
28 March attends a 70th-birthday concert in the Royal<br />
Festival Hall, London<br />
29 March attends a birthday dinner, at 10 Downing Street,<br />
given by the prime minister, Edward Heath<br />
April considers setting some of the poems from the Liber<br />
Basiorum (Book of Kisses, 1541)<br />
28 July attends birthday celebrations at Aldeburgh, Suffolk<br />
12 Sept given honorary freedom of the Worshipful<br />
Company of Musicians<br />
1973<br />
31 May elected member of the Athenaeum Club<br />
15 July considers a Te Deum for Chichester Cathedral<br />
1974<br />
3 March considers writing a piece for the Bach Choir,<br />
including an elaborate version of Cantico del Sole<br />
spring interviewed and filmed for <strong>William</strong> and our Gracie<br />
(LWT)<br />
23 April receives the honorary degree of DMus from<br />
Universitas Hiberniae Nationalis<br />
24 July mention of a piece for Piatigorsky in the nature of<br />
Chanson Poème<br />
autumn invited to write a short orchestral work by the<br />
Greater London Council in celebration of the 25th<br />
Anniversary of the Royal Festival Hall, London<br />
1975<br />
12 March <strong>Walton</strong> ‘rather keen on the idea’ of using Anon. in<br />
Love and the Bagatelles for Guitar as a ballet<br />
Sept offered a commission to write a choral work for<br />
the 250th Three Choirs Festival (1977)<br />
19 Oct LWT broadcast a programme in the Aquarius series<br />
(Sir <strong>William</strong> and our Gracie) featuring the meeting<br />
between <strong>Walton</strong> (Oldham–Ischia) and Dame<br />
Gracie Fields (Rochdale–Capri)<br />
1976<br />
July considers setting ‘Peace’, a poem by Paul Dehn, for<br />
the Queen’s Silver Jubilee, 1977<br />
25 July considers a bassoon concerto for Milan Turkovic<br />
Sept commissioned to write an orchestral piece,<br />
entitled The Prospect, by Max Aitken<br />
4 Sept refuses to write a ceremonial piece for Nottingham<br />
County Council<br />
12 Nov Troilus and Cressida, revised version, performed at<br />
the Royal Opera House, Covent Garden, London<br />
30 Nov collapses during a celebratory dinner at the<br />
Garrick Club in London<br />
For perusal purposes only<br />
1977<br />
Jan<br />
considers a work for the double choir of St Alban’s<br />
Abbey
xxii<br />
SELECTIVE CHRONOLOGY<br />
22 March presented with the Incorporated Society of<br />
Musicians’ ‘Musician of the Year’ award at the<br />
Park Lane group 75th-birthday Gala for <strong>Walton</strong> in<br />
Fishmonger’s Hall, London Bridge<br />
28 March London Mozart Players and Harry Blech present<br />
a birthday concert at the QEH, which includes<br />
Façade, narrated by Robert Tear<br />
29 March attends a 75th-birthday concert at the Royal<br />
Festival Hall, London<br />
14 April prepares a setting of Psalm 130 for St Alban’s<br />
Abbey<br />
May approached by the National Brass Band<br />
Championships of Great Britain with a commission<br />
to write a work for brass band<br />
17 June a celebration of British Music in Westminster<br />
Cathedral includes Belshazzar’s Feast, conducted by<br />
Richard Hickox<br />
29 June agrees in principle to write a work for brass band<br />
24 Aug proposes to write Five Bagatelles for Brass Band<br />
17 Nov lunches (as a member of the Order of Merit) with<br />
the Queen at Buckingham Palace and attends<br />
a service for the Order in the Chapel Royal,<br />
St James’s Palace<br />
30 Dec decides that he is unable to write the concert<br />
band work<br />
1978<br />
22 Jan refuses to write the Berkeley 75th-birthday piece,<br />
and a Mass for a San Francisco choir<br />
May honorary membership of the American Academy<br />
and Institute of Arts and Letters conferred on<br />
<strong>Walton</strong><br />
1979<br />
26 Feb approached to write a setting of Horace’s Odes for<br />
the 1982 Llandaff Festival<br />
5 March confirmation that <strong>Walton</strong> would write an<br />
a cappella work for Llandaff<br />
1980<br />
15 April considers a companion piece for The Bear, with<br />
libretto by Alan Bennett<br />
1981<br />
19 April televising of Tony Palmer’s film At the Haunted End<br />
of the Day<br />
20 April a new photograph of <strong>Walton</strong> by Lord Snowden<br />
appears in The Times<br />
27 Sept receives the Prix Italia Winner’s certificate for the<br />
film profile At the Haunted End of the Day (inscribed:<br />
‘in profound thanks for all the pleasure you have<br />
given me. Tony Palmer’)<br />
1982<br />
29 March attends his 80th-birthday concert at the Royal<br />
Festival Hall, London, which is televised by<br />
the BBC<br />
1 April attends a lunch for members of the Order of<br />
Merit, hosted by the Queen at Windsor Castle<br />
22 July filmed with Lady <strong>Walton</strong> as the King and Queen of<br />
Bavaria in Tony Palmer’s film Wagner<br />
1983<br />
15 Jan attempts to write a motet in the style of<br />
Palestrina<br />
March agrees to set the Stabat Mater for the 150th<br />
Anniversary of the Huddersfield Choral Society<br />
8 March dies at the age of 80<br />
18 March Frederick Ashton completes plans for a new ballet<br />
20 July memorial stone unveiled at memorial service by<br />
Lady <strong>Walton</strong> in Westminster Abbey, London<br />
1985<br />
30 May the <strong>William</strong> <strong>Walton</strong> Trust is established to<br />
promote public education in the art of music and<br />
in particular the study, public performance and<br />
recording of <strong>Walton</strong>’s work<br />
1989 <strong>William</strong> <strong>Walton</strong> Foundation established<br />
1990<br />
12 Sept inauguration of the Recital Hall at La Mortella<br />
1995<br />
21 May a Solemn Mass of Thanksgiving is given at the<br />
church of St Alban the Martyr, Holborn, for<br />
church music through the works of Sir <strong>William</strong><br />
<strong>Walton</strong><br />
1998<br />
26 March first volume of the WWE is published by OUP:<br />
Symphony No. 1<br />
2002<br />
31 March <strong>Walton</strong> Day is held on BBC Radio 3 to mark the<br />
centenary of <strong>Walton</strong>’s birth<br />
2010<br />
21 March death of Lady <strong>Walton</strong><br />
For perusal purposes only
facsimiles<br />
For perusal purposes only
xxiv<br />
facsimiles<br />
For perusal purposes only<br />
1. The first page of the fourteen-year-old <strong>Walton</strong>’s first known composition (C1 in this <strong>Catalogue</strong>), dated at the end ‘Easter 1916’. In<br />
its slightly revised form, it is still regularly performed as a church anthem. Reproduced by kind permission of the Frederick R. Koch<br />
Collection, Beinecke Rare Book and Manuscript Library, Yale University.
facsimiles<br />
xxv<br />
For perusal purposes only<br />
2. An extract from the twenty-page short score (C4) of the choirboy <strong>Walton</strong>’s ambitious unfinished setting of Matthew Arnold’s<br />
poem ‘The Forsaken Merman’ for soprano and tenor soli, double female chorus, and orchestra, dated ‘Summer 1916’. Will somebody<br />
one day undertake the potentially fascinating task of orchestrating and performing this torso? Reproduced by kind permission of the<br />
Frederick R. Koch Collection, Beinecke Rare Book and Manuscript Library, Yale University.
xxvi<br />
facsimiles<br />
For perusal purposes only<br />
3. Edith Sitwell revised her poem ‘Trams’ (1916) for her 1920 collection The Wooden Pegasus, and <strong>Walton</strong> set it to music for the first<br />
public performance of Façade (C12). This was given on 12 June 1923, when it constituted the thirteenth number. It was repeated on<br />
17 April 1926, but thereafter was discarded from the Entertainment. Rediscovered only in 2003, this is its first publication.<br />
Reproduced by kind permission of The British Library Board, London.
facsimiles<br />
xxvii<br />
For perusal purposes only<br />
3a. The second page of ‘Trams’.
xxviii<br />
facsimiles<br />
For perusal purposes only<br />
4. The first page of the fourth movement of Symphony No. I (C27) with Hamilton Harty’s conducting markings. The first three<br />
movements had already been completed and performed before <strong>Walton</strong> overcame his creative block and resumed work on the finale.<br />
This festive opening had already been sketched in September 1933, twenty-five months before the first complete performance.<br />
Reproduced by kind permission of the Frederick R. Koch Collection, Beinecke Rare Book and Manuscript Library, Yale University.
facsimiles<br />
xxix<br />
For perusal purposes only<br />
5. A page from <strong>Walton</strong>’s incidental music for John Gielgud’s 1942 production of Macbeth (C43) showing the scene of Banquo’s ghost,<br />
with its rare employment (for <strong>Walton</strong>) of a Flexatone to provide a suitably eerie atmosphere. The sizeable score was pre-recorded on<br />
78 rpm records and played (with varying degrees of success during wartime) at the performances. Reproduced by kind permission of<br />
the Frederick R. Koch Collection, Beinecke Rare Book and Manuscript Library, Yale University.
xxx<br />
facsimiles<br />
For perusal purposes only<br />
6. The first page of the Memorial Fanfare (C48a) that <strong>Walton</strong> wrote for the March 1945 concert at the Royal Albert Hall in memory<br />
of Sir Henry Wood. It is a reworking and extension of a fanfare that he had written in February 1943 for an event entitled ‘Salute<br />
to the Red Army’. The LSO, LPO, and BBCSO played, which explains the vast orchestral resources employed. Reproduced by kind<br />
permission of The British Library Board, London.
facsimiles<br />
xxxi<br />
For perusal purposes only<br />
7. The first page of the March for A History of the English-Speaking Peoples (C70), which <strong>Walton</strong> wrote in 1959 for a projected television<br />
series, based on Churchill’s recent book, that never came to fruition. <strong>Walton</strong> recorded the March in May with the LSO at the TV<br />
studios at Elstree, but this has never been found. Reproduced by kind permission of the Frederick R. Koch Collection, Beinecke Rare<br />
Book and Manuscript Library, Yale University.
xxxii<br />
facsimiles<br />
For perusal purposes only<br />
8. A page from the extended score (C63) that <strong>Walton</strong> wrote in 1955 for his great friend Laurence Olivier’s film of Shakespeare’s<br />
Richard III. At the climax of the Battle of Bosworth Field, at which the king is killed by the future Henry VII, Richard cries out with<br />
the most famous line of the play ‘A horse! a horse! my kingdom for a horse!’ <strong>Walton</strong>, as usual, could not resist a schoolboy gloss on<br />
this quote. Reproduced by kind permission of the Frederick R. Koch Collection, Beinecke Rare Book and Manuscript Library, Yale<br />
University.
facsimiles<br />
xxxiii<br />
For perusal purposes only<br />
9. Some of the Call Signs which were commissioned from the Lancastrian <strong>Walton</strong>, together with a Prelude (C75), by the Manchesterbased<br />
TV company Granada in 1962. The fifteen call signs lasted between three and four seconds and were designed to suit the various<br />
types of programme that followed. In the event, they were never used, but <strong>Walton</strong> had clearly amused himself by writing them in different<br />
styles for a variety of instruments. Reproduced by kind permission of the Frederick R. Koch Collection, Beinecke Rare Book<br />
and Manuscript Library, Yale University.
List OF MAIN TITLES<br />
‘All this Time’ (C84) 110<br />
Anniversary Fanfare (C89) 113–14<br />
Anon. in Love (C71) 99<br />
Antiphon (C94) 116<br />
As You Like It: music for the film (C31) 41–2<br />
Battle of Britain: music for the film (C81) 107–8<br />
Bear, The (C79) 105–6<br />
Belshazzar’s Feast (C23) 31–3<br />
Birthday Fanfare, A (C99) 117–18<br />
Birthday Greetings to Herbert Howells (C88) 113<br />
Boy David, The: incidental music (C30) 40–1<br />
Bucolic Comedies (C15) 22<br />
Cantico del Sole (C90) 114<br />
Capriccio Burlesco (C80) 106–7<br />
Choral Fantasia (C102) 2<br />
Choral Prelude on ‘Wheatley’ for organ (C3) 1–2<br />
Choral Prelude, ‘Herzlich thut mich verlangen’ by Bach:<br />
arranged for piano (C25) 34<br />
Christopher Columbus: incidental music (C46) 66–7<br />
Concerto for Viola and Orchestra (C22) 28–31<br />
Concerto for Violin and Orchestra (C37) 48–52<br />
Concerto for Violoncello and Orchestra (C65) 95–6<br />
Contribution to the ‘Free French Album’ (C51) 76<br />
Coronation Te Deum (C58) 82–4<br />
Crown Imperial: Coronation march (C33) 44–6<br />
Dr Syntax: a pedagogic overture (C10) 5<br />
Dreaming Lips: music for the film (C32) 43<br />
Duets for Children (C39a) 54–5<br />
Duettino for Oboe and Violin (C101) 118<br />
Escape Me Never: music for the film (C28) 37–8<br />
Façade (C12) 6–20<br />
Fanfare for a Great Occasion (Hamlet) (C54d) 80<br />
Fanfare for the National (C92) 115<br />
Fanfares for the Red Army (C48) 68–9<br />
Fantasia Concertante (C14) 21–2<br />
First of the Few, The: music for the film (C45) 64–5<br />
First Shoot, The: ballet (C29) 38–9<br />
Five Bagatelles for Guitar (C86) 111–13<br />
For All the Saints (C103) 2<br />
Four Swinburne Songs (C6) 2–3<br />
Foreman went to France, The: music for the film (C44) 63–4<br />
Forsaken Merman, The (C4) 2<br />
Galop Final: ballet (C39b) 56–7<br />
Gloria (C72) 100<br />
Granada TV Prelude, Call Signs, and End Music (C75) 102–3<br />
Hamlet: music for the film (C54) 78–80<br />
Hamlet and Ophelia (C54b) 80<br />
‘Happy Birthday to You’: arrangement (C57) 82<br />
Henry V: music for the film (C50) 71–5<br />
Improvisations on an Impromptu of Benjamin Britten<br />
(C82) 109–10<br />
In Honour of the City of London (C34) 46–7<br />
Johannesburg Festival Overture (C66) 96<br />
Jubilate Deo (C87) 113<br />
‘King Herod and the Cock’ (C95) 116<br />
Litany, A (C1) 1<br />
Macbeth: incidental music (C43) 62–3<br />
Magnificat and Nunc Dimittis (C91) 114–15<br />
‘Make we joy now in this fest’ (C24) 33–4<br />
Major Barbara: music for the film (C41) 58–60<br />
March for ‘A History of the English-speaking Peoples’ 98–9<br />
March for Concert Band (from the Granada Prelude)<br />
(C75b) 103<br />
Medley for Brass Band (C29a) 39<br />
Memorial Fanfare for Henry Wood (C48a) 69<br />
Missa Brevis (C78) 104–5<br />
Music for Children (C39b) 55–6<br />
National Anthem: arrangements (C60; C64) 85, 94<br />
Next of Kin, The: music for the film (C42) 60–1<br />
Orb and Sceptre: Coronation March (C59) 84–5<br />
Partita for Orchestra (C67) 96–7<br />
Passacaglia (C98) 117<br />
‘Passionate Shepherd, The’ (C9) 5<br />
Piano Quartet (C7) 3–4<br />
Portsmouth Point: overture (C17) 22–4<br />
Prelude and Fugue (‘The Spitfire’) (C45a) 64–5<br />
Prelude for Orchestra (from the Granada Prelude) (C75a) 102–3<br />
Prologo e Fantasia (C100) 118<br />
‘Put off the Serpent Girdle’ (C62b) 91<br />
For perusal purposes only<br />
Quartet for Piano and Strings (C7) 3–4<br />
Quartet No. 1 for Strings (C11) 5–6<br />
Quartet No. 2 for Strings (C53) 77–8<br />
Queen’s Fanfare, A (C69) 98<br />
Quest, The: ballet (C49) 69–71<br />
Richard III: music for the film (C63) 91–4<br />
Roaring Fanfare (C93) 115
List OF MAIN TITLES<br />
xxxv<br />
Romeo and Juliet (Constant Lambert’s ballet score)<br />
(C18) 25<br />
‘Salute to Sir Robert Mayer on his 100th Birthday’ (Introduction<br />
to the National Anthem) (C97) 117<br />
Scapino: overture (C40) 57–8<br />
‘Set me as a seal upon thine heart’ (C35) 47<br />
Siesta (C19) 25–6<br />
Sinfonia Concertante (C21) 27–8<br />
Son of Heaven, A: incidental music (C16) 22<br />
Sonata for String Orchestra (C53a) 77–8<br />
Sonata for Violin and Piano (C55) 80–1<br />
Song for the Lord Mayor’s Table, A (C74) 101<br />
‘Spitfire’ Prelude and Fugue (C45a) 64–5<br />
‘Star-spangled Banner, The’: arrangement (C64) 94<br />
Stolen Life, A: music for the film (C36) 47–8<br />
String Quartet (C11) 5–6<br />
String Quartet in A minor (C53) 77–8<br />
Symphony No. 1 (C27) 35–6<br />
Symphony No. 2 (C68) 97–8<br />
‘Tell me where is fancy bred?’ (C2) 1<br />
Tema (per variazioni) for cello solo (C85) 110–11<br />
Theme for organ improvisations (C105) 43<br />
Three Sisters: music for the film (C83) 110<br />
Three Songs (C26) 34–5<br />
Title Music for the BBC-TV Shakespeare Series (C96) 116–17<br />
Toccata for Violin and Piano (CI3) 21<br />
‘Tritons’ (C8) 4<br />
Triumph of Neptune, The (orchestrations of Lord Berners’ score)<br />
(C20) 26<br />
Troilus and Cressida (C62) 86–91<br />
Tunes for my Niece (C39) 54<br />
Twelve, The (C77) 104<br />
Two Pieces for Violin and Piano (C56) 81–2<br />
‘Under the Greenwood Tree’ (C31c) 42<br />
Valse in C minor for piano (C5) 2<br />
Variation on an Elizabethan Theme (‘Sellenger’s Round’)<br />
(C61) 86<br />
Variations on a Theme by Hindemith (C76) 103–4<br />
Varii Capricci: ballet (C86a) 111–12<br />
Wedding March for organ (C104) 2<br />
Went the Day Well?: music for the film (C47) 67–8<br />
‘What Cheer?’ (C73) 100–1<br />
‘Where does the uttered Music go?’ (C52) 76–7<br />
Winds, The (C6) 2–3<br />
Wise Virgins, The: ballet (C38) 52–4<br />
For perusal purposes only
For perusal purposes only
the catalogue<br />
For perusal purposes only
For perusal purposes only
C1<br />
A Li t a n y<br />
partsong in four parts for unaccompanied trebles (G minor)<br />
Text: Phineas Fletcher (1582–1650)<br />
Date of composition: [Christmas 1915]<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 591a)<br />
Duration: 3 minutes<br />
First performance: Oldham, St Mary with Peter, 19 March<br />
1999 (concert of <strong>Walton</strong>’s ‘Late Choral Works’); Choir of<br />
Clare College, Cambridge, directed by Timothy Brown.<br />
A private performance of A Litany, given earlier that day<br />
at the former parish church of St John, Werneth, by four<br />
unaccompanied sopranos from the choir of Clare College,<br />
was recorded by BBC television and broadcast on BBC2 on<br />
24 July 1999 as part of Masterworks: Six Pieces of Britain,<br />
no. 3: ‘Belshazzar’s Feast’.<br />
Publication: WWE vol. 6, pp. 1–4 (1999)<br />
Note: <strong>Walton</strong> may have first seen the text in Henry Ley’s<br />
First Album of Songs, published by the Oxford firm of Acott &<br />
Co. in 1913, which included a setting of ‘A Litany’.<br />
Other versions<br />
C1a A Litany<br />
arrangement for mixed voices (SATB) in F minor<br />
Date of composition: Easter 1916<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 591b)<br />
First performance: unable to trace. Possibly January<br />
2002 in Hereford Cathedral when Polyphony recorded the<br />
work for Hyperion.<br />
Publication: WWE vol. 6, pp. 5–8 (1999)<br />
C1b A Litany<br />
arrangement for mixed voices (SATB) in E minor<br />
Date of composition: ‘Oxford 1917’ printed at the<br />
end of the published vocal score (but see Preface to WWE<br />
vol. 6)<br />
Holograph: whereabouts unknown<br />
First performance: unable to trace<br />
Publication: OUP, 1930 (OCS 733) at 4d [ <strong>Walton</strong><br />
made major revisions to verse 2 before publication in<br />
1930] • WWE vol. 6, pp. 9–12; offprinted as OCS 733<br />
(rev.) • German translation (as‘Fließt, ihr Tränen’) in Glory<br />
to God: Englische Chormusik aus fünf Jahrhunderten, OUP, 2006<br />
Bibliography: Timothy Brown, WWE vol. 6<br />
Recordings: C1b: Bach Choir / David Willcocks.<br />
Chandos CHAN 8998 (1991); CHAN 9426 (1995) • C1b:<br />
Finzi Singers / Paul Spicer. Chandos CHAN 9222 (1993);<br />
CHAN 9426 (1995) • All three versions: Polyphony /<br />
Stephen Layton. Hyperion CDA 67330 (2002)<br />
C2 Te l l me w h e r e is f a n c y br e d?<br />
song for soprano and tenor, three violins, and piano<br />
Text: <strong>William</strong> Shakespeare (1564–1616), from The Merchant<br />
of Venice (Act III, Scene 2).<br />
Date of composition: July 1916<br />
Holograph: Manuscript Collections, British Library<br />
(Reference Division), Add MS 52384. It is 47 bars in length<br />
and is dated ‘2nd July 1916’. Presented to the British Library<br />
by Howard Ferguson, given to him by Emily Daymond, who<br />
in turn had received it from Henry Ley, organist of Christ<br />
Church, Oxford, when <strong>Walton</strong> was a choirboy.<br />
First performance: unable to trace. It may have been<br />
written for a Choir School production of the play in the<br />
summer of 1916.<br />
Publication: WWE vol. 8, pp. 1–4 (2011). A piano transcription<br />
of the accompaniment by the editor, Steuart<br />
Bedford, is included (pp. 5–7), with some editorial dynamics,<br />
largely lacking in the original.<br />
Bibliography: Steuart Bedford, WWE vol. 8 pp. 1–4<br />
(2011) • Alan Cuckston, ‘The Songs’, CraggsML, p. 2<br />
C3<br />
Ch o r a l Pr e l u d e on<br />
‘Wh e at l ey’<br />
for organ<br />
Date of composition: August 1916<br />
Holograph: Manuscript Collections, British Library<br />
(Reference Division), Add. MS 52384. It is 39 bars in<br />
length and is dated ‘16th August 1916’. Presented to the<br />
British Library by Howard Ferguson, given to him by Emily<br />
Daymond, who in turn had received it from Henry Ley,<br />
organist of Christ Church, Oxford, when <strong>Walton</strong> was a<br />
choirboy.<br />
First performance: unable to trace<br />
For perusal purposes only
2 C4 The Forsaken Merman<br />
Note: The hymn tune ‘Wheatley’ was composed by Basil<br />
Harwood (1859–1949), organist at Christ Church, Oxford,<br />
between 1892 and 1909, and included in the Oxford Hymn<br />
Book (Oxford: Clarendon, 1908) as No. 90 (‘By Jesus’ grave<br />
on either hand’). Harwood was music editor of the hymn<br />
book, which was prepared by the Dean of Christ Church,<br />
Dr Thomas B. Strong. Wheatley is a village five miles east of<br />
Oxford, and many hymn tunes composed by Harwood were<br />
named after places that he liked to visit.<br />
C4<br />
Th e Fo r s a k e n Me r m a n<br />
cantata for soprano and tenor soli, double female chorus<br />
(SSSSAAAA), and orchestra (unfinished)<br />
Text: Matthew Arnold (1822–88)<br />
Date of composition: 1916<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 1429).<br />
The short score is contained in a notebook of 12-stave<br />
paper bound in dark maroon leather. It is 425 bars in length<br />
and is dated ‘Summer 1916’. The manuscript was sold at<br />
Sotheby’s, London, in May 1985 for £3,600 (Lot 253).<br />
Bibliography: Alan Cuckston, ‘The Songs’, CraggsML,<br />
pp. 3–5<br />
C102<br />
Ch o r a l Fa n t a s i a<br />
for organ<br />
Date of composition: 1916<br />
Holograph: whereabouts unknown<br />
First performance: Oxford, Christ Church, 17 September<br />
1916; Henry Ley. In a letter to his mother dated 17 September<br />
1916, <strong>Walton</strong> mentioned that Ley had played the work<br />
after Morning Service (WW archive).<br />
C103<br />
Fo r Al l th e Sa i n t s<br />
for mixed voices and organ<br />
Date of composition: November 1916. <strong>Walton</strong> told<br />
his mother that he had finished composing the work on 23<br />
November 1916 (letter dated 26 November 1916, WW archive).<br />
Holograph: whereabouts unknown<br />
First performance: unable to trace<br />
C5<br />
Va l s e in C m i n o r<br />
for solo piano<br />
Date of composition: 1917<br />
Holograph: Christ Church College Library, Oxford<br />
(Mus. 1278). It is dated ‘2nd February 1917’. The manuscript<br />
was presented to the library by F. D. Ham who was a<br />
contemporary of <strong>Walton</strong>’s at the Cathedral Choir School.<br />
In a letter to the present author dated 8 January 1979, Ham<br />
confessed that he could not remember how it came into his<br />
possession (Craggs archive).<br />
First performance: unable to trace<br />
C104<br />
We d d i n g Ma r c h<br />
for organ<br />
Date of composition: March–April 1917<br />
Holograph: whereabouts unknown<br />
First performance: Oxford, Parish Church of St Margaret,<br />
10 April 1917; Noel Ponsonby (organ) of Marlborough<br />
College<br />
Note: Written for the wedding of Henry Ley, organist of<br />
Christ Church, Oxford, and Evelyn M. Heurtley. According to<br />
the Oxford Chronicle (13 April 1917), this was a choral wedding,<br />
with both the men and boys from Christ Church singing, and<br />
the service conducted by the Dean, Dr. Thomas B. Strong.<br />
‘After the bride and groom proceeded down the aisle ... the<br />
organist played a wedding march composed for the occasion<br />
by Master <strong>William</strong> <strong>Walton</strong>, a Cathedral Chorister.’<br />
C6<br />
Fo u r Sw i n b u r n e So n g s<br />
For perusal purposes only<br />
for voice and piano<br />
1. Child’s Song; 2. Song (‘Love laid his sleepless head’); 3.<br />
A Lyke-wake Song; 4. The Winds<br />
Text: Algernon C. Swinburne (1837–1909), from the<br />
second and third series of Poems and Ballads (1878 and 1889)
Nos. 1–3<br />
Date of composition: July 1918<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 1334, 1333,<br />
1351)<br />
Duration: 3 minutes each<br />
First performance: unable to trace<br />
First modern performance: Darlington, Liddiard<br />
Theatre, 9 April 1992; Teresa Troiani and Eileen Bown<br />
First European performance: Ulm, Germany, Ulmer<br />
Theater, 20 May 2001; Jeremy Huw <strong>William</strong>s and Thomas<br />
Mandl<br />
Bibliography: British Music Society Newsletter, No. 54<br />
(June 1992), 8 (D. Strong)<br />
4. The Winds<br />
Holograph: whereabouts unknown<br />
Duration: 2 minutes<br />
First private performance: unable to trace. A copy<br />
of the vocal score is inscribed by <strong>Walton</strong> to Edith Sitwell’s<br />
companion, Helen Rootham, ‘who first sang this song’<br />
(WW archive). Stephen Tennant (the dedicatee of <strong>Walton</strong>’s<br />
Siesta) told the present author (letter dated 10 June 1975,<br />
Craggs archive) that it was most probably given at 34 Queen<br />
Anne’s Gate, London, the home of his mother, Lady Pamela<br />
Glenconner.<br />
First public performance: London, Aeolian Hall,<br />
14 December 1921; Dorothy Moulton and unknown<br />
pianist<br />
Other early performances: London, Aeolian Hall,<br />
30 October 1929; Odette de Foras and Gordon Bryan •<br />
London, Grotrian Hall, 19 May 1932; Rose Morse and<br />
Graham Carritt<br />
Publication: Curwen, 1921 (CE 2217) at 2s; reprinted<br />
OUP, 1985 (Oxford Solo Songs Series), at £1.95<br />
Recordings: Yvonne Kenny and Malcolm Martineau.<br />
Etcetera KTC 1140 (1992) • John Mark Ainsley and<br />
Hamish Milne. Chandos CHAN 9292 (1994); CHAN<br />
9426 (1995) • Felicity Lott / Martyn Hill and Graham<br />
Johnson. Collins 14932(1997); Naxos 8.557112<br />
(2002)<br />
Nos. 1–4<br />
Publication: Alan Cuckston, ed., Four Early Songs, OUP,<br />
2002 • WWE vol. 8, pp. 8–17<br />
Bibliography: Steuart Bedford, WWE vol. 8 • Alan<br />
Cuckston, ‘The Songs’, CraggsML, pp. 5–7 • DT, 25 May<br />
C7 Quartet for Piano and Strings 3<br />
1989, p. 20 (A. Blyth); MT 70 (December 1929), 1124–5<br />
(E. Blom); Times, 1 Nov 1929, p. 14<br />
C7<br />
Str i n g s<br />
Qu a r t e t fo r Pi a n o an d<br />
1. Allegramente; 2. Allegro scherzando; 3. Andante tranquillo;<br />
4. Allegro molto<br />
Date of composition: 1918–21 (though the published<br />
score, Stainer & Bell, 1924, is dated ‘Oxford 1918–1919’ at<br />
the foot of p. 74)<br />
Holograph: whereabouts unknown. The original version<br />
was lost somewhere in the post between Italy and London<br />
for two years. When it resurfaced in 1921, <strong>Walton</strong> revised<br />
parts of it and rewrote most of the last movement several<br />
times. It was published under the Carnegie United Kingdom<br />
Trust, the adjudicators being Sir Hugh Allen, Ralph Vaughan<br />
<strong>William</strong>s, and Sir Henry Hadow, who described it as a work<br />
of ‘real achievement’.<br />
Dedication: To the Right Rev. Thomas Banks Strong,<br />
Bishop of Ripon<br />
Duration: 29 minutes<br />
First performance: Liverpool, Rushworth Hall, 19<br />
September 1924 (broadcast on BBC radio); members of<br />
the McCullagh String Quartet: Isabel McCullagh, Helen<br />
Rawdon Briggs, Mary McCullagh, with J. E. Wallace (piano).<br />
The radio programme also included two other British works<br />
published under the Carnegie Scheme, by George Dyson<br />
and Ivor Gurney.<br />
First public performance: Liverpool, Rushworth<br />
Hall, 30 October 1924; members of the McCullagh String<br />
Quartet and J. E. Wallace<br />
First London performance: Aeolian Hall, 30 October<br />
1929; Pierre Tas, James Lockyer, John Gabalfa, and Gordon<br />
Bryan<br />
Publication: score and parts: Stainer & Bell (1924)<br />
at 9s<br />
Bibliography: BM Bull 6 (1924), 179; MO 53 (1929),<br />
230; MT 65 (1924), 1127–8 (E. Blom); 70 (1929), 1124–9<br />
(E. Blom); RT, 12 September 1924, p. 498 (P. A. Scholes);<br />
Times, 1 Nov 1929, p. 14; 16 Nov 1936, p. 20; 5 April 1938,<br />
p. 14<br />
Recordings: Reginald Paul Piano Quartet. Decca AX<br />
238/41 (1939) • Robert Masters Piano Quartet with<br />
Ronald Kinloch Anderson (piano). Argo RG 48 (1955)<br />
For perusal purposes only
4 C8 Tritons<br />
Note: According to Anderson (1911–84), further revisions<br />
were made to the work before it was recorded by the<br />
Robert Masters Quartet. He wrote:<br />
We took up <strong>Walton</strong>’s Piano Quartet shortly after the<br />
[Second World] war . . . at which time it probably hadn’t<br />
been heard for many years. In the early 1950s we recorded<br />
it for Argo [RG 48, recorded November 1954, released<br />
June 1955] . . . and either then or when we were preparing<br />
it for our first performance of it, I got in touch with<br />
<strong>Walton</strong> to ask his advice about certain things. I had found<br />
in working at the piano part that a few bits were virtually<br />
unplayable. . . . He was characteristically helpful when I<br />
asked him if he would agree to some alterations of a purely<br />
practical nature and we had one or two long and interesting<br />
conversations (mainly on the telephone as far as I can<br />
remember) about it and we had a grand singing match with<br />
each other getting it straight. He left me to rearrange the<br />
piano part of these bars in the slow movement so that the<br />
accompanying figures would continue in the piano without<br />
playing the melody now taken over by the cello. There were<br />
numerous other small alterations (entirely to the piano part<br />
as far as I can remember) to which he agreed and left me<br />
to work them out for myself. In this version we played the<br />
work many times, broadcast it and recorded it. At this time<br />
I remember being astonished that he should still remember<br />
so exactly a work which he had written more than 30 years<br />
before. (Letter to the present author, dated 23 March 1976;<br />
Craggs archive)<br />
Revised version<br />
When OUP obtained the copyright from Stainer and Bell in<br />
the early 1970s, Ronald Kinloch Anderson was contacted<br />
by Alan Frank, Head of Music at OUP, who was anxious<br />
to bring out a new edition that included the alterations to<br />
which <strong>Walton</strong> had previously agreed; all these were subsequently<br />
incorporated into the new score between 1974<br />
and 1975. The composer also made further minor alterations,<br />
mostly consisting of textual simplifications, some<br />
extra doubling, revised dynamics, and improvements to<br />
the layout of the piano part. <strong>Walton</strong> used a printed copy of<br />
the first edition for his revisions, which is now in the OUP<br />
archive.<br />
According to the OUP editor Robin Langley, ‘<strong>Walton</strong> ...<br />
himself gave no reason for revising this work, and there<br />
were several hands in the pudding before he himself went<br />
through the corrections, making further of his own. A<br />
likely reason, however, would be the performance with<br />
André Previn playing the piano part at the Aldeburgh<br />
Festival about three years ago’ (letter to the present author<br />
dated 5 March 1976, Craggs archive). This performance<br />
took place on 30 June 1973 at the Maltings, Snape, but<br />
although Previn was to have played that day, he was ill<br />
and the pianist was Howard Shelley, with Kenneth Sillito<br />
(violin), Cecil Aronowitz (viola), and Charles Tunnell<br />
(cello).<br />
First performance: London, Wigmore Hall, 13 July<br />
1982; Bochman String Quartet and Roger Steptoe (piano)<br />
First broadcast performance: Bristol, BBC Studios,<br />
19 November 1982; Tunnell Piano Quartet<br />
Publication: score and parts: OUP, 1976 at £5 • WWE<br />
vol. 19, pp. 1–68; score and parts offprinted OUP, 2009<br />
Bibliography: Hugh Macdonald, WWE vol. 19<br />
Recordings: English Piano Quartet and John McCabe.<br />
Meridian CDE 84139 (1987) • Kenneth Sillito, Robert<br />
Smissen, Stephen Orton, and Hamish Milne. Chandos<br />
CHAN 8999 (1991); CHAN 9426 (1995) • Janice<br />
Graham, Paul Silverthorne, Murray Walsh, and Israela<br />
Margalit. EMI 5 55404 2 (1996); EMI Collector’s Edition<br />
4 40866 2 (2012) • Maggini String Quartet and Peter<br />
Donohoe. Naxos 8.554646 (2000) Nash Ensemble and Ian<br />
Brown: Hyperion CDA 67340 (2002)<br />
C8<br />
Tr i t o n s<br />
song for voice and piano<br />
Text: <strong>William</strong> Drummond (1585–1649)<br />
Date of composition: 1920<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 589)<br />
Duration: 2 minutes<br />
First private performance: unable to trace. A copy of<br />
the published vocal score is inscribed by <strong>Walton</strong> to Helen<br />
Rootham ‘To Helen with love from <strong>William</strong> 18/12/20’<br />
(WW archive).<br />
First public performance: London, Aeolian Hall,<br />
30 October 1929; Odette de Foras and Gordon Bryan<br />
Publication: Curwen, 1921 (CE 2239) at 2s; reprinted<br />
OUP, 1985 (Oxford Solo Songs Series) at £1.95 • WWE<br />
vol. 8, pp. 18–19<br />
Bibliography: Steuart Bedford, WWE vol. 8 • Alan<br />
Cuckston, ‘The Songs’, CraggsML, pp. 8–9 • MT 70 (1929),<br />
1124–5 (E. Blom)<br />
Recordings: Yvonne Kenny and Malcolm Martineau.<br />
Etcetera KTC 1140 (1992) • John Mark Ainsley and<br />
Hamish Milne. Chandos CHAN 9292 (1994); CHAN 9426<br />
(1995) • Felicity Lott / Martyn Hill and Graham Johnson.<br />
Collins 14932(1997); Naxos 8.557112 (2002)<br />
For perusal purposes only
C9<br />
Th e Pa s s i o n a t e Sh e p h e r d<br />
song for tenor voice and ten instruments<br />
Text: Christopher Marlowe (1564–93)<br />
Date of composition: 1920<br />
Holograph: whereabouts unknown<br />
Note: Angus Morrison told the present author that he saw<br />
the score of this work very briefly. It was never performed<br />
and presumably withdrawn.<br />
C10<br />
Dr Sy n t a x<br />
A pedagogic overture for full orchestra.<br />
Probably inspired by verses of <strong>William</strong> Combe (1741–1823),<br />
written to accompany drawings by Thomas Rowlandson<br />
(1756–1827) of the adventures of ‘Dr Syntax’. According<br />
to The Oxford Companion to English Literature (7th edn,<br />
ed. Dinah Birch, Oxford: OUP, 2009), Dr Syntax is ‘the<br />
grotesque figure of a clergyman and schoolmaster, who sets<br />
out during the holidays on his old horse Grizzle to “make<br />
a tour and write it”, and meets with a series of amusing<br />
misfortunes.’<br />
Date of composition: 1920–21<br />
Holograph: whereabouts unknown<br />
Instrumentation: According to a page of the original<br />
score in <strong>Walton</strong>’s hand (now lost), the instrumentation,<br />
which is rather large and sophisticated, fits Angus Morrison’s<br />
description (see Note below):<br />
2(II + picc).2.ca.2(II + bcl),2.cbn/4.3.3.1/timp/perc<br />
(1: cym, sd, bd)/2hp/cel/pno/strings<br />
First performance: The overture was never performed,<br />
but was one of the early works shown to Ferruccio<br />
Busoni and Eugene Goossens. In fact, it is possible that<br />
this overture was meant for Goossens and his newly<br />
formed orchestra, consisting of up to 105 players. This<br />
was founded to play modern works and was responsible<br />
for the first concert performance of Stravinsky’s Le Sacre<br />
du Printemps in England. It gave a total of six symphony<br />
concerts in 1921–2 (see Carole Rosen, The Goossens: A<br />
Musical Century, London: Deutsch, 1993, pp. 66–9). In a<br />
letter dated 24 September [1921], <strong>Walton</strong> told his mother<br />
that ‘Goossens has Syntax but has not returned from his<br />
holiday so the date of performance is still indefinite’<br />
(WW archive).<br />
C11 String Quartet 5<br />
Note: Angus Morrison told the present author that he saw<br />
the ‘highly elaborate’ score, but remembered very little<br />
about it. His impression was that <strong>Walton</strong> had incorporated<br />
one or two passages of real Elizabethan counterpoint.<br />
Other version<br />
According to another fragment of a <strong>Walton</strong> holograph<br />
(now lost), the title-page (in ink) on manuscript paper of<br />
a projected ballet reads: ‘Dr Syntax—a ballet in one act by<br />
Sacheverell Sitwell and P. Wyndham Lewis, with music by<br />
W. T. <strong>Walton</strong> and scenario by P. Wyndham Lewis’.<br />
C11<br />
St r i n g Qu a r t e t<br />
for two violins, viola, and cello<br />
1. Moderato; 2. Fuga<br />
Date of composition: 1919–22<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 590)<br />
Duration: 20 minutes<br />
First performance: London, probably 19 Berners<br />
Street, W1, 4 March 1921 (first concert of the London<br />
Contemporary Music Centre); Pennington String Quartet:<br />
John Pennington, Kenneth Skeaping, Bernard Shore, and<br />
Edward Robinson<br />
Bibliography: BM Bull 3 (1921), 96 (H.P.). (This review<br />
described <strong>Walton</strong> as a young composer of exceptional<br />
promise, and the quartet as ‘essentially a work of the classical<br />
tradition, despite the freedom of its harmonic scheme.<br />
Indeed, the second movement seems to have been closely<br />
modelled on the B-flat Fugue (Op. 133) of Beethoven’.)<br />
Note: These two movements were originally written to<br />
obtain <strong>Walton</strong>’s exhibition at Christ Church, Oxford, more<br />
as a technical exercise than with a view to performance.<br />
Revised version<br />
<strong>Walton</strong> revised this quartet in the early 1920s, and a middle<br />
movement was added:<br />
1. Moderato; 2. Scherzo; 3. Fuga<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 590). It is<br />
dated ‘Amalfi 23.11.22’. <strong>Walton</strong> had given the autograph<br />
score to Hyam (‘Bumps’) Greenbaum in September 1936.<br />
The original set of parts, formerly in the possession of Gerald<br />
Abraham and sold at Sotheby’s on 15 May 2008 (Lot 167),<br />
For perusal purposes only
6 C12 Façade<br />
are now in private hands. These were used for the performances<br />
in 1923 by the McCullagh Quartet. The first four pages<br />
of the Fuga are missing.<br />
First performance: London, Royal College of Music,<br />
5 July 1923 (a London Contemporary Music Centre concert);<br />
McCullagh String Quartet: Isabel McCullagh, Gertrude<br />
Newsham, Helen Rawdon Briggs, and Mary McCulIagh<br />
First European performance: Salzburg, Grosser Saal<br />
des Mozarteums, 4 August 1923 (first ISCM Music Festival);<br />
McCullagh String Quartet<br />
First modern performance: Swansea, Brangwyn Hall,<br />
15 October 1990; Gabrieli Quartet<br />
Publication: bars 175–93 of the second movement were<br />
shown in facsimile in Tempo (Old Series) 8 (September<br />
1944), 14–15 • manuscript score (transcribed Sandy<br />
Brown, April 1989): OUP hire library (this was later extensively<br />
edited by Christopher Palmer for the performance<br />
and recording by the Gabrieli Quartet, and computer-set by<br />
ICA Music in 1995) • WWE vol. 19, pp. 71–127 (2008);<br />
score and parts offprinted OUP, 2009<br />
Bibliography: Hugh Macdonald, WWE vol. 19 • BM Bull<br />
5 (1923), 194 (E. J. Dent), 214 (H. Antcliffe); MMR 53 (1923),<br />
226–7 (‘Sforzando’), 290; MO 47 (1923), 52–3 (A. Eaglefield<br />
Hull); MT 64 (1923), 571, 631–5 (E. Evans); SalzV, 6 Aug<br />
1923, p. 3; Times, 7 July 1923, p. 8; 14 Aug 1923, p. 11<br />
Recordings: With cuts: Gabrieli String Quartet. Chandos<br />
CHAN 8944 (1991); CHAN 9426 (1995) • Complete:<br />
Doric String Quartet. Chandos CHAN 10661 (2011)<br />
C12<br />
Fa ç a d e<br />
An entertainment for reciter and chamber ensemble.<br />
Index to entry:<br />
Façade Entertainment: p. 6<br />
Façade 2: A Further Entertainment: p. 13<br />
Additional numbers: p. 14<br />
Lost or incomplete numbers: p. 14<br />
Derived works and other versions: p. 15<br />
Façade Entertainment<br />
Text: poems by Edith Sitwell<br />
Date of composition: November 1921–8<br />
Holographs and first performance: Beinecke: GEN MSS<br />
601 (FRKF 638a): title-page for the definitive printed version.<br />
Fanfare<br />
Beinecke: GEN MSS 601 (FRKF 638e). First performance:<br />
12 June 1923<br />
1. Hornpipe (‘Sailors come’)<br />
Two versions: HRHRC. Beinecke: GEN MSS 601 (FRKF 638g).<br />
First performance: 24 January 1922<br />
2. En Famille (‘In the early springtime, after their tea’)<br />
Two versions: Beinecke: GEN MSS 601 (FRKF 638f and<br />
638k). First performance: 24 January 1922<br />
3. Mariner Man (‘What are you staring at, mariner<br />
man?’)<br />
Beinecke: GEN MSS 601 (FRKF 638l). First performance:<br />
24 January 1922<br />
4. Long Steel Grass (Trio for Two Cats and a Trombone)<br />
HRHRC. First performance: 24 January 1922<br />
5. Through Gilded Trellises<br />
Beinecke: GEN MSS 601 (FRKF 638c). First performance:<br />
12 June 1923<br />
6. Tango–Pasodoblé (‘When Don Pasquito arrived at the<br />
seaside’)<br />
Whereabouts unknown. First performance: 27 April 1926<br />
7. Lullaby for Jumbo (‘Jumbo asleep’)<br />
HRHRC. First performance: 24 January 1922<br />
8. Black Mrs. Behemoth (‘In a room of the palace’)<br />
HRHRC. First performance: 28 November 1927 or 14<br />
September 1928<br />
9. Tarantella (‘Where the satyrs are chattering’)<br />
Beinecke: GEN MSS 601 (FRKF 638i). First performance:<br />
29 June 1926<br />
10. The Man from a Far Countree (‘Rose and Alice’)<br />
Whereabouts unknown. First performance: 12 June 1923<br />
11. By the Lake (‘Across the flat and the pastel snow’)<br />
Two versions: Beinecke: GEN MSS 601 (FRKF 638b).<br />
HRHRC. First performance: 12 June 1923<br />
12. Country Dance (‘That hobnailed goblin, the bobtailed<br />
Ho’)<br />
HRHRC. First performance: 27 April 1926<br />
13. Polka (‘Tra la la la la la la la la!’)<br />
Three versions: Manuscript Collections, British Library,<br />
Egerton MS 3771. Thomas Balstan Papers in the Washington<br />
State University Library, Pullman, Washington. HRHRC.<br />
First performance: 29 June 1926<br />
14. Four in the Morning (‘Cried the navy-blue ghost’)<br />
HRHRC. First performance: 27 April 1926<br />
15. Something Lies beyond the Scene<br />
Two versions: Beinecke: GEN MSS 601 (FRKF 638m and<br />
638n). First performance: 12 June 1923<br />
For perusal purposes only
16. Valse (‘Daisy and Lily’)<br />
The estate of the late Mr Francis Sitwell. First performance:<br />
27 April 1926<br />
17. Jodelling Song (‘We bear velvet cream’)<br />
British Library: MS Mus.1565. Bequeathed to the BL in<br />
2004 by the American actress Irene Worth. A note on the<br />
envelope states ‘Given to Irene Worth by <strong>William</strong> <strong>Walton</strong>’.<br />
First performance: 12 June 1926<br />
18. Scotch Rhapsody (‘Do not take a bath in Jordan,<br />
Gordon’)<br />
HRHRC. First performance: 27 April 1926<br />
19. Popular Song (‘Lily O’Grady’)<br />
HRHRC. First performance: 27 November 1927 or 14<br />
September 1928<br />
20. Foxtrot (‘Old Sir Faulk’)<br />
Two versions: British Library. Add. MS 64120. HRHRC. First<br />
performance: 12 June 1923<br />
21. Sir Beelzebub (‘When Sir Beelzebub’)<br />
HRHRC. First performance: 24 January 1922<br />
Instrumentation: fl (+ picc), cl (+ bcl), a sax [from June<br />
1923 onwards], tpt, perc (1: tri, cym, cast, Chinese block,<br />
sd, tamb, jingles), vc, reciter<br />
A note in the published score says: ‘If the violoncello<br />
part is too arduous for one player, the part has also been<br />
distributed for two players. This alternative version may in<br />
any case be found preferable where two players are available’.<br />
(For details about the composition of the original<br />
ensemble for Façade, see Neil Ritchie, ‘Footnote to Façade’,<br />
The Book Collector 45/2 (summer 1996), 261–2, n. 557.)<br />
Dedication: To Constant Lambert (in the 1951 first<br />
publication)<br />
Duration: 40 minutes<br />
Performance History<br />
Chronological list of early and significant performances.<br />
24 January 1922: first private performance, London,<br />
2 Carlyle Square. Musicians: unable to trace (although<br />
Angus Morrison told the present author that the same players<br />
might have played at both the private and first public<br />
performances—see below). Introduction by Osbert Sitwell;<br />
reciter: Edith Sitwell; conductor: <strong>William</strong> <strong>Walton</strong>. Drop<br />
curtain by Frank Dobson (also used at the second private<br />
performance). The titles and poems are listed as follows in<br />
two surviving undated typed programmes believed to have<br />
been used for the performance (HRHRC):<br />
1. Overture; 2. Madame Mouse Trots (Dame Souris<br />
trotte); 3. The octogenarian; 4. Aubade; 5. The Wind’s<br />
C12 Façade 7<br />
Bastinado; 6. Said King Pompey; 7. Interlude; 8. Jumbo’s<br />
Lullaby; 9. Small Talk (1), Small Talk (2); 10. Rose Castles;<br />
11. Introduction and Hornpipe; 12. Long Steel Grass;<br />
13. When Sir Beelzebub; 14. Switchback; 15. Bank Holiday<br />
(1), Bank Holiday (2); 16. Springing Jack; 17. En Famille;<br />
18. Mariner Man (Presto)<br />
7 February 1922: second private performance, London,<br />
Mrs Robert Mathias’s house, Montagu Square. This may have<br />
been a shorter recital amongst the earliest ‘trial’ performances,<br />
as a programme (discovered by Neil Ritchie), sold<br />
at Sotheby’s, Dover, on 23 July 1987 (Lot 184) reveals (it is<br />
described as ‘similar in appearance and content, but there<br />
are seven fewer poems, and they are numbered differently’).<br />
The performance would have just pre-dated the publication<br />
by the Favil Press of Edith Sitwell’s poems. This would agree<br />
with Edwin Evans’s description (MT 85, 1944, p. 331): ‘It was<br />
the following year that it [Façade] was offered as a complete<br />
“entertainment”, first in sundry Mayfair drawing-rooms and<br />
then at the Aeolian Hall.’ It is also possible that Mrs Belloc<br />
Lowndes, novelist and sister of Hilaire Belloc, may have<br />
offered to play hostess to a further private performance (see<br />
Stephen Lloyd, <strong>William</strong> <strong>Walton</strong>: Music of Fire, Woodbridge:<br />
Boydell, 36).<br />
1. Overture; 2. (a) ‘Dame Souris trotte . . .’ (b) The<br />
Octogenarian; 3. (a) Aubade (b) The Wind’s Bastinado<br />
(c) Said King Pompey; 4. Interlude; 5. (a) Jumbo’s Lullaby<br />
(b) Small Talk (c) Rose Castles; 6. (a) Introduction and<br />
Hornpipe (b) Long Steel Grass (c) When Sir Beelzebub<br />
12 June 1923: first public performance, London,<br />
Aeolian Hall. Edith Sitwell (reciter), Robert Murchie<br />
(fl, picc), Paul Draper (cl, bcl), F. Moss (sax), Herbert<br />
Barr (tpt), Ambrose Gauntlett (vc), and Charles Bender<br />
(perc), conducted by <strong>William</strong> <strong>Walton</strong>. Curtain by Frank<br />
Dobson.<br />
Fanfare, Preface by Osbert Sitwell, Overture;<br />
1. (a) Gardener Janus Catches a Naiad (b) Clown<br />
Argheb’s Song;<br />
2. (a) Lullaby for Jumbo (b) Trams (c) Madam Mouse<br />
trots (d) Switchback;<br />
3. (a) Small Talk (b) By the Lake (c) Said King Pompey;<br />
4. (a) Serenade (instrumental) The Octogenarian<br />
(b) Herodiad’s flea (c) Through gilded trellises (d) Trio<br />
for Two Cats and a Trombone;<br />
5. (a) The Man from a Far Countree (b) Daphne<br />
(c) Country Dance;<br />
6. (a) Gone dry (b) Mariner Man (c) Rose Castles<br />
(d) En Famille (e) Hornpipe;<br />
7. (a) Aubade (b) The Owl (c) Dark Song (d) Foxtrot;<br />
8. (a) Ass Face (b) Beelzebub<br />
For perusal purposes only
8 C12 Façade<br />
Bibliography:<br />
• Tim Barringer, ‘Façades of Façade: <strong>William</strong> <strong>Walton</strong>,<br />
Visual Culture and English Modernism in the Sitwell<br />
Circle’, British Music and Modernism (1895–1960), ed.<br />
Matthew Riley (Farnham: Ashgate, 2010), 125–45,<br />
245–6<br />
• Richard Greene, Edith Sitwell: Avant-Garde Poet, English<br />
Genius (London: Virago, 2011), 152–7, 167–8<br />
• John Lehmann, A Nest of Tigers: Edith, Osbert and Sacheverell<br />
Sitwell in their Times (London: Macmillan, 1968), 1–11<br />
• R. L. Megroz, The Three Sitwells: a Biographical and Critical<br />
Study (London: Richards, 1927), 69–78<br />
• Osbert Sitwell, Laughter in the Next Room (London:<br />
Macmillan, 1949), 168–98<br />
• Sacheverell Sitwell, Introduction to Façade: An Entertainment<br />
(London: Oxford University Press, 1972; de-luxe<br />
edition), xiii–xv<br />
• DE, 13 June 1923, p. 7; DGr, 14 June 1923, p. 5 (Swaffer);<br />
DM, 13 June 1923, p. 7; DT, 3 June 1923, p. 6; Ev St,<br />
13 June 1923, p. 3 (‘K.K.’); Illus Lon N, 23 June<br />
1923, p. 1124; MGn, 13 June 1923, p. 12; MorPt,<br />
13 June 1923, p. 10; New Age, 21 June 1923, p. 120<br />
(H. Rootham); Ob, 17 June 1923, p. 10 (P. A. Scholes);<br />
PMGaz, 13 June 1923, p. 3 (E. Evans); Sun Exp, 17 June<br />
1923, p. 6; Times, 14 June 1923, p. 12; Vogue, vol. 62, no.<br />
13 (July 1923), pp. 36, 70 (G. Cumberland)<br />
27 April 1926: London, New Chenil Galleries,<br />
Chelsea. Edith Sitwell, Neil Porter, and Constant<br />
Lambert (reciters), B. Macrae (fl, picc), Paul Draper<br />
(cl, bcl), A. Cox (sax), Herbert Barr (tpt), Ambrose<br />
Gauntlett (vc), Charles Bender (perc), conducted by<br />
<strong>William</strong> <strong>Walton</strong>. Curtain by Frank Dobson. (see NPG:<br />
The Sitwells, 1994).<br />
Fanfare<br />
Group A: Hornpipe, En Famille, Mariner Man;<br />
Group B: Small talk, By the Lake, Said King Pompey;<br />
Group C: Daphne, A Man from a Far Countree,<br />
Country Dance;<br />
Group D: Switchback, ‘Dame Souris trotte’, Lullaby<br />
for Jumbo, Trams;<br />
Group E: Aubade, Foxtrot: ‘Old Sir Faulk’;<br />
Fanfare and Introduction to Group F:<br />
The Octogenarian, Trio for Two Cats and a Trombone<br />
(Long Steel Grass), Through Gilded Trellises, I Do Like<br />
to Be beside the Seaside;<br />
Group G: Valse, Polka, Jodelling Song, Scotch<br />
Rhapsody;<br />
Group H: Something Lies beyond the Scene, Four in<br />
the Morning, Sir Beelzebub<br />
Bibliography:<br />
• Arnold Bennett, The Journals of Arnold Bennett, 1921–1928,<br />
ed. Norman Flower (London: Cassell, 1933), 130<br />
• BM Bull, 8, 1926, p. 142 (B. de Zoete); ST, 2 May 1926,<br />
p. 7 (Ernest Newman; reprinted in Newman, From the<br />
World of Music: Essays from ‘The Sunday Times’ (London:<br />
Calder, 1956), 101–4); Times, 29 April 1926, p. 14<br />
29 June 1926: London, New Chenil Galleries, Chelsea.<br />
Edith Sitwell and Constant Lambert (reciters), Robert<br />
Murchie (fl, picc), Paul Draper (cl, bcl), A. Cox (sax),<br />
Herbert Barr (tpt), Walter Britton (vc), H. Weston (perc),<br />
conducted by <strong>William</strong> <strong>Walton</strong>.<br />
Fanfare<br />
Group A: Hornpipe, En Famille, Mariner Man, Scotch<br />
Rhapsody;<br />
Group B: Valse, Swiss Jodelling Song, Polka;<br />
Group C: By the Lake, Said King Pompey, Aubade,<br />
Foxtrot: ‘Old Sir Faulk’;<br />
Group D: March, Four in the Morning, Sir Beelzebub;<br />
Fanfare and Introduction to Group E: The Octogenarian,<br />
Trio for Two Cats and a Trombone, Through Gilded<br />
Trellises, Lullaby for Jumbo, I Do Like to Be beside the<br />
Seaside;<br />
Group F: Daphne, A Man from a Far Countree,<br />
Country Dance;<br />
Group G: Something Lies beyond the Scene, Tarantella,<br />
Mazurka<br />
Writing to Thomas Balston, her editor at Duckworth &<br />
Co., on 9 August 1926, Edith Sitwell mentioned that there<br />
may have been more manuscripts for Façade but <strong>William</strong><br />
<strong>Walton</strong> had scratched out half the numbers saying that they<br />
were no good (Washington State University Library).<br />
This was the first appearance of ‘Tarantella’. According<br />
to Neil Richie (letter to the present author, dated 30 April<br />
2001), Edith Sitwell had answered an enquiry in January<br />
1937 from Ronald Marshall of Belfast, ‘I am afraid the<br />
“Tarentella” [sic] is not printed in any of my books, because<br />
it was written purely as a basis for the music (unlike any of<br />
the other poems). I did not care for it separately, and have<br />
not kept a copy’ (Craggs archive).<br />
3 September 1926: first broadcast performance,<br />
London, BBC 2LO Studio, Savoy Hill. Part performance<br />
in a programme called The Wheel of Time: A Fantasy in Three<br />
Parts by Edith, Osbert, and Sacheverell Sitwell, together<br />
with <strong>William</strong> <strong>Walton</strong>. See MT 67 (1926), 1004 (‘Ariel’); RT,<br />
27 Aug 1926, p. 371.<br />
For perusal purposes only<br />
28–30 November 1927: London, Arts Theatre Club,<br />
Great Newport Street, during the run of the play First-class
Passengers Only: A Social Tragedy in Three Acts by Osbert and<br />
Sacheverell Sitwell.<br />
No details of the numbers performed or the instrumentalists<br />
are supplied either by the programme or reviews<br />
of the play. A flyer inserted into the programme, however,<br />
reveals that Constant Lambert, and Edith, Osbert, and<br />
Sacheverell took part, with <strong>Walton</strong> conducting. ‘Popular<br />
Song’ and ‘Black Mrs Behemoth’ may have had their<br />
first performances during this run. ‘A.P.’, writing in the<br />
Daily Sketch, said: ‘And lest it should seem that quantity<br />
had been neglected at the expense of quality, the Sitwell<br />
Entertainment Façade was included—at 10.40 with an<br />
interval and an act still to go.’ Writing in the Morning Post,<br />
‘L.E.F.’ noted that ‘the whole of this “Sitwell’s Façade,” as<br />
it was entitled, was drowned utterly by the accompanying<br />
music, the effect being that of two different gramophone<br />
records being played at the same time.’ A similar reaction<br />
was noted by the writer in the Sunday Times: ‘Of Façade,<br />
part of which was given as an interlude, I can only say that<br />
hardly any of the words were distinguishable, whereas the<br />
whole of the accompanying instruments were mightily out<br />
of tune, intentionally or unintentionally.’<br />
14 September 1928: first European performance, Siena,<br />
Rozzi Theatre (6th ISCM Festival); there were two performances<br />
on this day. Constant Lambert (reciter), Renato Paci (fl,<br />
picc), Antonio Micozzi (cl, bcl), Walter Lear (sax), Umberto<br />
Semproni (tpt), Eduardo Guarnieri (vc), and Pellegrini<br />
(perc). No conductor is mentioned in the programme, but<br />
<strong>Walton</strong> is said to have conducted in the contemporary press<br />
reports. Curtain designed by Gino Severini. (Walter Lear<br />
told the present author that the clarinet player played with<br />
the mouthpiece upside down: ‘The only time I have seen this<br />
method in operation. Sounded fairly normal’.)<br />
Fanfara<br />
1. (a) La Cornamusa [Hornpipe mistaken for Bagpipe!]<br />
(b) Il Marinaio (c) La Rapsodia scozzese;<br />
2. (a) Foxtrot ‘Il vecchio cav. Faulk’ (b) Alle quattro di<br />
mattina (c) Canto popolare;<br />
3. (a) Ninna nanna per il Jumbo (b) Vicino al lago<br />
(c) La nera sig. Behemoth;<br />
4. (a) Walzer (b) II canto tirolese (c) Polka;<br />
5. (a) Dafne (b) Un uomo d’un paese lontano (c) Danzi<br />
di campagnola;<br />
6. (a) L’erba dello stelo lungo (b) Marcia (c) Attraverso<br />
lo stecconato dorato (d) Tango–pasodoble;<br />
7. (a) Tarantella (b) C’è qualche cosa al di là della scena<br />
(c) Il cav. Belzebub<br />
In a letter to Thomas Balston, Edith Sitwell described the<br />
Siena performance as a triumph in many ways. She added<br />
C12 Façade 9<br />
that <strong>Walton</strong> thought the poems of Façade should be translated<br />
into verse for performance in the different countries;<br />
this she declined to do, believing it would ruin the poems<br />
completely (Washington State University Library).<br />
Bibliography:<br />
• MGn, 24 Sept 1928, p. 5 (L.H.); MMR 58 (1928), 300<br />
(R. Capell); MO 52 (1928), 130–31; MT 69 (1928), 937<br />
(H. Foss)<br />
30 April 1929: first Paris performance, Salle Chopin.<br />
Edith Sitwell and Constant Lambert (reciters) and ensemble<br />
including Gaston Blanquart (fl, picc) and Louis Cahuzac<br />
(cl, bcl), conducted by <strong>William</strong> <strong>Walton</strong>.<br />
In a letter to Siegfried Sassoon of 2 February 1929,<br />
<strong>Walton</strong> wrote ‘There is no news to speak of—“Façade” has<br />
been put off in Paris until April which I am rather pleased<br />
about as I shall be able to be there, perhaps conduct it on<br />
my way back from Amalfi.’ (WW archive). Edith Sitwell<br />
later reported to Sassoon (letter 7 May 1929): ‘The<br />
performance of Façade was odd and lonely. Everybody<br />
slept, excepting me, and I disgraced myself by giggling.<br />
Then there was Façade, and everybody woke up with a<br />
shriek. We got lots of calls.’ (Balston Papers, Washington<br />
State University Library).<br />
Lennox Berkeley wrote in the Monthly Musical Record<br />
(MMR 59, 1929, 174): ‘Lastly, I must mention the first<br />
performance in Paris of <strong>Walton</strong>’s Façade. The wit and colour<br />
of this delightful work made an instant appeal to the audience;<br />
and the composer, who conducted, together with<br />
Miss Edith Sitwell and Mr Constant Lambert who recited<br />
the poems, was warmly applauded.’<br />
28 November 1929: first recording, New Chenil<br />
Galleries, Chelsea. Edith Sitwell and Constant Lambert<br />
(reciters) and ensemble, conducted by <strong>William</strong> <strong>Walton</strong>.<br />
Four numbers recorded by Edith Sitwell, seven by Constant<br />
Lambert (‘By the Lake’ was also recorded but not issued).<br />
Reviewed, Gram 7 (1930), 497–8 (C. Mackenzie).<br />
Released on Decca T124-5, American Decca 25632–3<br />
(1930); Decca K991/2 (1941). Also on OUP 110 (1972)<br />
as part of the deluxe edition of Façade to celebrate <strong>Walton</strong>’s<br />
70th birthday (though ‘Valse’ was omitted); ECM834<br />
(1979); Claremont GSE 78-50-65 (1995); Decca SYMCD<br />
1203 (1997).<br />
3 March 1930: first complete broadcast, London,<br />
Central Hall, Westminster. The fourth season of Concerts<br />
of Contemporary Music, held privately. Broadcast on 5GB<br />
Daventry Experimental and transmitted from London.<br />
Edith Sitwell and Constant Lambert (reciters), Robert<br />
Murchie (fl, picc), Frederick Thurston (cl, bcl), Walter<br />
Lear (sax), Ernest Hall (tpt), Ambrose Gauntlett (vc), and<br />
Charles Bender (perc), conducted by Leslie Heward.<br />
For perusal purposes only
10 C12 Façade<br />
1. Polka, Four in the Morning, Foxtrot ‘Old Sir<br />
Faulk’;<br />
2. Waltz, By the Lake, Tarantella;<br />
3. Daphne, A Man from a Far Countree, Country<br />
Dance;<br />
4. Scotch Rhapsody, Jodelling Song, Sir Beelzebub;<br />
5. Long Steel Grass, Through Gilded Trellises, Tango–<br />
Pasodoblé, I Do Like to Be beside the Seaside;<br />
6. Black Mrs Behemoth, Popular Song, The Last<br />
Galop<br />
See RT, 28 Feb 1930, p. 507.<br />
21 March 1930: Bath, Pump Room (Festival of<br />
Contemporary Arts concert). Constant Lambert (reciter)<br />
and ensemble, conducted by Edward Dunn. Curtain by<br />
Gino Severini.<br />
Fanfare;<br />
1. Polka, Lullaby for Jumbo, Foxtrot;<br />
2. Valse, By the Lake, Tarantella;<br />
3. Daphne, A Man from a Far Countree, Country<br />
Dance;<br />
4. Scotch Rhapsody, Jodelling Song, Sir Beelzebub;<br />
5. Long Steel Grass, Through Gilded Trellises, Tango;<br />
6. Black Mrs Behemoth, Popular Song, The Last Galop<br />
Reviewed, Bath and Wiltshire Chronicle and Herald, 22 March<br />
1930, p. 3; MT 71 (1930), 456–7 (M. Montague-Nathan).<br />
29 May 1942: London, Aeolian Hall. Constant Lambert<br />
(reciter), John Francis (fl, picc), Richard Temple Savage<br />
(cl, bcl), Frank Johnson (sax), Richard <strong>Walton</strong> (tpt), Sela<br />
Trau (vc), and James Blades (perc), conducted by <strong>William</strong><br />
<strong>Walton</strong>. Curtain designed by John Piper and painted by<br />
Aleck Johnson. Performance repeated 26 June 1942,<br />
London, Aeolian Hall, with the same musicians.<br />
1. Hornpipe, En Famille, Mariner Man;<br />
2. Trio for Two Cats and a Trombone, Through Gilded<br />
Trellises, Tango;<br />
3. Scotch Rhapsody, Lullaby for Jumbo, Foxtrot: ‘Old<br />
Sir Faulk’;<br />
4. By the Lake, A Man from a Far Countree, Country<br />
Dance;<br />
5. Yodelling song, Black Mrs Behemoth, Popular Song;<br />
6. Polka, Valse, Tarantella;<br />
7. Four in the Morning, Something Lies beyond the<br />
Scene, Sir Beelzebub<br />
As the programme also included Schoenberg’s Pierrot<br />
Lunaire, which consisted of three groups of seven poems,<br />
Constant Lambert suggested that Façade should have seven<br />
groups of three poems.<br />
Bibliography:<br />
• Francis Spalding, John Piper—Myfanwy Piper: Lives in Art<br />
(Oxford, OUP, 2009), 212<br />
• Times, 30 May 1942, p. 2<br />
9 September and 27 October 1946: London, Lyric<br />
Theatre, Hammersmith. Constant Lambert (reciter),<br />
Arthur Gleghorn (fl, picc), Bernard <strong>Walton</strong> (cl, bcl), Walter<br />
Lear (a sax), Harold Jackson (tpt), Raymond Clark (vc), and<br />
James Blades (perc), conducted by Leighton Lucas. Curtain<br />
by John Piper. Reviewed, Times, 10 Sept 1946, p. 6.<br />
6 January and 18 June 1947 (recording): BBC Third<br />
Programme. Constant Lambert (reciter), Edward Walker<br />
(fl, picc), Bernard <strong>Walton</strong> (cl), Wilfred Hambleton (bcl),<br />
Walter Lear (a sax), Harold Jackson (tpt), Raymond Clark<br />
(vc), and James Blades (perc), conducted by Leighton Lucas.<br />
This performance was preceded by a talk on Façade by Edith<br />
Sitwell.<br />
10 December 1948: BBC Third Programme. Transmission<br />
of performance recorded 18 June 1947.<br />
Further transmissions 31 January and 4 December 1949.<br />
Reviewed, The Listener, 2 Dec 1948, p. 860 (H. Foss).<br />
19 January 1949: first complete American performance,<br />
New York, Auditorium of the Museum of Modern Art. Edith<br />
Sitwell (reciter) and ensemble, conducted by Frederick<br />
Prausnitz. The performance was introduced by Osbert<br />
Sitwell and the curtain was designed by the Spanish painter<br />
Esteban Frances and projected on a screen. David Horner<br />
recited ‘Tango–Pasodoblé’.<br />
22 June 1950: first performance at the Aldeburgh Festival.<br />
Edith Sitwell (reciter), John Francis (fl, picc), Wilfred<br />
Hambleton (cl, bcl), Walter Lear (a sax), David Mason (tpt),<br />
George Roth (vc), and Herbert Wilson (perc), conducted<br />
by <strong>William</strong> <strong>Walton</strong>. Curtain by John Piper.<br />
2 August 1951: first performance after the publication of<br />
the printed score, Liverpool, Town Hall. Edith Sitwell and<br />
Peter Pears (reciters), with members of the British Opera<br />
Group Orchestra, conducted by <strong>William</strong> <strong>Walton</strong>. Piper<br />
curtain used. Repeated the following day with the same<br />
performers in the Walker Art Gallery, Liverpool.<br />
24 September 1951: Hollywood, California, West<br />
Hollywood Auditorium (‘Evening on the Roof’ concert).<br />
Jane Wyatt (reciter) and members of the Los Angeles<br />
Philharmonic Orchestra, conducted by John Barnett.<br />
8 July 1952: performance at the Royal Festival Hall, London.<br />
Edith Sitwell (reciter), Edward Walker (fl, picc), Sidney<br />
Fell (cl), Patrick Whelen (bcl), Walter Lear (a sax), George<br />
For perusal purposes only
Eskdale (tpt), Willem de Mont (vc), and <strong>William</strong> Bradshaw<br />
(perc), conducted by George Weldon. Curtain by John Piper.<br />
7 December 1952: first performance in Australia,<br />
Melbourne, University Union House Theatre. Kevin<br />
McBeath (reciter), Richard Chugg (fl, picc), Thomas White<br />
(cl, bcl), Charles Crowley (a sax), Standish Roberts (tpt),<br />
Don Howley (vc), and Ernest Lighton (perc), conducted by<br />
Harry Hutchins.<br />
17 November 1953: concert to celebrate the 30th anniversary<br />
of Façade, London, Royal Festival Hall. Joan Cross<br />
and Peter Pears (reciters), with members of the English<br />
Opera Group Orchestra, conducted by Paul Sacher.<br />
8 December 1953: New York, Juilliard School of Music<br />
(Festival of British Music concert). Florence Page Kimball<br />
and Adolph Anderson (reciters), with ensemble, conducted<br />
by Frederick Prausnitz.<br />
3 July 1954: York, Theatre Royal (York Festival concert).<br />
Edith Sitwell (reciter) and members of the English Opera<br />
Group Orchestra, conducted by Norman del Mar.<br />
12 January 1955: BBC Third Programme. A broadcast<br />
of the first Australian recording of Façade (see Recordings).<br />
Kevin McBeath (reciter), with the New Music Ensemble,<br />
conducted by Harry Hutchins.<br />
24 July 1955: King’s Lynn, St George’s Guildhall. Irene<br />
Worth and Peter Pears (reciters) and members of the English<br />
Opera Group Orchestra, conducted by Vilem Tausky. This<br />
performance was repeated on 24 and 29 September 1955 in<br />
London at the Scala Theatre.<br />
20 August 1956: Edinburgh, Freemason’s Hall. Edith<br />
Sitwell and Hedli Anderson (reciters) with members of the<br />
Melos Ensemble, conducted by Peter Stadlen.<br />
9 October 1962: concert to mark Edith Sitwell’s<br />
75th birthday, London, Royal Festival Hall. Irene Worth<br />
and Sebastian Shaw (reciters), with the English Chamber<br />
Orchestra, conducted by Sir <strong>William</strong> <strong>Walton</strong>.<br />
12 June 1973: BBC Radio 3 broadcast to celebrate the<br />
50th anniversary of Façade from the Aeolian Hall, London.<br />
Mary Thomas and Derek Hammond-Stroud (reciters) and<br />
members of the London Sinfonietta, conducted by Sir<br />
<strong>William</strong> <strong>Walton</strong>.<br />
29 August 1978: performance to mark the 50th anniversary<br />
of the performance in Siena in 1928. Siena, Palazzo Chigi<br />
Saracini. Cathy Berberian and Jack Buckley (reciters), Ezio<br />
Martello (fl, picc), Mario Vitale (cl, bcl), Giuseppe Parmigiani<br />
(a sax), Luciano Caggiati (tpt), Paolo Beschi (vc) and Adelmo<br />
Mafezzoni (perc), conducted by Giorgio Bernasconi.<br />
C12 Façade 11<br />
Publication: Study score: OUP, 1951 at 16s. No. 14 in<br />
the score contains the note ‘In collaboration with C. L.<br />
[Constant Lambert]’, who composed the first eleven bars.<br />
Score and parts on hire.<br />
This established the definitive order of the Fanfare<br />
plus 21 poems (as listed in Holographs, above), arranged<br />
in seven sets of three poems. Although the performances<br />
at the Aeolian Hall and Lyric Theatre in 1942 and<br />
1946 had included all the pieces that now comprise Façade<br />
Entertainment, they were not in the order that they are<br />
known today and there is no evidence that this order was<br />
used in any performance prior to the publication of the<br />
score in 1951.<br />
OUP had planned to publish a deluxe version of the score<br />
in March 1930 with 300 copies signed by Edith Sitwell and<br />
<strong>William</strong> <strong>Walton</strong>, but nothing came of it.<br />
Deluxe score: OUP, 2 March 1972. A limited, fine-bound<br />
edition to mark the composer’s 70th birthday (his actual<br />
birthday was 29 March) and the 50th anniversary of the<br />
first performance. Two versions were published: (1) 250<br />
copies, signed by the composer and numbered, at £30; (2)<br />
750 copies, numbered, at £12.<br />
Both versions were printed on heavy cartridge paper<br />
and boxed, the signed edition quarter-bound in leather,<br />
the other edition in buckram. Besides the re-engraved<br />
score of the music itself, the edition included a newly<br />
commissioned cover and colour illustrations by John Piper,<br />
colour reproductions of the John Piper curtain and of John<br />
Armstrong’s ballet designs, new essays by Sacheverell<br />
Sitwell and Frederick Ashton, a note (a reprint), mainly<br />
about the poems by Edith Sitwell, the poems separately<br />
printed, a hitherto unpublished, rejected setting<br />
(‘Herodiade’s Flea’), reproduced in facsimile of <strong>Walton</strong>’s<br />
manuscript, and—perhaps most valuable of all—a new<br />
pressing, specially manufactured by Decca for this edition,<br />
of the original recording of the Entertainment made in<br />
1929, with Constant Lambert and Edith Sitwell as speakers,<br />
minus ‘Valse’.<br />
WWE vol. 7, pp. 1–160 (2000). Offprinted as study<br />
score. Score and parts offprinted OUP, 2000.<br />
Set of parts and reciter’s part: issued (not engraved) by<br />
OUP, 1981.<br />
Reciter’s part, Façade Entertainment and Façade 2: OUP,<br />
1992.<br />
Bibliography:<br />
• Stewart Craggs and David Lloyd-Jones, WWE vol. 7<br />
• D. L. Boone, ‘The Treatment of the Trumpet in Six<br />
Published Chamber Works Composed between 1920<br />
and 1929’ (PhD diss., University of Urbana-Champaign,<br />
Illinois, 1972)<br />
For perusal purposes only
12 C12 Façade<br />
• Kevin McBeath, ‘Façade: A Noise like Amber’, CraggsML,<br />
pp. 34–58<br />
• Gyllian Phillips, ‘Something Lies Beyond the Scene [seen]<br />
of Facade’ in Literature and Musical Adaptation, ed. H. J. Meyer<br />
(Amsterdam: Rodopi, 2002), pp. 61–80<br />
• E. L. Lasansky, ‘<strong>William</strong> <strong>Walton</strong>’s Façade: An Entertainment’<br />
(DMA diss., University of Arizona, 1991)<br />
• JofS66 (2010), 399–407 (R. Rice); The Listener, 7 June 1973,<br />
p. 773 (R. Fuller); Liv D Post, 4 Aug 1951, p. 4 (A.K.H.);<br />
Liv Ev Exp, 3 Aug 1951, p. 1 (R.S.); M&L 33 (1952), 90<br />
(I. Keys); MEJ 87 (2000), 37–44 (C. W. McCoy); MMR<br />
81 (1951), 245 (G.A.); MusAm (1949), 279 (R. Sahib);<br />
MO 75 (1951), 29, MT 91 (1950), 280 (‘Jo C’), STimes,<br />
14 Oct 1962, p. 40 (F. Aprahamian); 24 Nov 1963, p. 32<br />
(D. Shawe-Taylor); Times, 2 June 1950, p. 8; 14 June 1952,<br />
p. 8; 9 July 1952, p. 4; 18 Nov 1953, p. 2; 30 Aug 1955,<br />
p. 5; 10 Oct 1962, p. 16<br />
Recordings:<br />
• 1929 (11 numbers): Edith Sitwell and Constant Lambert /<br />
<strong>William</strong> <strong>Walton</strong> (recorded New Chenil Galleries, Chelsea,<br />
28 November 1929). Decca T124–5 / K991/2 (1941);<br />
OUP110 (part of deluxe edition of the score, 1972);<br />
ECM834 (1979); Decca SYMCD 1203 (1997)<br />
• 1949 (20 numbers, without ‘Tarantella’): Edith Sitwell<br />
and David Horner / Frederick Prausnitz. CBS Records<br />
Set MM829 / ML 2047, ML 5241 (1958); Sony SMK<br />
46685 (1994)<br />
• 1953 (21 numbers): Kevin McBeath / Harry Hutchins.<br />
New Music (Australia) NMLP1<br />
• 1954 (21 numbers): Edith Sitwell and Peter Pears /<br />
Anthony Collins. Decca LXT 2977; Decca Eclipse ECS<br />
560 (1970); Decca CD 0289 468 801 2 (2001)<br />
• 1961 (18 numbers): Vera Zorina / Eugene Ormandy.<br />
Columbia MS 6449 (SBR235034); CD SBK62400<br />
• 1964 (21 numbers): Hermione Gingold and Russell<br />
Oberlin / Thomas Dunn. Decca DL 10097; Brunswick<br />
SXA 4526<br />
• 1967 (21 numbers): Cleo Laine and Annie Ross / John<br />
Dankworth. Phillips International STL 5449<br />
• 1972 (21 numbers): Fenella Fielding and Michael Flanders<br />
/ Neville Marriner. HMV ASD 2786; EMI CDB 7 62842<br />
(1990); EMI Collector’s Edition 4 40864 2 (2012)<br />
• 1972 (21 numbers): Peggy Ashcroft and Paul Schofield /<br />
<strong>William</strong> <strong>Walton</strong> (recorded at Decca Studio No. 3,<br />
Broadhurst Gardens, London, 5–7 May 1969; music<br />
recorded first, voices added later). ARGO ZRG 649;<br />
Decca (CD) 450 136 2 (2003)<br />
• 1976 (21 numbers): Tony Randall / Arthur Fiedler.<br />
Columbia M 33980<br />
• 1979 (21 numbers): Rosemary Carewe / John Carewe.<br />
Persona Cassette PSA 101<br />
• 1980 (21 numbers): Janet Bookspan / David Epstein<br />
(recorded 1976). Candide CE 31116; Vox Records ACD<br />
8153<br />
• 1980 (21 numbers and Façade 2): Cathy Berberian and<br />
Robert Tear / Steuart Bedford. OUP 201; Gamut<br />
GOUPC 201 (1990)<br />
• 1980 (21 numbers): Cathy Berberian and Jack Buckley /<br />
Giorgio Bernasconi (recorded 22 April 1980). CD<br />
Accord 205 722<br />
• 1987 (21 numbers and Façade 2): Peggy Ashcroft and<br />
Jeremy Irons / Riccardo Chailly. Decca CD 421 717–2<br />
• 1990 (21 numbers): Prunella Scales and Timothy West /<br />
Jane Glover. ASV CD DCA679<br />
• 1991 (21 numbers and Façade 2): Susana <strong>Walton</strong> and<br />
Richard Baker / Richard Hickox. Chandos CHAN 8869;<br />
CHAN 9426 (1995)<br />
• 1992 (21 numbers): <strong>William</strong> Warfield / Ian Hobson.<br />
Arabesque Z6644 CD<br />
• 1992 (21 numbers): Benjamin Luxon and Sheila Amit /<br />
Peter Gilbert-Dyson. Symposium SYMCD 1180<br />
• 1993 (21 numbers and additional poems): Pamela Hunter /<br />
Silveer Van Den Broeck. Discover DICD 920125<br />
• 1996 (21 numbers and Façade 2): Lynn Redgrave / Joseph<br />
Silverstein. Arabesque Z6699 CD<br />
• 2001 (34 numbers): Eleanor Bron and Richard Stilgoe /<br />
David Lloyd-Jones. Hyperion CDA 67239<br />
Other versions<br />
Façade<br />
Arranged for male and female reciters by the composer for<br />
the 1964 Adelaide Festival, en route by air to Australia.<br />
The practice of sharing the narration between two<br />
reciters had developed from April 1926, but for this<br />
performance <strong>Walton</strong> set out detailed suggestions, which<br />
he subsequently altered for the London performance in<br />
August 1965.<br />
First performance: Adelaide, Union Hall, 13 March<br />
1964. Kevin McBeath and Morna Jones (reciters), with the<br />
Festival Chamber Group, conducted by <strong>William</strong> <strong>Walton</strong>.<br />
First UK performance: London, Royal Albert Hall,<br />
27 August 1965 (Henry Wood Promenade concert, shown<br />
on BBC television). Hermione Gingold and Russell Oberlin<br />
(reciters), with the Melos Ensemble, conducted by <strong>William</strong><br />
<strong>Walton</strong>.<br />
Holograph: Papers of Kevin McBeath, State Library of<br />
Victoria, Melbourne<br />
Bibliography: David Lloyd-Jones, WWE vol. 7<br />
For perusal purposes only
Façade 2: A Further Entertainment<br />
On the occasion of the composer’s 75th birthday<br />
in 1977, it was decided to put together eight of the<br />
unpublished numbers from Façade, preceded by the<br />
published Fanfare, and to perform them under the title<br />
Facade Revived at a special birthday concert organized by<br />
Lina Lalandi, director of the English Bach Festival. The<br />
concert took place on 25 March 1977 at the Plaisterers’<br />
Hall, London, with a second performance on 3 June<br />
(see below).<br />
While reading the proofs of this version the following<br />
year, <strong>Walton</strong> decided to reject three of the numbers,<br />
replace them by others, and radically to rework and order<br />
the music. The result was Façade 2.<br />
Text: poems by Edith Sitwell (1887–1964)<br />
Holographs and first performance: Title-page and<br />
other prelims: Beinecke: GEN MSS 601 (FRKF 638u).<br />
1. Flourish—Came the Great Popinjay [‘Herodiade’s<br />
Flea’]<br />
Beinecke: GEN MSS 601 (FRKF 638u). This also contains<br />
the autographs of ‘The Octogenarian’ and ‘Through Gilded<br />
Trellises’. Also in FRKF 638u is an autograph fair copy in<br />
pencil of Façade 2, as shown in the published facsimile. Also<br />
at Beinecke (Koch 638v) is a first revision of the above. First<br />
performance: 12 June 1923; also 29 March 1972 (<strong>Walton</strong>’s<br />
70th-birthday celebrations)<br />
2. Aubade (‘Jane, Jane’)<br />
Beinecke: GEN MSS 601 (FRKF 638d). First performance:<br />
24 January 1922<br />
3. March (‘Ratatantan: The Marshall’s harrier’)<br />
Two versions: Beinecke: GEN MSS 601 (FRKF 638j and<br />
FRKF 638s). First performance: 26 June 1926<br />
4. Madame Mouse Trots (‘Dame Souris trotte’)<br />
Beinecke: GEN MSS 601 (FRKF 638u). First performance:<br />
24 January 1922<br />
5. The Octogenarian<br />
Beinecke: GEN MSS 601 (FRKF 638c). First performance:<br />
24 January 1922<br />
6. Gardener Janus Catches a Naiad (‘Baskets of ripe fruit<br />
in air’)<br />
Beinecke: GEN MSS 601 (FRKF 638u). First performance:<br />
12 June 1923<br />
7. Water Party (‘Rose Castles’)<br />
Beinecke: GEN MSS 601 (FRKF 638u). First performance:<br />
24 January 1922<br />
8. Said King Pompey<br />
Beinecke: GEN MSS 601 (FRKF 638b). First performance:<br />
24 January 1922<br />
C12 Façade 13<br />
Instrumentation: fl (+ picc), cl (+ bcl), a sax, tpt, vc, perc,<br />
reciter<br />
Dedication: To Cathy Berberian<br />
Duration: 12 minutes<br />
First performance (billed as Façade Revived): London,<br />
Plaisterers’ Hall, 25 March 1977. Richard Baker (reciter)<br />
and the English Bach Festival Ensemble: David Buck (flute,<br />
piccolo), Anthony Pay (clarinet, bass clarinet), Stephen<br />
Trier (alto saxophone), Crispian Steele-Perkins (trumpet),<br />
Christopher van Kampen (cello), and Terence Emery<br />
(percussion), conducted by Charles Mackerras.<br />
Fanfare; 1. Daphne; 2. Herodiade’s Flea (Came the Great<br />
Popinjay); 3. The Last Galop; 4. The Octogenarian;<br />
5. March; 6. The White Owl; 7. Aubade; 8. Said King<br />
Pompey<br />
Second performance (billed as Façade Revisited:<br />
ten additional unpublished items): London, Queen<br />
Elizabeth Hall, 3 June 1977 (Silver Jubilee concert; broadcast<br />
on BBC Radio 3). Cathy Berberian and Richard Baker (reciters)<br />
and members of the London Sinfonietta, conducted by<br />
Colin Davis.<br />
First performance of Façade 2: A Further Entertainment:<br />
Snape, Maltings, 19 June 1979. Cathy Berberian and Peter<br />
Pears (reciters), Richard Adeney (fl, picc), Thea King<br />
(cl, bcl), Stephen Trier (sax), Crispian Steele Perkins (tpt),<br />
Charles Tunnell (vc), and James Blades (perc), conducted by<br />
Steuart Bedford.<br />
Flourish, 1. Came the Great Popinjay; 2. Aubade<br />
(Improvisando); 3. March; 4. Madam Mouse Trots; 5. The<br />
Octogenarian; 6. Gardener Janus Catches a Naiad; 7. Rose<br />
Castles (Water Party); 8. Said King Pompey<br />
First broadcast performance: A recording of the<br />
performance from the Maltings, Snape, from 19 June was<br />
broadcast on BBC Radio 3, 9 October 1979.<br />
First London performance: British Music Information<br />
Centre, 3 December 1979. Bernard Keefe (reciter) and the<br />
Blue Rider Ensemble, conducted by John Jansson.<br />
Publication: Facsimile score: OUP, 1979 at £4.75<br />
Score and parts on hire<br />
WWE vol. 7, pp. 161–89. Offprinted as study score. Score<br />
and parts offprinted OUP, 2000.<br />
Bibliography:<br />
• FT, 29 March 1977, p. 3 (R. Crichton); Gdn, 26 March<br />
1977, p. 10 (E. Greenfield); STimes, 3 April 1977,<br />
p. 38 (D. Shawe-Taylor); Tempo 133/4 (1980), 3–9<br />
(P. Driver)<br />
Recordings: see Façade Entertainment above, p. 12<br />
For perusal purposes only
14 C12 Façade<br />
Other versions<br />
Prologue to Façade: ‘Something lies<br />
beyond the Scene’<br />
A scenic production of Façade with the Prologue, ‘Something<br />
lies beyond the Scene’, devised and compiled by Pamela<br />
Hunter, based on texts by Edith Sitwell.<br />
Instrumentation: fl (+ picc), cl (+ bcl), sax, tpt, vc, perc<br />
(1: cym, castanet, sd), reciter<br />
Duration: 10 minutes<br />
First performance: Zürich, Theater am Hechtplatz,<br />
2 June 1986. Pamela Hunter (reciter) and ensemble.<br />
First UK performance: London, Carlyle Square, at<br />
the unveiling of a plaque to commemorate Sir Osbert<br />
Sitwell, 14 October 1986. Annabel Hunt, John Amis, Pamela<br />
Hunter, Miles Kington, Prunella Scales, Richard Stilgoe<br />
(reciters), with the Park Lane Music Players, conducted by<br />
Nicholas Cleobury.<br />
Further performances were given at the Jubilee Hall,<br />
Aldeburgh, on 28 June 1987 and at the Queen Elizabeth<br />
Hall, London, on 9 and 17 August 1987. Pamela Hunter<br />
(reciter), with members of the London Sinfonietta,<br />
conducted by Paul Daniel.<br />
After a Royal Gala Performance in the gardens of Carlyle<br />
Square, London, on 14 October 1986, BBC television<br />
invited Pamela Hunter to perform her Prologue and Façade<br />
for a film, made in June 1987 with the Nash Ensemble,<br />
conducted by Jim Parker and directed by David Cheetham.<br />
This was subsequently televised on 22 November 1987<br />
(BBC2).<br />
Publication: Score and parts on hire: OUP, 1989<br />
Ballet<br />
choreographed by Mark Morris<br />
First performance: San Francisco, Zellerbach Hall,<br />
5 October 2002. Mark Morris Dance Group and the<br />
Berkeley Symphony Orchestra, conducted by Robert<br />
Cole.<br />
An Edith Sitwell Celebration<br />
A musical/poetry recital featuring unpublished original<br />
settings of Façade Revived, not previously performed in<br />
Australia.<br />
Of <strong>Walton</strong>’s few surviving pages that were separate<br />
versions in two keys, a reconstruction of the first section<br />
of Edith Sitwell’s ‘Pluto-Mazurka’ was also prepared<br />
for the occasion by the Australian composer Robert<br />
Hughes.<br />
First performance: Melbourne, Queen’s Hall (State<br />
Library of Victoria), 16 October 1987. Beverley Dunn,<br />
James Inglis, and Kevin McBeath (readers), Margaret<br />
Crawford (fl, picc), Andrew Mitchell (cl, bcl), Peter Clinch<br />
(a sax), John Schmidli (tpt), Valerie Awburn (vc), and John<br />
Seal (perc), conducted by Douglas Gamley.<br />
Additional Numbers<br />
Text: poems by Edith Sitwell<br />
Holographs: Small Talk (‘Upon the noon Cassandra died’)<br />
Beinecke: GEN MSS 601 (FRKF 638b). First performance:<br />
24 January 1922<br />
Daphne (‘When green as a river was the barley’)<br />
Whereabouts unknown. First performance: 12 June 1923<br />
The White Owl (‘The currants, moonwhite as Mother<br />
Bunch’)<br />
Beinecke: GEN MSS 601 (FRKF 638d). First performance:<br />
12 June 1923<br />
The Last Galop (‘Gone the saturnalia’)<br />
HRHRC. First performance: 3 March 1930<br />
Trams (‘Castles of crystal’)<br />
British Library, London: MS Mus 1565. Bequeathed to the<br />
BL in 2003 by the American actress Irene Worth. A note<br />
on the envelope states ‘Given to Irene Worth by <strong>William</strong><br />
<strong>Walton</strong>’. First performance: 12 June 1923<br />
Publication: All numbers except ‘Trams’: WWE vol. 7,<br />
pp. 190–211. Offprinted as study score. Score and parts<br />
offprinted OUP, 2000. See Facsimiles for ‘Trams’.<br />
Lost or Incomplete Numbers<br />
Text: poems by Edith Sitwell<br />
Holographs:<br />
The Wind’s Bastinado (‘The Wind’s Bastinado Whipped<br />
the Calico Skin’)<br />
First performance: 24 January 1922<br />
Switchback (‘By the blue wooden sea’)<br />
First performance: 24 January 1922<br />
Bank Holiday I (‘The houses on a seesaw rush’)<br />
Bank Holiday II (‘Seas are roaring like a lion’)<br />
First performance: 24 January 1922<br />
Springing Jack (‘Green wooden leaves clap light away’)<br />
For perusal purposes only
First performance: 24 January 1922 (only performance)<br />
Ass-face (‘Ass-face drank’)<br />
First performance: 12 June 1923 (only performance)<br />
Clown Argheb’s Song (‘Clown Argheb the honey-bee’)<br />
First performance: 12 June 1923 (only performance)<br />
Serenade [instrumental]<br />
First performance: 12 June 1923 (only performance)<br />
Gone Dry (‘Admiral Kingcum was a seaman rare’)<br />
First performance: 12 June 1923 (only performance)<br />
See Neil Ritchie, ‘Gone Dry: An unpublished Façade<br />
poem’, The Book Collector 48/3 (autumn 1999), 459–61,<br />
n. 570.<br />
Dark Song (‘The fire was furry as a bear’)<br />
First performance: 12 June 1923 (only performance)<br />
Mazurka (‘God Pluto is a kindly man; the children ran’)<br />
First performance: 29 June 1926; part reconstructed performance,<br />
Australia 16 October 1987. Beinecke: GEN MSS 601<br />
(FRKF 638h).<br />
Derived Works and other<br />
Versions<br />
C12a Ballet in One Act (Based on the<br />
Entertainment)<br />
Choreographed by Frederick Ashton<br />
First performance: Snape, Suffolk, Maltings, 28 July 1972<br />
(an evening of opera and ballet in honour of the 70th birthday<br />
of <strong>William</strong> <strong>Walton</strong>). Peter Pears (reciter), Artists of the<br />
Royal Ballet with Christopher Nicholls (fl, picc), Thea King<br />
(cl, bcl), Stephen Trier (a sax), Philip Jones (tpt), Bernard<br />
Richards (vc), and James Holland (perc), conducted by<br />
David Taylor.<br />
First London performance: London, Sadler’s Wells<br />
Theatre, 9 October 1972, with the same performers.<br />
Reviewed, DT, 11 Oct 1972, p. 15 (R. Henderson).<br />
C12b Ballet<br />
Choreographed and directed by Lindsay Kemp with<br />
the assistance of David Houghton. The dancers recited<br />
the poems. Late in 1981 Jack Buckley of the British<br />
Council in Rome had suggested to Lindsay Kemp a<br />
production of Façade to celebrate <strong>Walton</strong>’s approaching<br />
80th birthday.<br />
First performance: Milan, Teatro Nuovo (under the<br />
auspices of Teatro alla Scala), 5 February 1983. Dancers<br />
C12 Façade 15<br />
and the Koenig Ensemble conducted by Richard Dickens.<br />
Scenery and costumes by Emanuele Luzzati.<br />
First London performance: London, Sadler’s Wells<br />
Theatre, 24 October 1983, with the same performers.<br />
C12c Façade: [First] Suite for Orchestra<br />
1. Polka (changed from F to E major)<br />
2. Valse<br />
3. Swiss Jodelling Song (Lento)<br />
4. Tango-Pasodoblé (Lento) (changed from F to E♭<br />
major)<br />
5. Tarantella–Sevillana (changed from E♭ major to<br />
E major, considerably lengthened, and new tune added<br />
in 3/4 time, as well as a quotation from ‘Through<br />
Gilded Trellises’).<br />
In the holograph, the Polka is placed third.<br />
Holograph: HRHRC. This manuscript was sold at<br />
Sotheby’s in London on 15 June 1960, having been<br />
presented by the composer to a sale of printed books<br />
and manuscripts on behalf of the Friends of the National<br />
Libraries.<br />
Instrumentation: 2(II + picc).2(II + ca).2.2–4 (3 + 4 opt)<br />
/2.1.1/ timp/perc (3: tri, cyms, sus cym, cast, glock, xyl,<br />
sd, bd, tamb, rattle)/strings<br />
Duration: 11 minutes<br />
First performance: London, Lyceum Theatre, 3 December<br />
1926 (season of Russian ballet). The resident orchestra,<br />
conducted by <strong>William</strong> <strong>Walton</strong>. This suite was used as a<br />
symphonic interlude (without No. 3) when the Berners–<br />
Sitwell ballet The Triumph of Neptune (see C20) was first<br />
performed, and was repeated on 4 and 10 December<br />
1926.<br />
Other early performances:<br />
London, Arts Theatre Club, Great Newport Street, 5 July<br />
1928. Arts Theatre Chamber Orchestra, conducted<br />
by Edward Clark. Leeds, Town Hall, 6 October 1928<br />
(Leeds Triennial Music Festival). London Symphony<br />
Orchestra, conducted by Sir Thomas Beecham. Boston,<br />
Massachusetts, Symphony Hall, 24 June 1931 (first<br />
USA performance). Boston Pops Symphony Orchestra,<br />
conducted by Arthur Fiedler (‘Tango–Pasodoblé’, ‘Swiss<br />
Jodelling Song’, and ‘Polka’). London, Queen’s Hall,<br />
30 September 1933 (Promenade Concert; broadcast<br />
by the BBC). BBC Symphony Orchestra, conducted by<br />
<strong>William</strong> <strong>Walton</strong>.<br />
Publication:<br />
Study score: OUP, 1936 at 7s 6d<br />
For perusal purposes only
16 C12 Façade<br />
Score and parts on hire: OUP<br />
WWE, vol. 18, pp. 1–69; offprinted 2009<br />
Bibliography:<br />
• David Lloyd-Jones, WWE vol. 18<br />
• MG, 7 July 1928, p. 19 (E.B.); MT 77 (1936), 614<br />
(W. McNaught); Times, 6 Dec 1926, p. 12; 5 Sept 1928,<br />
p. 10<br />
Recordings: see under 12g below<br />
C12d Suite from Façade<br />
arranged for concert wind band by Watanabe<br />
Publication: available from Music Supply Tokyo<br />
C12e Suite from Façade<br />
arrangement for military band by Gerrard <strong>William</strong>s<br />
Commissioned by: BBC for the Wireless Military Band<br />
First performance: London, BBC Studios, 15 January<br />
1933 (broadcast on the National Programme). BBC Wireless<br />
Military Band, conducted by B. <strong>Walton</strong> O’Donnell. It was<br />
repeated (London Regional Programme) on 20 February 1934.<br />
Publication: unpublished<br />
C12f Second Suite for Orchestra<br />
1. Fanfare<br />
2. Scotch Rhapsody<br />
3. Country Dance<br />
4. Noche Espagñola (originally ‘Long Steel Grass’)<br />
(transposed up a semitone)<br />
5. Popular Song<br />
6. Old Sir Faulk (transposed down a tone)<br />
(Nos. 1,2,3, and 5 orchestrated by Lambert)<br />
Holograph:<br />
Beinecke: GEN MSS 601 (FRKF 638).<br />
Instrumentation: 2(II + picc).2.ca.asax(opt).2.2/2.2.1.0/<br />
timp/perc (1–2: tri, sus cym, cast, wb, 3 Chinese blocks, sd,<br />
bd, tamb)/strings<br />
Duration: 11 minutes<br />
First performance: New York, Carnegie Hall, 30 March<br />
1938 (the 3,401st concert of the Philharmonic-Symphony<br />
Society of New York). New York Philharmonic-Symphony<br />
Orchestra, conducted by John Barbirolli. (The ‘Tango–<br />
Pasodoblé’ from the First Suite replaced ‘Old Sir Faulk’.)<br />
First London performance: London, Queen’s Hall,<br />
10 September 1938 (Promenade Concert; broadcast by<br />
the BBC on the London Regional Service). BBC Symphony<br />
Orchestra, conducted by Henry Wood.<br />
Other early performances:<br />
London, Queen’s Hall, 26 August 1939. BBC Symphony<br />
Orchestra, conducted by <strong>William</strong> <strong>Walton</strong>.<br />
Bristol, Colston Hall, 13 May 1941 (broadcast by<br />
the BBC). Hallé Orchestra, conducted by <strong>William</strong><br />
<strong>Walton</strong>.<br />
Publication:<br />
Study score: OUP 1938 at 6s<br />
Score and parts on hire: OUP<br />
WWE vol. 18. Score and parts offprinted 2009.<br />
Bibliography:<br />
• David Lloyd-Jones, WWE vol. 18.<br />
• MT 79 (1938), 780–81 (E. Evans); NYHT, 31 March<br />
1938, p. 11 (L. Gilman); Times, 12 Sept 1938, p. 10;<br />
28 Aug 1939, p. 8.<br />
Recordings:<br />
• London Philharmonic Orchestra / <strong>Walton</strong> (recorded<br />
No. 1 Studio, Abbey Road, London, 5 March 1936; nos.<br />
9 and 11 recorded 25 October 1938). Nos 1–8 and 10:<br />
HMV C2836–7 (1936). Nos 9 and 11: HMV C 3042<br />
(1939); EMI ED 29 0715 1 (1986); CDH7 63381 2<br />
(1992)<br />
• Suites 1 and 2: Philharmonia Orchestra / <strong>Walton</strong><br />
(recorded Kingsway Hall, London, 20 April and 26<br />
March 1957). Columbia 33C1054 (mono), (1958);<br />
Columbia SED 5556 (1958); EMI HQM 1006 (mono)<br />
(1965); EMI SLS 5236 (1982); EMI CHS 5 65003 2<br />
(1994)<br />
• Suites 1 and 2: Philharmonia Orchestra / Constant<br />
Lambert. Columbia 33SX1003 (mono from DX 1734–6),<br />
(1953); SOMM 023 (2002)<br />
• Eight numbers: Royal Philharmonic Orchestra /<br />
Malcolm Sargent. EMI ALP 1873 (1961); EMI SXLP<br />
30114 (1968); SLS 5073 (1977)<br />
• English Northern Philharmonia Orchestra / David<br />
Lloyd-Jones: Hyperion CDA 66436 (1991)<br />
• City of Birmingham Symphony Orchestra / Louis<br />
Frémaux: EMI ASD3317 (1977); EMI CDM7 64201 2<br />
(1992); EMI 7243 5 75796 2 (2003); EMI 6 80506 2<br />
(2012); EMI Collector’s Edition 4 40864 2 (2012)<br />
• London Philharmonic Orchestra / Jan Latham-Koenig.<br />
Chandos CHAN 9148 (1993); CHAN 9426 (1995)<br />
Note: A Suite was broadcast by the BBC on 3 July 1931<br />
(BBC Orchestra, conducted by Constant Lambert) which<br />
consisted of eight numbers, those from the first published<br />
suite together with ‘Fanfare’, ‘Scots [sic] Rhapsody’, and<br />
‘Popular Song’.<br />
For perusal purposes only
C12g Ballet in One Act (Based on the<br />
First Orchestral Suite)<br />
(A) Choreography by Gunter Hess (as Fassade)<br />
First performance: Hagen, Westphalia, Stadttheater,<br />
22 September 1929. Dancers of the Chamber Dance Theatre<br />
and Orchestra, conducted by Georg Lippert, Richard<br />
Kohtz, or Peter Bing. The ballet was performed only twice.<br />
Numbers danced: Scene 1: Polka; Scene 2: Valse; Scene 3:<br />
Tango; Scene 4: Yodelling Song; Scene 5: Tarantella; Scene<br />
6: Polka.<br />
Bibliography:<br />
• Die Brucke 1 (1929), 2; Danc T 214 (1930), 700–702<br />
(B) Choreography by Frederick Ashton<br />
Instrumentation: 2.2.ca.asax(opt).2.2/2.2.1.0/timp.2perc<br />
(2: tri, cym, cast, wb, 3 Chinese blocks, glock, xyl, sd, bd,<br />
rattle)/strings<br />
Duration: 18 minutes<br />
First performance: London, Cambridge Theatre,<br />
26 April 1931 (Camargo Society). Dancers and the<br />
Cambridge Theatre Orchestra, conducted by Constant<br />
Lambert. Decor by John Armstrong.<br />
In 1931 the ballet consisted of seven divertissements.<br />
An extra one (‘Country Dance’) was added on 8 October<br />
1935 when the Vic-Wells Ballet (with somewhat revised<br />
choreography and costumes, and conducted by Constant<br />
Lambert) first performed the ballet, and two more (‘Noche<br />
Espagnole’ and ‘Foxtrot’) on 23 July 1940 when it was<br />
restaged at the Sadler’s Wells Theatre after the loss of scenery<br />
and costumes in Holland two months before. The items<br />
added to the original First Suite for the Camargo Society,<br />
and later for the Vic-Wells—‘Fanfare’, ‘Scotch Rhapsody’,<br />
‘Country Dance’, and ‘Popular Song’—were scored by<br />
Constant Lambert. This was first performed in New York<br />
at the Metropolitan Opera House on 12 October 1949.<br />
Other early performances: London, Notting Hill,<br />
4 May 1931 (Ballet Club).<br />
London, Savoy Theatre, 7 June 1932 (Camargo Society<br />
Ballet). Orchestra conducted by Constant Lambert.<br />
Reviewed, Times, 8 June 1932, p. 12.<br />
London, Duke of York’s Theatre, 16 February 1935 (Ballet<br />
Rambert). London, Sadler’s Wells Theatre, 8 October 1935<br />
(Vic-Wells Ballet Co.). Reviewed, Times, 9 Oct 1935, p. 10.<br />
London, BBC Television Studios, Alexandra Palace,<br />
8 and 19 December 1936. First television performance with<br />
dancers from the Vic-Wells Ballet Company and the BBC<br />
Television Orchestra, conducted by <strong>William</strong> <strong>Walton</strong>. The<br />
C12 Façade 17<br />
ballet was repeated on 10 and 11 June 1938, when the<br />
conductor was Hyam Greenbaum.<br />
London, Sadler’s Wells Theatre, 29 April 1946 (Sadler’s<br />
Wells Opera (later Theatre) Ballet Co.). New items were<br />
omitted for this performance, which used the 1940 scenery.<br />
London, Royal Opera House, Covent Garden, 1 August 1949<br />
(Sadler’s Wells Ballet Co.). First performance at the Royal<br />
Opera House. The ballet was revised after World War II and<br />
the new items also omitted for these performances which<br />
were given in the original decor with new costumes made<br />
from 1940 designs due to the older scenery and costumes<br />
having been destroyed by fire on 2 June 1949. Reviewed,<br />
Times, 1 Aug 1949, p. 6.<br />
New York, Metropolitan Opera House, 12 October<br />
1949 (Sadler’s Wells Ballet Co.).<br />
Publication: Score and parts on hire: OUP, 1931<br />
Bibliography:<br />
• Frederick Ashton, ‘The Ballet Façade’, Façade: An<br />
Entertainment (London: OUP, 1972, deluxe edition),<br />
p. xix<br />
• Cyril W. Beaumont, Complete Book of Ballets: A Guide to<br />
the Principal Ballets of the Nineteenth and Twentieth Centuries<br />
(London: Putman, 1937), 990–91<br />
• Cyril W. Beaumont, The Sadler’s Wells Ballet: A Detailed<br />
Account of Works in the Permanent Repertory with Critical<br />
Notes (London: Beaumont, 1947), 140–43<br />
• Zoë Dominic and J. S. Gilbert, Frederick Ashton: A<br />
Choreographer and his Ballets (London: Harrap, 1971),<br />
232<br />
• Edwin Evans, Music and the Dance: For Lovers of the Ballet<br />
(London: Jenkins, 1948), 98–101<br />
• Julie Kavanagh, Secret Muses: The Life of Frederick Ashton<br />
(London: Faber, 1996), 128–31<br />
• R. Lawrence, The Victor book of Ballets and Ballet Music<br />
(New York: Simon and Schuster, 1950), 167–8<br />
• Humphrey Searle, Ballet Music: An Introduction (London:<br />
Cassell, 1958), 142–4<br />
• David Vaughan, Frederick Ashton and his Ballets (London: A.<br />
& C. Black, 1977), 54–5, 58, 127–8, 456–8 (rev. edn:<br />
London: Dance Books, 1999, pp. 474–6)<br />
• John Warrack, The Decca Book of Ballet, ed. David Drew<br />
(London: Muller, 1958), 384–8<br />
• Danc T 214 (1930), 700–702; 390 (1943), 262–3<br />
(E. Evans); MT 69 (1928), 1024–5 (F. Howes); Times,<br />
5 Sept 1928, p. 10; 27 April 1931, p. 10; 9 Oct 1935,<br />
p. 10; 23 Sept 1936, p. 10<br />
For perusal purposes only<br />
(C) Choreography by John Cranko<br />
First performance: Stuttgart, Wurttemberg States<br />
Theatre (States Theatre Ballet), 16 March 1961, under
18 C12 Façade<br />
the title of Familien-Album. Dancers and the Stuttgart<br />
Philharmonic Orchestra, conducted by Josef Dunnwald.<br />
Bibliography:<br />
• John Percival, Theatre in My Blood: A Biography of John<br />
Cranko (London: Herbert, 1983), 143–4<br />
C12h Third Suite for Orchestra<br />
arranged by Christopher Palmer (1991)<br />
1. Hornpipe<br />
2. Daphne (Song)<br />
3. March<br />
4. Through Gilded Trellises<br />
5. Water Party Waltz<br />
6. The Wind’s Tambourine (‘Something Lies beyond<br />
the Scene’)<br />
Instrumentation: 2(I & II + picc).2(II + ca).2(II + bcl).sax.<br />
2/2.2.1.1/timp/perc (4: tri, cyms, sus cym, tamt, wb,<br />
cast, glock, xyl, sd, large sd, bd, bd with cym, drum kit,<br />
tamb, maracas)/pno/cel/strings<br />
Duration: 6 minutes<br />
First performance: London, All Saints Church, Tooting,<br />
4 and 5 May 1992 (recording sessions for the Chandos disc,<br />
see below)<br />
Publication: Score and parts on hire: OUP, 1992<br />
Recordings: Nos 1, 4, and 6: London Philharmonic<br />
Orchestra / Jan Latham-Koenig: Chandos CHAN 9148<br />
(1994); CHAN 9426 (1995)<br />
C12i Suite from Façade<br />
arrangement for concert band by Robert O’Brien<br />
1. Fanfare and Scotch Rhapsody<br />
2. Jodelling Song<br />
3. Polka<br />
4. Popular Song<br />
5. Old Sir Faulk<br />
Instrumentation: picc.6fl.2ob.13cl.2acl.2bel.2asax.tsax.<br />
barsax.2bn/9ct.4hn.3tbn.6bar.euph.6tba/timp/5perc/<br />
string bass<br />
Publication: Full score: OUP, 1969<br />
Recordings: RAF Concert Band / John Martindale.<br />
Columbia TWO X 1076 (1978)<br />
C12j Four Dances from Façade<br />
arranged for small orchestra by Walter Goehr<br />
1. Polka<br />
2. Tango<br />
3. Tarantella<br />
4. Popular Song (Tap-dance)<br />
Instrumentation: 2fl(I & II + picc) (1opt).ob.2cl(II + opt a<br />
sax) (1 opt).bsn (opt)/2hn(opt).2tpt.3tbn(2opt)/timp(opt)/<br />
perc (opt).xyl (opt)/hp (opt)/strings or strings and piano<br />
Duration: 8 minutes<br />
Publication:<br />
Piano conductor: OUP, 1939 at 3s 6d<br />
Score and parts on hire: OUP<br />
Recording: Raymonde Orchestra (orchestra of 25 players;<br />
Rae Jenkins, leader) / Walter Goehr. Columbia DX<br />
938; Columbia (USA) 69834D<br />
C12k Façade Suite<br />
chamber version without reciter, arranged by Christopher<br />
Palmer (September 1990) and consisting of:<br />
21 numbers from Façade<br />
7 numbers from Façade 2<br />
4 additional numbers (‘Small Talk’, ‘Daphne’, ‘The White<br />
Owl’, and ‘The Last Galop’)<br />
Instrumentation: fl(+ picc).cl(+ bcl).a sax/tpt/perc<br />
(1)/2vc<br />
Duration: 40 minutes<br />
Publication: Score and parts on hire: OUP, 1990<br />
C12l A Façade Suite for Harmonica and<br />
Orchestra<br />
arranged by Roy Douglas<br />
1. Polka<br />
2. Tango<br />
3. Swiss Jodelling Song<br />
4. Popular Song<br />
Instrumentation: 2.2(1 opt).2.2.(1 opt) - 2.3.(2 opt).0.0/<br />
timp.perc (2: tri, sus cym, wb, glock, xyl, sd, tamb)/strings<br />
Duration: 11 minutes<br />
First performance: London, Royal Festival Hall,<br />
7 June 1958 (BBC Light Music Festival concert; broadcast<br />
by the BBC). Larry Adler (harmonica) and BBC Concert<br />
Orchestra, conducted by Vilem Tausky.<br />
For perusal purposes only<br />
C12m Three Pieces from Façade<br />
arranged for harmonica and piano by Roy Douglas. Taken<br />
from A Façade Suite for Harmonica and Orchestra (C12l).
1. Tango–Pasodoblé<br />
2. Swiss Jodelling Song<br />
3. Popular Song<br />
Duration: 7 minutes<br />
Publication:<br />
Score and harmonica part: OUP, 1959 at 8s 6d<br />
Recordings:<br />
Tommy Reilly. Argo ZK 55 (1978)<br />
C12n Façade: Concert arrangement of<br />
the Valse<br />
arranged by the composer for solo piano (1926)<br />
Dedication: To Mrs Beverley Baxter<br />
Holograph: whereabouts unknown<br />
Publication:<br />
Score: OUP, 1928 at 3s 6d<br />
WWE vol. 20, pp. 49–55<br />
Bibliography: Michael Aston, WWE vol. 20<br />
Recordings:<br />
• Louis Kentner. Columbia DX 932 (1939).<br />
• Hamish Milne. Chandos CHAN 9292 (1994); CHAN<br />
9426 (1995)<br />
Note: Made at the suggestion of Angus Morrison, this<br />
is the only arrangement for solo piano from Façade by<br />
the composer himself. It was published before the other<br />
arrangements, and is more elaborate and difficult than any<br />
of them. It was done in emulation of the Stravinsky piano<br />
arrangements from Petroushka and de Falla’s Ritual Fire Dance,<br />
and became very popular largely through performances by<br />
Artur Rubinstein.<br />
C12o Façade<br />
piano solo arrangements, all by Roy Douglas<br />
Polka (Suite No. 1)<br />
Publication: OUP, 1943 at 2s<br />
Swiss Jodelling Song (Suite No. 1)<br />
Publication: OUP, 1948 at 3s<br />
Scotch Rhapsody (Suite No. 2)<br />
Publication: OUP, 1943 at 2s 6d.<br />
Popular Song (Suite No. 2)<br />
Publication: OUP, 1942 at 2s 6d.<br />
Old Sir Faulk (Suite No. 2)<br />
Publication: OUP, 1943 at 2s 6d.<br />
C12 Façade 19<br />
Old Sir Faulk<br />
arranged by Richard Rodney Bennett (1975)<br />
Recordings: Richard Rodney Bennett, British Piano Music<br />
of the ’20s and ’30s. Polydor 2383 391 (1975); EMI Classics<br />
CDM 5 65596 Z (1996)<br />
C12p Façade<br />
piano duet arrangements<br />
Suite No. 1: Polka, Valse, Swiss Jodelling Song, Tango–<br />
Pasodoblé, Tarantella-Sevillana, arranged by Constant<br />
Lambert<br />
Publication: OUP 1927 at 6s 6d; reprinted 2011<br />
(OCR 356)<br />
Suite No. 2: Fanfare, Scotch Rhapsody, Country Dance,<br />
Noche Espagnole, Popular Song, Old Sir Faulk, arranged<br />
by Constant Lambert<br />
Publication: OUP 1938 at 6s; reprinted 2011<br />
(OCR357).<br />
The following numbers were also available separately:<br />
‘Foxtrot’, ‘Popular Song’, ‘Swiss Jodelling Song’,<br />
‘Tango’.<br />
Recordings: Peter Lawson and Alan MacLean. Campion<br />
RRCD 1353 (2003)<br />
Popular Song<br />
arranged and edited by Michael Aston<br />
Publication: Score: OUP, 2004 (in Twentieth Century<br />
British Composers: piano duets)<br />
C12q Façade<br />
two-piano arrangements<br />
Valse (Suite No. 1)<br />
arranged by Herbert Murrill<br />
Publication: OUP, 1934 at 3s 6d<br />
Swiss Jodelling Song (Suite No. 1)<br />
arranged by Herbert Murrill<br />
Publication: OUP, 1949 at 4s<br />
Popular Song (Suite No. 2)<br />
arranged by Matyas Seiber<br />
Publication: OUP, 1939 at 3s 6d<br />
Recordings:<br />
• Ilona Kabos and Louis Kentner. Columbia DX 972/3<br />
(1940)<br />
• Arrangement by Seiber and Butterworth for two pianos<br />
and three hands: Phyllis Sellick and Cyril Smith. EMI<br />
CSD 1508 (1963)<br />
For perusal purposes only
20 C12 Façade<br />
Note: This number may also have been performed by Ilona<br />
Kabos and Louis Kentner at a National Gallery concert on<br />
12 June 1940.<br />
Polka (Suite No. 1)<br />
arranged by Herbert Murrill<br />
Publication: OUP, 1949 at 3s 6d<br />
Bibliography: MT 91 (1950), 101 (M.C.)<br />
Old Sir Faulk (Suite No. 2)<br />
arranged by Herbert Murrill<br />
Publication: OUP, 1949 at 4s 6d.<br />
Recordings: John Ogdon and Brenda Lucas. Pickwick<br />
MCD 11 (1990)<br />
Tarantella-Sevillana (Suite No. 1)<br />
arranged by Herbert Murrill<br />
Publication: OUP, 1950 at 6s<br />
Bibliography:<br />
• Canon, 4 (November 1950), 216–17; Notes 8 (1951), 578<br />
(W. S. Newman).<br />
C12r Five Pieces from Façade<br />
arranged for two pianos by David Nettle and Richard<br />
Markham (1992)<br />
1. Polka<br />
2. Swiss Jodelling Song<br />
3. Tango-Pasodoblé<br />
4. Popular Song<br />
5. Old Sir Faulk<br />
Publication: Available on hire: OUP, 1992<br />
Recordings: David Nettle and Richard Markham. Carlton<br />
30366 01052 (1992)<br />
C12s Popular Song<br />
arranged for organ by Robert Gower<br />
Publication: Robert Gower, ed., A <strong>Walton</strong> Organ Album,<br />
OUP, 1996<br />
Recordings: Robert Gower (organ, Hereford Cathedral).<br />
Priory PRCD 591 (1996)<br />
C12t Five Pieces from Façade<br />
arranged for guitar quartet and piano by Stephen Goss<br />
(1993)<br />
Polka; Fanfare; Popular Song; Hornpipe; Something Lies<br />
beyond the Scene<br />
Publication: Available on hire: OUP, 1993<br />
Recordings: Tetra. Conifer 74321 15353 2 (1993)<br />
C12u Jodelling Song<br />
arranged for flute and piano by Paul Harris and Sally Adams<br />
Publication: Paul Harris and Sally Adams, eds, Music<br />
through Time Flute, Book 4, OUP, 2006<br />
C12v Three Pieces from Façade<br />
arranged for flute and piano by Christopher Palmer<br />
Popular Song; Country Dance; Water Party<br />
Publication: Christopher Palmer, ed., <strong>William</strong> <strong>Walton</strong>: A<br />
Flute Album, OUP, 1992<br />
C12w Tango–Pasodoblé<br />
arranged for clarinet and piano by Paul Harris<br />
Publication: Paul Harris, ed., Music Through Time Clarinet,<br />
Book 4, OUP, 2007<br />
C12x Seven Pieces from Façade<br />
arranged for clarinet and piano by Christopher Palmer<br />
(1) Popular Song, (2) Scotch Rhapsody, (3) Polka,<br />
(4) Something Lies Beyond the Scene, (5) Tango-<br />
Pasodoblé, (6) Fox-trot ‘Old Sir Faulk’, (7) March<br />
(from Façade 2)<br />
Publication: Christopher Palmer, ed., <strong>William</strong> <strong>Walton</strong>: A<br />
Clarinet Album, OUP, 1992<br />
C12y Seven Pieces from Façade<br />
suite arranged for brass quintet by Alan Gout (1990)<br />
Instrumentation: hn, 2 tpt, tbn, tuba<br />
Duration: 6 minutes<br />
Publication: Score and parts available on hire, 1990<br />
C12z Popular Song from Façade<br />
arranged for brass quintet by Eric Wilson<br />
Instrumentation: hn, 2 tpt, tbn, tuba<br />
Publication: Score and parts: OUP, 2005<br />
C12aa ‘Un’-popular Song<br />
An arrangement of the music from ‘Popular Song’ by<br />
Roderick <strong>William</strong>s for unaccompanied mixed chorus<br />
(SATB), with words by Robin Barry<br />
Publication: Peter Gritton, ed., Encores for Choirs 2, OUP,<br />
2004<br />
For perusal purposes only
C13<br />
To c c a t a<br />
C14 Fantasia Concertante 21<br />
Recording: CD Kenneth Sillito / Hamish Milne. Chandos<br />
CHAN 9292 (1994); CHAN 9426 (1995)<br />
for violin and piano<br />
Date of composition: 1922–3<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 592).<br />
Duration: 15 minutes<br />
First performance: London, 6 Queen Square<br />
(Bloomsbury), 12 May 1925 (London Contemporary<br />
Music Centre Spring Concert); K. Goldsmith and Angus<br />
Morrison<br />
Other performances: Cambridge, Faculty of Music Hall,<br />
11 and 12 January 1992 (incomplete); Kenneth Sillito and<br />
Hamish Milne • Oldham, Werneth Park Music Rooms, 15<br />
March 1998 (complete version; broadcast on BBC Radio 3,<br />
8 May 1998); Paul Barritt and Catherine Edwards • Rome,<br />
Cappella Paolina (Quirinale Palace), 21 March 2004<br />
(broadcast by Italian Radio); Natascia Gazzana and Raffaella<br />
Gazzana<br />
Publication: WWE vol. 19, pp. 131–49 (2008)<br />
Bibliography: Hugh Macdonald, WWE vol. 19<br />
• Raffaella Gazzana, ‘<strong>William</strong> <strong>Walton</strong>: Toccata per Violino e<br />
Pianoforte: Revisione’, Critica e Caratteri Stilistici (thesis, La<br />
Sapienza, Rome, 2003–4) • Times, 15 May 1925, p. 14<br />
Note: Writing in the Boston Evening Transcript of 27<br />
November 1926, Constant Lambert described Toccata as<br />
‘a rhapsodical work showing traces of Bartok and even<br />
Sorabji. It has . . . a greater and more genuine vitality than<br />
the string quartet . . . and contains at least one excellent<br />
passage—an emotional middle section in which the lyrical<br />
quality we noticed in the Piano Quartet makes a welcome<br />
re-appearance though cast this time in a severer mould’.<br />
In a letter to Bruce Phillips (29 October 1987), Angus<br />
Morrison wrote of the Toccata: ‘I find going through it again<br />
after over 60 years a fascinating experience, both for what<br />
I still remember of it and for what I have totally forgotten.<br />
I have always remembered it as being very complicated—<br />
but it seems to me even more so now than it did at the<br />
time. I remember vividly those strange double-stoppings<br />
at the beginning—and the final very exuberant sections<br />
at the end, after the two cadenzas. (And incidentally the<br />
same clash of A major and A minor he used so much in the<br />
Viola Concerto.) And I think I recognise my own writing<br />
in the “steady” at the top of that page. It’s all very interesting—and<br />
very nostalgic! And I remember the supper<br />
afterwards with Willie, Sachie and Georgia Sitwell—and<br />
Jelly d’Arányi whom they had invited to come and hear<br />
it. (But she never expressed a wish to play it!)’ (OUP<br />
archive).<br />
C14<br />
Fa n t a s i a Co n c e r t a n t e<br />
for two pianos, jazz band, and orchestra<br />
Date of composition: 1923–4<br />
Holograph: whereabouts unknown<br />
Bibliography: Peter Dickinson, Marigold: The Music of Billy<br />
Mayerl (Oxford: OUP, 1999), 49–66, 223–9 • RT, 5 Oct<br />
1923, p. 38 (conversation with Debroy Somers); 5 June<br />
1925, p. 483 (‘Secrets of the Savoy Orpheans’); 3 July 1925,<br />
p. 51 (interview with George Gershwin); 20 July 1928,<br />
pp. 95, 103 (‘The Future of Jazz’ by Constant Lambert)<br />
Note: Debroy Somers was appointed as arranger and<br />
adviser to the Savoy Havana Band (originally formed by the<br />
American band leader Bert Ralton) in 1920. He proved to be<br />
such a success in this part that it came as no surprise when,<br />
in October 1923, he was asked to form a large dance band,<br />
eleven strong, to be known as the Savoy Orpheans. They<br />
made their first BBC broadcast in October 1923 and during<br />
the ensuing years also made a number of public appearances,<br />
the first being at the London Hippodrome in 1923.<br />
In a letter to the present author, <strong>Walton</strong> said that<br />
Richmond Temple, a director of the Savoy Hotel and friend<br />
of Osbert Sitwell, introduced him to Debroy Somers in<br />
1923 but it is not clear whether Somers asked <strong>Walton</strong> to<br />
compose pieces for the band (letter, 25 February 1978,<br />
Craggs archive).<br />
In an interview in the Sunday Telegraph of 25 March 1962,<br />
<strong>Walton</strong> said that ‘In the early days I did do some arrangements<br />
for that dance band . . . and tried to write those<br />
sorts of tunes, but I wasn’t slick enough, somehow.’ Angus<br />
Morrison recalled that, ‘About the jazz improvisations WW<br />
and I did together. When I was living in Oakley Street, a<br />
friend lent me a second piano for a few months. During<br />
that time, WW would sometimes come round from Carlyle<br />
Square and we would improvise and devise jazz tunes on<br />
the two pianos—foxtrots, blues, etc. None of them were<br />
ever written down to my knowledge—and when the piano<br />
departed, the sessions came to an end’ (letter, 4 September<br />
1976, Craggs archive).<br />
Constant Lambert also makes reference to it in the Boston<br />
Evening Transcript of 27 November 1926: ‘For more than a<br />
year he [<strong>Walton</strong>] did nothing but study jazz, writing and<br />
scoring foxtrots for the Savoy Orpheans Band and working<br />
at a monumentally planned concerto for two pianofortes,<br />
For perusal purposes only
22 C15 Bucolic Comedies<br />
jazz band and orchestra. Although the concerto was finished<br />
and about to be performed, <strong>Walton</strong> suddenly abandoned<br />
the jazz style in a fit of disgust.’<br />
Due to the growing popularity of, and interest in, jazz,<br />
a number of concerts were planned with the purpose of<br />
making it ‘respectable’. Five of these were given in 1925<br />
at Queen’s Hall by the Savoy Orpheans (augmented to the<br />
status of ‘symphonic orchestra’ with 26 players), together<br />
with the Savoy-Havana Band (eight players, under its violin<br />
leader, Ramon Newton) and the Boston Orchestra (five<br />
players, led by its saxophonist, H. Jacobs). Pianists included<br />
Billy Mayerl and Billy Thorburn.<br />
An added attraction in that year was the visit to London<br />
of George Gershwin and the performance of his Rhapsody in<br />
Blue with the Savoy Orpheans in the Savoy Hotel Ballroom<br />
on 15 June. A public performance followed at Queen’s Hall<br />
in October 1925. <strong>Walton</strong> was introduced to him and he<br />
presented Gershwin with an inscribed copy of his Piano<br />
Quartet (C7), dated 28 May 1925, to mark the occasion.<br />
It may have been <strong>Walton</strong>’s hope that his Fantasia might<br />
have been performed at one of these concerts. Writing to his<br />
mother on 4 May 1925, <strong>Walton</strong> wrote ‘I have to see what can<br />
be done with my concerto with these Savoy people. Though<br />
I am afraid that there is only a remote chance of anything<br />
satisfactory coming of it’ (WW archive). In a letter to the<br />
present writer, dated 9 February 1976, <strong>William</strong> de Mornys<br />
(director of the dance bands at the Savoy Hotel) remembered<br />
<strong>Walton</strong> coming to the Savoy Orpheans and having meetings<br />
with Debroy Somers. He added, ‘about that time, George<br />
Gershwin came to London and [played] his Rhapsody in Blue.<br />
At the Savoy it had a snob success. On the concert platform<br />
at the Queen’s Hall, it had no success and worse on the<br />
provincial tours. There was no interest then with that type of<br />
music and I feared for the Fantasia’ (Craggs archive).<br />
In an article ‘Some recent works by <strong>William</strong> <strong>Walton</strong>’,<br />
published in The Dominant (vol. 1, no. 4, February 1928, pp.<br />
16–19), Constant Lambert briefly refers to the work and<br />
adds, ‘[it is] to be published by the Oxford University Press.’<br />
C15<br />
Bu c o l i c Co m e d i e s<br />
five songs for voice and instruments<br />
Text: Edith Sitwell, published April 1923<br />
Date of composition: 1923–4<br />
Holograph: whereabouts unknown<br />
Instrumentation: unable to trace; three had an accompaniment<br />
of six instruments<br />
Note: <strong>Walton</strong> is said to have converted certain numbers<br />
from Façade into songs which he called ‘Bucolic Comedies.’<br />
These were never published, but revised versions of three of<br />
them appeared in 1932 as the Three Songs (C26).<br />
The last two were ‘Through gilded trellises’ and ‘Old<br />
Sir Faulk’.<br />
C16<br />
A So n of He ave n<br />
incidental music for tragic melodrama in four acts by<br />
Lytton Strachey (1880–1932)<br />
Date of composition: 1924–5<br />
Holograph: whereabouts unknown<br />
Instrumentation: unable to trace<br />
First performance: London, Scala Theatre (in aid of the<br />
funds of the London Society for Women’s Service), Sunday<br />
evening, 12 July 1925 and matinee on the following day;<br />
orchestra conducted by <strong>William</strong> <strong>Walton</strong>. (The timpanist was<br />
Constant Lambert.) Producer: Alec Penrose; scenery and<br />
costumes designed by Duncan Grant; scenes executed by<br />
Alick Johnstone; director: Frederick G. Lloyd.<br />
Other performances: London, New Lindsey Theatre<br />
Club, 2 May 1949 (there is no mention of any incidental<br />
music in the programme)<br />
Bibliography: Michael Holroyd, Lytton Strachey: A<br />
Critical Biography, vol. 2 (London: Heinemann, 1968),<br />
508–12 • The Stage, 16 July 1925, p. 16; Times, 14 July<br />
1925, p. 12; 3 May 1949, p. 7<br />
Note: The music may have consisted of an overture and an<br />
entr’acte. According to Constant Lambert, ‘So great indeed<br />
was his obsession with ragtime that even when writing incidental<br />
music for Lytton Strachey’s Chinese melodrama A<br />
Son of Heaven, he was unable to prevent some unmistakable<br />
touches of Gershwin from entering the score’ (Boston Evening<br />
Transcript, 27 November 1926). In the review in The Stage<br />
(16 July 1925), the music was described as ‘ambitious and<br />
decidedly heavy, composed by W. T. <strong>Walton</strong> who conducted<br />
a proficient small orchestra’.<br />
For perusal purposes only<br />
C17<br />
Po r t s m o u t h Po i n t<br />
overture for orchestra after an etching by Thomas<br />
Rowlandson (1756–1827)
C17<br />
PORTSMOUTH POINT<br />
23<br />
Date of composition: Spring to November 1925<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 588a). The<br />
library also contains a copy of the full score by Constant<br />
Lambert.<br />
Instrumentation: picc.2 (II + picc).2.ca.2.bcl.2.cbn/<br />
4.3.3.1/timp/perc (3 pref 4: tri, cyms, sus cym, tamt, cast,<br />
xyl, sd, bd, tamb)/strings<br />
Dedication: To Siegfried Sassoon<br />
Duration: 6 minutes<br />
First performance: Zürich, Tonhalle, 22 June 1926<br />
(4th ISCM Festival); Tonhalle Orchestra, conducted by<br />
Volkmar Andreae. (Concert included Hindemith’s Concerto<br />
for Orchestra, Casella’s Partita for piano and orchestra and<br />
Webern’s Five Pieces for Orchestra. The festival programme<br />
book contained an article signed ‘W.T.W.’ in which <strong>Walton</strong><br />
surveyed his career and compositions.)<br />
First London performance: His Majesty’s Theatre,<br />
28 June 1926, when it was played as a symphonic interlude<br />
during an evening of ballet; the resident orchestra for<br />
the Diaghilev Ballets Russes season, conducted by Eugene<br />
Goossens<br />
First American performance: Boston, Symphony<br />
Hall, 19 November 1926; Boston Symphony Orchestra,<br />
conducted by Serge Koussevitzky<br />
First UK concert performance: London, Queen’s<br />
Hall, Monday 12 September 1927 (Promenade Concert);<br />
Henry Wood Symphony Orchestra, conducted by <strong>William</strong><br />
<strong>Walton</strong><br />
First broadcast performance: BBC London Station,<br />
19 July 1928; Wireless Symphony Orchestra, conducted by<br />
Edward Clark<br />
Other early performances: London, Queen’s Hall,<br />
14 August 1930 (the opening 1930 Promenade concert,<br />
broadcast by the BBC on the National Programme);<br />
BBC Symphony Orchestra, conducted by <strong>William</strong><br />
<strong>Walton</strong> • London, Queen’s Hall, 21 January 1931<br />
(BBC Symphony Concert, broadcast on the National<br />
Programme); BBC Symphony Orchestra conducted by<br />
Ernest Ansermet • Worcester, Public Hall, 7 September<br />
1932 (Three Choirs Festival concert); London Symphony<br />
Orchestra, conducted by <strong>William</strong> <strong>Walton</strong> • London,<br />
Queen’s Hall, 11 August 1936 (broadcast by the BBC on<br />
the National Programme); BBC Symphony Orchestra,<br />
conducted by <strong>William</strong> <strong>Walton</strong>. (It was noted in Musical Times<br />
that <strong>Walton</strong>’s conducting had very much improved. The<br />
first half of this Promenade concert featured other works<br />
by <strong>Walton</strong> including his Symphony (C27), also conducted<br />
by the composer.) • New York, Carnegie Hall, 26 October<br />
1939; New York Philharmonic Orchestra, conducted by<br />
John Barbirolli<br />
Publication: full score: OUP, 1928, at 15s • miniature<br />
score: OUP, 1930, at 3s 6d • study score: OUP [mid-1960s];<br />
reissue of the 1928 full score in smaller format. Some of<br />
the corrections in this score are derived from observations<br />
made by Norman Del Mar in his notes on Portsmouth<br />
Point (‘Confusion and Error’, The Score, October 1957).<br />
See also BL Music Misc. i308a: correction to a printed copy<br />
of the overture Portsmouth Point, 1958. Autograph, written<br />
in ink on a strip of paper now bound with a copy of the<br />
printed score, extensively annotated in pencil by Norman<br />
Del Mar. The correction consists of a chord added to the<br />
brass parts in the fifth bar after figure 26. With a letter from<br />
Christopher Morris of OUP to Del Mar. • WWE vol. 14,<br />
pp.1–38 • study score: OUP, 2013 at £18.95<br />
Bibliography: David Lloyd-Jones, WWE vol. 14 • MT<br />
67 (March 1926), p. 225; (August 1926), p. 785 (B. Maine);<br />
69 (August 1928), p. 704 (F.B.); 71 (September 1930),<br />
pp. 844–5 (‘xxx’); 72 (March 1931), p. 261; 73 (October<br />
1932), pp. 892–4 (E. Blom); 77 (September 1936), p. 842<br />
(F. Howes); NYT, 27 Oct 1939, p. 30 (O. Downes); NZZ,<br />
24 June 1926, [p. 1] (Eisler); Times, 29 June 1926, p. 14;<br />
30 June 1926, p. 14; 13 Sept 1927, p. 14; 15 Aug 1930, p. 10;<br />
9 Sept 1932, p. 8<br />
Recordings: 78, LP, CD NESO / Anthony Bernard. Decca<br />
M94 (1935) • BBC Symphony Orchestra / Adrian Boult.<br />
HMV DA1540 (1936) • Minneapolis Symphony Orchestra<br />
/ Mitropoulos. Columbia 12755D (1946) • Philharmonia<br />
Orchestra / <strong>Walton</strong> (recorded Kingsway Hall, London,<br />
21 March 1953). Columbia 33C 1016 (1953); Columbia<br />
SEL 1506 (1954); Angel (USA) 35639 (1958); SEG 8217<br />
(1963); HMV HQM 1006 (1965); EMI SLS5246 (1982);<br />
EMI CHS 5 65003 2 (1994) • London Philharmonic<br />
Orchestra / Adrian Boult. Decca LXT 5028 (1955); Decca<br />
575 459 2 (2002) • London Philharmonic Orchestra<br />
/ <strong>Walton</strong> (recorded Walthamstow Assembly Hall, 15<br />
April 1970). Lyrita SRCS 47 (1971); Lyrita SRCD 224<br />
(1992) • London Symphony Orchestra / André Previn.<br />
EMI ASD2990 (1974); EMI CDC 7 47624 2 (1986);<br />
EMI CDM 7 64723 2 (1993); EMI 6 80508 2 (2012)/<br />
EMI Collector’s Edition 4 40861 2 (2012) • London<br />
Philharmonic Orchestra / Bryden Thomson: Chandos<br />
CHAN 8968 (1991); CHAN 9426 (1995)<br />
Note: Two of <strong>Walton</strong>’s letters to Sacheverell Sitwell<br />
(Renishaw archive and quoted in Sarah Bradford,<br />
Sacheverell Sitwell: Splendours and Miseries, London: Sinclair-<br />
Stevenson, 1993) mention the overture. He told Sitwell<br />
on 9 November 1925 that he had finished Portsmouth Point,<br />
and later (26 November 1925) added that he had shown the<br />
For perusal purposes only
24 C17 PORTSMOUTH POINT<br />
score to Diaghilev, who had praised it as ‘a most brilliant,<br />
fresh and exhilarating work’ and had intimated that he might<br />
use <strong>Walton</strong>’s music for a ballet. The next year (5 October<br />
1926, WW archive), <strong>Walton</strong> wrote to Siegfried Sassoon and<br />
informed him that Hubert Foss (at OUP) ‘has taken not only<br />
those songs but also “Portsmouth Point” [and has] made a<br />
contract for five years to publish my works.’ In a letter to<br />
Christabel Aberconway (15 September 1927, BL), <strong>Walton</strong><br />
mentioned the performance of the overture at the Prom<br />
concert of 12 September which he conducted, ‘[it] went<br />
quite grandly and went down very well. (I was recalled three<br />
times).’<br />
Other versions<br />
C17a Portsmouth Point<br />
arrangement for small orchestra by Constant Lambert<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 588b)<br />
Instrumentation: picc.1.1.2.1/2.2.1.0/timp/perc (2:<br />
sus cym, cast, xyl (opt), sd, tamb)/strings<br />
First performance: London, Savoy Theatre, 6<br />
June 1932 (Camargo Ballet Season); players from the<br />
London Symphony Orchestra, conducted by Constant<br />
Lambert. The season also included performances of<br />
Job (Vaughan <strong>William</strong>s), Swan Lake, and High Yellow<br />
(Spike Hughes). The overture was used as an orchestral<br />
interlude, with a new drop curtain, shown during its<br />
performance, specially designed by Edward McKnight<br />
Kauffer.<br />
First broadcast performance: London, BBC Studios,<br />
13 July 1932 (broadcast on the BBC Daventry National<br />
Programme); BBC Orchestra (Section C) conducted by<br />
Constant Lambert. A programme of music from the repertoire<br />
of the Camargo Ballet Society. BBC Orchestra (Section<br />
C) was a section of the BBC Symphony Orchestra designated<br />
as a theatre orchestra (of 36 players) to play dramatic<br />
programmes, musical comedy, etc.<br />
Publication: score and parts on hire: OUP, 1932<br />
Bibliography: Times, 7 June 1932, p. 12; Danc T 262 (July<br />
1932), 331–8<br />
Recordings: London Philharmonic Orchestra / Jan<br />
Latham-Koenig. Chandos CHAN 9148 (1993); CHAN<br />
9426 (1995)<br />
C17b Portsmouth Point<br />
arrangement for wind band by Denis Wick<br />
Publication: score: Denis Wick Publications, 1998<br />
C17c Portsmouth Point<br />
arrangement for military band by Gerrard <strong>William</strong>s<br />
Commissioned by: the BBC for the Wireless Military<br />
Band<br />
First performance: London, BBC Studios, 14<br />
October 1936 (broadcast on the Regional Programme);<br />
BBC Wireless Military Band, conducted by B.<strong>Walton</strong><br />
O’Donnell<br />
Publication: unpublished<br />
C17d Portsmouth Point<br />
arrangement for piano duet by the composer (dated<br />
‘London, November 1925’)<br />
Publication: OUP, 1927, at 6s 6d • WWE vol. 20,<br />
pp. 61–78<br />
Bibliography: Michael Aston, WWE vol. 20 • MT 68<br />
(July 1927), 619 (H.G.)<br />
Recordings: CD Keith Swallow and John Wilson (pianos).<br />
Cameo 2036 (2005)<br />
C17e Ballet: Portsmouth Point<br />
music arranged by Cyril Clarke; choreography by Anthony<br />
Tudor<br />
First performance: London, BBC TV Studios (Alexandra<br />
Palace), 6 September 1937 (repeated 27 September 1937);<br />
BBC Television Orchestra, conducted by <strong>William</strong> <strong>Walton</strong>.<br />
Dancers included Peggy van Praagh, Naomi Holmes, Frank<br />
Staff, and John Thorpe. Decor and costumes: Peter Bax;<br />
produced by Dallas Bower.<br />
Bibliography: Judith Chazin-Bennahum, The Ballets of<br />
Anthony Tudor (Oxford: OUP, 1994), 267<br />
Note: It is possible that Lord Berners introduced the<br />
young <strong>Walton</strong> to the idea of writing some music based on<br />
Rowlandson’s drawing. In fact, Berners himself had originally<br />
intended to write a ballet about Portsmouth Point<br />
‘after Rowlandson’, dating from 1919–20. This project was<br />
abandoned, with the result that only a piano solo version of<br />
this short piece and about 50 bars of orchestral score now<br />
remain. It was due to the efforts of Siegfried Sassoon that<br />
OUP agreed to publish Portsmouth Point, and to offer the<br />
composer a five-year contract; hence the dedication in the<br />
printed copy. This was finally published in June 1928, having<br />
been subjected to some revision, mainly simplification. The<br />
piano-duet version had been prepared by <strong>Walton</strong> earlier, and<br />
was in fact the first <strong>Walton</strong> work to be published by OUP, in<br />
June 1927.<br />
For perusal purposes only
C18<br />
Ro m e o an d Ju l i e t<br />
Ballet in two tableaux by Constant Lambert. Curtains, with<br />
scenic additions, by Max Ernst and Joan Miró.<br />
Date of orchestration: [1925–6]. It is disputed whether<br />
<strong>Walton</strong> played any part in the orchestration of this ballet<br />
Copyist’s manuscript: Manuscript Collections, British<br />
Library (Reference Division), Loan MS 92. 1, 2. Full score,<br />
dated ‘Monte Carlo 1925–6’.<br />
Instrumentation: picc.1.1.2.1/2.2.1.0/timp/perc (2: tri,<br />
cyms, cast, glock, xyl, sd, bd, tamb)/strings (8.6.4.4.2–4)<br />
Duration: 30 minutes<br />
First performance: Monte Carlo, Opera House, 4 May<br />
1926; orchestra conducted by Marc-César Scotto. Ballets<br />
Russes, with choreography by Bronislava Nijinska. Dancers<br />
included Serge Lifar and Tamara Karsavina.<br />
Other early performances: Paris, Théâtre Sarah-<br />
Bernhardt, 18 May 1926; orchestra conducted by Roger<br />
Desormière. Dancers included Lifar and Nikitina. • London,<br />
His Majesty’s Theatre, 21 June 1926; orchestra conducted<br />
by Eugene Goossens. Dancers included Woizikovsky and<br />
Karsavina.<br />
Publication: piano score: OUP, 1928<br />
Bibliography: Andrew Motion, The Lamberts: George,<br />
Constant and Kit (London: Chatto & Windus, 1986), 144–5,<br />
148–51 • Richard Shead, Constant Lambert (London: Simon,<br />
1973), 49–64 (rev. edn: London: Thames, 1980) • The<br />
Times, 22 June 1926, p. 14<br />
C19<br />
Si e s t a<br />
for small orchestra<br />
Date of composition: 1926, revised 1962<br />
Holograph: whereabouts unknown<br />
Instrumentation: picc.1.1.2.1/2.0.0.0/strings<br />
Dedication: To Stephen Tennant<br />
Duration: 5 minutes<br />
First performance: London, Aeolian Hall, 24 November<br />
1926 (Guy Warrack series of Chamber Orchestra<br />
Concerts); Aeolian Chamber Orchestra, conducted by<br />
<strong>William</strong> <strong>Walton</strong><br />
C19 Siesta 25<br />
Other early performances: London, BBC Studios<br />
(Savoy Hill), 22 January 1928 (broadcast by the BBC in<br />
the London and Daventry Programme); London Chamber<br />
Orchestra, conducted by Anthony Bernard. (Billed in Radio<br />
Times as the second performance.) • London, Aeolian<br />
Hall, 19 November 1929; London Chamber Orchestra,<br />
conducted by Anthony Bernard<br />
Publication: full score: OUP, 1929 at 5s<br />
Bibliography: MT 67 (December 1926), 1122; Times,<br />
25 Nov 1926, p. 12<br />
Recordings: 78, CD London Philharmonic Orchestra /<br />
<strong>Walton</strong> (recorded No. 1 Studio, Abbey Road, London, 25<br />
October 1938): HMV C3042 (1939); EMI ED29 0715 1<br />
(1986); EMI CDH 763381 (1992) • London Philharmonic<br />
Orchestra / Adrian Boult. Decca LXT 5028 (1955); Decca<br />
425 661 2 (1990)<br />
Note: Writing to his mother in early December 1926,<br />
<strong>Walton</strong> told her ‘[I have] conducted my piece “Siesta” at the<br />
Aeolian Hall about a fortnight ago. Unfortunately I receive<br />
nothing for it, but it is well worth doing for the experience.’<br />
Almost a year later, <strong>Walton</strong> invited Siegfried Sassoon ‘to hear<br />
“Siesta” at the BBC, Savoy Hill, on [Sunday] at 3–0 o’clock.’<br />
When thinking of revising the work (at the suggestion of<br />
OUP in December 1961), <strong>Walton</strong> agreed with Alan Frank<br />
(head of the Music Department) and described it as ‘a rather<br />
enchanting piece. I think it will be better “senza sord.” for<br />
the most part—better balance between the woodwind and<br />
strings, as I’ve indicated.’<br />
Revised version<br />
Holograph: Beinecke Rare Book and Manuscript Library,<br />
Yale University: GEN MSS 601 (FRKF 1428). A printed<br />
copy of the full score was used by the composer in 1962 to<br />
make minor revisions (in pencil and ballpoint). The instrumentation<br />
remained the same, the dedication was erased in<br />
pencil (for reasons unknown) and ‘W. T. <strong>Walton</strong>’ changed to<br />
‘<strong>William</strong> <strong>Walton</strong>’. Proof copies of the orchestral parts, with<br />
autograph annotations by <strong>Walton</strong> in red ink, and blue and<br />
red crayon, comprising the first and second proof copies of<br />
the complete strings, flute, oboe, clarinet, bassoon and horn<br />
parts also exist.<br />
Publication: study score: OUP, 1963 at 7s 6d • WWE<br />
vol. 18, pp. 1–38<br />
Bibliography: David Lloyd-Jones, WWE vol. 18<br />
Recordings: LP, CD London Philharmonic Orchestra /<br />
<strong>Walton</strong> (recorded Walthamstow Assembly Hall, 15 April<br />
1970). Lyrita SRCS 47 (1971); Lyrita SRCD 224 (1992)<br />
For perusal purposes only
26 C20 The Triumph of Neptune<br />
• London Philharmonic Orchestra / Bryden<br />
Thomson. Chandos CHAN 9148 (1994); CHAN 9426<br />
(1995) • Northern Sinfonia / Richard Hickox. EMI<br />
CDM 5 66542 2(1998); EMI Collector’s Edition 4 40861<br />
2 (2012) • English Northern Philharmonia Orchestra /<br />
David Lloyd-Jones. Naxos 8.555868 (2002)<br />
Other versions<br />
C19a Siesta<br />
arrangement for piano (duet) by the composer<br />
Publication: piano score: OUP, 1928 at 5s • WWE<br />
vol. 20, pp. 79–87<br />
Bibliography: Michael Aston, WWE, vol. 20<br />
Recordings: LP Keith Swallow and John Wilson (pianos).<br />
Cameo 2036 (2005)<br />
C19b Siesta<br />
arrangement for two pianos by Richard Rodney Bennett<br />
First performance: London, Wigmore Hall, 1 December<br />
1977; Susan Bradshaw and Richard Rodney Bennett.<br />
Bibliography: Times, 3 Dec 1977, p. 12 (J. Chissell)<br />
C19c Ballet: a Pas de Deux<br />
choreography by Frederick Ashton<br />
First performance: London, Sadler’s Wells Theatre<br />
(the Vic-Wells Ballet), 24 January 1936 (postponed<br />
from 21 January because of the death of King George V);<br />
Sadler’s Wells Orchestra, conducted by <strong>William</strong> <strong>Walton</strong>.<br />
Principal dancers: Pearl Argyle and Robert Helpmann.<br />
Choreographer: Frederick Ashton; designer: Matilda<br />
Etches.<br />
Bibliography: ST, 26 Jan 1936, p. 5 (E. Newman); Times,<br />
25 Jan 1936, p. 8<br />
C19d Ballet: Siesta<br />
choreography by Anthony Tudor<br />
First performance: London, BBC TV Studios, Alexandra<br />
Palace, 2 February 1937; BBC Television Orchestra,<br />
conducted by Hyam Greenbaum. Dancers: Maude Lloyd and<br />
Anthony Tudor. Decor and costumes: Peter Bax; produced<br />
by Dallas Bower.<br />
Bibliography: Judith Chazin-Bennahum, The Ballets of<br />
Anthony Tudor (Oxford: OUP, 1994), 265<br />
C19e Ballet: a new Pas de Deux<br />
Commissioned for <strong>Walton</strong>’s 70th birthday year.<br />
Choreography by Frederick Ashton who called it ‘a birthday<br />
card for Willie <strong>Walton</strong>’.<br />
First performance: Snape Maltings, Aldeburgh, Suffolk<br />
(Aldeburgh Festival, in association with the Royal Opera<br />
House, Covent Garden), 28 July 1972; English Opera Group<br />
Orchestra, conducted by David Taylor. Principal dancers:<br />
Vyvyan Lorrayne and Barry McGrath. An evening of opera<br />
and ballet in honour of <strong>Walton</strong>’s 70th Birthday.<br />
First London performance: Sadler’s Wells Theatre,<br />
9 October 1972, with the same performers.<br />
Bibliography: Julie Kavanagh, Secret Muses: The Life of<br />
Frederick Ashton (London: Faber, 1996), 531 • David Vaughan,<br />
Frederick Ashton and his Ballets (London: A. & C. Black, 1977),<br />
132–3, 380–81 (rev. edn, London: Dance Books, 1999) • About<br />
the House 4/1 (1972), 44–5; Times, 31 July 1972, p. 8 (J. Percival)<br />
C20<br />
Th e Tr i u m p h of Ne p t u n e<br />
English pantomime in ten scenes for large dance ensemble<br />
by Lord Berners, partly orchestrated by <strong>Walton</strong>. Scenario<br />
by Sacheverell Sitwell.<br />
Date of orchestration: November 1926<br />
Holograph: Manuscript Collections, British Library<br />
(Reference Division), Music Loan.106.20–106.27<br />
Instrumentation: 2(II + picc).2.ca.2.bcl.2.cbn/4.3.2.1/<br />
timp/perc (2: cym, xyl, sd, bd, tamb)/pno/hp/strings<br />
First performance: London, Lyceum Theatre, 3 December<br />
1926; the resident orchestra, conducted by Henry Defosse.<br />
Ballets Russes, with choreography by Georges Blanchine<br />
(who also danced ‘Snowball’)<br />
Other performances: Paris, Théâtre Sarah-Bernhardt,<br />
27 May 1927. The ballet remained in the repertory until<br />
1928 but was never revived.<br />
Publication: piano score: J & W Chester, 1927<br />
Note: <strong>Walton</strong> told his mother in early December 1926 that<br />
‘I have had to orchestrate four large numbers of Berners’s<br />
ballet and it has kept me hard at it’ (WW archive). In a letter<br />
to the present author, dated 25 February 1978, <strong>Walton</strong><br />
claimed that Berners rescored the full ballet when he found<br />
the time to do so. It was originally a very rushed job for<br />
everyone concerned (Craggs archive).<br />
For perusal purposes only
C21<br />
Si n f o n i a Co n c e r t a n t e<br />
for orchestra with pianoforte (continuo)<br />
1. Maestoso—Allegro spiritoso; 2. Andante comodo;<br />
3. Allegro molto<br />
Date of composition: 1926–7 Composed as a ballet<br />
for Diaghilev, but rejected. Recast as Sinfonia Concertante in<br />
1927.<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 587a) • A<br />
second holograph score of the 1927 version (deriving from a<br />
private collection in Australia) was acquired by the Beinecke<br />
Library at a sale at Sotheby’s, London in December 1999<br />
(Lot 265) • The work is scored for double woodwind,<br />
two horns, two trumpets, two trombones, tuba, timpani,<br />
percussion, and strings. The MS has had extra parts for third<br />
and fourth horns added in red ink, apparently by <strong>Walton</strong>.<br />
(Beinecke: GEN MSS 601, File 330.)<br />
Instrumentation: picc.2.2.ca.2.bcl.2.cbn/4.3.3.1/<br />
timp/perc (3: tri, cyms, glock, xyl, sd, bd, tamb)/strings<br />
Dedication: 1. To Osbert [Sitwell]; 2. To Edith [Sitwell];<br />
3. To Sachie [Sitwell]<br />
Duration: 19 minutes<br />
First performance: London, Queen’s Hall, 5 January<br />
1928 (Royal Philharmonic Society Concert, broadcast by<br />
the BBC); York Bowen and the Royal Philharmonic Society<br />
Orchestra, conducted by Ernest Ansermet.<br />
First American performance: Boston, Symphony Hall,<br />
2 March 1928; Bernard Zighera and the Boston Symphony<br />
Orchestra, conducted by Serge Koussevitsky<br />
First European performance: Berlin (Witzlehen),<br />
Radio HQ, 24 April 1930 (broadcast on German Radio);<br />
Harriet Cohen and an ad hoc orchestra, conducted by<br />
<strong>William</strong> <strong>Walton</strong><br />
Other early performances: Bournemouth, Winter<br />
Gardens, 12 April 1928 (broadcast by the BBC on the<br />
Daventry Experimental Station); Gordon Bryan and the<br />
Bournemouth Municipal Orchestra, conducted by <strong>William</strong><br />
<strong>Walton</strong> • London, BBC Studios, 3 June 1929 (broadcast<br />
on the London Station); Victor Hely-Hutchinson and<br />
the Wireless Symphony Orchestra, conducted by Ernest<br />
Ansermet • London, Queen’s Hall, 14 September 1929;<br />
Victor Hely-Hutchinson and the Henry Wood Symphony<br />
Orchestra, conducted by <strong>William</strong> <strong>Walton</strong><br />
Publication: OUP, 1928 at 21s • WWE vol. 13, pp. 1–82<br />
C21 Sinfonia Concertante 27<br />
Bibliography: Lionel Friend, WWE vol. 13 (see<br />
below) • Helen Fry, Music and Men: The Life and Loves of<br />
Harriet Cohen (Stroud: History Press, 2008), 123, 181 • The<br />
Listener, 7 April 1937, p. 676 (A. Frank); MMR 58 (February<br />
1928), 43 (R. Capell); MT 69 (February 1928), 165 (M);<br />
70 (October 1929), 931 (F. Howes); 73 (October 1932),<br />
935 (W. McN.); Times, 6 Jan 1928, p.10; 7 Jan 1928, p. 8;<br />
12 April 1928, p. 4; 13 April 1928, p. 12; 16 Sept 1929,<br />
p. 10; 9 Sept 1932, p. 8.<br />
Recordings: CD Kathryn Stott / Royal Phiharmonic<br />
Orchestra / Vernon Handley. Conifer CDCF 175 (1990);<br />
RCA 74321 92575 2 (2002) • Eric Parkin / London<br />
Philharmonic Orchestra / Jan Latham-Koenig. Chandos<br />
CHAN 9148 (1994); CHAN 9426 (1995) • Peter Donohoe<br />
/ English Northern Philharmonia Orchestra / Paul Daniel.<br />
Naxos 8.553869 (1999)<br />
Note: In a letter to Zena Taylor (dated 15 September<br />
[1927] and quoted in Hayes, ed., Selected Letters), <strong>Walton</strong><br />
wrote that, ‘I met Sir Thomas B[eecham] who was affability<br />
itself and wants the score of my Sinfonia.’ In the same<br />
letter, <strong>Walton</strong> also mentions that Koussevitsky ‘was pressing<br />
for my new work.’ Three months later, <strong>Walton</strong> was telling<br />
Christabel McLaren (dated 3 January 1928, BL), ‘my<br />
concerto is on Tuesday. Do listen . . . it is broadcast from all<br />
stations.’ However in another letter to McLaren (9 January<br />
1928), <strong>Walton</strong> described the first performance as ‘bloody,<br />
though the applause tumultuous. The work was terribly<br />
under rehearsed, in fact the players just about knew the<br />
notes and that was all.’<br />
Other versions<br />
C21a Sinfonia Concertante<br />
arrangement of the original version by Christopher<br />
Palmer<br />
Instrumentation: 2(II + picc).2.ca.1.bcl.2.cbn/4.3.3.1/<br />
timp/perc (3: tri, cyms, cast, xyl, sd, tamb)/strings<br />
First performance: unable to trace<br />
Publication: score and parts on hire: OUP, 1989<br />
C21b Sinfonia Concertante<br />
arrangement for two pianos by the composer<br />
Publication: piano score: OUP, 1928 at 7s 6d • WWE<br />
vol. 20, pp. 88–131<br />
Bibliography: Michael Aston, WWE vol. 20<br />
For perusal purposes only
28 C22 Concerto for Viola and Orchestra<br />
Revised version<br />
<strong>Walton</strong> revised the work in 1943 describing it as Sinfonia<br />
Concertante ‘with piano obbligato’.<br />
In the first movement a great deal of counterpoint was<br />
removed and the last section tightened up. The slow movement<br />
was trimmed but no cuts were made—in fact it was<br />
lengthened by one bar at the end, the last chord being held<br />
for an extra bar and a half. The introduction was transferred<br />
from the solo piano to the orchestra and the piano writing<br />
simplified. In the last movement, some counterpoint was<br />
also removed. Much of the barring was simplified and many<br />
changes were made to the orchestration throughout.<br />
The dedications were omitted in the revised printed<br />
score, and the third movement was also changed to ‘Allegro<br />
vivo, sempre scherzando’.<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 587c). Yale<br />
University also possesses the solo piano part of the revised<br />
version in the hand of a copyist, with one page rewritten in<br />
<strong>Walton</strong>’s hand, and Cyril Smith’s fingerings (FRKF 587b).<br />
See WWE vol. 13.<br />
Instrumentation: picc.2.2(II + ca).2.2/4.2.3.1/timp/<br />
perc (2: cyms, glock, xyl, sd, bd, tamb)/strings<br />
Duration: 19 minutes<br />
First performance: Liverpool, Philharmonic Hall, 19<br />
February 1944; Cyril Smith and the Liverpool Philharmonic<br />
Orchestra, conducted by Malcolm Sargent<br />
First broadcast performance: London, BBC Home<br />
Service, 23 May 1945; Valda Aveling and the BBC Symphony<br />
Orchestra, conducted by Sir Adrian Boult<br />
Other early performances: London, Royal Albert<br />
Hall, 21 August 1945 (Promenade concert); Phyllis Sellick<br />
and the BBCSO, conducted by Constant Lambert. (Phyllis<br />
Sellick replaced Arthur Grumiaux, who was to play <strong>Walton</strong>’s<br />
Violin Concerto C37.) • London, BBC Home Service,<br />
10 September 1946; Phyllis Sellick and the BBC Theatre<br />
Orchestra, conducted by <strong>William</strong> <strong>Walton</strong> • London, Royal<br />
Albert Hall, 21 September 1946; Phyllis Sellick and the<br />
BBCSO, conducted by Constant Lambert<br />
Publication: study score: OUP, 1953 at 15s • WWE<br />
vol. 13, pp. 83–177<br />
Bibliography: Lionel Friend, WWE vol. 13 • MT 85<br />
(June 1944), 189 (F. Bonavia)<br />
Recordings: 78, CD Phyllis Sellick / City of Birmingham<br />
Symphony Orchestra / <strong>Walton</strong> (recorded Dudley Town<br />
Hall, 8 August 1945). HMV C 3478/80 (1945); HMV C<br />
7635/7 auto (1946); World Record Club SH128 (1970);<br />
HMV EH29 1276 1(1987); EMI CDH7 63828 2 (1991);<br />
EMI Collector’s Edition 4 40865 2 (2012)<br />
LP, CD Peter Katin / London Symphony Orchestra /<br />
<strong>Walton</strong> (recorded Walthamstow Assembly Hall, 14 April<br />
1970). Lyrita SRCS47 (1971); Lyrita SRCD224 1992)<br />
Note: In a letter to Alan Frank, dated 10 June 1968, <strong>Walton</strong><br />
stated that ‘the revision of S.C. was largely on practical<br />
grounds—a smaller orchestra and a much less complicated<br />
piano part (perhaps now too easy) so that it could be played<br />
by the pianist attached to the orchestra, without having to<br />
obtain the services of a virtuoso’ (OUP archive).<br />
In a letter to the present author, dated 25 February 1978,<br />
<strong>Walton</strong> maintained that the original version was better and<br />
more interesting (Craggs archive).<br />
Other versions<br />
C21c Sinfonia Concertante<br />
arrangement for two pianos by Roy Douglas<br />
Publication: score: OUP, 1947 at 10s 6d<br />
Note: On 30 January 1945, <strong>Walton</strong> asked Roy Douglas to<br />
prepare a second pianoforte part for the Sinfonia Concertante,<br />
‘reducing it from the score and not including anything<br />
which is doubled by the solo part. This was done between 1<br />
February and 21 April 1945 (Douglas archive).<br />
C21d Unrequited Moments<br />
Ballet in one act (using the two-piano arrangement of the<br />
original version) with choreography by Patrick Lewis.<br />
First performance: Cambridge, Corn Exchange, 7 May<br />
1996; English National Ballet. Further performances then<br />
took place in the Queen’s Theatre, Barnstaple, 10–11 May;<br />
Charter Theatre, Preston, 15 May; Forum 28, Barrow-in-<br />
Furness, 21–2 May; Lyceum, Crewe, 24–5 May.<br />
C22<br />
Co n c e r t o fo r V i o l a an d<br />
Orc h e s t r a<br />
1. Andante comodo; 2. Vivo, e molto preciso; 3. Allegro<br />
moderato<br />
Date of composition: 1928–9; revised 1936–7 and<br />
1961<br />
Holograph: London, Royal College of Music: MS 4234<br />
Note: In a letter, dated 5 November 1948, Sir George<br />
Dyson (then director of the Royal College of Music) asked<br />
WW whether he would consider giving the college an<br />
For perusal purposes only
C22 Concerto for Viola and Orchestra 29<br />
autograph full score, for reference only and not for general<br />
use. In a reply dated 1 April 1949 Alan Frank of OUP wrote<br />
and offered the full score (original version) of the Viola<br />
Concerto (OUP archive).<br />
Instrumentation: picc.2.2.ca.2.bcl.2.cbn/4.3.3.1/<br />
timp/strings (‘The strings are to play only 4/3/2/2/2,<br />
except where the sign (+) indicates that the full body of<br />
strings is to be used.’)<br />
Dedication: To Christabel [Mrs Henry McLaren, later<br />
Lady Aberconway]<br />
Duration: 23 minutes<br />
First performance: London, Queen’s Hall, 3 October<br />
1929 (Promenade concert, broadcast by the BBC on the<br />
Daventry Experimental Station); Paul Hindemith and the<br />
Henry Wood Symphony Orchestra, conducted by <strong>William</strong><br />
<strong>Walton</strong><br />
First European performance: Berlin (Witzlehen),<br />
Radio HQ, 24 April 1930; Lionel Tertis and ad hoc orchestra,<br />
conducted by <strong>William</strong> <strong>Walton</strong>. (A copy of the day’s listings<br />
for German Radio can be found in the BBC’s Written<br />
Archive Centre. It reveals that the original soloist in the<br />
concerto was to be Hans Mahike, a member of the Havemann<br />
String Quartet and a professor of violin and chamber music<br />
at the Berlin Musikhochschule.)<br />
First American performance: The original version was<br />
never performed in the USA (see below for further details).<br />
A letter reveals that <strong>Walton</strong> sent Koussevitzky the score and<br />
viola part in December 1929 for the first American performance<br />
by an unnamed soloist and the Boston Symphony<br />
Orchestra (Library of Congress, Washington, DC).<br />
Other early performances: London, Queen’s Hall,<br />
21 August 1930 (broadcast by the BBC in the National<br />
Programme); Bernard Shore and the BBCSO, conducted<br />
by <strong>William</strong> <strong>Walton</strong> • Liège, Music Conservatory Concert<br />
Hall, 4 September 1930; Lionel Tertis and unnamed orchestra,<br />
conducted by <strong>William</strong> <strong>Walton</strong> • London, Queen’s<br />
Hall, 26 March 1931 (RPS concert); Lionel Tertis and<br />
the Royal Philharmonic Orchestra, conducted by Ernest<br />
Ansermet (the first occasion on which Tertis performed<br />
the concerto in England) • London, Queen’s Hall, 10<br />
September 1931; Lionel Tertis and the BBCSO, conducted<br />
by <strong>William</strong> <strong>Walton</strong> • Manchester, Free Trade Hall, 14<br />
January 1932; Lionel Tertis and the Hallé Orchestra,<br />
conducted by Sir Hamilton Harty • Birmingham, Town<br />
Hall, 21 February 1932 (broadcast by the BBC on the<br />
Midland Regional Programme); Lionel Tertis and the City<br />
of Birmingham Symphony Orchestra, conducted by Leslie<br />
Heward • Worcester, Cathedral Church of Christ and St.<br />
Mary, 8 September 1932 (Three Choirs Festival concert);<br />
Lionel Tertis and the London Symphony Orchestra,<br />
conducted by <strong>William</strong> <strong>Walton</strong>. (At this concert <strong>Walton</strong> met<br />
Sir Edward Elgar.)<br />
Publication: full score: OUP, 1930 at 21s • miniature<br />
score: OUP, 1938 at 4s • WWE vol. 12, pp. 1–146<br />
• arrangement for viola and piano: OUP, 1930 at 7s<br />
6d • solo viola part, edited by Lionel Tertis: OUP, 1930<br />
at 1s 6d (later reprinted to include the 1961 revisions and<br />
published in March 1964 at 30s. The following appeared on<br />
the title-page:<br />
In 1961 the composer rescored this work for a reduced<br />
orchestra and authorised that both the original and the<br />
new orchestration may be used; however, the composer<br />
strongly prefers the new version. In the course of his<br />
rescoring the composer made certain changes in tempo<br />
indications, dynamics etc. affecting the work as a whole,<br />
and these alterations have been incorporated in the<br />
present reprint of the piano score and solo part. The<br />
indications of instrumentation printed on the piano<br />
part refer to the original orchestration, but as the actual<br />
music remains basically unchanged in both orchestrations<br />
this piano part may still be used for rehearsal<br />
purposes. Indications of instrumentation for both<br />
orchestrations are printed in the solo part, with those<br />
where the reduced version differs from the original in<br />
square brackets.<br />
Bibliography: Christopher Wellington, WWE vol.<br />
12 • C. A. Betancourt, <strong>William</strong> <strong>Walton</strong>’s Viola Concerto:<br />
A Methodology of Study (DA diss., Ball State University,<br />
Muncie, Indiana, 1997) • David Dalton, Playing the Viola:<br />
Conversations with <strong>William</strong> Primrose (Oxford: OUP, 1988),<br />
197–201, 211 • Scott Goddard, The Concerto, ed. Ralph<br />
Hill (Harmondsworth: Penguin, 1962), pp. 392–6 • Basil<br />
Maine, Twang with Our Music: Being a Set of Variants to Mark<br />
the Completion of 30 Years’ Practice in the Uncertain Science<br />
of Music Criticism (London: Epworth Press, 1957),<br />
112–13 • Robert Meikle, ‘Viola Concerto’, Craggs ML,<br />
pp. 78–81, 91–3 • <strong>William</strong> Primrose, Walk on the North Side:<br />
Memoirs of a Violist (Provo, Utah: Brigham Young University<br />
Press, 1978), 89, 99, 101,113, 115, 182,185,186 • Jürgen<br />
Schaarwächter, ‘Auf der Suchenach einem Interpreten:<br />
<strong>William</strong> <strong>Walton</strong>s Violakonzert und Paul Hindemith’,<br />
Hindemith-Jahrbuch Annals Hindemith 2006/XXXV (Frankfurt<br />
am Main, Hindemith-Institut; Mainz and London: Schott,<br />
2006), 166–85 • Lionel Tertis, Cinderella no More (London:<br />
Neville, 1953), 38, 66–67; reprinted in My Viola and I<br />
(London: Elek, 1974), 36–7 • Donald F. Tovey, Essays<br />
in musical analysis, vol. 3, Concertos (London: OUP, 1935),<br />
220–26 • Abraham Veinus, Victor Book of Concertos (New<br />
York: Simon and Schuster, 1948), 417–19 • Christopher<br />
For perusal purposes only
30 C22 Concerto for Viola and Orchestra<br />
Wellington, ‘<strong>William</strong> <strong>Walton</strong>’s Viola Concerto: A Mystery’,<br />
in An Anthology of British Viola Players, ed. John White (Colne:<br />
Comus, 1997), 245–6 • John White, Lionel Tertis: The First<br />
Great Virtuoso of the Viola (Woodbridge: Boydell, 2006),<br />
105–110, 142, 149 • BPost, 18 Jan 1932, p. 8 (E. Blom);<br />
JAVaS 17 (2001), 31–7 (C.Taylor); 22 (2006), 13–18 (J.<br />
F.Dunham); The Listener, 17 Feb 1937, p. 335 (C. Lambert);<br />
12 July 1945, pp. 52–3 (W. McNaught); MG, 15 Jan 1932, p.<br />
8 (N. Cardus); MT 70 (November 1929), 1029–30 (E.B.);<br />
71 (October 1930), 898–902 (E.E.), 934–5 (B.M.); 72<br />
(May 1931), 453 (W.McN.); 73 (March 1932), 266 (B.M.);<br />
ST, 6 Oct 1929, p. 7 (E.N.); Times, 4 Oct 1929, p. 12; 6 Sept<br />
1930, p. 8; 27 March 1931, p. 12; 21 Jan 1932, p. 10; 9 Sept<br />
1932, p. 8; 10 Sept 1932, p. 8.<br />
Recordings: 78 Frederick Riddle / London Symphony<br />
Orchestra / <strong>Walton</strong> (recorded Decca Studios, Thames Street,<br />
London). Decca AX199–201 (1938); Dutton Laboratories<br />
CDAX 8003 (1993) • <strong>William</strong> Primrose / Philharmonia<br />
Orchestra / <strong>Walton</strong> (recorded No.1 Studio, Abbey Road,<br />
London, 22–23 July 1946). HMV DB 6309–11; HMV DB<br />
9036–8 auto (1946)<br />
LP, CD <strong>William</strong> Primrose / Royal Philharmonic Orchestra<br />
/ Malcolm Sargent. Columbia ML 4905 (1954); Philips<br />
ABL 3045 (1955) • <strong>William</strong> Primrose / Philharmonia<br />
Orchestra / <strong>Walton</strong>. Imprimateur IMP6 (1982)/EMI EH29<br />
1276 1 (reissue of the 78 rpm, 1987); EMI CDH7 63828 2<br />
(1991); Pearl GEMMCD 9252 (1997)<br />
Note: In a letter to Siegfried Sassoon (dated [5 December<br />
1928], WW archive), <strong>Walton</strong> wrote that ‘I have been<br />
working hard at a Viola Concerto suggested by Beecham<br />
and designed for Lionel Tertis. It may be finished by<br />
Christmas and is I think by far my best effort up to now.’<br />
On 2 February [1929], <strong>Walton</strong> was telling Sassoon that<br />
‘I finished yesterday the second movement of my Viola<br />
Concerto. At the moment, I think it will be my best work.’<br />
Over a year later on 3 July 1930, <strong>Walton</strong> informed Sassoon<br />
that ‘Hindemith is playing it on 3 October, myself with the<br />
“bâton”’ (WW archive).<br />
Revised version (1st)<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 586a) • A<br />
BBC Symphony Orchestra Concert draft can be found in the<br />
BBC Written Archives which reveals that in January 1937<br />
the BBC was considering an invitation ‘to <strong>William</strong> Primrose<br />
to produce <strong>Walton</strong>’s new version of his Viola Concerto instead<br />
of repeating Tertis in the old one’ (emphasis added). In fact,<br />
Tertis played the concerto at a BBC concert in Queen’s Hall<br />
on 24 February 1937—a celebration of his 60th birthday<br />
and his last performance, as he was retiring because of rheumatism<br />
in his bowing arm. The BBC Symphony Orchestra<br />
was conducted by Ernest Ansermet and this concert was<br />
broadcast on the BBC National Programme. • Primrose<br />
later played the concerto at a Promenade concert on 2<br />
September 1937, with the BBCSO conducted by Henry<br />
Wood, but whether this was the new version is unclear; no<br />
reviews of the concert mention the fact. • According to<br />
a Philadelphia Orchestra programme note (3 March 1944,<br />
when the concerto was played by <strong>William</strong> Primrose with the<br />
Orchestra, conducted by Eugene Ormandy), ‘Mr. Primrose<br />
and <strong>William</strong> <strong>Walton</strong> made a thorough revision of the score<br />
[shortly before the war], deleting and adding, and re-writing<br />
the solo part. The latter, in its new form, differs materially<br />
from the one in the score, and, according to Mr. Primrose,<br />
has never been published.’<br />
First American performance: New York, NBC Studio<br />
(Radio City), 14 May 1938; <strong>William</strong> Primrose and the<br />
NBC Symphony Orchestra, conducted by Sir Adrian Boult.<br />
(A programme note mentions that the concert includes: ‘the<br />
introduction in this country of <strong>William</strong> <strong>Walton</strong>’s Concerto<br />
for Viola and Orchestra with <strong>William</strong> Primrose as soloist’.<br />
It also notes that although ‘<strong>William</strong> Primrose’s performance<br />
in this country with the BBCSO on 2 September 1937<br />
was rebroadcast over a National Broadcasting Company<br />
network, this will be the premiere performance of the work<br />
in this country.’)<br />
Other early performances: London, Queen’s Hall,<br />
15 September 1938; <strong>William</strong> Primrose and the BBC<br />
Symphony Orchestra, conducted by Sir Henry Wood<br />
• Minneapolis, Northrop Memorial Auditorium, 3 March<br />
1939; Davis Dawson and the Minneapolis Symphony<br />
Orchestra, conducted by Dimitri Mitropoulos<br />
Bibliography: NY Times, 15 May 1938 (Section II), p. 2<br />
(G.G.); Times, 3 Sept 1937, p. 10; 16 Sept 1938, p. 10<br />
Revised version (2nd)<br />
‘In 1961, the composer rescored the work for a smaller<br />
orchestra, using double instead of triple woodwind, omitting<br />
one trumpet and tuba, and adding a harp’ (from a note<br />
in the score). He also authorized that both the original and<br />
the new orchestrations may be used.<br />
Holograph: Beinecke Rare Book and Manuscript Library,<br />
Yale University: GEN MSS 601 (FRKF 586b)<br />
Instrumentation: 2(II + picc).1.ca.2(II + bcl).2/4.2.3.0/<br />
timp/hp/strings<br />
For perusal purposes only
First performance: London, Royal Festival Hall, 18<br />
January 1962; John Coulling and the London Philharmonic<br />
Orchestra, conducted by Sir Malcolm Sargent<br />
First broadcast performance: London, BBCTV<br />
Centre, 15 October 1963 (recording made five months<br />
earlier in the International Concert Hall series); Lina<br />
Lama and the London Symphony Orchestra, conducted by<br />
<strong>William</strong> <strong>Walton</strong>. (<strong>Walton</strong> conducted a BBC2 (television)<br />
programme of his own music.)<br />
Note: Lina Lama was principal viola of orchestras in Naples<br />
and Salzburg. <strong>Walton</strong> heard her playing in Italy and specially<br />
asked her to take part in this TV performance.<br />
Publication: study score: OUP, 1964, at 30s (rev. edn,<br />
September 1976, with minor corrections to pp. 33 and<br />
59) • WWE vol. 12, pp. 149–295 • study score: OUP,<br />
2013, at £17.95<br />
Bibliography: Times, 19 Jan 1962, p. 13<br />
Recordings: LP, CD Yehudi Menuhin / New Philharmonia<br />
Orchestra / <strong>Walton</strong> (recorded No.1 Studio, Abbey Road,<br />
London, 9–11 October 1968). HMV ASD 2542 (1970);<br />
EMI CDS 5 65003 2 (1994) • Nigel Kennedy / Royal<br />
Philharmonic Orchestra / André Previn. EMI EL749 628<br />
1 (1987); EMI CDC 7 49628 2 (1987); EMI 7243 62813 2<br />
(2004); 6 80504 2 (2012); EMI Collector’s Edition 4 40860<br />
2 (2012) • Nobuka Imai / London Philharmonic Orchestra<br />
/ Jan Latham-Koenig. Chandos CHAN 9106 (1993); CHAN<br />
9426 (1995)<br />
Note: In a letter dated 16 October 1961, <strong>Walton</strong> told Alan<br />
Frank that ‘I think [it] an improvement on the old version<br />
particularly as regards clarity and definition. The music is<br />
the same and the solo part unaltered save for an odd octave<br />
higher here and there’ (OUP archive).<br />
Other versions<br />
C22a<br />
arrangement for viola and piano by Geoffrey Pratley<br />
Publication: piano score and solo viola part: OUP, 1993<br />
C22b<br />
piano reduction by Geoffrey Pratley, edited by Christopher<br />
Wellington. Solo line restored, as edited and prepared by<br />
Frederick Riddle and most favoured by WW.<br />
Publication: piano score and solo viola part (compatible<br />
with WWE, vol. 12): OUP, 2002 (this reduction contains<br />
tempo markings and dynamics and expression marks from<br />
both orchestrations prepared by <strong>Walton</strong>, in 1929 and 1962<br />
C23 Belshazzar’s Feast 31<br />
(the latter distinguished by lighter type), and thus the solo<br />
line printed here may be played with either)<br />
C22c O.W.<br />
A ballet choreographed by Joe Layton, for which both the<br />
Viola Concerto and The Quest (C49a) were used. ‘O.W.’<br />
stands for ‘Oscar Wilde’.<br />
First performance: London, Sadler’s Wells Theatre,<br />
22 February 1972; Royal Ballet Touring Orchestra, conducted<br />
by David Taylor with Frederick Riddle (viola). Royal Ballet,<br />
including Paul Clarke, Michael Somes, Kerrison Cooke,<br />
Margaret Barbieri, and Vyvyan Lorrayne. Designs and<br />
costumes by Joe Conklin.<br />
Bibliography: Times, 24 Feb 1972, p. 13<br />
C23<br />
Be l s h a z z a r’s Fe a s t<br />
cantata for baritone solo, double mixed chorus (SSAATTBB),<br />
and orchestra<br />
Text: arranged from biblical sources (Isaiah, Daniel, parts<br />
of Psalms 137 and 81, Joel, and Revelation) by Osbert Sitwell,<br />
with a German translation by Beryl de Zoete and the<br />
Baroness Imma Doernberg.<br />
Date of composition: 1929–31<br />
Commissioned by: British Broadcasting Corporation<br />
Holograph: whereabouts unknown<br />
Instrumentation: picc.2.2.2(II + E♭).bcl(+cl III).a<br />
sax.2.cbn/4.3.3.1/timp/perc (4: tri, cyms, sus cym, gong,<br />
cast, wb, sd, td, bd, glock, xyl, tamb, slapstick and anvil)/<br />
pno (opt)/org/2hp/strings, and 2 optional brass ensembles<br />
each containing 3tpt, 3tbn, tba<br />
Dedication: To Lord Berners<br />
Duration: 35 minutes<br />
First performance: Leeds, Town Hall, 8 October 1931<br />
(Leeds Triennial Festival); Dennis Noble, Leeds Festival<br />
Chorus and London Symphony Orchestra, conducted by<br />
Malcolm Sargent<br />
First London performance: Queen’s Hall, 25<br />
November 1931 (broadcast by the BBC as the 6th of the BBC<br />
Symphony Concerts); Stuart Robertson, National Chorus<br />
and BBC Symphony Orchestra conducted by Adrian Boult.<br />
(Holst’s Hammersmith (A Prelude and Scherzo) received its first<br />
performance at this concert.)<br />
For perusal purposes only
32 C23 Belshazzar’s Feast<br />
First European performance: Amsterdam, Groote<br />
Zaae (Concertgebouw), 10 June 1933 (ISCM Festival<br />
concert); Roy Henderson, Kon. Christelijke Oratorium<br />
Vereniging and ‘Excelsior’ (Rotterdam) with the<br />
Concertgebouworkest, conducted by Constant Lambert<br />
(the Rotterdam choir undertook the work at comparatively<br />
short notice after another choir had withdrawn its offer)<br />
First American performance: Boston, Symphony<br />
Hall, 31 March 1933; David Blair McClosky, Cecilia Society<br />
Chorus and Boston Symphony Orchestra, conducted by<br />
Serge Koussevitzky<br />
Other early performances: London, Queen’s<br />
Hall, 2 November 1932 (broadcast as a BBC Symphony<br />
Concert); Dennis Noble, Wireless Singers, BBC Chorus<br />
and BBC Symphony Orchestra, conducted by Adrian<br />
Boult • Manchester, Free Trade Hall, 17 November 1932;<br />
Dennis Noble, Hallé Chorus and Orchestra, conducted<br />
by Sir Hamilton Harty • London, Queen’s Hall, 16, 17,<br />
and 19 January 1933 (Courtauld–Sargent Concerts); Roy<br />
Henderson, ‘Special Choir’ (drawn mainly from members<br />
of the Royal Choral Society) and London Philharmonic<br />
Orchestra, conducted by Malcolm Sargent • Cincinnati,<br />
Music Hall, 5 May 1933; Herbert Gould, Spring Festival<br />
Chorus and Cincinnati Symphony Orchestra, conducted by<br />
Eugene Goossens • Philadelphia, 12 January 1934 (radio<br />
concert from CBS studios and broadcast across America);<br />
Dudley Marwick, Philadelphia Orchestra Chorus, the<br />
Mendelssohn Club and Philadelphia Orchestra, conducted<br />
by Leopold Stokowski • Neath, National Eisteddfod<br />
Pavilion, 9 August 1934; Roy Henderson, Eisteddfod<br />
Choir (700 voices) and the London Symphony Orchestra,<br />
conducted by Matthew Davies • New York, Carnegie<br />
Hall, 9 January 1935; Keith Falkner, Schola Cantorum and<br />
New York Philharmonic Orchestra, conducted by Hugh<br />
Ross • Toronto, Massey Hall, 13 February 1936; Frederick<br />
L. Newnham, Toronto Mendelssohn Choir and Toronto<br />
Symphony Orchestra, conducted by Dr. Herbert Fricker<br />
Publication: vocal score: OUP, 1931 at 3s • Sol-Fa<br />
edition: OUP, 1933 at 2s • two separate choruses printed<br />
for the 1934 Blackpool Music Festival: OUP, 1935. (This<br />
performance, by various competing choirs and the<br />
Blackpool Amateur Symphony Orchestra, conducted by<br />
Ralph Harwood, took place in the Blackpool Opera House<br />
on 27 October 1934.)<br />
Bibliography: Richard Aldous, Tunes of Glory: The Life<br />
of Malcolm Sargent (London: Pimlico, 2002), 48, 50–53,<br />
72–3, 79, 98, 191, 195 • H. F. Brown, ‘English Oratorio<br />
after Handel Including Analysis of Belshazzar’s Feast by<br />
Sir <strong>William</strong> <strong>Walton</strong>’ (MA thesis, University of Michigan,<br />
1954) • Spike Hughes, Second Movement, Continuing the<br />
Autobiography of Spike Hughes (London: Museum Press,<br />
1951), 140 • Michael Kennedy, ‘Belshazzar and the BBC<br />
Bureaucracy: the Origins of a Masterpiece’, CraggsML,<br />
pp. 59–66 • L. S. Luce, ‘<strong>William</strong> <strong>Walton</strong>’s Belshazzar’s<br />
Feast: A Conductor’s Analysis for Performance’ (DMA diss.,<br />
University of Miami, 1995) • BETr, 30 March 1933, p. 13<br />
(AHM); Gramophone, 20 (May 1943), 182 (H. Bardgett); The<br />
Listener, 18 Nov 1931, pp. 860–61 (HG); MG, 9 Oct 1931,<br />
p. 10, (N. Cardus); 18 Nov 1932, p. 13 (N.Cardus); MMR<br />
61 (October 1931), 298–9 (F. Howes); MO 56 (July 1933),<br />
860–61 (H.Foss); MT 73 (November 1931), 991–2 (F. Howes);<br />
73 (January 1932), 68 (WMcN); 73 (December 1932), 1127<br />
(FB); 74 (August 1933), 905–8 (E. Evans); 76 (October<br />
1935), 901 (W. R. Anderson); 84 (April 1943), 115 (W. R.<br />
Anderson); NYT, 10 Jan 1935, p.23 (O. Downes); 6 Nov 1935,<br />
p. X7 (O. Downes); RT, 28 Oct 1932, p. 258 (C. Lambert); 20<br />
Nov 1942, p. 4 (R. Hill); Sackbut 12 (1932), 84–6 (J. H. Elliot);<br />
ST, 29 Nov 1932, p. 5 (E. Newman); Times, 9 Oct 1931, p. 10;<br />
23 Nov 1931, p. 12; 3 Nov 1932, p. 10; 17 Jan 1933, p. 10; 12<br />
June 1933, p. 12; YOb, 9 Oct 1931, p. 7; YPost, 9 Oct 1931, p.<br />
5, 14 Sept 1931, p. 4<br />
Recordings: 78 Dennis Noble / Huddersfield Choral<br />
Society, Liverpool Philharmonic Orchestra and brass bands /<br />
<strong>Walton</strong> (recording commissioned by the British Council<br />
and recorded in Philharmonic Hall, Liverpool, 3 and 10<br />
January 1943). HMV C3330–34 (1943); HMV C 7572–6<br />
auto (1943)<br />
LP, CD Dennis Noble, Huddersfield Choral Society,<br />
Liverpool Philharmonic Orchestra and brass bands /<br />
<strong>Walton</strong>. HMV ALP1089 (1953); HMV Treasury series ED<br />
290715 1 (1986); EMI CDH7 63381 2 (1992)<br />
Note: In a letter to OUP dated 22 July 1942 Osbert Sitwell<br />
stated that at least a quarter of of the libretto was his own,<br />
and that the work took him ten days in Venice, working all<br />
day long. He added that the fact his work cannot be detected<br />
from that of the rest of the material only showed how skilfully<br />
he worked (OUP archive).<br />
In a letter to the present author, dated 2 October 1972,<br />
the late Christabel, Lady Aberconway, claimed that she did<br />
‘most of the research on the text’. Those six words are<br />
underlined twice (Craggs archive).<br />
Revised version<br />
For perusal purposes only<br />
Spike Hughes (see above) says that <strong>Walton</strong> ‘revised one or<br />
two passages’ between its first performance in Leeds and<br />
the first London performance.<br />
Roy Douglas, in a letter to the present author, dated<br />
24 September 1981, detailed the later revisions to<br />
Belshazzar’s Feast thus:
From 17 April to 23 August 1948, I had the daunting task<br />
of writing out the 148 pages of a new copy of the entire<br />
full score (I think I wrote the word ‘Alleluia’ about 180<br />
times!). This new score was necessary because <strong>William</strong><br />
had made a considerable amount of revisions throughout,<br />
mostly thinning out the scoring, and cutting out much of<br />
the original percussion parts (to the detriment of the work,<br />
in my opinion). In particular he greatly altered the scoring<br />
of the passage from p. 119 to p. 130 in the study score.<br />
In February 1959, he made a couple of further small<br />
changes (after the study score had been published).<br />
In a later letter dated 14 June 1987 Mr Douglas added:<br />
at some time <strong>Walton</strong> entirely rescored the final 14<br />
bars . . . extending them to 18 bars, using the full orchestra<br />
and adding the upper octaves, instead of only the<br />
lower instruments.<br />
Also, at a rehearsal somewhere abroad (it could have<br />
been Salzburg [recte Vienna]) the organist suggested<br />
adding a full organ chord halfway through the very last<br />
chord of the work. <strong>Walton</strong> agreed, and added it to the<br />
score (Craggs archive).<br />
First performance: London, Royal Albert Hall, 8 March<br />
1950; Dennis Noble, BBC Chorus, Goldsmiths Choral<br />
Union and the BBC Symphony Orchestra, conducted by Sir<br />
Malcolm Sargent<br />
Other performances: Worcester, Cathedral Church<br />
of Christ and St Mary, 2 September 1957 (Three Choirs<br />
Festival); Harvey Alan, Three Choirs Festival Chorus and<br />
City of Birmingham Symphony Orchestra, conducted by<br />
David Willcocks<br />
First French performance: Paris, Théâtre des Champs<br />
Elysées, 1 February 1957; Robert Massard, French Radio<br />
Choir and National Orchestra, conducted by Charles<br />
Bruck<br />
First Israeli performance (in Hebrew): Jerusalem,<br />
Binyaney Ha’ooma, 21 July 1963; Mordecai Ben-Shachar, Tel<br />
Aviv Choir and Israeli Philharmonic Orchestra, conducted<br />
by Sir <strong>William</strong> <strong>Walton</strong>. Repeated in Tel Aviv, Mann<br />
Auditorium (23 July 1963), and Haifa, Armon Theatre<br />
(25 July 1963).<br />
Publication: study score: OUP, 1957, at 25s (reissued in<br />
1981) • vocal score (rev. edn): OUP, 1959 at 12s • de<br />
luxe full score: OUP, 1978, at £60; a boxed edition (350<br />
copies, signed by <strong>Walton</strong>), which included the essay ‘The<br />
Origins of Belshazzar’s Feast’ by Michael Kennedy, was<br />
published on the 500th anniversary of OUP • WWE vol. 4,<br />
pp. 1–174 (volume dedicated to Roy Douglas on his 100th<br />
birthday) • study score: OUP, 2013 at £26.00 • vocal<br />
score OUP, 1931, 1957, 2007 (newly engraved)<br />
C24 Make we joy now in this fest 33<br />
Bibliography: Steuart Bedford, WWE vol. 8 • Berrows<br />
Worcester Journal, 6 April 1957, p. 6 (A. T. Shaw); Choral Journal<br />
44 (February 2004), 27–37 (R. Kelly); M&L 35 (October<br />
1957), 407 (E.B.); MG 6 Sept 1957, p. 7 (C. Mason); Times,<br />
2 Feb 1957, p. 3<br />
Recordings: LP, CD Dennis Noble / London Philharmonic<br />
Choir, Philharmonic Promenade Orchestra / Adrian Boult.<br />
Nixa NLP904 (1954); Nixa NIXCD 6012 (1988) • James<br />
Milligan / Royal Liverpool Philharmonic Chorus and<br />
Orchestra / Malcolm Sargent. EMI ALP 1628 (1958); EMI<br />
CHS 7 63376 2 (1990) • Donald Bell / Philharmonia<br />
Choir and Orchestra / <strong>Walton</strong> (recorded Kingsway Hall,<br />
2–5 February 1959). Columbia 33CX 1679 (1959); SAX<br />
2319 (1961); EMI Concert Classics SXLP 30236 (1977);<br />
EMI SLS 5246 (1982); EMI CHS 5 65004 2 (2000) • John<br />
Shirley-Quirk / London Symphony Chorus and Orchestra /<br />
André Previn. EMI SAN324 (1972); CDM 7647232 (1993);<br />
EMI 6 80508 2 (2012) • David Wilson-Johnson / London<br />
Symphony Chorus and Orchestra / Richard Hickox. EMI<br />
CDC 749496 2 (1989); EMI CDM 5 65235 2 (1989); EMI<br />
HMV 5728362 (1998) • Bryn Terfel/BBC Singers and BBC<br />
Symphony Chorus and Orchestra / Andrew Davis. Telarc<br />
TEL 45099786822 (1994) • Thomas Hampson / City of<br />
Birmingham Symphony Chorus and Cleveland Orchestra<br />
Chorus, City of Birmingham Symphony Orchestra / Simon<br />
Rattle. EMI CDC 5 56592 2 (1998); EMI Collector’s Edition<br />
4 40867 2 (2012) • Gwynne Howell / Philharmonia<br />
Chorus and Orchestra / David Willcocks. Chandos CHAN<br />
8760 (1989); CHAN 9426 (1995)<br />
Note: On 14 August 1959 Dallas Bower wrote to Alan<br />
Frank at OUP informing him that ‘he was much interested<br />
in a possible colour film of Belshazzar’s Feast for N.B.C.’<br />
(OUP archive).<br />
Other versions<br />
C23a Belshazzar’s Feast<br />
selections arranged for symphonic wind band by Beno<br />
Publication: available on hire from Music Supply Tokyo<br />
For perusal purposes only<br />
C24<br />
Ma k e w e jo y no w in th i s fe s t<br />
carol for unaccompanied mixed choir (SATB)<br />
Text: anonymous 15th-century English<br />
Date of composition: 21–3 December 1931
34 C25 Choral Prelude ‘Herzlich thut mich verlangen’ (BWV 727)<br />
Commissioned by: the Daily Dispatch (Manchester),<br />
and first published (in facsimile) in that newspaper on<br />
24 December 1931<br />
Holograph: whereabouts unknown<br />
Duration: 2 minutes 30 seconds<br />
First performance: unable to trace<br />
Publication: score: OUP, 1932 at 3d (OCS 750) • WWE<br />
vol. 6, pp. 13–14; offprinted as OCS 750 (rev.), 1999<br />
Bibliography: Timothy Brown, WWE vol. 6 • Daily<br />
Dispatch, 24 Dec 1931, pp. 1e and 5c–e<br />
Recordings: CD Trinity College Choir, Cambridge /<br />
Richard Marlowe. Conifer CDCF 14 (1989) • Bach Choir<br />
/ David Willcocks. Chandos CHAN 8998 (1991); CHAN<br />
9426 (1995) • Finzi Singers / Paul Spicer. Chandos CHAN<br />
9222 (1993); CHAN 9426 (1995)<br />
Note: Publication of this carol follows those that Peter<br />
Warlock had written for newspapers, namely ‘Bethlehem<br />
Down’ in the Daily Telegraph (24 December 1927) and the<br />
song ‘The Frostbound Wood’ in Radio Times (20 December<br />
1929).<br />
C25 Ch o r a l Pr e l u d e ‘He r z l i c h<br />
t h u t mi c h v e r l a n g e n’ (BWV 727)<br />
By J. S. Bach, freely arranged for solo pianoforte by <strong>William</strong><br />
<strong>Walton</strong>.<br />
This work was a contribution to A Bach Book for Harriet<br />
Cohen. The other contributors of the piano transcriptions<br />
of works by J. S. Bach were: Granville Bantock (‘Wachet<br />
auf’, BWV 645), Arnold Bax (Fantasia in G, BWV572),<br />
Lord Berners (‘In dulce jubilo’, BWV729), Arthur Bliss<br />
(‘Das alte Jahr’, BWV614), Frank Bridge (‘Komm, süsser<br />
Tod’, BWV478), Eugene Goossens (Andante, BWV1047),<br />
Herbert Howells (‘O Mensch, bewein dein Sünde gross’,<br />
BWV622), John Ireland (‘Meine Seele erhebt den<br />
Herrn’, BWV648), Constant Lambert (‘Der Tag, der<br />
ist so freudenreich’, BWV605), Ralph Vaughan <strong>William</strong>s<br />
(‘Ach bleib bei uns, Herr Jesu Christ’, BWV649), and<br />
W. Gillies Whittaker (‘Wir glauben all en einen Gott’,<br />
BWV740).<br />
Date of arrangement: 1931<br />
Holograph: Music Department, Mount Scopus Library,<br />
The Hebrew University of Jerusalem Library, Jerusalem<br />
(<strong>Catalogue</strong> number: 4 Mus.2 (3) ). The wrapper is inscribed<br />
by Harriet Cohen with the title, and ‘Gift to the Library<br />
of the Hebrew University in Jerusalem, Palestine from<br />
Harriet Cohen CBE’. Copy in the British Library at Facs.<br />
Suppl.XIII (5).<br />
Dedication: For Harriet Cohen<br />
Duration: 1 minute 20 seconds<br />
First performance: London, Queen’s Hall, 17 October<br />
1932. Harriet Cohen.<br />
First American performance: New York, Town Hall,<br />
19 November 1932; Harriet Cohen<br />
Other performances: London, BBC Studios, 22 June<br />
1941 (broadcast on the BBC Home Service); Harriet<br />
Cohen<br />
Publication: score: OUP, 1932 at 5s • WWE vol. 20,<br />
p. 56 • score (with an introduction by David Owen<br />
Norris): OUP, 2013 at £12.95<br />
Bibliography: Michael Aston, WWE vol. 20 • Harriet<br />
Cohen, A Bundle of Time: Memoirs (London: Faber, 1969),<br />
183 • Helen Fry, Music and Men: The Life and Loves of<br />
Harriet Cohen (Stroud: History Press, 2008), 207 • MO 56<br />
(November 1932), 235; NYT, 19 Nov 1932, p. 20 (H.T.);<br />
Times, 21 Oct 1932, p. 12<br />
Recordings: CD Angela Hewitt. Hyperion CDA 67309<br />
(2010) • Jonathan Plowright, ed., Bach Piano Transcriptions,<br />
vol. 9. Hyperion CDA 67767 (2010)<br />
C26<br />
Th r e e So n g s<br />
for voice and piano<br />
1. Daphne (nello stile inglese); 2. Through Gilded<br />
Trellises (nello stile spagnuolo); 3. Old Sir Faulk (nello stile<br />
americano)<br />
Texts: Edith Sitwell<br />
Date of composition: December 1931 to February<br />
1932<br />
Holograph: whereabouts unknown<br />
Dedication: For Dora and Hubert Foss<br />
Duration: 1: 3 minutes; 2: 4 minutes; 3: 2 minutes<br />
First (private) performance: Rickmansworth, Nightingale<br />
Corner (the Foss home), 9 April 1932; Dora Stevens and<br />
Hubert Foss<br />
First public performance: London, Wigmore Hall,<br />
10 October 1932; Dora Stevens and Hubert Foss<br />
For perusal purposes only
Other early performances: London, St. John’s<br />
Institute, 11 October 1932; Dora Stevens and Helen<br />
Perkin • London, Duke’s Hall (RAM), 8 December<br />
1932; John Armstrong and <strong>William</strong> Foggin • London,<br />
Grotrian Hall, 2 May 1933; Sylvia Hedley and Gerald<br />
Moore • London, BBC Studios, 13 March 1936 (broadcast<br />
on the BBC National Programme); Sophie Wyss and<br />
Benjamin Britten (nos. 1 and 2 only). Inaccurately, the BBC<br />
Proms website (www.bbc.co.uk/proms/archive) claims<br />
that the songs were performed at a concert in August 1938.<br />
Publication: vocal score: OUP, 1932 at 3s 6d; rev. edn:<br />
OUP, 1960 (in this, the Italian designations were dropped and<br />
several amendments added) • WWE vol. 8, pp. 20–35<br />
Bibliography: Steuart Bedford, WWE vol. 8 • Alan<br />
Cuckston, ‘The Songs’, CraggsML, pp. 10–12 • Sydney<br />
Northcote, Byrd to Britten (London: Baker, 1966), 110 • MT<br />
73 (November 1932), 1036 (D. Hussey); Times, 14 Oct 1932,<br />
p. 10; 12 Dec 1932, p. 10; 5 May 1933, p. 12; 11 Nov 1938,<br />
p. 12<br />
Recordings: 78, CD Dora Stevens / Hubert Foss. Decca<br />
M 489–90 (1941); Dutton Laboratories CDAX 8003<br />
(1993) • ‘Old Sir Faulk’ only: Felicity Lott / Graham<br />
Johnson. Chandos CHAN 8722 (1990); CHAN 6653<br />
(2002) • Yvonne Kenny / Malcolm Martineau. Etcetera<br />
KTC 1140 (1992) • Kiri Te Kanawa / Richard Amner.<br />
Sony SMK 58932 (1993)<br />
Note: The three songs originally had an instrumental<br />
accompaniment and were part of the Bucolic Comedies (C15).<br />
According to Angus Morrison, the second and third songs<br />
were close adaptations for singing, instead of speaking voice,<br />
of two existing Façade numbers, but the first song, ‘Daphne’,<br />
was, in every way, a completely new setting of the poem.<br />
He remembers <strong>Walton</strong> playing it to him and saying that that<br />
particular poem had never been satisfactory in the original<br />
version and needed the singing voice. Indeed, after 1930 it<br />
disappeared from the Façade Entertainment altogether.<br />
Other versions<br />
C26a Six Songs after Edith Sitwell<br />
for high voice and chamber ensemble, orchestrated by<br />
Christopher Palmer<br />
1. Daphne; 2. Through Gilded Trellises; 3. Old Sir Faulk;<br />
4. Tango–Pasodoblé; 5. Popular Song; 6. Long Steel Grass<br />
(Noche Espagnola)<br />
Instrumentation: fl(+ picc).cl(+ bcl).a sax/0.1.0.0/<br />
perc (2: tri, cast, 2wb, glock, sd, tamb)/piano/2cello/<br />
double bass<br />
C27 Symphony No. 1 35<br />
Duration: 15 minutes<br />
First performance: London, All Saints Church, Tooting,<br />
11 and 12 October 1989 (recording sessions for the Chandos<br />
disc, see below)<br />
Publication: score and parts on hire: OUP, 1989<br />
Recordings: CD Jill Gomez / City of London Sinfonia /<br />
Richard Hickox. Chandos CHAN 8824 (1990); CHAN<br />
9426 (1995)<br />
C27 Sy m p h o n y No. 1<br />
for orchestra<br />
1. Allegro assai; 2. Presto con malizia; 3. Andante con malinconia;<br />
4. Maestoso—Allegro, brioso ed ardentemente<br />
Date of composition: March 1932 to August 1935<br />
Commissioned by: Sir Hamilton Harty for the Hallé<br />
Orchestra<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 593). The<br />
title-page was designed by Rex Whistler (1905–1944). See<br />
facsimile in WWE vol. 9. • Early sketches: Foss Archive<br />
(Diana Sparkes) • Sketches of discarded material: <strong>William</strong><br />
<strong>Walton</strong> archive, Ischia (ID1278) (formerly belonged to Angus<br />
Morrison and presented to the museum by his daughter)<br />
Instrumentation: 2(II + picc).2.2.2/4.3.3.1/2timp/<br />
perc (2: cym, tamt, sd)/strings<br />
Dedication: To the Baroness Imma Doernberg<br />
Duration: 43 minutes<br />
First performances (first three movements): London,<br />
Queen’s Hall, 3 December 1934; London Symphony<br />
Orchestra, conducted by Sir Hamilton Harty • London,<br />
Queen’s Hall, 1 April and 2 April 1935 (Courtauld–Sargent<br />
concert); London Philharmonic Orchestra, conducted by<br />
Malcolm Sargent<br />
First performances (complete): London, Queen’s<br />
Hall, 6 November 1935 (BBC Symphony Concerts; first<br />
broadcast performance, BBC National Programme);<br />
BBC Symphony Orchestra, conducted by Sir Hamilton<br />
Harty • Birmingham, Town Hall, 22 November 1935; City<br />
of Birmingham Symphony Orchestra, conducted by Leslie<br />
Heward<br />
First American performance: Chicago, Orchestra<br />
Hall, 23 and 24 January 1936; Chicago Symphony Orchestra,<br />
conducted by Sir Hamilton Harty<br />
For perusal purposes only
36 C27 Symphony No. 1<br />
First Promenade Concert performance: London,<br />
Queen’s Hall, 11 August 1936; BBC Symphony Orchestra,<br />
conducted by <strong>William</strong> <strong>Walton</strong><br />
Other early performances: Philadelphia, Academy of<br />
Music, 16 and 17 October 1936; Philadelphia Orchestra,<br />
conducted by Eugene Ormandy. (It is reported that over<br />
200 people walked out during the first performance.)<br />
• New York, Carnegie Hall, 20 October 1936; Philadelphia<br />
Orchestra, conducted by Eugene Ormandy • Toronto,<br />
Massey Hall, 3 November 1936; Toronto Symphony<br />
Orchestra, conducted by Ernest MacMillan • Berlin,<br />
Deutsch-Englische Gesellschaft Rooms (Bendlerstrasse),<br />
5 November 1936; Berlin Philharmonic Orchestra, conducted<br />
by Leo Borchard (<strong>Walton</strong> was present at this performance)<br />
• Melbourne, Town Hall, 24 September 1937;<br />
Melbourne Symphony Orchestra, conducted by Bernard<br />
Heinz • Edinburgh, Usher Hall, 10 January 1938; Scottish<br />
Orchestra, conducted by George Szell • Manchester, Free<br />
Trade Hall, 24 February 1938; Hallé Orchestra, conducted<br />
by Malcolm Sargent<br />
Publication: full score: OUP, 1936 at 42s (corrected<br />
1968) • miniature score: OUP 1936 at 5s • WWE vol. 9,<br />
pp. 1–212 • study score offprinted OUP, 1998 and 2002<br />
Bibliography: David Lloyd-Jones, WWE vol. 9<br />
• David Cox, ‘<strong>Walton</strong>’s Symphony’, The Symphony,<br />
vol. 2: Elgar to the Present Day, ed. Robert Simpson<br />
(Harmondsworth: Penguin, 1967), 189–96. (Reprinted:<br />
Newton Abbot: David and Charles, 1972) • George F.<br />
Knight, ‘<strong>Walton</strong>’s Symphony’, Music 1951, ed. Ralph Hill<br />
(Harmondsworth: Penguin, 1951), 128–33 • Robert<br />
Meikle, ‘Symphony No.1’ in CraggsML, pp. 75–8, 87–91<br />
• Bernard Shore, Sixteen Symphonies (London: Longmans,<br />
Green, 1949), 353, 366–87 • BMSJ 2 (1980), 3–14 (P.<br />
Stevenson); Chic DTrib, 24 Jan 1936, p. 13 (EB); Elgar<br />
Society Journal 17 (April 2011), 62–5 (P. A. Rooke); Gram<br />
30 (February 1953), 227–8 (H. J. Foss); 82 (January 2005),<br />
46–7; Hallé, no.64 (December 1953), 6–9 (H. Ottaway);<br />
The Listener, 30 Oct 1935, p. 781 (R. Capell); 22 Jan 1936,<br />
p. 190 (‘Jubal’); MG, 4 Dec 1934, p. 12 (W.L.); 7 Nov<br />
1935, p. 10 (N. Cardus); 25 Feb 1938, p. 13 (G.A.H.); MMR<br />
65 (1935), 13; M&L 89 (August 2008), 562–89 (J. P. E.<br />
Harper-Scott); MT 76 (January 1935), 65 (WMcN); 76<br />
(December 1935), 1130 (WMcN); 77 (February 1936),<br />
131 (WMcN) 77 (September 1936), 842 (F. Howes);<br />
78 (March 1937), 211–15 (A.Hutchings); 113 (March<br />
1972), 254–7 (H. Ottaway) (July 1972), 668 (letter);<br />
114 (October 1973), 998–9, 1001 (H. Ottaway); NYT, 17<br />
Jan 1936, p. 20 (O. Downes); 21 Oct 1936, p. 34 (H.T.);<br />
Phila Inq,17 Oct 1936, p. 5 (L. Martin); RT, 1 Nov 1935,<br />
p. 15 (E. Evans); 21 Oct 1938, p. 15 (A.Frank); SReferee,<br />
10 Nov 1936, p. 20 (C. Lambert); SatRev, 8 Dec 1934,<br />
p. 508 (H.Hughes); ST, 10 Nov 1935, p. 5 (E. Newman);<br />
Times, 3 Oct 1932, p. 12; 4 April 1933, p.14; 31 July 1934,<br />
p. 12; 16 Oct 1934, p. 12; 3 Dec 1934, p.12; 4 Dec 1934,<br />
p. 12; 1 April 1935, p. 8; 2 April 1935, p. 12; 5 Sept 1935,<br />
p. 10; 4 Nov 1935, p. 8; 7 Nov 1935, p. 12; 10 Nov 1936,<br />
p. 14; 25 July 1936, p. 12; 27 Oct 1938, p. 12; 24 March<br />
1939, p. 16<br />
Recordings: 78, CD London Symphony Orchestra<br />
/ Hamilton Harty. Decca X 108–113 (1935); London<br />
Enterprise 414 659–1 (1985); Decca CDAX 8003<br />
(1993)<br />
LP, CD Philharmonia Orchestra / <strong>Walton</strong> (recorded<br />
Kingsway Hall, London, 17–19 October 1951). HMV<br />
ALP1027 (1953); EMI SLS5246 (1982); EMI CHS5 65003<br />
2 (1994) • London Symphony Orchestra / Adrian Boult.<br />
Westminster XWN 18374 (1957); Westminster WST<br />
14012 (1957); Nixa NIXCD 6012 (1989) • Philharmonia<br />
Orchestra / Bernard Haitink. EMI ASD 4091 (1982);<br />
EMI CZ5 5 73371 2 (1999); EMI Collector’s Edition 4<br />
40859 2 (2012) • Philharmonia Orchestra / Malcolm<br />
Sargent. EMI ALP2299 (1967); EMI CDM 7 63269 2<br />
(1989); EMI 6 80502 2 (2012) • London Symphony<br />
Orchestra / André Previn. Victor RB 6691 (1967); RCA<br />
GD87830 (1988); RCA 74321 92575 2 (2002) • Scottish<br />
National Orchestra / Alexander Gibson. Chandos CHAN<br />
8313 (1984); CHAN 6570 (1994) • English Northern<br />
Philharmonia Orchestra / Paul Daniel. Naxos 8.553180<br />
(1997) • London Philharmonic Orchestra / Bryden<br />
Thomson. Chandos CHAN 8862 (1991); CHAN 9426<br />
(1995) • London Symphony Orchestra / Colin Davis.<br />
LSO Live LSO 0681 (2011)<br />
Other versions<br />
C27a<br />
arrangement for pianoforte duet by Herbert Murrill<br />
Publication: piano score: OUP 1937 at 7s 6d<br />
Bibliography: MT 79 (March 1938), 201 (HG)<br />
C27b Salome<br />
a ballet with choreography by André Leclair<br />
First performance: Antwerp, Royal Flemish Opera<br />
House, 18 December 1971 by the Ballet van Vlaanderen;<br />
Royal Flemish Opera House Orchestra, conducted by<br />
Jan Valach. Dancers included Marie-Louise Wilderijckx,<br />
Stefaan Schuller, and Nedko Bochnakov.<br />
For perusal purposes only
C28<br />
Es c a p e Me Ne v e r<br />
music for the film<br />
Date of composition: Ballet music in 1934, the remainder<br />
in 1935 (see Notes below)<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 609)<br />
Film details: Adapted from the play by Margaret Kennedy<br />
and based on her novel The Fool of the Family; screenplay<br />
by Robert Cullen and Carl Zuckerman. Director: Paul<br />
Czinner; producer: Herbert Wilcox; associate producer:<br />
Dallas Bower; editor: David Lean. Studios of the British and<br />
Dominions Film Corporation Ltd, Elstree.<br />
Duration of film: 95 minutes<br />
Cast included: Elisabeth Bergner (Gemma Jones),<br />
Penelope Dudley-Ward (Fenella McClean), Rosalinde Fuller<br />
(Teremtcherva), Lyn Harding (Professor Heinrich), Griffith<br />
Jones (Caryl Sanger), Leon Quartermaine (Mr McClean),<br />
Hugh Sinclair (Sebastian Sanger), and Irene Vanbrugh (Mrs<br />
McClean)<br />
Music composed for the following: Opening titles:<br />
Moderato espressivo (i.e. the second ‘love’ theme of the<br />
Ballet music); Venetian scene (with tenor voice): Tempo<br />
di valse, lento; Church; Baker’s Shop: Quick; Well Head 1;<br />
Tranquillo (introducing‘Cara Piccina’, an Italian melody);<br />
Car scene; Well Head 2 (including ‘conversation’: più<br />
mosso, giocoso); Dolomites: Allegro; Ballet (piano); Ballet:<br />
Allegro moderato (orchestral: 6 sections); Playout (Venetian<br />
scene).<br />
Music played by members of the London Symphony<br />
Orchestra, conducted by Hyam Greenbaum. Recorded at<br />
the Studios of the British and Dominions Film Corporation,<br />
Elstree.<br />
In a letter dated 29 November 1934 from Hubert Foss to<br />
Mr Cullen at Elstree, it was stated that <strong>Walton</strong>’s music was<br />
originally intended for the Russian Ballet (OUP archive).<br />
The ballet sequence was filmed at the Theatre Royal, Drury<br />
Lane, London.<br />
A press release confirms that the date was Tuesday 4<br />
December 1934 (OUP archive).<br />
The choreographer was Frederick Ashton and the dancers<br />
Margot Fonteyn, Beatrice Appleyard, and the Vic-Wells<br />
Ballet. Little survives in the final cut.<br />
Instrumentation: 2.2.2.2/4.3.3.1/timp/perc (3: tri,<br />
cym, tamt, cow bells, glock, vib, t bells, sd, tamb)/pno/<br />
harmonium/cel/ hp/strings<br />
First UK showing: London, the London Pavilion, 1 April<br />
1935<br />
C28 Escape Me Never 37<br />
First USA showing: New York City, Radio City Music<br />
Hall, 24 May 1935<br />
Bibliography: Julie Kavanagh, Secret Muses: The Life<br />
of Frederick Ashton (London: Faber, 1996), 175 • David<br />
Vaughan, Frederick Ashton and his Ballets (London: A. &<br />
C. Black, 1977), 112 (rev. edn, London: Dance Books,<br />
1999) • CinQ 3 (spring 1935), 176–7; MFB 2 (July 1935),<br />
86; MG, 2 April 1935, p. 13 (R.H.); NYT, 23 May 1935, p.<br />
24 (A. Sennwald); Ob, 7 April 1935, p. 18 (C. A. Lejeune);<br />
Times, 22 March 1935, p. 14; 2 April 1935, p. 12<br />
Note: According to Dallas Bower (Paul Czinner’s personal<br />
assistant on the film), ‘Czinner sought my advice as to a suitable<br />
composer for the all-important ballet in the film and<br />
I pressed for <strong>Walton</strong>, ably supported by the late Richard<br />
Norton (Lord Grantley), the film’s executive producer.<br />
Herbert Wilcox ... tried to persuade Czinner to use Vivian<br />
Ellis. Fortunately I negotiated successfully with <strong>Walton</strong>’ (letter<br />
to the present author, dated 31 August 1977, Craggs archive).<br />
A letter to Hubert Foss from the film company, dated<br />
21 February 1935, confirmed the arrangement that<br />
‘Mr <strong>Walton</strong> should write the background music in addition<br />
to the Russian Ballet already written by him for the above<br />
film’ (OUP archive).<br />
A contract between the film company and OUP was<br />
signed by <strong>Walton</strong> the following day and witnessed by<br />
Sydney Greenbaum (OUP archive).<br />
<strong>Walton</strong> later told Osbert Sitwell in a letter [April 1935]<br />
that ‘The film people kept me hanging about . . . and in the<br />
end I had to write all the music in four days. Luckily, while<br />
the house was being painted, I was able to go and stay with<br />
“Bumps” [Hyam Greenbaum] who helped me out with the<br />
orchestration.’ (Eton College Library; quoted in Hayes,<br />
ed., Selected Letters).<br />
Other versions<br />
C28a Escape Me Never: Suite<br />
arranged by Christopher Palmer<br />
1. Prelude and Venetian Idyll; 2. In the Dolomites;<br />
3. Ballet<br />
Instrumentation: 3(II & III + picc).2(II + ca).2(II +<br />
bcl).2/4.3.3.1/timp/perc (2: tri, cym, sus cym, gong,<br />
cow bells, glock, vib, t bells, sd, bd, tamb, maracas)/ pno/<br />
cel/2hp/strings<br />
Duration: 10 minutes<br />
First performance: London, St. Jude’s Church, Central<br />
Square, 2 and 3 March 1990 (recording sessions for the<br />
Chandos disc, see below)<br />
For perusal purposes only
38 C29 The First Shoot<br />
Publication: score and parts on hire: OUP, 1990<br />
Recordings: CD Academy of St-Martin-in-the-Fields /<br />
Neville Marriner. Chandos CHAN 8870 (1990); CHAN<br />
9426 (1995)<br />
C28b<br />
ballet music from the film for full orchestra<br />
Holograph: whereabouts unknown<br />
Instrumentation: 2.2.2.2/4.3.3.1/timp/perc (3: cym,<br />
tamt, sd, tamb)/hp/strings<br />
Duration: 3 minutes<br />
First concert performance: London, Sadler’s Wells<br />
Theatre, 24 January 1936 (postponed from 21 January<br />
because of the death of King George V); Vic-Wells Ballet<br />
Orchestra, conducted by <strong>William</strong> <strong>Walton</strong>. Described in the<br />
programme as a ‘Ballet Fragment from Escape Me Never’<br />
and played as an interlude between performances of the<br />
ballets Siesta and Façade.<br />
First broadcast performance: BBC National Programme,<br />
3 March 1938; London Film Symphony Orchestra, conducted<br />
by Muir Mathieson. One of a series of programmes devoted<br />
to British Film Music.<br />
Publication: score and parts on hire: OUP, 1935<br />
Bibliography: Times, 25 Jan 1936, p. 8<br />
Recordings: LP, CD National Philharmonia Orchestra /<br />
Bernard Herrmann. Decca Phase 4 PFS 4363 (1976); Decca<br />
CD: 421 261–2 (1989)<br />
C28c<br />
ballet music from the film, arranged for piano by the<br />
composer<br />
Holograph: whereabouts unknown<br />
Publication: score: OUP, 1935 at 2s • WWE vol. 20,<br />
pp. 57–60<br />
Bibliography: Michael Aston, WWE vol. 20<br />
C29<br />
Th e Fi r s t Sh o o t<br />
Ballet which appeared in Part II (Scene 19) of C. B.<br />
Cochran’s revue Follow the Sun, with scenario by Osbert<br />
Sitwell and choreography by Frederick Ashton with the<br />
help of Cecil Beaton.<br />
Date of composition: 1935<br />
Holograph: Whereabouts unknown. In a letter to the<br />
present author, dated 25 February 1978, <strong>Walton</strong> claimed<br />
that the manuscript full score was burnt. It may have been<br />
a casualty when the composer’s home in South Eaton Place<br />
was blitzed in May 1941 (Craggs archive).<br />
Commissioned by: Charles B. Cochran<br />
Instrumentation: Unable to trace, but Francis Collinson,<br />
the conductor, thought it may have consisted of the following:<br />
1 (or 2?) fl, 1 ob, 4 cl (+ sax), 2 hn, 3 tpt, 2 tbn, timp, perc<br />
(1), possibly hp, and strings. According to Mr Collinson, in<br />
a letter to the present author, dated 6 May 1972, ‘<strong>Walton</strong><br />
added the horn parts after the orchestral rehearsal. Owing<br />
to some misunderstanding, he did not know that the orchestra<br />
was to include horns until he came to the rehearsal and<br />
saw and heard them in the orchestra’. He added that <strong>Walton</strong><br />
wrote very effective parts for them (Craggs archive).<br />
Dedication: To Charles B. Cochran<br />
Duration: 10–11 minutes<br />
First performance: Manchester, Opera House, 23<br />
December 1935; resident orchestra, conducted by Francis<br />
Collinson.<br />
Cast included Claire Luce (Lady de Fontenoy), Sarah<br />
Churchill (a pheasant), and Nick Long Jr (Lord Charles<br />
Canterbury). Scenery and dresses designed by Cecil Beaton;<br />
dresses executed by Madame Karinsky; produced and<br />
directed: Charles B. Cochran.<br />
Synopsis by Osbert Sitwell (as printed in the<br />
programme):<br />
The action takes place in a woodland glade, during a<br />
fashionable Edwardian shooting party, the first given<br />
by Lord de Fontenoy since his marriage to the lovely<br />
Connie Winsome, late of Musical Comedy. After an<br />
opening dance of pheasants, Lady de Fontenoy enters,<br />
soon followed by her admirer, Lord Charles Canterbury,<br />
who performs a dance for her pleasure.<br />
They are interrupted by the rest of the party, who<br />
march around firing in the air, and then dance off to<br />
luncheon. Lord Charles lingers, fires at another bird, and<br />
accidentally wounds Lady de Fontenoy. Dragging herself<br />
on to the stage, she dies in his arms, to the intense interest<br />
of the other guests.<br />
First London performance: Adelphi Theatre, 4 February<br />
1936, with the same cast<br />
Bibliography: James E. Agate, Immoment Toys (London:<br />
Cape, 1945), 173–6 • Cecil Beaton, Ballet (London:<br />
Wingate, 1951), 43–4 • Charles B. Cochran, Cock-adoodle-do<br />
(London: Dent, 1941), 20, 317 • Charles B.<br />
Cochran, Showman looks on (London: Dent, 1945), 217 • Julie<br />
Kavanagh, Secret Muses: The Life of Frederick Ashton (London:<br />
For perusal purposes only
Faber, 1996), 187–8 • David Vaughan, Frederick Ashton and<br />
his Ballets (London: A. & C. Black, 1977), 130–32 (rev. edn,<br />
London, Dance Books, 1999) • Danc T (March 1936), 752;<br />
ME News, 24 Dec 1935, p. 4; MG, 30 Nov 1935, p. 9 (I. Brown):<br />
14 Dec 1935, p. 15; 21 Dec 1935, p. 13; 24 Dec 1935, p. 11<br />
(ASW); 27 Dec 1935, p. 6 (MAL); Ob, 19 Jan 1936, p. 15; 2<br />
March 1936, p. 11 (HM); 2 March 1936, p. 15; Sphere, 15 Feb<br />
1936, p. 304 (P. Page); Times, 5 Feb 1936, p. 10<br />
Note: According to Vaughan’s Frederick Ashton, Ashton<br />
thought highly enough of the possibilities of The First Shoot<br />
to consider reviving it later, presumably in an extended<br />
form. It was included in a notebook that he kept during the<br />
1940s with the notation ‘for America’—possibly the New<br />
York City Ballet. In a letter to the present author, dated 1<br />
March 1972, Cecil Beaton confirmed that Ashton had an<br />
idea to do a prolonged ballet with additional music, but it<br />
never materialized (Craggs archive).<br />
An early production of Charles B. Cochran’s was Wake<br />
up and Dream at the London Pavilion (1929), with music<br />
by Cole Porter. In his article ‘North Sea Crossings: Walter<br />
Leigh, Hindemith and English Music’ (Tempo, 64/252, April<br />
2010, pp. 44–64) David Drew mentions that Spike Hughes<br />
and <strong>Walton</strong> may have orchestrated some of the numbers for<br />
this musical. In a letter, dated 2 March 1930, <strong>Walton</strong> told<br />
Siegfried Sassoon that ‘I had a letter from C. B. Cochran<br />
hinting that he would like my help in his next review, both<br />
as a ballet & as a “jazz” merchant. I cordially accepted, &<br />
hope that something will come of it’ (WW archive). The<br />
First Shoot is the only ballet <strong>Walton</strong> wrote for Cochran.<br />
A report in the Oldham Standard (16 Jan 1932) reveals<br />
that Cochran had also asked <strong>Walton</strong> to write the music for<br />
the musical comedy The Cat and the Fiddle, with libretto<br />
by Otto Kern. In a letter to the present author, dated 25<br />
February 1978, <strong>Walton</strong> wrote that he had suggested to<br />
Cochran that Hyam Greenbaum should conduct the musical.<br />
He was duly appointed and became musical director<br />
to the impresario for his reviews between 1930 and 1934<br />
(Craggs archive).<br />
The following year, Cochran brought Elisabeth Bergner<br />
to London and Manchester to star in the stage production<br />
of Margaret Kennedy’s play Escape Me Never. This resulted<br />
in the 1935 film version of the play (C28) and As You Like It<br />
(C31) in 1936, both directed by her husband, Paul Czinner.<br />
J. M. Barrie also admired her and wrote his final play, The<br />
Boy David (C30), for her, a rare failure.<br />
Other versions<br />
C29a Medley for Brass Band<br />
by the composer<br />
Date of composition: 1978–9<br />
C29 The First Shoot 39<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 612)<br />
Commissioned by: the National Brass Band Championships<br />
of Great Britain as a possible test piece for the 1979<br />
championships<br />
Instrumentation: s ct, 4 1st ct, 2 2nd ct, 2 3rd ct, flugel,<br />
solo hn, 3 t hn, 2 bar, 3 t tbn, btbn, 2euph, 2b tuba, 2 cb tuba,<br />
timp, perc (cym, xyl, sd, td, bd, tamb)<br />
Duration: 11 minutes<br />
First performance: unable to trace<br />
Publication: WWE vol. 21, pp. 34–85 (2006)<br />
Bibliography: Elgar Howarth, WWE vol. 21<br />
C29b The First Shoot<br />
arrangement for brass band by the composer, who records<br />
his gratitude to Elgar Howarth for his expert advice on the<br />
preparation of the score<br />
1. Giocoso; 2. Andantino; 3. A tempo di ‘Hesitation Waltz’;<br />
4. subito Vivace; 5. Vivace<br />
Date of arrangement: 1979<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 594)<br />
Dedication: In Mem. C. B. Cochran and his Young Ladies<br />
Instrumentation: s ct.8ct.flugel.3hn.2bar.2tbn.b t hn.<br />
2euph.2E♭bass.2B♭bass/timp/perc<br />
Duration: 10–11 minutes<br />
First performance: London, Goldsmiths College, 19<br />
December 1980; Grimethorpe Colliery Band, conducted by<br />
Elgar Howarth. This performance was filmed, recorded, and<br />
subsequently used in part in Tony Palmer’s film At the Haunted<br />
End of the Day (a ‘Profile of the Life and Work of <strong>William</strong><br />
<strong>Walton</strong>’) transmitted on the ITV network (South Bank Show),<br />
19 April 1981. Available on DVD: Decca 074 150–9, 1981/2002.<br />
First public performance: London, Royal Albert Hall,<br />
7 September 1981 (Prom broadcast on BBC Radio 3);<br />
Grimethorpe Colliery Band, conducted by Elgar Howarth.<br />
Publication: score and parts: OUP, 1986 • WWE<br />
vol. 21, pp. 91–143<br />
Bibliography: Elgar Howarth, WWE vol. 21 • Gdn,<br />
9 Sept 1981, p. 10 (E. Greenfield); MT 121 (November 1981),<br />
764 (J. Nagley); Ob, 13 Sept 1981, p. 26 (P. Heyworth);<br />
Times, 9 Sept 1981, p. 9 (P. Griffiths)<br />
Recordings: CD Black Dyke Mills Band / James Watson.<br />
ASV CD WHL 2093 (1995)<br />
For perusal purposes only<br />
C29c The First Shoot<br />
arranged for symphony orchestra from the arrangement<br />
for brass band by Christopher Palmer
40 C30 The Boy David<br />
Date of arrangement: 1987<br />
Instrumentation: 2(III + picc).2(II + ca).3(III + bcl).<br />
2/4.3.3.1/timp/perc (3: tri, cym, sus cym, wb, glock, xyl,<br />
vib, sd, td, bd, tamb)/pno/strings<br />
Duration: 10 minutes<br />
First performance: London, St Jude’s Church, Central<br />
Square, 8 and 21 January 1991 (recording sessions for the<br />
Chandos CD, see below)<br />
Publication: score and parts on hire: OUP, 1989<br />
Recordings: CD London Philharmonic Orchestra /<br />
Bryden Thomson. Chandos CHAN 8968 (1991); CHAN<br />
9426 (1995)<br />
C29d The First Shoot<br />
arrangement for concert band by Ray Farr<br />
Date of arrangement: 2001<br />
Commissioned by: Bergen Military Band<br />
Duration: 10 minutes<br />
First performance: Bergen, Grieg Hall Foyer, unable to<br />
trace any date; Bergen Military Band, conducted by Ray Farr<br />
Publication: score and parts: OUP, 1986, 2001<br />
C29e Three Pieces from The First Shoot<br />
arranged for clarinet and piano by Christopher Palmer<br />
Publication: Christopher Palmer, ed., <strong>William</strong> <strong>Walton</strong>: A<br />
Clarinet Album, OUP, 1992<br />
C30<br />
Th e Bo y Da v i d<br />
Incidental music for J. M. Barrie’s play (originally called<br />
David) in three acts.<br />
Date of composition: 1935<br />
Holograph: whereabouts unknown<br />
Play details: Directed: Komisarjevsky; produced: Charles<br />
B. Cochran; scenery designed: Augustus John; costumes<br />
designed: Ernst Stern.<br />
Music composed for the following: Details of<br />
the music plot taken from a leaf of manuscript in the Yale<br />
General Collection in the Beinecke Library (I.D.2082):<br />
Overture to Act 1;<br />
• Interval before Act 2, scene I: The Camp before David’s<br />
encounter with Goliath;<br />
• Interval before Act 2, scene II: Introduction: tumult<br />
(‘barbaric dancing and wild shouts after the death of<br />
Goliath’);<br />
• Interval before Act 2, scene III: David playing his harp in<br />
the tent of the dead Goliath;<br />
• Interval before Act 3, scene I: ‘low music’ when, in his<br />
vision, David first sits on the throne;<br />
• “Distant music (reveille for battle) in the early morning”<br />
Interval before Act 3, scene II: Entr’acte/Pastoral<br />
music;<br />
• Remaining: incidental music throughout Act 2.<br />
Note: The music in Act 2, scene II (‘barbaric dancing . . .’)<br />
sounds similar to the Indian chorus in part 2 of Christopher<br />
Columbus (C46). In the absence of any score, it is difficult to<br />
ascertain whether <strong>Walton</strong> reused this music in 1942.<br />
Instrumentation: unable to trace<br />
First performance: Edinburgh, King’s Theatre, 21<br />
November 1936; unable to trace orchestra or conductor.<br />
The music was pre-recorded and the conductor may<br />
have been <strong>Walton</strong>, Hyam Greenbaum, or Ernest Irving<br />
(<strong>Walton</strong> to the present author, 25 February 1978; Craggs<br />
archive).<br />
Cast included Elisabeth Bergner (David), Jean Cadell<br />
(Wife of Jesse), Peter Bull (Amnon), Bobby Rietti (Jonathan),<br />
Godfrey Tearle (Saul), and Leon Quartermaine (Ophir).<br />
The premiere was originally to have been on 15 February,<br />
but this was postponed because of Bergner’s illness, first to<br />
14 March and later to November.<br />
First London performance: His Majesty’s Theatre,<br />
14 December 1936<br />
Bibliography: Cynthia Asquith, Portrait of Barrie (London:<br />
Barrie, 1954), 201–16 • Peter Bull, I know the Face, but . . .<br />
(London: Davies, 1959), 128–34 • Charles B. Cochran,<br />
Cock-a-doodle-do (London: Dent, 1941), 1033 • Janet Dunbar,<br />
J. M Barrie: The Man behind the Image (London: Collins, 1970),<br />
291–8 • Sam Heppner, Cockie (London: Frewin, 1969),<br />
190–201 • Denis Mackail, The Story of J.M.B.: A Biography<br />
(London: Davies, 1941), 663–707 • GlasHer, 13 Nov 1936,<br />
pp. 10, 11, 12; MG, 16 Jan 1936, p. 8; Times, 26 March 1936,<br />
p. 12; 23 Nov 1936, p. 10: 15 Dec 1936, p. 14; WScots, 28<br />
Nov 1936, p. 5; 28 Nov 1936, p. 7 (Galleryite)<br />
Recordings: Three sections of the pre-recorded music<br />
still exist on 10" single-sided 78 rpm discs and are now in<br />
private hands, having previously belonged to the actor Peter<br />
Bull, a member of the original cast, who lent them to the<br />
present author.<br />
All relate to Act 2:<br />
OCB 279–2 Cue 22A [David before his encounter with<br />
Goliath]<br />
OCB 290–2 Cue 29 [Barbaric dancing and wild shouts]<br />
For perusal purposes only
OCB 299–2 Cue 21–22 [David playing his harp in Goliath’s<br />
tent]<br />
These are included on a Dutton CD: British Composers<br />
Conduct and other Rarities, CDBP 9766 (2006)<br />
Other versions<br />
C30a Divertissement<br />
choreography (danced to excerpts from The Boy David) by<br />
Anthony Tudor<br />
Duration: 1 minute 30 seconds<br />
First performance: London, Alexandra Palace, 20 March<br />
1937 (BBC television); BBC TV Orchestra, conducted by<br />
Hyam Greenbaum. Maude Lloyd dancing in Pasquinade,<br />
a television revue with lyrics and sketches by Dallas<br />
Bower, who also devised and produced it. It was repeated<br />
on 14 July 1937 in A Revue of Revues, again produced by<br />
Bower.<br />
Bibliography: Judith Chazin-Bennahum, The Ballets of<br />
Anthony Tudor (Oxford: OUP, 1994), 78–9, 264–70 • Danc<br />
T, 78 (January 1987), 304 (R. Penman)<br />
C31<br />
As Yo u Li k e It<br />
music for the film<br />
Date of composition: 1936<br />
Holographs: Beinecke: GEN MSS 601 (FRKF 608 and<br />
636). Sketches also exist for a hunting trio (once with horns<br />
and once without) and an incomplete sketch of an extended<br />
setting of ‘Tell me where is fancy bred’. The Library also<br />
possesses Barrie’s script for the film (at A 85) which includes<br />
autograph manuscript dialogue and printed pages from the<br />
Temple Shakespeare.<br />
Film details: Adapted from the play by <strong>William</strong><br />
Shakespeare; screenplay by J. M. Barrie, Carl Mayer, and<br />
Robert Cullen. Directed and produced by Paul Czinner.<br />
Associate producer and director: Dallas Bower. Editor: David<br />
Lean. Costume design: John Armstrong. Choreographer:<br />
Ninette de Valois. Inter-Allied Film Producers, Elstree.<br />
Duration of film: 97 minutes<br />
Cast included: Elisabeth Bergner (Rosalind), Laurence<br />
Olivier (Orlando), Sophie Stewart (Celia), Henry Ainley<br />
(Exiled Duke), Leon Quartermaine (Jacques), Felix Aylmer<br />
(Duke Frederick), and Peter Bull (<strong>William</strong>).<br />
C31 As You Like It 41<br />
Music composed for the following: Title music<br />
(Presto), Fountain Music, Fanfares, Wrestling Match (Tempo<br />
di marcia), five Rosalind Themes: The Escape, The Waterfall<br />
and the Sunrise, Dinner Scene (Presto), Scene with Adam<br />
(solo flute), Moonlight Scene; The Cortège (Slow), The<br />
Snake Scene (on a theme by Dr. Paul Czinner), Quartet,<br />
Ball, Hymn (Maestoso), Play out music.<br />
Three vocal settings (but not used): ‘Under the<br />
Greenwood Tree’, ‘What Shall Ye Have that Killed the<br />
Deer?’, ‘Tell me where is fancy bred?’<br />
Details set out by <strong>Walton</strong> in a letter from South Eaton<br />
Place, dated 10 August 1936, to G. H. Hatchman, secretary<br />
and assistant general manager of the Performing Right<br />
Society (PRS archive). In a letter dated 30 October 1935,<br />
Hubert Foss had urged <strong>Walton</strong> to join the PRS (OUP<br />
archive).<br />
Music played by the London Philharmonic Orchestra,<br />
conducted by Efrem Kurtz. Unable to ascertain the choir<br />
involved.<br />
Instrumentation: 2(I + picc).2.2.2/4.2.0.0/timp/perc<br />
(3: cym, gong, glock, mar, t bells, tabor, sd)/hpd/cel/hp/<br />
strings and mixed chorus (SATB)<br />
First showing: London, Alexandra Palace, 26 August<br />
1936. Excerpts shown as part of programmes broadcast<br />
by the BBC for reception on screens at Radiolympia which<br />
marked the start of the first experimental television transmissions<br />
to be seen at the exhibition. These transmissions<br />
were repeated on 27 and 28 August.<br />
First UK public showing: London, Carlton Theatre,<br />
Haymarket, 3 September 1936<br />
First USA showing: New York City, Music Hall, 5<br />
November 1936<br />
Bibliography: MFB 3 (September 1936), 149; MG,<br />
4 Sept 1936, p. 4 (RH); 13 Feb 1937, p. 15; Notes 68<br />
(September 2011), 12–16 (J. B. Kuykendall); Ob, 6 Sept<br />
1936, p. 14 (C. A. Lejeune), 1 Dec 1936, p. 10, 15 Dec<br />
1936, p. 11; Times, 29 Feb 1926, p. 10; 20 Aug 1936, p. 10;<br />
4 Sept 1936, pp. 10, 15; WFN 1, no. 7 (October 1936), p. 46<br />
(B. Britten)<br />
Recordings: film available on digitally remastered DVD:<br />
DD123878<br />
Other versions<br />
For perusal purposes only<br />
C31a Suite from As You Like It<br />
arranged by Carl Davis<br />
Title music; Fountain Scene—Wrestling Scene; Sunrise;<br />
Procession; Snake Scene; Waterfall Scene; Hymn
42 C31 As You Like It<br />
Instrumentation: 1.2.2.2/4.2.0.0/timp/perc (3: tri,<br />
cym, sus cym, gong, glock, t bell, church bell, tabors, sd,<br />
jingles)/hpd/hp/strings<br />
Duration: 15 minutes<br />
First performance: London, Abbey Road Studios, 27<br />
March, 6 or 25 May 1986 (recording sessions for the EMI<br />
disc, see below)<br />
Publication: score and parts on hire: OUP, 1986<br />
Recordings: CD London Philharmonic Orchestra and<br />
Choir / Carl Davis. EMI EL 27 0591 1; EMI CDC 7 47944 2<br />
(1987); EMI CDM 5 65585 2 (1995); EMI 7243 5 75796 5<br />
(2002); EMI Collector’s Edition 4 40863 2 (2012)<br />
C31b As You Like It<br />
poem for orchestra after Shakespeare, arranged by<br />
Christopher Palmer. Prelude; Moonlight; Under the<br />
Greenwood Tree (soprano and orchestra); The Fountain;<br />
Wedding Procession (these sections are linked to form one<br />
continuous piece)<br />
Instrumentation: 3.2.2.2/4.2.2.0/timp/perc (3: tri,<br />
cym, sus cym, gong, glock, t bell, church bell, tabors, side<br />
drum, jingles)/hpd/cel/2hp (II opt)/strings and S solo<br />
Duration: 12 minutes 30 seconds<br />
First performance: London, St Jude’s Church, Central<br />
Square, 8 or 11 November 1989 (recording sessions for the<br />
Chandos CD, see below)<br />
First concert performance: Glasgow, Bute Hall<br />
(University), 14 February 1990; Glasgow University<br />
Orchestra, conducted by Stephen Arnold<br />
Publication: score and parts on hire: OUP, 1989<br />
Recordings: CD Catherine Bott / Academy of St-Martinin-the-Fields<br />
/ Neville Marriner. Chandos CHAN 8842<br />
(1990); CHAN 9426 (1995) • RTÉ Concert Orchestra /<br />
Andrew Penny: Naxos 8.553344 (1995)<br />
C31c As You Like It<br />
arranged for soprano and chamber orchestra by Edward<br />
Watson<br />
The Forest of Arden; Under the Greenwood Tree;<br />
The Fountain linked to Tempo di Menuetto; Wedding<br />
Procession<br />
Instrumentation: 1(+ picc).1.ca.2.1/1.1.0.0/perc/ pno/<br />
hpd/hp/2vc, and S solo<br />
Duration: 12 minutes<br />
First performance: unable to trace. It may have been the<br />
recording session for the Meridian CD (see below).<br />
Recordings: CD Lorna Rushton / English Serenata /<br />
Guy Woolfenden. Meridian CDE 84349 (1997)<br />
C31d As You Like It<br />
arranged for symphonic wind band by Kimura<br />
Publication: available from Music Supply Tokyo<br />
C31e Under the Greenwood Tree<br />
arranged for solo voice and piano by the composer<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 636)<br />
Duration: 2 minutes<br />
First performance: unable to trace<br />
Publication: vocal score: OUP, 1937, in versions for<br />
low voice (E minor) and medium voice (G minor) at 2s;<br />
reprinted in 1963 (Oxford Solo Songs Series) • WWE vol.<br />
8, pp. 36–38 (low voice), pp. 39–41 (medium voice)<br />
Bibliography: Steuart Bedford, WWE vol. 8 • MT 78<br />
(October 1937), 889 (A. Hutchings)<br />
Recordings: CD Yvonne Kenny / Malcolm Martineau.<br />
Etcetera KTC 1140 (1992) • Martin Hill / Graham<br />
Johnson. Collins 14932 (1997); Naxos 8.557112 (2002)<br />
C31f Under the Greenwood Tree<br />
arranged for solo voice and orchestra by Roy Douglas<br />
Instrumentation: 2.1.ca.2.2/2.0.0.0/hp/strings<br />
Duration: 6 minutes<br />
First performance: unable to trace. The song was not<br />
used in the 1936 film. This arrangement (see below) was<br />
broadcast (BBC Home Service) on 26 November 1950:<br />
Mark Worthley (tenor) and the BBC Opera Orchestra,<br />
conducted by Stanford Robinson.<br />
Publication: score and parts on hire: OUP, 1986<br />
Note: Roy Douglas (in a letter to the present author<br />
dated 26 August 1988) explained that he was asked by<br />
Efrem Kurtz to orchestrate this number for the film at<br />
the beginning of July 1936, a very late stage in the film’s<br />
production. It may have been recorded but was later omitted<br />
from the final edit. He was asked by the BBC in 1950<br />
to orchestrate this song again for the above broadcast,<br />
presumably because his previous orchestration had disappeared<br />
(Craggs archive).<br />
For perusal purposes only<br />
C31g Under the Greenwood Tree<br />
arranged for unaccompanied unison voices<br />
Publication: score: OUP, 1937 at 9d (OCS U105)
C32<br />
Dr e a m i n g Li p s<br />
music for the film<br />
Date of composition: 1936<br />
Holograph: whereabouts unknown<br />
Film details: Adapted from the play Melo by Henri<br />
Bernstein; screenplay by Carl Meyer, Margaret Kennedy,<br />
and Cynthia, Lady Asquith. Director and producer: Paul<br />
Czinner; associate producer: Max Schach; editor: David<br />
Lean. Capitol Film Corporation, Denham Studios.<br />
Duration of the film: 94 minutes<br />
Cast included: Elisabeth Bergner (Gaby Lawrence),<br />
Raymond Massey (Miguel del Vayo), Romney Brent (Peter<br />
Lawrence), Felix Aylmer (Sir Peter Blaker), Joyce Bland<br />
(Christine), and Sydney Fairbrother (Mrs Stanway).<br />
Music composed for the following: Title music,<br />
Rumba, Tango, Foxtrot, Coffee making sequence,<br />
Temperature chart sequence, Dream sequence; Exterior of<br />
house, Rape sequence, Café sequence, Final sequence, and<br />
end titles. (As set out by <strong>Walton</strong> in a letter, dated 30 January<br />
1937, to G. H. Hatchman at the Performing Right Society<br />
(PRS archive).) Hyam Greenbaum may have orchestrated<br />
several items and provided additional music but all was<br />
uncredited.<br />
Tchaikovsky’s Violin Concerto (last movement),<br />
Beethoven’s Violin Concerto (with cadenza), and<br />
Tchaikovsky’s Waltz featured in the film and were recorded<br />
by Antonio Brosa in a studio reconstruction of Queen’s<br />
Hall, London.<br />
The rape scene is mentioned only in <strong>Walton</strong>’s letter to<br />
the PRS and does not appear on the Mechanical Copyright<br />
Protection Society’s list. It may, at some stage, have been<br />
omitted on the recommendation of the Board of Film<br />
Censors.<br />
Music played by the London Symphony Orchestra<br />
conducted by Boyd Neel.<br />
Instrumentation: unable to trace<br />
First UK showing: London, London Pavilion, 2 February<br />
1937<br />
First USA showing: New York, Rivoli, 19 May 1937<br />
Publication: Unpublished, although a concert suite of<br />
music from the film was planned by <strong>Walton</strong> and Hubert Foss<br />
(letter in the OUP archive dated 7 February 1937). Nothing,<br />
however, materialized. Writing to Hyam Greenbaum on 25<br />
July 1938, Foss said ‘I am still waiting on you for the suites<br />
from <strong>Walton</strong>’s As You Like It and Dreaming Lips’ (OUP archive).<br />
C105 Theme 43<br />
Bibliography: Boyd Neel, My Orchestras and Other<br />
Adventures: The Memoirs of Boyd Neel (Toronto: University of<br />
Toronto Press, 1985), 98–100 • H. Dawkes and J. Tooze,<br />
‘A conversation with Antonio Brosa’, Royal College of Music<br />
Magazine 65, no. 1 (Easter 1969), 10 • MFB 4 (February<br />
1937), 28; MG, 28 Sept 1936, p. 12; 3 Feb 1937, p. 6 (R.H.);<br />
Ob, 31 Jan 1937; 7 Feb 1937, p. 14 (C. A. Lejeune); Times, 16<br />
Oct 1936, p. 12; 3 Feb 1937, p.12<br />
C105<br />
Th e m e<br />
for organ improvisation<br />
One of four themes submitted to André Marchal (blind<br />
organist of St Germain-des-Prés in Paris) for ‘Improvisations<br />
of a Symphony based on these themes, specially submitted<br />
by four British composers.’ Besides <strong>William</strong> <strong>Walton</strong><br />
contributing the theme (6 bars) for an Adagio, Alan Bush<br />
contributed the subject for a Fugue, Benjamin Britten the<br />
theme for a Scherzo (Allegro moderato), and Constant<br />
Lambert the theme for a Toccata.<br />
Date of composition: 1936<br />
Holograph: The Arabesque Trust for Blind Pipe<br />
Organists (current owners of the estate and copyright of<br />
Felix Aprahamian)<br />
Commissioned by: Felix Aprahamian (as secretary of the<br />
Organ Music Society)<br />
First performance: London, St. John’s Church, Red<br />
Lion Square, 12 November 1936; André Marchal, organ<br />
Publication: The themes were printed for the Organ<br />
Music Society by Boosey & Hawkes Ltd.<br />
Bibliography: Donald Mitchell and Phillip Reed, eds,<br />
Letters from a Life: The Selected Letters and Diaries of Benjamin<br />
Britten, 1913–1976, vol. 1 (London: Faber, 1991), 441 • MT<br />
77 (December 1936), 1104, 1111–13 (A. Frank) (‘The<br />
first of the four movements was the Adagio which seemed<br />
perfectly in accord with the mood of Mr <strong>Walton</strong>’s subject<br />
and drew from it a really beautiful piece of atmospheric<br />
organ music.’)<br />
For perusal purposes only
44 C33 Crown Imperial<br />
C33<br />
Cr o w n Im p e r i a l<br />
coronation march for orchestra<br />
The score has the motto ‘In beawtie beryng the crone imperiall’,<br />
a quote from the poem In Honour of the City of London<br />
by <strong>William</strong> Dunbar (?1460–c1520).<br />
Date of composition: February–April 1937<br />
In the South Wales Argus of 4 May 1937, it was reported<br />
that ‘Mr. <strong>Walton</strong> wrote it and his publisher has prepared<br />
it against the clock. The full score was finished at 5 am on<br />
Friday 9 April and picked up by messenger at 8.45 the same<br />
morning. The parts and score were ready for rehearsal by<br />
10am on the following Tuesday.’<br />
Holograph: Full score: Beinecke: GEN MSS 601 (FRKF<br />
595a) • Piano arrangement (four staves): Beinecke: GEN<br />
MSS 601 (FRKF 595b)<br />
Commissioned by: the BBC, originally for the coronation<br />
of King Edward VIII, but after his abdication used at<br />
the coronation of King George VI and Queen Elizabeth<br />
(BBC memos dated 27 November 1936 and 5 March 1937)<br />
Instrumentation: 3(III + picc).2.ca.2.bcl.2.cbn/4.3.3.1/<br />
timp/perc (2, pref. 3: tri, cyms, large gong, glock, t bell, sd,<br />
td, bd)/org (opt)/hp/strings<br />
Duration: 8 minutes 15 seconds (with optional cuts:<br />
6 minutes 45 seconds)<br />
First performance: London, Kingsway Hall, 16 April<br />
1937 (recording session for HMV DB 3164, 78 rpm); BBC<br />
Symphony Orchestra, conducted by Sir Adrian Boult, with<br />
Berkeley Mason (organ)<br />
First broadcast performance: London, BBC Studios,<br />
9 May 1937; BBC Orchestra (Section B), conducted by<br />
Clarence Raybould<br />
First public performance: London, Westminster<br />
Abbey, 12 May 1937; Coronation Orchestra and Dr. Ernest<br />
Bullock (organ), conducted by Sir Adrian Boult. It was<br />
included on the list of music (as‘Coronation March’) to be<br />
played before the service and used for the entry of the dowager<br />
Queen Mary and Queen Maud of Norway into the Abbey,<br />
with, according to the Musical Times, ‘Edward German’s<br />
Coronation March and some Handel and Purcell.’<br />
First concert performance: London, Queen’s Hall,<br />
28 August 1937; BBC Symphony Orchestra conducted by<br />
<strong>William</strong> <strong>Walton</strong><br />
Other early performances: Leeds, Town Hall,<br />
7 October 1937; London Philharmonic Orchestra,<br />
conducted by <strong>William</strong> <strong>Walton</strong> • Liverpool, Central Hall,<br />
12 October 1937; Liverpool Philharmonic Orchestra,<br />
conducted by Albert Coates • Hastings, White Rock<br />
Pavilion, 16 October 1937; Hastings Municipal Orchestra,<br />
conducted by Julius Harrison • Edinburgh, Usher Hall,<br />
21 October 1937; Reid Symphony Orchestra, conducted<br />
by Sir Donald Tovey<br />
Publication: photocopy of original (uncut) version of the<br />
score (and parts) on hire: OUP • WWE vol. 17, pp. 1–51<br />
(2009) (first publication at full length and original orchestration)<br />
• study score offprinted (with Orb and Sceptre)<br />
OUP, 2010<br />
Bibliography: David Lloyd-Jones, WWE vol.17<br />
• James Brooks Kuykendall, ‘The English Ceremonial<br />
Style circa 1887–1937 and its Aftermath’ (PhD diss.,<br />
Cornell University, 2005) • MT 78 (June 1937), 497–501;<br />
(September 1937), 808 (H. Grace), 829 (E. Evans); Times,<br />
24 April 1937, p. 9; 13 May 1937, p. 10; 15 May 1937, p. 10<br />
Recordings: 78, CD BBC Symphony Orchestra / Adrian<br />
Boult. HMV DB 3164 (1937); EMI ED 29 1092 1 (1987);<br />
Pickwick CDO 1058 (2003) LP, CD Philharmonia Orchestra /<br />
<strong>Walton</strong> (recorded Kingsway Hall, London, 18 March<br />
1953). Columbia 33C1016 (1953); SEL 1504 (1954); EMI<br />
HQM1006 (1965); EMI SLS5246 (1982); CHS5 65003 2<br />
(1994) • London Philharmonic Orchestra / Adrian Boult.<br />
EMI 3388 (1977); EMI CDM 5655842 (1995); EMI 327285<br />
2 (2012); EMI Collector’s Edition 4 40862 2 (2012) • City<br />
of Birmingham Symphony Orchestra / Louis Frémaux.<br />
EMI ASD 3348 (1977); EMI CDC 7 475122 (1987); EMI 6<br />
80506 2 (2012)<br />
Note: In a letter from <strong>Walton</strong> to Hubert Foss, dated 11<br />
May 1937, there is a mention of the idea of John Masefield,<br />
the Poet Laureate, providing words for the Trio which ‘I am<br />
willing to have published’ (OUP archive).<br />
This was clearly an attempt to copy the similar treatment<br />
of the trio of Elgar’s Pomp and Circumstance March No. 1.<br />
In a letter, dated 8 February 1941, <strong>Walton</strong> asked Julian<br />
Herbage at the BBC whether it ‘would be in order if I make<br />
a cut or two in the Coronation March—knocking off about<br />
two minutes? It will be reducing it to its original length of<br />
about six minutes. I must confess that I spun it out to its<br />
detriment . . . in order to comply with the BBC’s commissioned<br />
length of eight or nine minutes’ (BBC WAC).<br />
Other versions<br />
For perusal purposes only<br />
C33a Crown Imperial<br />
version by Vilem Tausky, with reduced orchestra and cuts<br />
sanctioned by the composer
Duration: 7 minutes<br />
Instrumentation: 2.2.2.2/4.2.3.1(opt)/timp/perc (2: cym,<br />
gong, glock, t bell, sd, td, bd)/hp/strings<br />
Publication: study score: OUP, 1967 at 21s (also shows<br />
the full orchestration)<br />
Recordings: LP, CD Royal Liverpool Philharmonic<br />
Orchestra / Charles Groves. Columbia TWO 272 (1969);<br />
EMI CDMS 66593 2 (1997) • Philharmonia Orchestra<br />
/ David Willcocks. Chandos CHAN 8998 (1991); CHAN<br />
9426 (1995); CHAN 241–10 (1999)<br />
C33b Crown Imperial<br />
abridged and arranged by John Rutter for the wedding of<br />
the Duke and Duchess of Cambridge<br />
Duration: 6 minutes 15 seconds<br />
Instrumentation: 1(+ picc).2.2.2/2.3.1.0/timp/perc<br />
(1: cyms, sus cym, sd, td)/org/hp/strings, and brass ensemble<br />
containing 4 fanfare tpt, 2 fanfare t tpt, and fanfare sd<br />
First performance: London, Westminster Abbey, 29 April<br />
2011; London Chamber Orchestra, Fanfare Trumpeters of<br />
the Central Band of the Royal Air Force, and Robert Quinney<br />
(organ), conducted by Christopher Warren-Green<br />
Publication: score and parts on hire: OUP, 2011<br />
Recordings: CD The Royal Wedding: The Official Album:<br />
Decca 2770662 (2011)<br />
C33c Crown Imperial<br />
arrangement for small orchestra with piano by Hyam<br />
Greenbaum<br />
First performance: London, Highgate School Hall,<br />
16 February 1938; School Orchestra, conducted by E. T.<br />
Chapman<br />
Publication: piano conductor and parts: OUP, 1937, at 10s<br />
Note: In the Oxford Press Bulletin of March 1938, there is a<br />
quotation from The Strad which says of the reduction, ‘In the<br />
case of . . . some other instruments not being available, those<br />
parts can be filled in by the pianist playing from the piano<br />
conductor’s copy. In view of the success of the march, such<br />
an arrangement will be a great help for small bands.’<br />
C33d Crown Imperial<br />
arrangement of the 1967 version for amateur orchestra by<br />
David Stone<br />
Instrumentation: 2.2.2.1/2.2.2.b tbn.0/timp/perc (3:<br />
tri, cym, large gong, glock, t bell in C, sd, td, bd)/pno duet<br />
(opt)/strings<br />
C33 Crown Imperial 45<br />
Publication: score: OUP, 1969 at 25s<br />
C33e Crown Imperial<br />
original version arranged for amateur orchestra by Martin<br />
Rutherford<br />
Instrumentation: 2(II + picc).2.2.2/3.3.3.1/timp/<br />
perc (4)/org (opt)/strings<br />
First performance: Adelaide, Australia, Town Hall, 20<br />
December 1993; Melbourne Grammar School Symphony<br />
Orchestra, conducted by Martin Rutherford<br />
Publication: unpublished<br />
C33f Crown Imperial<br />
arrangement for military band by W. J. Duthoit<br />
Duration: 9 minutes<br />
First UK performance: unable to trace<br />
First USA performance: New York, Center Park, 9 July<br />
1939; Goldman Band, conducted by Edwin Goldman<br />
Publication: score and parts: Boosey & Hawkes Ltd, 1937<br />
at 20s (QMB 76)<br />
Recordings: LP, CD Eastern Wind Ensemble / Frederick<br />
Fennell. Mercury SR 90325 (1959); Fontana 6747 117<br />
(1975); MER 432 009 2 (1990) • Scots Guards / R. J.<br />
Owen. SRC 107 (2002)<br />
C33g Crown Imperial<br />
arrangement for brass band by Frank Wright<br />
Recordings: LP, CD Black Dyke Mills Band / Geoffrey<br />
Brand. Decca SB 309 (1971) • Black Dyke Mills Band /<br />
James Watson. ASV CD WHL 2093 (1995)<br />
C33h Crown Imperial<br />
arrangement for brass ensemble by Edward Marsh<br />
Instrumentation: 1 hn, 4 tpt, 3 tbn, 1 b tbn, 1 tuba<br />
Recordings: CD Harlequin Brass Ensemble / Keiron<br />
Anderson / Neil Taylor (organ). NPC Records NPC 001<br />
(1999)<br />
C33i Crown Imperial<br />
arrangement for brass and organ by Arthur Wills<br />
Instrumentation: hns, tpts, tbns, tuba, org<br />
Recordings: LP, CD Cambridge Co-operative Band /<br />
David Read / Arthur Wills (organ of Ely Cathedral). Phillips<br />
A 66068 (1983); Hyperion CDH 55003 (1999)<br />
For perusal purposes only
46 C34 In Honour of the City of London<br />
C33j Crown Imperial<br />
arrangement for brass, organ, and percussion by Christopher<br />
Palmer<br />
Instrumentation: 4hn, 4tpt, 3tbn, tuba/timp/perc (3:<br />
cym, bell, sd, bd)/org/hp (opt)<br />
Duration: 6 minutes<br />
First performance: London, Westminster Abbey, Friday<br />
October 1989 (Laurence Olivier Memorial Service);<br />
London Brass Ensemble, Jane Lister (harp), Andrew<br />
Lumsden (organ), conducted by Martin Neary<br />
Publication: score and parts on hire: OUP, 1989<br />
Recordings: CD English Chamber Orchestra / Martin<br />
Neary / Martin Baker (organ). Cantoris CSACD 3050 (1994)<br />
C33k Crown Imperial (‘That we may<br />
never fail’)<br />
vocal adaptation by Doris Arnold; score adapted by Arthur<br />
Sandford<br />
Commissioned by: the BBC for a Gala Variety Concert<br />
in honour of the Silver Wedding of HM King George VI and<br />
Queen Elizabeth, 1948<br />
Duration: 5 minutes 30 seconds<br />
First performance: London, Adelphi Theatre, 25 April<br />
1948 (recorded and broadcast on 26 April 1948 in the BBC<br />
Light Programme); Peter Dawson, Kentucky Minstrels,<br />
the Augmented BBC Variety Orchestra, trumpeters of the<br />
Royal Military School of Music, Kneller Hall, with Charles<br />
Smart (organ), conducted by Leslie Woodgate<br />
C33l Crown Imperial<br />
arrangement for piano by the composer (full version with<br />
optional cut shown)<br />
Publication: piano score: OUP, 1937 at 2s 6d • WWE<br />
vol. 20, pp. 132–41<br />
Bibliography: Michael Aston, WWE vol. 20<br />
C33m Crown Imperial<br />
arrangement for piano duet by Herbert Murrill (full version<br />
with optional cut shown)<br />
Publication: piano duet score: OUP: 1949 at 5s<br />
Bibliography: Making Music 12 (spring 1950), 27; MT 91<br />
(January 1950), 31 (WRA)<br />
C33n Crown Imperial<br />
arrangement for organ by Herbert Murrill (full version<br />
with optional cut shown)<br />
First performance: Oxford, Sheldonian Theatre, 23<br />
June 1937 (Encaenia at Oxford University); Dr Sydney<br />
Watson (New College)<br />
Other early performances: Edinburgh, St.Giles’<br />
Cathedral, 7 July 1937 (the installation of Queen Elizabeth<br />
as a Lady of the Order of the Thistle); Dr Wilfrid Greenhouse<br />
Allt • London, BBC Studios, 30 July 1937 (first broadcast<br />
on the BBC National Programme); Ralph Downes<br />
Publication: score: OUP: 1937 at 2s 6d (Oxford Organ<br />
Music Series) • score in The Oxford Book of Wedding Music, OUP,<br />
1991 • Robert Gower, ed., A <strong>Walton</strong> Organ Album, OUP, 1996<br />
Recordings: LP, CD Simon Preston (organ, Westminster<br />
Abbey). Argo ZRG 5448 (1977) • Robert Gower (organ,<br />
Hereford Cathedral). Priory PRCD 591 (1996)<br />
C34<br />
In Ho n o u r of th e Ci t y of<br />
Lon d o n<br />
cantata for mixed chorus (SSAATTBB) and orchestra<br />
Text: from the poem In Honour of the City of London by<br />
<strong>William</strong> Dunbar (?1460–c1525), written on the occasion<br />
of the marriage of King James IV of Scotland and Margaret<br />
Tudor in 1501<br />
Date of composition: 1937<br />
Holograph: Whereabouts of the full score unknown. A<br />
photocopy reveals that it was dated ‘September 5th 1937.’<br />
<strong>Walton</strong> presented his autograph to the London Contemporary<br />
Music Centre for a raffle prize in June 1951 (Internal<br />
memo, OUP archive, dated 11 June 1951) • Holograph<br />
vocal score (incomplete): Beinecke: GEN MSS 601 (FRKF<br />
596) • Holograph optional harp II part of the cantata: OUP<br />
archive, Oxford • Photocopies of the autograph score and<br />
analytical notes can be found in the <strong>William</strong> <strong>Walton</strong> Archive,<br />
Ischia and the OUP Archive in Oxford. These notes appear<br />
in WWE vol. 5 as Appendix II (p. 289).<br />
Commissioned by: the 1937 Leeds Triennial Music Festival<br />
Instrumentation: picc.2.2.2.2/4.3.3.1/timp/perc<br />
(2: tri, cyms, sus cym, glock, t bells, sd, bd, tamb)/2hp (II<br />
opt)/strings<br />
Dedication: To the Leeds Festival Chorus, 1937<br />
Duration: 17 minutes<br />
First performance: Leeds, Town Hall, 6 October 1937;<br />
Leeds Festival Chorus and London Philharmonic Orchestra,<br />
conducted by Malcolm Sargent<br />
For perusal purposes only
First London performance: Queen’s Hall, 1 December<br />
1937 (BBC Symphony Concert, broadcast on the BBC<br />
National Programme); BBC Choral Society and BBC<br />
Symphony Orchestra, conducted by <strong>William</strong> <strong>Walton</strong><br />
Publication: WWE vol. 5 (2009), pp. 1–101 • vocal score:<br />
OUP, 1937 at 2s 6d • score and parts on hire: OUP, 1937<br />
Bibliography: Timothy Brown, WWE vol. 5 • Chesterian<br />
20 (1939), 153–6 (A. Frank); M&L 19 (January 1938),<br />
107 (E. Rubbra); MG, 8 Oct 1937, p. 14 (N. Cardus); 2 Dec<br />
1937, p. 8 (W. Legge); MT 78 (November 1937), 993–4<br />
(H. Thompson); (December 1937), 1040 (W.R.A); 79 (January<br />
1938), 57 (W. McNaught); RT, 26 Nov 1937, p. 13 (E. Evans);<br />
Sheff T, 21 Sept 1937, p. 6 (F. H. Shera); Times, 7 Oct 1937,<br />
p. 12; 9 Oct 1937, p. 10; 2 Dec 1937, p. 12; YENews, 4 Oct 1937,<br />
p. 7 (J. R. <strong>William</strong>s); YOb, 7 Oct 1937, p. 6; YPost, 20 Sept 1937,<br />
p. 5 (A. H. Ashworth); 7 Oct 1937, p. 5 (A. H. Ashworth)<br />
Recordings: CD London Symphony Orchestra Chorus<br />
and Orchestra / Richard Hickox. EMI CDC 7 49496 2<br />
(1989); EMI Collector’s Edition 4 40867 2 (2012) • Bach<br />
Choir and Philharmonia Orchestra / David Willcocks.<br />
Chandos CHAN 8998 (1991); CHAN 9426 (1995)<br />
Note: Plans by HMV to issue a recording, on 78 rpm discs,<br />
of the first performance were quashed owing to the quality<br />
of the recording (OUP archive).<br />
C35<br />
Se t me as a se a l up o n th i n e<br />
h e a r t<br />
anthem for soprano and tenor soli and unaccompanied<br />
mixed choir (SATB)<br />
Text: adapted from The Song of Solomon, 8: 6–7<br />
Date of composition: November 1938<br />
Holograph: whereabouts unknown<br />
Dedication: To the Honourable Ivor Guest [only son of<br />
Viscount and Viscountess Wimborne] and the Lady Mabel<br />
Fox-Strangways [younger daughter of the Earl and Countess of<br />
Ilchester] on the occasion of their marriage, 22 November 1938<br />
Duration: 3 minutes 30 seconds<br />
First performance: London, St Mary Abbots Church,<br />
Kensington, 22 November 1938; the resident church choir;<br />
organist/choirmaster: F. G. Shuttleworth<br />
First broadcast performance: London, BBC Home<br />
Service, 3 February 1941 (broadcast from the Bristol<br />
Studios); BBC Singers, conducted by Leslie Woodgate<br />
C36 A Stolen Life 47<br />
Publication: vocal score: OUP, 1938 at 6d (Oxford<br />
Anthem Series, A86); reprinted in Oxford Anthem Series,<br />
A86, 1966; Anthems for Choirs 4, OUP, 1976; Robert King,<br />
ed., English Church Music, vol. 1: Anthems and Motets (OUP,<br />
2010) • WWE vol. 6, pp. 15–18; offprinted OUP, Oxford<br />
Anthem Series A86 (rev.), 1999<br />
Bibliography: Timothy Brown, WWE vol. 6 • David<br />
Lumsden, The Treasury of English Church Music, vol. 5: 1900–<br />
65, ed. Gerald Knight and W. L. Reed (London: Blandford,<br />
1965), 209–10 • American Organist Magazine 45 (August<br />
2011), 53–6 (B. Bailey); Times, 23 Nov 1938, p. 17<br />
Recordings: CD Trinity College Cambridge Choir /<br />
Richard Marlow. Conifer CDCF 164 (1989) • Christ<br />
Church Cathedral Choir, Oxford / Stephen Darlington.<br />
Nimbus NI 5364 (1993) • King’s College, Cambridge<br />
Choir / Stephen Cleobury. EMI CDC 7 54418 2 (1993);<br />
EMI Collector’s Edition 4 40870 2 (2012) • Finzi Singers<br />
/ Paul Spicer. Chandos CHAN 9222 (1992); CHAN 9426<br />
(1995)<br />
C36<br />
A St o l e n Li f e<br />
music for the film<br />
Date of composition: 1938<br />
Holograph: whereabouts unknown<br />
Film details: Adapted from the novel by Karel J. Benes<br />
by Margaret Kennedy. Script by George Barraud; director:<br />
Paul Czinner; producer: Anthony Havelock-Allan. Orion<br />
Productions, Pinewood Studios.<br />
Duration of film: 90 minutes<br />
Cast included: Elisabeth Bergner (Sylvina and Martina<br />
Lawrence), Michael Redgrave (Alan MacKenzie), Wilfred<br />
Lawson (Thomas E.Lawrence), and Mabel Terry Lewis (Aunt<br />
Helen).<br />
Music composed for the following: Title music;<br />
Running away; Hotel exterior, Picnic; Glacier; Twins;<br />
Post Office; Hotel; Hungarian trio; Ballroom; Embrace,<br />
Wedding; Beach; Quayside; Storm [Sibelius, see below];<br />
Hospital; Breton hotel; Meeting of Karal; Newsreel title;<br />
Cinema sequence (the Escape Me Never ballet music);<br />
Paramount playout; Play out music.<br />
Music played by the BBC Television Orchestra,<br />
conducted by Hyam Greenbaum. Recorded at Alexandra<br />
Palace Studios.<br />
Instrumentation: unable to trace<br />
For perusal purposes only
48 C37 Concerto for Violin and Orchestra<br />
First UK showing: London, Plaza Theatre, 18 January<br />
1939 (in aid of the Lord Baldwin Fund for Refugees and<br />
the Women’s Appeal Committee for German and Austrian<br />
Jewish Women and Children)<br />
First USA showing: New York, Rivoli, 14 June 1939<br />
Bibliography: Alan Strachan, Secret Dreams: The Biography<br />
of Michael Redgrave (London: Weidenfeld & Nicolson, 2004),<br />
164–5 • Film Weekly 21 (January 1939), 2; MFB 6 (February<br />
1939), 11; Picturegoer 8 (April 1939), 26; Times, 18 May 1938,<br />
p. 14; 29 June 1938, p. 12; 19 Jan 1939, pp. 10, 15<br />
Note: In an interview with Carole Rosen (recorded at the<br />
Savile Club on 15 October 1991 and now in the BBC Sound<br />
Archive), Dallas Bower talked about his BBC television<br />
production of Shakespeare’s The Tempest. He explained that<br />
Sibelius’s incidental music for the play had been commissioned<br />
by the actor and director Gordon Craig (1872–<br />
1966) for a production in Copenhagen (recte Sweden) that<br />
had never taken place. The music had been subsequently<br />
recorded but never used as incidental music. A great problem<br />
was the music for the storm, which was scored for a<br />
Wagnerian-size orchestra. Hyam Greenbaum proposed that<br />
he reduced the scoring, which he did and which Cecil Gray,<br />
visiting Sibelius in Finland, showed the composer. Sibelius’s<br />
comment was ‘I cannot imagine why I didn’t score it like this<br />
in the first place’, and this was the arrangement which was<br />
subsequently used in the play when it was televised from<br />
Alexandra Palace on 5 February 1939, with Peggy Ashcroft<br />
as Miranda. As for the storm music in the film, it may have<br />
been Greenbaum’s idea to use his arrangement when time<br />
was scarce for <strong>Walton</strong>. We have to thank Christopher Palmer<br />
who recognized this fact when viewing the film at the British<br />
Film Institute with the present author.<br />
C37<br />
Co n c e r t o fo r V iolin an d<br />
Orc h e s t r a<br />
1. Andante tranquillo; 2. Presto capriccioso alla napolitana—Trio<br />
(Canzonetta); 3. Vivace<br />
Date of composition: 1936–9; revised 1943<br />
Holograph: The Music Division of the Library of Congress,<br />
Washington, D.C. has two photocopies of the original full<br />
score, one inscribed to JH from WW, the other marked<br />
‘n.g.’ [no good]. Another copy of the score is in the OUP<br />
Hire Library. Dated ‘2/6/39: New York’ at the end of the<br />
score. • The holograph of the arrangement for violin and<br />
piano and solo violin part is held by the Library of Congress:<br />
first movement dated ‘New York 15/5/39’. Also at the<br />
Library of Congress is a sheet of instructions and emendations<br />
by <strong>Walton</strong> for Heifetz, written on a piece of sixteenstave<br />
music paper.<br />
Commissioned by: Jascha Heifetz<br />
Instrumentation (original version): 2(I & II + picc).<br />
2(II + ca).2.2/4.2.3.0/timp/perc (2: cyms, tamt, cast, xyl,<br />
glock, sd, bd, tamb)/hp/strings<br />
Dedication: For Jascha Heifetz<br />
Duration: 30 minutes<br />
First performance: Cleveland, Ohio, Severance Hall,<br />
7 December 1939; Jascha Heifetz and the Cleveland<br />
Orchestra, conducted by Dr Artur Rodzinski. The concerto<br />
was repeated on 9 December 1939 with the same performers.<br />
It was reported in the American press that Heifetz was<br />
‘crazy’ about the concerto.<br />
Other early American performances: St. Louis,<br />
Missouri, Municipal Auditorium, 15 and 16 November<br />
1940; Jascha Heifetz and the St. Louis Symphony Orchestra,<br />
conducted by Vladimir Golschmann • Cincinnati, Music<br />
Hall, 29 and 30 November 1940; Jascha Heifetz and the<br />
Cincinnati Symphony Orchestra, conducted by Eugene<br />
Goossens • New York, Carnegie Hall, 5 February 1941;<br />
Jascha Heifetz and the Cleveland Orchestra, conducted by<br />
Dr Artur Rodzinski<br />
First UK and London performance: Royal Albert<br />
Hall, 1 November 1941 (Royal Philharmonic Society<br />
Concert; broadcast on the BBC Home Service); Henry<br />
Holst and the London Philharmonic Orchestra, conducted<br />
by <strong>William</strong> <strong>Walton</strong><br />
Note: Frank Howes writes that ‘the concerto’s journey<br />
to England . . . did not escape the hazards of war. Heifetz’s<br />
own proofs bearing his own bowing and fingering of the solo<br />
part were lost in the Atlantic, but a photocopy made in New<br />
York was safely delivered by air to OUP in London. A set of<br />
gramophone records was also lost in transit, so neither the<br />
composer nor Henry Holst . . . had heard the work before<br />
this concert’ (Howes, Music of <strong>William</strong> <strong>Walton</strong>).<br />
Other early UK performances (all broadcast except<br />
the Oxford concert): Bedford, Corn Exchange, 12<br />
November 1941; Henry Holst and the BBC Symphony<br />
Orchestra, conducted by <strong>William</strong> <strong>Walton</strong> • Bournemouth,<br />
St Peter’s Hall, 22 December 1941; Henry Holst and the<br />
Wessex Philharmonic Orchestra, conducted by Reginald<br />
Goodall • Oxford, Sheldonian Theatre, 12 February 1942;<br />
Henry Holst and the London Philharmonic Orchestra,<br />
conducted by Dr. <strong>William</strong> <strong>Walton</strong>. This concert followed the<br />
degree ceremony when <strong>Walton</strong> and Sargent received their<br />
doctorates from Oxford University. • Manchester, Opera<br />
For perusal purposes only
C37 Concerto for Violin and Orchestra 49<br />
House, 20 May 1942; Henry Holst and the Hallé Orchestra,<br />
conducted by Dr. Malcolm Sargent<br />
Publication: full score: unpublished but available from<br />
OUP Hire Library as a photocopy of the autograph; signed<br />
by Heifetz and containing late additions and deletions by<br />
<strong>Walton</strong>, mainly in the percussion<br />
Bibliography: M. Milisavljevic, ‘The Evolution of Violin<br />
Playing as Heard in Recordings of <strong>William</strong> <strong>Walton</strong>’s<br />
Violin Concerto’ (DMA diss., Rice University, Texas,<br />
2011) • BPost, 27 Oct 1941, p. 2 (E.B.); Cinc Enq,<br />
30 Nov 1940, p. 22 (F.Yeiser); Cinc Post, 30 Nov 1940, p. 4<br />
(L. T. Plogstedt); Cincinnati Times-Star, 30 Nov 1940, p. 5<br />
(H. W. Hess); Cleveland PD, 8 Dec 1939, p. 1 (H. Elwell); The<br />
Listener, 30 Oct 1941, p. 609 (H. Foss); MR 2 (November<br />
1941), 309–18 (F. Merrick); MT 82 (December 1941), 443–4<br />
(W. McNaught); 83 (March 1942), 82–3 (W. McNaught);<br />
NYHT, 17 Dec 1939, p. 6; 6 Feb 1941, p. 13 (V. Thomson); New<br />
York Sun, 6 Feb 1941, p. 25 (O. Thompson); NYT, 6 Feb 1941,<br />
p. 24 (O. Downes); New York World-Telegraph, 6 Feb 1941,<br />
p. 31 (L. Biancolli); Ob, 19 Oct 1941, p. 7 (W. Glock); 3 Nov<br />
1941, p. 6 (W. McNaught); 25 Jan 1942, p. 8 (W. Glock);<br />
RT, 24 Oct 1941, p. 5 (R. Hill); St Louis PD, 16 Nov 1940,<br />
p. 5A (T. B. Sherman); Times, 27 March 1939, p. 19; 28 March<br />
1939, p. 12; 25 Oct 1941, p. 8; 3 Nov 1941, p. 8: 7 Nov<br />
1941, p. 6<br />
Recordings: 78, LP, CD Jascha Heifetz / Cincinnati<br />
Symphony Orchestra / Eugene Goossens (recorded 18<br />
February 1941 in Cincinnati Music Hall). EMI DB 8911/3;<br />
DB 5953/5; Victor 18416/6 (1942); RCA ARM4 0945<br />
(1975); Pearl GEMMCDS 9167 (1995); Naxos 8.110939<br />
(2000)<br />
Note: See Eugene Goossens, Cincinnati Interludes: A<br />
Conductor and his Audience, ed. Robert Matthew-Taylor (St<br />
Austell: DGR, 1995).<br />
Other versions<br />
C37a<br />
arrangement for violin and piano by the composer and Franz<br />
Reizenstein; violin solo part edited by Jascha Heifetz<br />
Publication: piano score with violin part: OUP 1941 at<br />
15s<br />
Note: Fitting the writing of the Violin Concerto into<br />
the <strong>Walton</strong> chronology has been difficult due to the lack<br />
of archival material and the subsequent attempts by the<br />
composer to lay false trails. The present author is indebted<br />
to Prof. John Maltese, who is writing a new biography of<br />
Heifetz with the help of the Heifetz family, for establishing<br />
relevant dates in this matter. Spike Hughes introduced<br />
<strong>Walton</strong> to Heifetz at the Berkeley Hotel (see Spike Hughes,<br />
Opening Bars, London: Pilot, 1946, 315)—November to<br />
December 1935 would seem to be the time when Heifetz<br />
had concert and recording engagements in the UK. The<br />
outcome of this meeting was Heifetz’s commission for a<br />
violin concerto, which <strong>Walton</strong> must have commenced in<br />
1936, soon after the completion of his First Symphony. He<br />
had written the first two movements by the late summer<br />
and showed them to Antonio Brosa, the Spanish violinist.<br />
The occasion was the recording of <strong>Walton</strong>’s music for the<br />
film, Dreaming Lips, some weeks later. Shooting of the film<br />
had commenced in September 1936 at Denham Studios.<br />
The Manchester Guardian (28 Sept 1936, p. 12) published<br />
a photograph showing Elisabeth Bergner waiting to take<br />
part on the film set, and two weeks later The Times (16 Oct<br />
1936, p. 12) published more details. Filming took about<br />
six weeks, with the music being added in late November or<br />
early December, in readiness for the film’s release in early<br />
February 1937, not October, as was previously thought.<br />
Brosa described the events in a 1969 interview with Hubert<br />
Dawkes and John Tooze in the RCM Magazine (Easter 1969,<br />
p. 10):<br />
<strong>Walton</strong> gave me the first two movements of his Concerto.<br />
I was playing in a film in which the protagonist was a<br />
violinist. The film was called ‘Dreaming Lips’ [and] while<br />
we were there I asked <strong>Walton</strong> if he had written anything<br />
for the violin, and he told me he was writing a concerto<br />
for Heifetz. I said ‘May I see the concerto please; would<br />
you show it to me?’ And he said: ‘Well, yes, I could, but<br />
as a matter of fact I am very fed up because I do not<br />
know ... how to write for the violin.’ He had written<br />
two movements, the first and the second, and he lent it<br />
to me and I practiced it, and he came home and played<br />
it with me and I made a few suggestions and so on. He<br />
wrote to Heifetz telling him about this and sent him the<br />
two movements as samples. Heifetz replied that he was<br />
not quite sure that he liked them as <strong>Walton</strong> wanted them<br />
and he suggested that he went to America and work it<br />
out with him.<br />
A BBC memo of 27 November 1936, exploring the possibility<br />
of <strong>Walton</strong> being commissioned by the BBC for a<br />
coronation march, also reveals that he was engaged at that<br />
time ‘on a violin concerto for Heifetz, a choral work for<br />
next year’s Leeds Festival and music for a film [i.e. Dreaming<br />
Lips].’ The march was duly written by April 1937 and for<br />
most of the following summer, <strong>Walton</strong>, staying with Alice<br />
Wimborne in Ravello, completed his cantata. It was then<br />
that he returned to rewriting the first two movements of<br />
the concerto (noting the comments of both Heifetz and<br />
Brosa) and composing a third.<br />
For perusal purposes only
50 C37 Concerto for Violin and Orchestra<br />
Letters, which are now in the Foss archive, the OUP archive,<br />
or others as indicated, chart the concerto’s progress:<br />
26 January 1938: WW reports to Hubert Foss (HF) that<br />
there is ‘not much progress.’<br />
15 April, Arthur Bliss (AB) to WW: ‘I am empowered<br />
by the British Council to write to you and ask whether you<br />
are willing to write a new work to be played at the New York<br />
International Exhibition held in May 1939. The Council<br />
would very much like a Violin Concerto from you, and as<br />
I believe you have started on one, perhaps this would fit in<br />
with your plans.’<br />
28 April, WW to AB: ‘The proposal suits me admirably,<br />
that is, if everything can be arranged. You may know that<br />
Heifetz has commissioned me to write a violin concerto<br />
for him. . . . The only question is if he will agree to the<br />
first performance being under the auspices of the British<br />
Council.’<br />
11 May, WW to HF: ‘Bliss [wrote to me] asking me<br />
to write a violin concerto for the concerts at the New<br />
York World Fair. . . . I replied in the affirmative, stipulating<br />
that Heifetz should play [the] first performance. [The<br />
concerto] is developing in an extremely intimate way.’<br />
<strong>Walton</strong> added ‘Whether my original plan to have the<br />
first [UK] performance with Courtaulds in the 1939–40<br />
[series of concerts] at Queen’s Hall [may] not [be] the<br />
best after all.’<br />
June, WW to HF: ‘finished the first movement and having<br />
been bitten by a tarantula . . . I have celebrated the occasion<br />
by the second movement being a kind of tarantella.’<br />
22 September: British Council minutes (OUP archive)<br />
reveal that Hubert Foss had reported that ‘the first two<br />
movements of Mr <strong>Walton</strong>’s violin concerto were at present<br />
with Mr Heifetz in America.’<br />
14 October, Ernest Makower (EM; chairman of<br />
the British Council advisory music committee) to<br />
WW: noted that Heifetz had seen the two movements,<br />
but ‘has intimated that he cannot decide as to the work as a<br />
whole without knowledge of the last movement which was<br />
not ready.’ He urged <strong>Walton</strong> to decide about the dual considerations<br />
of the British Council and Heifetz.<br />
18 October, WW to EM: ‘I am delighted to accept the<br />
offer of the British Council, and will abide by the decision it<br />
had reached about the soloist—and hope that it might turn<br />
out that Heifetz will be able to see his way to give the first<br />
performance. I aim to have the concerto finished by the end<br />
of November.’<br />
14 December, Dora Foss (DF) to HF (in the<br />
USA): ‘<strong>William</strong> hopes to finish the violin concerto by the<br />
end of January.’<br />
18 January 1939, DF to HF (in the USA): WW<br />
mentioned his ‘difficulties in making the last movement<br />
elaborate enough for Heifetz. He says he will never write a<br />
commissioned work again.’<br />
4 February, DF to HF: ‘<strong>William</strong> isn’t at all pleased with<br />
the last movement, says it wants two months’ more work.’<br />
He felt that Heifetz ‘won’t do the concerto’ and suggested<br />
Szigeti and Kreisler as alternative soloists. Brosa wasn’t<br />
enthusiastic either.<br />
13 February: WW to Pamela Henn-Collins (British<br />
Council) about details of his contract with the British<br />
Council.<br />
3 March 1939, DF to HF: ‘<strong>William</strong> telephoned at length<br />
to say that Heifetz had accepted his concerto’ (telegram<br />
dated 28 February, now in the OUP archives). Heifetz added<br />
‘collaboration necessary and advise earliest date of your<br />
arrival.’<br />
Unfortunately this coincided with Heifetz saying that<br />
it was too late for him to be interested in the New York<br />
World’s Fair. This proved awkward for <strong>Walton</strong>, and then the<br />
press heard about the withdrawal. According to both The<br />
Times and the Daily Telegraph, the British Council blamed<br />
the fact that the concerto was still unfinished.<br />
21 March, WW to EM: ‘I have received a cable from<br />
Mr Heifetz intimating that it is too late for him to be interested<br />
in the World Fair proposal, but that he is interested<br />
in my concerto and would like to have the exclusive rights<br />
for two years. I have come to the conclusion that although<br />
I lose financially, it is only right for the sake of the work<br />
to let Mr Heifetz have it, and abandon the World Fair’s<br />
proposal of the British Council. . . . I suggest . . . that you<br />
should obtain the services of Mr <strong>William</strong> Primrose to<br />
play my Viola Concerto at the World Fair’s concerts. The<br />
work is virtually unknown in America having had as yet<br />
no public performance and only one ‘broadcast’ from a<br />
studio.’<br />
28 March, WW to Leslie Heward: ‘I am going over<br />
[to America] soon to work with Jascha Heifetz on the<br />
concerto.’<br />
29 March, WW to Cicely Stanhope (secretary of<br />
the Courtauld–Sargent Concerts): ‘I have had a telephone<br />
talk with Heifetz who couldn’t play in December but<br />
who would be coming over in March 1940. The concerto<br />
is finished barring alterations that Heifetz wants to make,<br />
contrary to the statements that have appeared in the press’<br />
(Royal College of Music archive).<br />
<strong>Walton</strong> and Alice Wimborne sailed to America on SS<br />
Normandie, arriving on 16 May 1939 to work with Heifetz<br />
at his farmhouse in Redding, Connecticut, and returning<br />
on 6 June 1939.<br />
For perusal purposes only
C37 Concerto for Violin and Orchestra 51<br />
15 October, WW to Heifetz:<br />
I have heard from Mr Foss that the first performance<br />
[will be] on December 7th and 9th, and I am delighted<br />
about it. I don’t think . . . there is the slightest likelihood<br />
of my being able to get over for it. . . . As for your alteration,<br />
I approve of it and send you some alternatives on a<br />
separate sheet. . . .<br />
The only other suggestion I’ve made (in the 1st<br />
movement) is also on it. Going through the parts, I<br />
have come across several mistakes in the full score, also<br />
here and there I’ve made a few alterations in the scoring<br />
which will, I trust be all to the good. I must confess<br />
I feel a bit nervous about a 1st performance at which<br />
I’m not there. It hasn’t happened to me before—<br />
accordingly I give you my full permission to make any<br />
alterations you may find necessary, when you hear it on<br />
the orchestra.<br />
I’ve tried to make the orchestration as fool-proof as<br />
possible, but even there, it will need extremely careful<br />
playing, especially in the 2nd movement. (Library of<br />
Congress, Washington DC)<br />
Revised version<br />
<strong>Walton</strong> extensively revised the orchestration of the<br />
concerto in 1943 ‘during a lull in Henry V’, as he said in<br />
a letter to Roy Douglas, dated 23 December 1943. In<br />
the same letter <strong>Walton</strong> wrote: ‘I started out to do a little<br />
patching here and there but found it not a satisfactory way<br />
of doing it, so more or less I started from the beginning<br />
and I have even gone so far as to introduce a bass clarinet<br />
instead of the timpani.’ These revisions were embodied<br />
in the published study score first issued by OUP in<br />
November 1945. In fact there is no bass clarinet in the<br />
score: on pages 47–9 <strong>Walton</strong> put bassoon and harp with the<br />
timpani (Douglas archive).<br />
In a letter to Norman Peterkin, dated 17 September<br />
1944, <strong>Walton</strong> wrote ‘Sargent wants to take it to New York<br />
in the New Year for performance with Heifetz. I’m seeing<br />
Menuhin on Wednesday and he is taking it up. Everyone is<br />
a bit fed up with Holst, and [Eda] Kersey [1904–44] who<br />
was to play it, as you know is dead.<br />
‘This revised score and parts invalidate all the old scores<br />
and parts. I’m afraid it would be more trouble than it is<br />
worth to try and patch up the old parts’ (OUP archive).<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 597).<br />
Dated ‘New York: 2/6/39; revised 30/11/43’ at the end of<br />
the score. <strong>Walton</strong> did not write out a new autograph when<br />
revising the concerto but reused the autograph of the original<br />
version for his revisions by extensive rubbings out, and<br />
replacing pages (in the third movement) when necessary.<br />
The MSS also contains <strong>Walton</strong>’s analysis of the concerto,<br />
which is laid in with the bound autograph. This was for Frank<br />
Howes, who used it in his Musical Pilgrim series on <strong>Walton</strong><br />
(OUP, 1942–3) and subsequently in his full-length study of<br />
<strong>Walton</strong>’s music (The Music of <strong>William</strong> <strong>Walton</strong>, OUP, 1965).<br />
Instrumentation: 2(I & II + picc).2(II + ca).2.2/4.2.3.0/<br />
timp/perc (2: cyms, xyl, sd, tamb)/hp/strings<br />
First performance: Wolverhampton, Civic Hall, 17<br />
January 1944; Henry Holst and the Liverpool Philharmonic<br />
Orchestra (leader: Henry Holst), conducted by Dr Malcolm<br />
Sargent. In the programme, the last movement was marked<br />
‘Vivace: con moto’.<br />
First American performances: Minneapolis, Minnesota,<br />
Northrop Memorial Auditorium (University of Minneapolis),<br />
26 January 1945; Jascha Heifetz and the Minneapolis<br />
Symphony Orchestra, conducted by Dimitri Mitropoulos.<br />
The same performers gave two additional concerts on 27<br />
January (City Auditorium, Milwaukee, Wisconsin) and 28<br />
January (Civic Opera House, Chicago, Illinois).<br />
First UK broadcast performance: London, BBC<br />
Home Service, 26 September 1945; Arthur Grumiaux and<br />
the BBC Symphony Orchestra, conducted by Constant<br />
Lambert. Grumiaux had been booked to play the concerto<br />
at a Promenade Concert on 21 August but was indisposed.<br />
Phyllis Sellick played the Sinfonia Concertante in its place.<br />
First public London performance: Royal Albert<br />
Hall, 29 January 1950; Alfredo Campoli and the London<br />
Symphony Orchestra, conducted by Sir Malcolm Sargent<br />
Other early performances: Stockholm, Swedish Radio<br />
Concert Hall, 29 November 1945; Endre Wolf and the Swedish<br />
Radio Symphony Orchestra, conducted by <strong>William</strong> <strong>Walton</strong>.<br />
This concert also included a performance of Belshazzar’s<br />
Feast (C23) in a Swedish translation with Jussi Björling singing<br />
the solo baritone part. • London, Royal Albert Hall,<br />
12 November 1946; Emil Telmanyi and the Philharmonia<br />
Orchestra, conducted by Paul Kletzki (Telmanyi stood in<br />
for Ginette Neveu who was indisposed) • Manchester,<br />
Albert Hall, 15 January 1947; Thomas Matthews and the<br />
Hallé Orchestra, conducted by John Barbirolli • Brussels,<br />
Palais des Beaux Arts, 23 June 1947; Arthur Grumiaux and<br />
the BBC Symphony Orchestra, conducted by Sir Adrian<br />
Boult • New York, Carnegie Hall, 16 and 17 February<br />
1950; Jascha Heifetz and the New York Philharmonic<br />
Orchestra, conducted by Leonard Bernstein • Los Angeles,<br />
Philharmonic Auditorium, 4 January 1951; Jascha Heifetz<br />
and the Los Angeles Philharmonic Orchestra, conducted by<br />
Alfred Wallenstein • London, Royal Albert Hall, 23 August<br />
1951 (broadcast on the BBC Third Programme); Alfredo<br />
Campoli and the BBC Symphony Orchestra, conducted<br />
For perusal purposes only
52 C38 The Wise Virgins<br />
by Basil Cameron • London, Royal Festival Hall, 9 June<br />
1953 (Coronation Festival concert); Jascha Heifetz and the<br />
Philharmonia Orchestra, conducted by Sir Malcolm Sargent<br />
Publication: study score: OUP, 1945 at 12s 6d; 2nd edn,<br />
2014 at £17.95 • WWE vol. 11, pp. 1–180 • arrangement<br />
for violin and piano (2nd edn): OUP, 2010<br />
Bibliography: David Lloyd-Jones, WWE vol. 11 •<br />
A. L. Bryan Jr, ‘Rebecca Clarke’s Sonata for Violin and Piano<br />
and <strong>William</strong> <strong>Walton</strong>’s Concerto for Violin and Orchestra:<br />
A Comparison of Form and Violin Technique’ (DMA diss.,<br />
University of South Carolina, 2011) • Scott Goddard,<br />
The Concerto, ed. Ralph Hill (Harmondsworth: Penguin,<br />
1962), 396–9 • T. W. Joiner. ‘The Violin Concerto of<br />
<strong>William</strong> <strong>Walton</strong>’ (DMus diss., Florida State University,<br />
1983) • Robert Meikle, ‘The Violin Concerto’, CraggsML,<br />
pp. 81–3, 91–3 • R. J. Pipkin, ‘An analysis of <strong>William</strong><br />
<strong>Walton</strong>’s Concerto for Violin and Orchestra’ (MMus thesis,<br />
State University of North Texas, 1957) • Paolo Petrocelli,<br />
The Resonance of a Small Voice (Newcastle upon Tyne: Cambridge<br />
Scholars, 2010) [based on thesis prepared at the University<br />
of Rome La Sapienza for the degree BA in Musicology,<br />
2007] • M. Takeda, ‘The Secrets of Jascha Heifetz’s Playing<br />
Style as Revealed through his Editions of Works by <strong>Walton</strong>,<br />
Korngold and Waxman’ (DMA diss., City University of New<br />
York, 2000) • A. Veinus, Victor Book of Concertos (New York:<br />
Simon and Schuster, 1948), 414–17 • Chic DT, 29 Jan 1945,<br />
p. 9.(C. Cassidy); Express and Star [Wolverhampton], 17 Jan<br />
1944, p. 3 (L.B.D.); LA Times, 5 Jan 1951, p. 14 (A. Goldberg);<br />
MG, 16 Jan 1947, p. 3 (G.A.H.); NYT, 17 Jan 1950. p. 28<br />
(H.T.); Times, 23 Aug 1945, p. 6; 13 Nov 1946, p. 8; 30 Jan<br />
1950, p. 2; 24 Aug 1951,p. 7; 10 June 1953, p. 10<br />
Recordings: 78, LP, CD Jascha Heifetz / Philharmonia<br />
Orchestra / <strong>Walton</strong> (recorded No.1. Studio, Abbey Road,<br />
London, 26–7 July 1950). EMI DB21257–9 (1951); EMI<br />
DB9611–3 auto (1951); EMI DM1511–13 (1951) • Jascha<br />
Heifetz / Philharmonia Orchestra / <strong>Walton</strong>. RCA LM1121<br />
(1951); EMI BLP1047 (1954); Victor LM2740 (1965); RCA<br />
LSB4102 (1973); RCA GD87966 (1988); RCA BMG 09026<br />
617542(1994); RCA 74321 92575 2 (2002) • Yehudi<br />
Menuhin / London Symphony Orchestra / <strong>Walton</strong> (recorded<br />
No. 1 Studio, Abbey Road, London, 12–15 July 1969). HMV<br />
ASD2542 (1970); EMI CHS 565003 2 (1994); EMI 7243585<br />
562 2 (2003) • Kyung-Wha Chung / London Symphony<br />
Orchestra / André Previn. Decca SXL 6601 (1973); Decca<br />
421 385 2 (1989); Decca 460 014 2 (1998) • Ida Haendel<br />
/ Bournemouth Symphony Orchestra / Paavo Berglund.<br />
EMI ASD 3483 (1978); CDM 7 64202 2 (1992); EMI<br />
Collector’s Edition 4 40860 2 (2012) • Nigel Kennedy /<br />
Royal Philharmonic Orchestra / André Previn. EMI EL 749<br />
628 1 (1987); EMI CDC 7 49628 2 (1986); EMI 6 80504<br />
2 (2012) • Lydia Mordkovitch / London Philharmonic<br />
Orchestra / Jan Latham-Koenig. Chandos CHAN 9073<br />
(1992); CHAN 9426 (1995) • Thomas Bowes/Malmo<br />
Opera Orchestra/Joseph Swensen. Signum SIGCD 238<br />
(2010)<br />
C38<br />
Th e Wise V irg ins<br />
ballet in one act<br />
The scenario is based on the parable of the Wise and Foolish<br />
Virgins (Matthew 25: 1–25), the music by J. S. Bach chosen<br />
and arranged from the religious and secular cantatas by<br />
Constant Lambert and orchestrated by <strong>Walton</strong> (who scored<br />
the numbers from the original Bach-Gesellschaft Edition).<br />
Date of arrangement: 1940<br />
The ballet consists of nine numbers:<br />
1. The four-part chorale ‘Wachet auf’ (from Cantata<br />
BWV 140); 2. The bass aria ‘Dein Geburtstag ist erschienen’<br />
(from Cantata ‘Uns ist ein Kind geboren’, BWV 142);<br />
3. The opening chorus (from Cantata ‘Was Gott thut, das ist<br />
wohlgetan’, BWV 99); 4. The chorale ‘Herzlich thut mich<br />
verlangen’ (from the organ chorale prelude in B minor,<br />
Book xviii, BWV 727); 5. The tenor aria ‘Seht was die<br />
Liebe tut’ (from Cantata ‘Ich bin ein guter Hirt’, BWV 85);<br />
transposed from E♭ to D; 6. The opening four-part chorus<br />
(from Cantata ‘Ach wie flüchtig, ach wie nichtig’, BWV<br />
26); 7. Recitative and soprano aria ‘Schäfe können sicher<br />
weiden’ (from Cantata ‘Was mir behagt, ist nur die muntre<br />
Jagd’, BWV 208); 8. Repeat of No. 3 with adapted scoring,<br />
and abbreviated to two Ritornelli without chorale; 9.<br />
Choral finale (from Cantata ‘Gelobet sei der Herr, mein<br />
Gott’, BWV 129).<br />
Holograph: whereabouts unknown<br />
Instrumentation: 2 (I & II picc).2(II + ca).2.2/4.2.3.0/<br />
timp/hp/strings<br />
Dedication: To Edith Sitwell (not published)<br />
Duration: 25 minutes<br />
First performance: London, Sadler’s Wells Theatre,<br />
24 April 1940; Sadler’s Wells Touring Orchestra, conducted<br />
by Constant Lambert. Members of the Sadler’s Wells Ballet<br />
Company including Michael Soames, Margot Fonteyn, Jean<br />
Bedells and Leslie Edwards. Choreography: Frederick Ashton;<br />
scenery and costumes: Rex Whistler. The ballet remained in the<br />
repertoire of the Sadler’s Wells Company during January, May<br />
(music performed on two pianos), and October 1941, February,<br />
March, June, and December 1943, and January 1944.<br />
For perusal purposes only
Publication: WWE vol. 3, pp. 1–99 (2014)<br />
Bibliography: David Lloyd-Jones, WWE vol. 3 • Cyril<br />
W. Beaumont, The Sadler’s Wells Ballet: A Detailed Account of<br />
Works in the Permanent Repertory with Critical Notes (London:<br />
Beaumont, 1946), 161–7 • Meredith Daneman, Margot<br />
Fonteyn (London, Viking, 2004), 141–3 • David Drew, ‘The<br />
Wise Virgins’, The Decca Book of Ballet (London: Muller, 1958),<br />
56–7 • Julie Kavanagh, Secret Muses: The Life of Frederick Ashton<br />
(London: Faber, 1996), 260–63 • David Vaughan, Frederick<br />
Ashton and his ballets (London: A. & C. Black, 1977), 183–6,<br />
473 (rev. edn., London: Dance Books, 1999) • Danc T (May<br />
1940), 464; MT 81 (June 1940), 278–9 (W. McNaught);<br />
Ob, 28 April 1940, p. 9 (H.H.); Spec, 21 June 1940, p. 837;<br />
Times, 25 April 1940, p. 4; 21 May 1941, p. 6<br />
Other versions<br />
C38a Suite from the ballet The Wise<br />
Virgins<br />
1. What God hath done (originally no. 3); 2. Lord, hear my<br />
longing (no. 4); 3. See what his love can do (no. 5); 4. Ah!<br />
How ephemeral (no. 6); 5. Sheep may safely graze (no. 7);<br />
6. Praise be to God (no. 9)<br />
Holograph: whereabouts unknown<br />
Instrumentation: 2(II + picc).2(II + ca).2.2/4.2.3.0/<br />
timp/hp/strings<br />
Duration: 16 minutes (WW 17'41")<br />
First performance: London, Abbey Road Studios, 8<br />
August 1940 (recording session for the HMV disc, see<br />
below); Sadler’s Wells Orchestra, conducted by <strong>William</strong><br />
<strong>Walton</strong><br />
First public performance: London, Queen’s Hall, 30<br />
November 1940; Royal Philharmonic Orchestra, conducted<br />
by Dr Malcolm Sargent<br />
Other concert performances: London, Royal Albert<br />
Hall, 3 August 1949; BBC Symphony Orchestra, conducted<br />
by Sir Malcolm Sargent<br />
Publication: score: OUP, 1942 at 17s 6d • reprinted in<br />
large format in 1986<br />
Bibliography: Times, 2 Oct 1940, p. 6; 25 Nov 1940, p. 6;<br />
5 Feb 1951, p. 3<br />
Recordings: 78, LP, CD Sadler’s Wells Orchestra / <strong>Walton</strong><br />
(recorded No.1 Studio, Abbey Road, London, 24 July and<br />
8 August 1940). HMV C3178–9 (1940); EMI CHS5 65003 2<br />
(1994) • London Philharmonic Orchestra / Adrian Boult.<br />
Decca LW 5157 (1955); Decca 461 359 2 (1997) • City of<br />
C38 The Wise Virgins 53<br />
Birmingham Symphony Orchestra / Louis Frémaux. EMI<br />
ASD 3317 (1977); CZS 5 73998 2 (2000); EMI Collector’s<br />
Edition 4 40864 2 (2012) • London Philharmonic<br />
Orchestra / Bryden Thomson. Chandos CHAN 8871 (1990);<br />
CHAN 9426 (1995) • English Northern Philharmonia<br />
Orchestra / David Lloyd-Jones. Naxos 8.555868 (2002)<br />
C38b The Wise Virgins<br />
1. Sleepers Wake!; 2. The Saviour is born today; 3. What<br />
God hath done is rightly done (originally no. 1); 4. Lord,<br />
hear my longing (no. 2); 5. See what His love can do (no. 3);<br />
6. Ah! How ephemeral (no. 4); 7. Sheep may safely graze<br />
(no. 5); 8. What God hath done, is rightly done (adapted<br />
reprise of no. 3); 9. Praise be to God (no. 6)<br />
Instrumentation: 2.2(II + ca).2.2/4.2.3.0/timp/hp/<br />
strings<br />
First performance: London, BBC Radio 3, 26 July 2000;<br />
BBC Concert Orchestra, conducted by Barry Wordsworth<br />
Publication: score and parts on hire: OUP, 2000<br />
Recordings: CD BBC Concert Orchestra / Barry<br />
Wordsworth. ASV CD DCA 1168 (2004)<br />
Note: Philip Lane told the present author (email dated<br />
31 March 2004) that ‘The only thing I had to go on were<br />
the original titles and hence Bach pieces and the odd bit of<br />
rehearsal piano score from Covent Garden which hinted at<br />
where the cuts came in the repeated item. ... Otherwise<br />
I kept to WW’s instrumentation but used the harp a bit more<br />
liberally than he did.’<br />
C38c Cantus Firmus<br />
ballet in one act with choreography by Jeanne Brabants<br />
First performance: Antwerp, Royal Flemish Opera<br />
House, 15 May 1970; Royal Flemish Opera House Orchestra,<br />
conducted by Luigi Martelli. Ballet van Vlaanderen, including<br />
Frieda Brijs and Philip Vervoort.<br />
First British performance: Bradford, Alhambra Theatre,<br />
11 October 1974; Ballet van Vlaanderen<br />
C38d Sheep may safely graze<br />
available separately<br />
Instrumentation: 2.1.ca.2.2/4.0.0.0/hp/strings<br />
First public performance: London, Cambridge Theatre,<br />
15 October 1944; London Symphony Orchestra, conducted<br />
by Anatole Fistoulari<br />
First broadcast performance: Lincoln, Cathedral<br />
Church of the Blessed Virgin Mary, 8 November 1944 (BBC<br />
For perusal purposes only
54 C39 Tunes for My Niece<br />
Home Service); New London Orchestra, conducted by Alec<br />
Sherman<br />
Publication: score: OUP, 1942 at 5s 6d<br />
Bibliography: Times, 28 Jan 1944, p. 6<br />
Recordings: 78 Sadler’s Wells Orchestra / <strong>Walton</strong>.<br />
HMV B9380 (1944) (from HMV C3178–9, see above) LP,<br />
CD Philharmonia Orchestra / <strong>Walton</strong> (recorded Kingsway<br />
Hall, London, 21 March 1953). Columbia 33C1016 (1953);<br />
Columbia SEL1504 (1954); EMI CHS5 65003 2 (1994)<br />
C38e Ah! How ephemeral<br />
arranged for two pianos by Walter Goehr<br />
Publication: piano score: OUP, 1960 at 7s 6d<br />
C39<br />
Tu n e s fo r My Ni e c e<br />
for solo piano<br />
Date of composition: 1940<br />
I Allegretto; II Vivo; III Andante; IV Slow and deliberate;<br />
V Quick; VI Slow; VII [Allegro]; VIII [Largo]; IX [Allegro]<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 624a)<br />
Dedication: For Elizabeth<br />
Duration: 12 minutes<br />
First performance: unable to trace<br />
Publication: WWE vol. 20, pp. 1–10 (2003)<br />
Bibliography: Michael Aston, WWE vol. 20<br />
Other versions<br />
C39a Duets for Children<br />
<strong>Walton</strong> later brought in his nephew, Michael, and the pieces<br />
became duets. The manuscript still consisted of nine, not<br />
ten, pieces, Alla marcia not being included.<br />
It is probable that this number was added later at<br />
the suggestion of Hubert Foss as a finale for the duet<br />
publication.<br />
Date of arrangement: 1940<br />
I. The Music Lesson (Andantino); II. The 3-legged Race (Vivo);<br />
III. The Silent Lake (Adagio); IV. Pony Trap (Giocoso deliberamente);<br />
V. Ghosts (Leggiero); VI. Hop-Scotch (Larghetto); VII.<br />
Swing-boats (Gaiamente); VIII. Song at Dusk (Largo); IX.<br />
Puppet’s Dance (Allegro); X. Trumpet Tune (Alla Marcia)<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 624b).<br />
The manuscript bears a dedication to Alfred Chenhalls<br />
(<strong>Walton</strong>’s, and John Ireland’s, accountant) thus: ‘for<br />
Alfred Chenhalls (Cheneg) in celebration (surtax) from<br />
<strong>William</strong> 15 May 1940.’ (Sir John Simon, Chancellor of<br />
the Exchequer, in his Budget of 24 April 1940, had set the<br />
rate for surtax (1940–41) to be charged on incomes over<br />
£1,500.)<br />
Dedication: To Elizabeth and Michael (children of<br />
<strong>Walton</strong>’s elder brother, Noel)<br />
Duration: 14 minutes<br />
First performance: unable to trace. It may have been the<br />
recording session on 7 May 1940 for the 78 rpm Columbia<br />
recording, DX 972/3 (Ilona Kabos and Louis Kentner,<br />
pianos)—under, according to The Times, ‘the personal supervision<br />
of the composer.’<br />
Other early performances: Cambridge, Gonville and<br />
Caius College Hall, 24 November 1940; Angus Morrison<br />
and Patrick Hadley<br />
Publication: Books One and Two: OUP, 1940 at 3s 6d<br />
each • Three Duets: OUP, 1940 at 2s 6d • WWE vol. 20,<br />
pp. 11–42; offprinted OUP, 2004<br />
Bibliography: Michael Aston, WWE vol. 20 • MT 81<br />
(July 1940), 307 (W. McNaught); (September 1940), 376<br />
(H. Grace); Times, 15 June 1940, p. 4<br />
Recordings: CD Hamish Milne / Gretel Dowdeswell.<br />
Chandos CHAN 9292 (1994) • Peter Lawson / Alan<br />
MacLean. Albany TROY 142 (1995) • Keith Swallow /<br />
John Wilson. Cameo 2036 (2005)<br />
Note: Letters in the OUP archive show that Louis Kentner<br />
(letter to Hubert Foss, 9 April 1940) and Kenneth Wright<br />
at the BBC (letter to Foss, 1 May 1940) were making enquiries<br />
about the new work.<br />
Other versions of Duets for Children<br />
(a) Ballet Átha Cliath (a fantasy in five<br />
flounces)<br />
Comedy ballet with script by Diarmuid Kelly and choreography<br />
by Sara Payne.<br />
First performance: Dublin, Gate Theatre, 4 June<br />
1941. Piano duets played by Aileen Doyle and Margaret<br />
MacNamee, Diarmuid Kelly and Sara Payne with members<br />
of ‘The Cross-Channel Ballet Company.’<br />
Bibliography: Irish Times, 30 May 1941, p. 6; 6 June 1941,<br />
p. 5, which mentions the music by <strong>William</strong> <strong>Walton</strong> as ‘very<br />
fitting’<br />
For perusal purposes only
(b) Incidental music for Uncle Harry, a<br />
play by Thomas Job<br />
Directed by <strong>William</strong> Ansty and Michael Redgrave.<br />
First English performance: London, Garrick Theatre,<br />
29 March 1944. Gramophone records of the duets were<br />
used. Cast included Michael Redgrave, Rachel Kempson,<br />
and Beatrice Lehman.<br />
Bibliography: Alan Strachan, Sweet Dreams: The Biography<br />
of Michael Redgrave (London: Weidenfeld & Nicolson, 2004),<br />
219–30<br />
(c) Puppet’s Dance and Trumpet Tune<br />
arranged for organ (manuals only) by Robert Gower<br />
Publication: Robert Gower, ed., A <strong>Walton</strong> Organ Album,<br />
OUP, 1996<br />
Recordings: CD Robert Gower (organ, Hereford<br />
Cathedral). Priory PRCD 591 (1996)<br />
(d) Children’s Suite<br />
arranged for oboe and piano by Christopher Palmer<br />
(Nos 1, 2, 5, 6, 7, 8, 9, 10)<br />
Publication: Christopher Palmer, ed., <strong>William</strong> <strong>Walton</strong>: An<br />
Oboe Album, OUP, 1992<br />
(e) The Silent Lake<br />
arranged for clarinet and piano by Ian Denley<br />
Publication: Ian Denley, ed., Time Pieces for Clarinet, vol.<br />
2, ABRSM, 1998<br />
(f) The Silent Lake<br />
arranged for trumpet and piano by Paul Harris and John<br />
Wallace<br />
Publication: Paul Harris and John Wallace, eds, Time<br />
Pieces for Trumpet, vol. 1, ABRSM, 1996<br />
(g) Trumpet Tune<br />
arranged for trumpet and piano by Ann Driver<br />
First performance: London, Broadcasting House, 30<br />
June 1954. J. Mackintosh and A. Driver. This BBC recording<br />
(DLO 57176) was subsequently played on the BBC<br />
Light Programme on Saturday 4 December 1954 (Listen on<br />
Saturday).<br />
C39b Music for Children<br />
arranged for orchestra by the composer<br />
C39 Tunes for My Niece 55<br />
In this version, the order of the pieces is changed (though<br />
the published study score gives the references incorrectly)<br />
as follows: 1, 2, 3, 4, 7, 9, 8, 6, 5, 10.<br />
Date of arrangement: 1940–41<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 624c)<br />
Instrumentation: 2(II + picc).2(II + ca).2.2/4.2.3.1/<br />
timp/perc (2: cyms, glock, xyl, sd, tamb)/hp/strings<br />
Duration: 16 minutes<br />
First performance: London, Queen’s Hall, 16 February<br />
1941; London Philharmonic Orchestra, conducted by Basil<br />
Cameron<br />
First broadcast performance: Bristol, Colston Hall,<br />
28 February 1941 (BBC Home Service); BBC Symphony<br />
Orchestra, conducted by <strong>William</strong> <strong>Walton</strong><br />
Note: According to the Musical Times (vol. 81, November<br />
1940), the Royal Philharmonic Society had announced that<br />
six concerts had been arranged in Queen’s Hall, London,<br />
and that a performance of <strong>Walton</strong>’s ‘new suite’ would take<br />
place on Saturday 30 November 1940. No reason was given<br />
for its delay, but in a letter from Keith Douglas (Queen’s<br />
Hall), to Hubert Foss, dated 10 November 1940, Douglas<br />
mentioned that ‘the thing was not scored as yet’ (OUP<br />
archive).<br />
<strong>Walton</strong> later apologized to Julian Herbage (BBC), letter<br />
dated 8 February 1941, about the misunderstanding over<br />
Music for Children: ‘But after receipt of your letter, I hadn’t<br />
proceeded further about scoring them until meeting Basil<br />
Cameron [who] asked if I’d thought of doing so and said<br />
he would perform them. There was a run through yesterday<br />
with the LPO and they sounded very pretty’ (BBC<br />
WAC).<br />
Publication: study score: OUP, 1941 at 10s 6d • WWE<br />
vol. 18, pp. 157–208<br />
Bibliography: David Lloyd-Jones, WWE vol. 18 • DT,<br />
17 Feb 1941, p. 3 (F. Bonavia); Times, 18 Feb 1941, p. 6<br />
Recordings: LP, CD London Philharmonic Orchestra /<br />
<strong>Walton</strong> (recorded Walthamstow Assembly Hall, 14 April<br />
1970). Lyrita SRCS50 (1971); SRCD224 (1992) • London<br />
Philharmonic Orchestra / Bryden Thomson. Chandos<br />
CHAN 8968 (1991); CHAN 9426 (1995)<br />
Note: Letters in the OUP archive reveal that Walter Goehr<br />
had already orchestrated the pieces for small orchestra.<br />
Writing to Alan Frank in November 1940, <strong>Walton</strong> told him<br />
that Goehr had suggested 1.1.2.1/2.2.1.1/timpani/percussion<br />
(2)/harp and strings for his scoring. A later internal memo<br />
[1941], about ‘Music for Children alias Children’s Pieces’,<br />
stated that ‘He [<strong>Walton</strong>] has orchestrated them himself after<br />
having allowed Walter Goehr to do six of them.’<br />
For perusal purposes only
56 C39 Tunes for My Niece<br />
Other arrangements of Music for Children<br />
C39c Music for Children<br />
arranged for solo piano by Roy Douglas<br />
Publication: piano scores (Books I and 2): OUP, 1949 at<br />
4s 0d each<br />
Bibliography: Notes, 7 (June 1950), 450<br />
C39d Miniatures for Wind Band<br />
Arranged by Bram Wiggins, in two sets: Set 1 contains<br />
Nos. 1–4 and 7 of the original; Set 2 contains Nos. 9, 8,<br />
6, 5, and 10.<br />
Instrumentation: picc (opt).2fl.2ob (II opt).3cl.a cl.b<br />
cl.bn.2a sax/2hn.2tpt.2tbn.2euph/t sax.tba/timp/perc/<br />
string bass<br />
Publication: scores (Sets 1 and 2): OUP: 1974 at £2.50<br />
and £3.00<br />
C39e Music for Children<br />
arranged for wind, brass, and percussion by Martin Rutherford<br />
Instrumentation: 2.1.3.2/2.3.2.1/db/2 perc<br />
First performance: Edinburgh, George Heriots School,<br />
5 July 1977; Heriots Orchestra, conducted by Martin<br />
Rutherford<br />
Publication: unpublished<br />
C39f Seven numbers from Music for<br />
Children<br />
arranged for brass band by Paul Hindmarsh<br />
1. The Music Lesson; 2. The Three-Legged Race; 3. The<br />
Silent Lake; 4. Pony Trap; 5. Swing-boats; 6. Song at Dusk;<br />
7. Trumpet Tune<br />
Recordings: CD Black Dyke Mills Band / James Watson.<br />
ASV CD WHL 2093 (1995)<br />
C39g Six Pieces for Brass Ensemble<br />
Arranged by Noel de Jongh, in two sets: Set 1 contains<br />
Nos. 6, 8, and 10; Set 2 contains Nos. 2, 3, and 4.<br />
Set 1: 2 tpt, 2 tbn<br />
Set 2: 3 tpt (1 optional), 3 tbn, and optional hn<br />
Publication: scores (Sets 1 and 2): OUP, 1967 at 8s 6d each<br />
C39h Devoirs de Vacances: Galop Final<br />
A ballet, with book by Boris Kochno, danced to a reorchestrated<br />
version of Duets for Children.<br />
<strong>Walton</strong> wrote Galop final in November 1949, a special<br />
finale for the ballet, which was not used because it arrived<br />
too late. He called it a tribute to the French painter Paul<br />
Gavarni (1804–66).<br />
Holograph: Orchestral version: whereabouts unknown.<br />
<strong>Walton</strong> sent it to Kochno on 7 November 1949 (Letter<br />
in the Koch Collection, GEN MSS 601, Box 59, Folder<br />
1359) • Set of parts used for the first production can be<br />
found in the OUP archive • Piano version: Beinecke: GEN<br />
MSS 601 (FRKF 624d)<br />
Duration: 3 minutes<br />
First performance of the ballet (without the Galop<br />
final): Paris, Théâtre des Champs-Elysées, 8 November<br />
1949, by the Ballet des Champs-Elysées, including Leslie<br />
Caron, Helene Constantine, Irene Shorik, Helena Sadowska,<br />
and Youly Algaroff.<br />
Choreography: John Taras; costumes and scenery: Cecil<br />
Beaton. Galop final was later arranged for orchestra by<br />
Christopher Palmer:<br />
Instrumentation: 2(I & II + picc).2(I & II + ca)2.2/4.2.3.1/<br />
timp/perc (2: tri, sus cym, wb, glock, xyl, bells, sd, 3 toms,<br />
bd, tamb, sleigh bells)/hp/strings<br />
Duration: 2 minutes 30 seconds<br />
First performance: London, St Jude’s Church, Central<br />
Square, 8 or 21 January 1991 (recording sessions for the<br />
Chandos disc, see below)<br />
First public performance: Atlanta, Georgia, Symphony<br />
Hall (Woodruff Arts Center), 8 June 1994; Atlanta Symphony<br />
Orchestra, conducted by Richard Kaufman<br />
Publication: full score (orch. Christopher Palmer):<br />
WWE vol. 18, pp. 209–39 (2007) • piano solo score:<br />
WWE vol. 20, pp. 43–8 (2003)<br />
Bibliography: David Lloyd-Jones, WWE vol. 18<br />
• Michael Aston, WWE vol. 20 • Ballet (January 1950),<br />
20 (R. Buckle)<br />
Recordings: CD London Philharmonic Orchestra /<br />
Bryden Thomson. Chandos CHAN 8968 (1991); CHAN<br />
9426 (1995)<br />
Note: An internal OUP memo, dated 20 September<br />
1949, reveals that, ‘The ballet (Kochno) will be called<br />
“Les Exercises” ’, and that ‘<strong>Walton</strong> is going to write a fresh<br />
finale.’<br />
In a letter to Alan Frank, dated 10 November 1949,<br />
<strong>Walton</strong> wrote, ‘Till I got a frantic telegram from Kochno,<br />
I’d clear forgotten about the promised finale for the Music<br />
for Children ballet—having become immersed in opera<br />
[Troilus and Cressida]—but in 24 hours I jotted down a 3<br />
For perusal purposes only
minute Galop (the right title under the circumstances) and<br />
hope it reaches him in time. It’s rather a gay, if slightly<br />
vulgar piece.’<br />
On 17 November 1949, Frank wrote to <strong>Walton</strong> and said<br />
‘From what you say, it might be an idea for you . . . to make<br />
the Galop the last of a set of say 3 dances for orchestra’<br />
(OUP archive).<br />
Other arrangements<br />
C39i Galop Final<br />
arrangement for piano duet by Philip Lane<br />
First performance: Cheltenham, Princess Hall (Ladies<br />
College), 20 and 21 August 1994 (recording sessions for the<br />
Albany disc, see below)<br />
Recordings: CD Peter Lawson / Alan MacLean. Albany<br />
TROY 142 (1995)<br />
C39j Galop Final<br />
arrangement for brass band by Paul Hindmarsh<br />
First performance: London, Queen Elizabeth Hall,<br />
9 March 2002 (broadcast on BBC Radio 3, 7 June 2002);<br />
Grimethorpe Colliery Band, conducted by Elgar Howarth<br />
C40<br />
Sc a p i n o<br />
A comedy overture for orchestra after an etching by Jacques<br />
Callot, 1619.<br />
Date of composition: 1940<br />
Holograph: Rosenthal Archives of the Chicago<br />
Symphony Orchestra (MS 8876). It is dated: ‘<strong>William</strong><br />
<strong>Walton</strong>: London 28.12.40.’ A reproduction of the Balli<br />
di Sfessania title-page is stuck below the title on p. [i]<br />
and Callot’s engraving of Scapino pasted on p. [iii] of the<br />
preliminaries.<br />
Commissioned by: Chicago Symphony Orchestra<br />
Instrumentation (original version): 3(II & III + picc).<br />
2.ca.3(III + bcl).2(II + cbn)/4.2.2ct.3.1/timp/perc (4:<br />
tri, side drum, cyms, cast, Chinese temple blocks, glock,<br />
xyl, bd, tamb, slapsticks)/hp/strings<br />
Dedication: To F. A. Stock and the Chicago Symphony<br />
Orchestra in commemoration of the 50th anniversary of its<br />
foundation<br />
C40 Scapino 57<br />
Duration: 9 minutes<br />
First performance: Chicago, Orchestra Hall, 3<br />
April 1941; Chicago Symphony Orchestra, conducted<br />
by Dr Frederick Stock. It was repeated on 4, 17, 18, and<br />
19 April 1941.<br />
First English performance: Bedford, Corn Exchange,<br />
12 November 1941. BBC Symphony Orchestra, conducted<br />
by <strong>William</strong> <strong>Walton</strong><br />
First London performance: Royal Albert Hall,<br />
13 December 1941; London Philharmonic Orchestra,<br />
conducted by <strong>William</strong> <strong>Walton</strong><br />
Other early performances: Chicago, Orchestral Hall,<br />
13 January 1942; Chicago Symphony Orchestra, conducted<br />
by Dr Frederick Stock • London, Royal Albert Hall, 18<br />
August 1942; BBC Symphony Orchestra, conducted by<br />
<strong>William</strong> <strong>Walton</strong><br />
Bibliography: Chic DN, 4 April 1941, p. 26 (E. Stinson);<br />
Chic DT, 4 April 1941, p. 26 (E.Berry); MT 82 (December<br />
1941), 447–8 (W. McNaught); 83 (January 1942),<br />
28 (W. McNaught); RT, 7 Nov 1941, p. 5 (R. Hill);<br />
15 May 1942, p. 4 (R. Hill); Times, 8 Dec 1941, p. 6; 15 Dec<br />
1941, p. 8<br />
Recordings: 78, CD Chicago Symphony Orchestra /<br />
Frederick Stock. Columbia LX 931 (1942); Biddulph CD<br />
WHL 021/2 (1995)<br />
Note: In June 1939 <strong>Walton</strong> signed a contract to write an<br />
orchestral piece for the Chicago Symphony Orchestra’s<br />
50th anniversary. It was to be dedicated to the Orchestral<br />
Association and delivered by 1 July 1940. Frederick Stock<br />
had visited London in July 1938 with Henry Voegeli, the<br />
orchestra’s manager, to discuss the commission with<br />
<strong>Walton</strong>. It is obvious that <strong>Walton</strong> originally planned<br />
something much longer than an overture, for in a letter<br />
to Hubert Foss (OUP archive), dated 9 September 1939,<br />
he wrote:<br />
Meanwhile I’m trying not too successfully to get going<br />
on this work for Chicago. But I’ve got quite a good<br />
scheme for the work. It is not to be an overture but a<br />
suite which I am entitling Varii Capricci. There are to be<br />
five pieces, thus:<br />
I Intrada (full orchestra)<br />
II Siciliana (woodwind)<br />
Ill Sarabanda (strings and harp)<br />
IV Marcia (brass and percussion)<br />
V Gigue (full orchestra).<br />
For perusal purposes only<br />
The suite is mentioned in a further letter to Hubert Foss,<br />
dated 7 November 1939, as ‘Varii Capricci (portraits
58 C41 Major Barbara<br />
from the commedia del’arte) for orchestra.’ This is to be<br />
a rather more ambitious work than the original plan I had<br />
for it.’<br />
The following month, <strong>Walton</strong> was reported to be anxious<br />
to write an orchestral piece with the title ‘Monsieur Mongo’<br />
(OUP memo, dated 20 December 1939). He took his idea<br />
from lines from Nashe’s Summer’s Last Will and Testament<br />
(1600) that had already been used by Constant Lambert in<br />
his 1932–5 cantata of that name:<br />
Monsieur Mongo for quaffing doth surpasse,<br />
In Cuppe, in Canne, or glasse,<br />
God Bacchus, doe mee right,<br />
And dubbe mee knight Domingo.<br />
In yet another letter [early 1940], <strong>Walton</strong> told Hubert<br />
Foss that ‘I’m still exercised in my mind about the title<br />
of the overture. What do you think of “The Triumph of<br />
Silenus” or “(T’was) Bacchus and his crew?” I am inclined<br />
to the latter’ (OUP archive).<br />
Revised version<br />
<strong>Walton</strong> revised the overture in the autumn of 1949. He had<br />
previously indicated (February 1941) to OUP that he wanted<br />
to reduce the scoring. 61 bars were subsequently cut.<br />
Holograph: Autograph full score; an incomplete copy.<br />
Present location: Beinecke: GEN MSS 601 (FRKF 625)<br />
Instrumentation: 3(II & III + picc).2.ca.3(III + bcl).2./<br />
4.3.3.1/timp/perc (3: tri, cyms, cast, Chinese temple<br />
blocks, glock, xyl, sd, bd, tamb)/hp/strings<br />
Duration: 8 minutes 30 seconds<br />
First performance: London, Royal Albert Hall, 13<br />
November 1950; Philharmonia Orchestra, conducted by<br />
Wilhelm Furtwängler<br />
Other performances: Edinburgh, Usher Hall, 19 August<br />
1951; London Philharmonic Orchestra, conducted by Sir<br />
Adrian Boult • New York, United Nations Assembly Hall,<br />
25 October 1955 (concert marking the 10th Anniversary<br />
of the UN). New York Philharmonic-Symphony Orchestra,<br />
conducted by Sir <strong>William</strong> <strong>Walton</strong><br />
Publication: full score: OUP, 1951 at 42s • study score:<br />
OUP, 1950 at 7s 6d; 2nd edn, 2013 at £18.95 • WWE<br />
vol. 14, pp. 39–107<br />
Recordings: 78, LP, CD Philharmonia Orchestra / <strong>Walton</strong><br />
(recorded Kingsway Hall, London, 19 October 1951):<br />
HMV DB21499 (1952); EMI ED29 0715 1 (1986); CDH7<br />
63381 2 (1992) • London Philharmonic Orchestra /<br />
Adrian Boult. Decca LXT 5028 (1955); Decca 425 661<br />
2 (1990) • Royal Liverpool Philharmonic Orchestra /<br />
Charles Groves. Columbia TWO 272 (1969); EMI CDM 7<br />
63369 2 (1990) • London Symphony Orchestra / <strong>Walton</strong><br />
(recorded Walthamstow Assembly Hall, 13 April 1970).<br />
Lyrita SRCS49 (1971); SRCD224 (1992) • London<br />
Symphony Orchestra / André Previn. EMI ASD 2990<br />
(1974); EMI CDC 7 47624 2 (1989); EMI 6 80508 2 (2012),<br />
EMI Collector’s Edition 4 40861 2 (2012) • London<br />
Philharmonic Orchestra / Bryden Thomson. Chandos<br />
CHAN 8968 (1992); CHAN 9426 (1995)<br />
Bibliography: David Lloyd-Jones, WWE vol. 14 • MG,<br />
14 Nov 1950, p. 5 (C. Mason); NYT, 25 Oct 1955, pp. 1, 10<br />
(H. Callender); Times, 16 Aug 1951, p. 6<br />
C41<br />
Ma j o r Ba r b a r a<br />
music for the film<br />
Date of composition: 1940–41 (<strong>Walton</strong> signed his<br />
contract on 16 April 1940)<br />
Holograph: whereabouts unknown<br />
Film details: Adapted from his play by George Bernard<br />
Shaw and Anatole de Grunwald. Producer and director:<br />
Gabriel Pascal; associate directors: Harold French and David<br />
Lean; production designer: Vincent Korda; editor: Charles<br />
Frend; montage: David Lean; costumes: Cecil Beaton. Pascal<br />
Film Productions, D. and P. Studios, Denham.<br />
Duration of film: 131 minutes<br />
Cast included: Wendy Hiller (Major Barbara), Rex<br />
Harrison (Adolphus Cusins), Robert Morley (Andrew<br />
Undershaft), Robert Newton (Bill Walker), Emlyn <strong>William</strong>s<br />
(Snobby Price), Sybil Thorndike (The General), Deborah Kerr<br />
(Jenny Hill), Marie Lohr (Lady Britomart), Torin Thatcher<br />
(Todger Fairmile), Miles Malleson (Morrison), Kathleen<br />
Harrison (Mrs Price), and David Calthrop (Peter Shirley).<br />
Music composed for the following: Title music;<br />
Market Street; ‘How sweet the name of Jesus sounds’ (A. R.<br />
Reinagle, arr. WW); Back door of the West Ham Salvation<br />
Army shelter; Landing hall (Wilton Crescent); Outside<br />
Lady Britomart’s Boudoir; Exit from the boudoir; ‘Onward<br />
Christian Soldiers’ (A. Sullivan, arr. WW); Salvation Army<br />
meeting at the West Ham shelter; ‘There is a happy land’<br />
(anon., arr. WW) sung at an Army meeting in Canning Town;<br />
‘Jesus loves me this I know’ (W. B. Bradbury, arr. WW); ‘Tell<br />
me the old old story’ (W. H. Doane, arr. WW); Interior<br />
For perusal purposes only
of the shelter to meeting; Barbara and Peter leave the shelter;<br />
Army meeting in the Royal Albert Hall; ‘Climbing up<br />
the Golden Stair’ (Sebren, arr. WW); Fanfare; ‘Abide with<br />
Me’ (W. H. Monk, arr. WW); Embankment; Undershaft’s<br />
Drawing Room (Morrison opens a window and papers<br />
are dispersed); Dining Room at Wilton Crescent; The<br />
Library; The Entrance Hall; Car scene (Barbara, Cusins, and<br />
Undershaft); Undershaft’s Works (1); The Labor Church<br />
(see note below); Undershaft’s Works (2); Terrace sequence<br />
and Play-out.<br />
Music played by the London Symphony Orchestra,<br />
conducted by Muir Mathieson. Several sections were<br />
orchestrated by Roy Douglas between 15 and 18 November<br />
1940 and 9 and 11 January 1941.<br />
Instrumentation: unable to trace<br />
Note: In the Shaw papers at the British Library (Add. MS<br />
50617), Series II, vol. 25, fols. 306, there is a copy of the film<br />
script (later published by Penguin Books in 1945) and at fols.<br />
301–6, a copy of a vocal score using verses written by Shaw<br />
to fit music from Rossini’s ‘Dall tuo stellato soglio’ into the<br />
finale of his opera Il Mosé in Egitto.<br />
Looking at the film script, it was Shaw’s intention that<br />
in the scene, the Labor Church, a Wagnerian orchestra and<br />
one hundred performers in every dress, together with four<br />
principal singers and a choir, should sing this utopian hymn<br />
(prefaced by an announcer’s speech), conducted by Arturo<br />
Toscanini.<br />
Writing to <strong>Walton</strong> on 5 May 1940, Shaw revealed that<br />
Pascal ‘has sent the piano score of the hymn which leaves<br />
me a little in the dark as to the vocal arrangements and<br />
forces.’ He also made a number of suggestions about his<br />
arrangement, such as ‘In bar 37 the major third does not<br />
suit the word “lamenting”. Make it minor or flatten the B.’<br />
Toscanini was unable to conduct this performance. Shaw<br />
continued ‘Now I have to alter the introductory speech of<br />
the announcer about Rossini and Toscanini. I do not know<br />
whether you will let yourself be filmed conducting or not.<br />
And Gabriel by telling me ... that he is taking the choir to<br />
London because the local organ is bad, has confused me, as<br />
what I contemplated was an orchestral accompaniment. He<br />
also mentions a choir of boys from Exeter but not a word<br />
[about] adult soloists, male or female.’ He added ‘I don’t insist<br />
[about an orchestral accompaniment]. The organ is cheaper.<br />
You can make a full score later for the Three Choirs.’<br />
Two days later, Shaw wrote to <strong>Walton</strong> again. ‘The<br />
words are horrible, as I had to make the big portamento<br />
in Rossini’s third bar singable at all costs, but you have got<br />
over this pretty successful[ly]. I have sent Gabriel a new<br />
version of the Announcer’s speech on the assumption that<br />
you are to conduct. ... Your appearance would interest the<br />
C41 Major Barbara 59<br />
public, and the best conductor is always the composer if he<br />
can conduct. Sometimes he can’t’ (WW archive).<br />
In the final edit, this scene was omitted. It was never<br />
filmed because of the onset of the European war on 10 May<br />
1940.<br />
Film first shown: Nassau, Bahamas, Savoy, 21 March 1941,<br />
for the benefit of the Lord Mayor’s Air Raid Distress Fund<br />
First UK public showing: London, Odeon, Leicester<br />
Square, 2 August 1941<br />
First USA showing: New York City, Astor Cinema, 14<br />
May 1941<br />
Bibliography: B. F. Dukore, ed., Bernard Shaw on Cinema<br />
(Carbondale: Southern Illinois University Press, 1997),<br />
144–9 • Miklós Rózsa, Double Life: The Autobiography of<br />
Miklós Rózsa (London: Midas, 1982), 103–4 • Alan Wood,<br />
Mr. Rank: A Study of J. Arthur Rank and British Films (London:<br />
Hodder and Stoughton, 1952), 104–5 • DocNL 2 (May<br />
1941), 35; MFB 8 (April 1941), 44; MG, 2 March 1941, p. 6<br />
(A.D.); NYT, 18 May 1941, p. X3 (B. Crowther); Ob, 6 April<br />
1941, p. 3 (C. A. Lejeune); Times, 2 April 1941, p. 6; 17 May<br />
1941, p. 3<br />
Recordings: film available on DVD: 2NDVD 3124<br />
Note: In a letter to the present author, dated 25 February<br />
1978, <strong>Walton</strong> recalled that Pascal took him to lunch with<br />
Mr and Mrs Shaw, somewhere in Whitehall Mansions [recte<br />
Court]. ‘My eyes were glued on him, for every time he<br />
opened his mouth, his dental plate came down and then<br />
went up—very off-putting!’ (Craggs archive).<br />
Other versions<br />
C41a A Shavian Sequence<br />
for large orchestra, adapted from the film music by<br />
Christopher Palmer and comprising (as a continuous<br />
piece):<br />
1. Titles; 2. Undershaft’s Factory and his ‘garden suburb’;<br />
3. Love-scene; 4. End titles and Play-out<br />
Instrumentation: 3(II & III + picc).3(III + ca).3(III +<br />
bcl).3(III + cbn)/4.3.3.1/timp/perc (5/6: tri, cym, sus<br />
cym, tamt, anvil, cast, xyl, vib, bells, 2md, bd, tamb)/pno(+<br />
cel)/2hp/strings<br />
Duration: 10 minutes<br />
First performance: London, Barbican Centre, 15 March<br />
1988; Royal Philharmonic Orchestra, conducted by Elmer<br />
Bernstein<br />
For perusal purposes only
60 C42 The Next of Kin<br />
Publication: score and parts on hire: OUP, 1988<br />
Bibliography: F&F (May 1988), 40 (D. Elley); Gdn, 17<br />
March 1988, p. 19 (F. Granville Barker)<br />
Recordings: CD Academy of St-Martin-in-the-Fields /<br />
Neville Marriner. Chandos CHAN 8841 (1991); CHAN<br />
9426 (1995)<br />
C41b A Shavian Sequence<br />
arranged for symphonic wind band by Seno<br />
Publication: available on hire from Music Supply Tokyo<br />
C42<br />
Th e Ne x t of Kin<br />
music for the film<br />
Date of composition: 2–22 December 1941. The film<br />
was shot between 26 July and 24 October 1941, almost<br />
parallel with The Foreman Went to France (C44). Both had<br />
to compete with each other for studio space and specialist<br />
equipment. In a letter to the present author, dated 25<br />
November 1975, Sir Michael Balcon wrote ‘No documentation<br />
now exists except the film itself. The film and its<br />
production were put on the Official Secrets list. All personnel<br />
associated with it were sworn to secrecy and scripts<br />
burned immediately once parts had been completed. No<br />
one, unless working on the film, were allowed on the set’<br />
(Craggs archive).<br />
Holograph: whereabouts unknown<br />
Film details: Screenplay written by Thorold Dickinson,<br />
Captain (later Sir) Basil Bartlett (military supervisor),<br />
Angus MacPhail, and John Dighton. Director: Thorold<br />
Dickinson; producer: Michael Balcon; associate Producer:<br />
S. C. Balcon.<br />
Ealing Studios were originally commissioned by AK1<br />
(the Army Unit responsible for instructional films), who<br />
nominated Thorold Dickinson to direct. It was a training<br />
film to promote the government propaganda message<br />
that ‘careless talk costs lives’ and it was envisaged that<br />
the film would be used only for internal distribution to<br />
Army Units. Its subject matter and manner were to be<br />
kept a close secret, and both the production unit and cast<br />
undertook orders of secrecy during its shooting. Thorold<br />
Dickinson, as a result of his brilliant work on the film,<br />
was made head of film production to AK1, and the War<br />
Office decided to issue a version of the film for public<br />
release.<br />
Duration of film: 102 minutes<br />
Cast included: Mervyn Johns (No.23, ‘Mr Davis’),<br />
Stephen Murray (Mr Barratt), Basil Sydney (Naval Captain),<br />
Nova Pilbeam (Beppie Leemans), Jack Hawkins (Brig. Major<br />
Harcourt), and Thora Hird (ATS Girl). The composer also<br />
appears, dressed as a soldier, in one of the security briefing<br />
scenes.<br />
Music composed for the following: Opening titles;<br />
Church scene; Torpedo; Football match and arrival of<br />
security officer; Striptease dance; Curtain music; Spy’s<br />
(No. 16) landing; Spy’s (No. 23) arrival; Bookshop;<br />
Love scene (Bookshop); Troops entering Watercombe;<br />
Training; John posting a letter; Mr. Barratt receiving<br />
letters (with love theme); Transmitting to enemy; Factory<br />
scene; Foxtrot (‘All over the place’ by Noel Gay and Frank<br />
Eyton, arranged by Herbert Griffiths, written in 1940<br />
for the Ealing film Sailors Three); Love scene on cliff; Café<br />
Regale (WW?); News of death and air raid; Embarkation;<br />
Colonel’s speech; Before the battle and troops landing on<br />
the beach; Radio announcement; Railway compartment;<br />
End titles.<br />
Music played by the London Philharmonic Orchestra,<br />
conducted by Ernest Irving (recorded at Ealing<br />
Studios).<br />
Note: I am indebted to Jack Docherty and Sander Meredeen<br />
for their help in identifying the original source of the music<br />
used for the foxtrot in this film.<br />
Instrumentation: unable to trace. Sixty-one pages of the<br />
score were orchestrated by Roy Douglas between 18 and<br />
21 December 1941.<br />
In a letter to the present author, dated 9 November 1975,<br />
Thorold Dickinson wrote, ‘When the War Office realised<br />
that The Next of Kin, as it came to be called, could not be the<br />
20-minute film they had in mind, learning about <strong>Walton</strong>’s<br />
availability, they asked if Thorold Dickinson would like him<br />
to compose the music and he, of course, seized this chance’<br />
(Craggs archive).<br />
Film first shown: London, Curzon Theatre (requisitioned<br />
by the War Office), January 1942 onwards, to audiences<br />
of the armed services and civilians with security<br />
passes, from 8 am to 1 am, every two hours for more than<br />
six months.<br />
In its first version, it caused shock and when<br />
Churchill saw it, he banned it during the St Nazaire raid<br />
(28 March 1942) as a threat to morale, then asked for<br />
the violence in the film to be toned down. It was later<br />
re-released through the Films Division of the Ministry<br />
of Information. It seems that <strong>Walton</strong>, at the suggestion<br />
of Jack Beddington, head of the MoI, joined the Films<br />
For perusal purposes only
Division at this point, after he had completed his work<br />
on the project.<br />
In the National Archives (PREM4/99/5, dated<br />
March 1942), a minute of 16 March says that the PM<br />
had told P. J. Grigg (Secretary of State for War) that he<br />
did not think Next of Kin ought to be shown publicly<br />
at present. There is also a letter of 28 March to say<br />
that Mr Churchill would leave the matter to Grigg’s<br />
judgement.<br />
First public showing: London, Carlton Cinema and the<br />
London Pavilion, 15 May 1942<br />
First USA showing: New York, Rialto Cinema, 5 May<br />
1943<br />
Bibliography: Ruth Artmonsky, Jack Beddington: The<br />
Footnote Man (London: Artmonsky, 2006), 73–84 • Anthony<br />
Aldgate and Jeffrey Richards, Britain Can Take It: The British<br />
Cinema in the Second World War (London: Tauris, 2007),<br />
chapter 5: ‘Careless Talk Costs Lives: The Next of Kin’,<br />
pp. 96–114 • James Chapman, The British at War: Cinema,<br />
State and Propaganda, 1939–1945 (London: Tauris, 1998),<br />
156, 190–91, 226, 285 • J. V. Morris, ‘Battle for Music:<br />
Music and British Wartime Propaganda, 1935–45’ (PhD<br />
diss., University of Exeter, 2011) • Jeffrey Richards,<br />
Thorold Dickinson: The Man and his Films (London: Croom<br />
Helm, 1986), 84–108 • MFB 9 (June 1942), 69; NYT,<br />
6 May 1943, p. 25 (B. Crowther); Ob, 17 May 1942, p. 7<br />
(C. A. Lejeune); Times, 14 May 1942, p. 6; ST, 17 May 1942,<br />
p. 2 (D. Powell)<br />
Recordings: film available on DVD DD 20093<br />
Other versions<br />
C42a The Next of Kin<br />
adapted for radio and produced for broadcasting by Cecil<br />
McGivern<br />
Cast included: Nora Pilbeam, Stephen Murray, and<br />
members of the BBC Drama Repertory Companies.<br />
First performance: Broadcast on the Home Service on 6<br />
July 1942. It was repeated on 1 August 1942.<br />
Part of the music (overall timing 12' 25") was taken<br />
from the soundtrack and dubbed on to discs for use by the<br />
BBC.<br />
C46b A Wartime Sketchbook<br />
for orchestra<br />
Arranged by Christopher Palmer and based on the music<br />
for the following films:<br />
C42 The Next of Kin 61<br />
A. The Foreman went to France (C44); B. The Next of Kin<br />
(C42); C. Went the Day Well? (C47); D. Battle of Britain<br />
(C81)<br />
1. Prologue (from B and C); 2. Bicycle Chase (from A);<br />
3. Refugees (from A); 4. Scherzo (Gay Berlin) (from D);<br />
5. Foxtrot (‘All Over the Place’ by Noel Gay and Frank<br />
Eyton) (from B); 6. Lovers (from B); 7. Striptease (from<br />
B); 8. Epilogue (from A)<br />
Instrumentation: 3.2.3.2/4.3.3.1/timp/perc (4: tri,<br />
cym, sus cym, tamt, cast, 2wb, glock, xyl, bells, church<br />
bell, bongos, sd, td, field drum, bd, drum kit, tamb, rattle,<br />
whip)/pno/hp/Spanish gtr (opt)/strings<br />
Duration: 20 minutes<br />
First performance: London, St Jude’s Church, Central<br />
Square, 2–3 March 1990 (recording sessions for the Chandos<br />
disc, see below)<br />
Publication: score and parts on hire: OUP, 1990<br />
Recordings: CD Academy of St-Martin-in-the-Fields /<br />
Neville Marriner. Chandos CHAN 8870 (1990); CHAN<br />
9426 (1995); CHAN 24112 (2003)<br />
C42c Prologue (No.1) from A Wartime<br />
Sketchbook<br />
arranged for organ by Christopher Palmer and Robert<br />
Gower<br />
Duration: 5 minutes<br />
Publication: Robert Gower, ed., A <strong>Walton</strong> Organ Book,<br />
OUP, 1996<br />
Recording: CD Robert Gower (organ, Hereford Cathedral).<br />
Priory PRCD 591 (1996)<br />
C42d A Wartime Sketchbook<br />
arranged for concert band by Kimura<br />
Publication: available on hire from Music Supply Tokyo<br />
C42e No. 6 ‘Romance’ from A Wartime<br />
Sketchbook<br />
arranged for brass band by Paul Hindmarch<br />
Duration: 3 minutes<br />
First performance: Theale, Theale Green School, 8 May<br />
1993 (Newberry Spring Festival); Besses O’Th’Barn Band,<br />
conducted by Paul Hindmarch<br />
Publication: available on hire: OUP, 1993<br />
Recordings: CD Black Dyke Mills Band / James Watson.<br />
ASV CD WHL 2093 (1995)<br />
For perusal purposes only
62 C43 Macbeth<br />
C43<br />
Ma c b e t h<br />
incidental music for <strong>William</strong> Shakespeare’s play<br />
Date of composition: 1941 (Christmas Day) to 1942<br />
(New Year’s Day)<br />
Holograph: Beinecke Rare Book and Manuscript Library,<br />
Yale University: GEN MSS 601 (FRKF 581)<br />
Music composed for the following: A detailed musical<br />
plot was worked out by John Gielgud and <strong>Walton</strong> for the<br />
production:<br />
Act I: Prelude (Allegro furioso); Slow march—Transition<br />
between Scenes i and ii; Transition between Scenes ii and<br />
iii; iii and iv; iv and v; v and vi; vi and vii; Banquet Music;<br />
Transition to Scene viii.<br />
Act II: Prelude to Act II (Grave); Fanfare (Scene ii); Murder<br />
Music; Transition between scenes iia and iii; iii and iv;<br />
Banquo’s Ghost.<br />
Act III: Prelude to Act III; Fanfare; Witches’ Music; 3<br />
apparitions; March of the Eight Kings; Transition between<br />
Scenes iii and iv; v and vi; vi and vii, vii and viii; viii and<br />
ix; Fanfare; Transition between Scenes ix and x; x and xi;<br />
Fanfares; Final lines.<br />
Instrumentation: 2(II + picc).2.ca.3.bcl.2/3.2.2.0/timp/<br />
perc (2: cym, gong, cast, xyl, bell, sd, bd, tamb, flexatone,<br />
wind machine)/strings<br />
First performance: Manchester, Opera House, 16<br />
January 1942; music (prerecorded by HMV for H. M.<br />
Tennant) played by the London Philharmonic Orchestra<br />
(which included Malcolm Arnold on first trumpet),<br />
conducted by Ernest Irving.<br />
Cast included John Gielgud (Macbeth), Leon Quartermaine<br />
(Banquo), Gwen FfrangÇon-Davies (Lady Macbeth), Jean<br />
Cadell (Weird Sister), and Alan Badel (Servant to Macbeth).<br />
Scenery: Michael Ayrton (some of his original designs<br />
in watercolour were with the score when discovered by<br />
the present author at OUP) and John Minton; costumes:<br />
Michael Ayrton.<br />
First London performance: Piccadilly Theatre, 8 July<br />
1942, with the same cast<br />
Recordings: The first 78 rpm private recordings for use in<br />
this stage production were recorded on 6 January 1942. I am<br />
indebted to Philip Stuart, author of The London Philharmonic<br />
Discography (Westport (USA): Greenwood, 1997), for the<br />
following information:<br />
According to EMI archives, the matrix numbers of the<br />
fourteen sides were:<br />
CTPX11950–60 (recorded 6 January 1942)<br />
CTPX120092–3 (recorded 13 February 1942)<br />
CTPX12094 (recorded 16 February 1942)<br />
As the last three postdate the opening of the production,<br />
additional music or revisions may have been needed from<br />
<strong>Walton</strong>.<br />
All the masters were destroyed in November 1964<br />
but copies survive; there is one set in the <strong>William</strong><br />
<strong>Walton</strong> Archive, Ischia (presented by John Russell<br />
Thompson, an extra in the original production, in<br />
1987) and a further, incomplete (CTPX11950–59 and<br />
CTPX12092–3) set given to the present author by the<br />
late Pembroke Duttson, whose relative was in the original<br />
production.<br />
Bibliography: Ronald Hayman, John Gielgud (London:<br />
Heinemann, 1971), 134–8 • Richard Mangan, ed., Gielgud’s<br />
Letters (London: Weidenfeld & Nicolson, 2004), 62–5 • MG,<br />
16 Jan 1942, p. 6; 10 July 1942, p. 4; Ob, 5 July 1942, p. 2<br />
(I. Brown); The Stage, 16 July 1942, p. 5; Theatre World 37<br />
(September 1942), 9–17; Times, 6 July 1942, p. 8<br />
Note: John Gielgud planned this production in 1941 and<br />
approached <strong>Walton</strong> through H. M. Tennant Ltd, in May or<br />
June, to see if he would provide a score. In a letter to the<br />
present author, dated 20 December 1975, Sir John wrote:<br />
[<strong>Walton</strong>] came to one or two rehearsals, and immediately<br />
decided to compose background music for the scenes<br />
of the witches, in accordance with the rhythms of their<br />
verses and the rhythms I was trying to achieve with the<br />
actresses in those scenes. I gave him the timings for the<br />
interludes and some scene-changes, and was amazed to<br />
find he had observed them meticulously without having<br />
to consult me further. I did not hear the music until it<br />
was ready to be used. . . . I was simply delighted when I<br />
heard it. (Craggs archive)<br />
In a letter, dated 12 July 1942, <strong>Walton</strong> asked Dallas<br />
Bower to go and see Macbeth or part of it again fairly soon,<br />
and ‘let me know how the music is sounding. And would<br />
you go and see John G. and tell him if you have any suggestions<br />
to make. I’ve warned him that I am sending you.’ In<br />
his reply, dated 21 July 1942, Bower told <strong>Walton</strong> that ‘the<br />
music was better ... and that he wanted to discuss some<br />
production points with him and JG.’ (BBC WAC)<br />
Other early performances: (1) First broadcast<br />
performance of recordings of the music (as used in the<br />
play) featured in Music-Lover’s Calendar, written by Walter<br />
Legge and produced by Alec Robertson. Broadcast<br />
on 13 September 1942 on the BBC Home Service<br />
Programme. • (2) Recordings of the music (‘borrowed<br />
from the theatre’) featured in From the Theatre in Wartime<br />
with John Gielgud and Gwen Frangcon-Davies. Produced<br />
For perusal purposes only
y John Burrell. Broadcast on 7 October 1942 on the BBC<br />
Home Service (repeat of the recording broadcast on the<br />
Overseas Service Eastern Transmission on 21 September<br />
1942). • (3) The Appearance of Banquo’s ghost (on CTPX<br />
11957) featured in Shakespeare and the Orchestra, presented<br />
by Edwin Evans. Broadcast on 15 December 1942 on the<br />
BBC Home Service Programme.<br />
Other versions<br />
C43a Macbeth<br />
A new production of Shakespeare’s play adapted for broadcasting<br />
by Hugh Stewart and produced by Val Gielgud.<br />
Cast included Leslie Banks (Macbeth), Phyllis Neilson-<br />
Terry (Lady Macbeth), and Leon Quartermaine (Banquo).<br />
First performance: Broadcast on the BBC’s Home<br />
Service Programme, 27 February 1944, having been<br />
recorded the previous day; music played by members of the<br />
London Symphony Orchestra and recorded on ‘a special<br />
disc for the Gramophone Company.’ Details of the conductor<br />
are not given.<br />
C43b The Skin of our Teeth<br />
Original recordings used as incidental music for the play by<br />
Thornton Wilder. Directed by Laurence Olivier.<br />
First performance: London, Phoenix Theatre, 16 May<br />
1945 (until 27 July 1945). Cast included Vivien Leigh,<br />
Cecil Parker and Ena Burrill. The play was repeated from<br />
11 September until 14 December 1946 at the Piccadilly<br />
Theatre with Vivien Leigh, George Devine, and Esther<br />
Somers.<br />
Bibliography: Times, 17 May 1945, p. 6<br />
Note: In a letter from <strong>Walton</strong> to Olivier, dated 5 February<br />
1944 and now in the BL, <strong>Walton</strong> refused to write music for<br />
the play: ‘[I] don’t think this play is my cup of tea. I’m in<br />
the middle of writing a quartet.’ (Add. MSS. 79779). He<br />
later recommended Roy Douglas to Laurence Olivier as<br />
composer of the incidental music for the play (letter, dated<br />
5 February 1945; Douglas archive).<br />
As Douglas was unable to undertake this task, it was then<br />
decided that <strong>Walton</strong>’s incidental music from Macbeth should<br />
be used although both the programme and the Times review<br />
revealed that Leslie Bridgewater had arranged the music.<br />
Years later, Sir John Gielgud told John Russell Thompson,<br />
‘I was none too pleased when I heard the Macbeth records<br />
again, used in the Tennent production of Wilder’s The Skin<br />
of our Teeth, a good many years later!’ (quoted in Mangan,<br />
ed., Gielgud’s Letters, p. 464).<br />
C44 The Foreman Went to France 63<br />
C43c Fanfare and March<br />
arranged by Christopher Palmer and comprising: Assorted<br />
Fanfares; Banquet Music; March of the Eight Kings (as Trio,<br />
followed by reprise of the ‘Banquet Music’)<br />
Instrumentation: 4(III & IV + picc).4(III + ca).2.2./<br />
4.3.3.1/timp/perc (3: cym, tamt, sd, bd, tamb)/pno/<br />
strings<br />
Duration: 5 minutes<br />
First performance: London, St Jude’s Church, Central<br />
Square, 8–11 November 1990 (recording sessions for the<br />
Chandos disc, see below)<br />
Publication: score and parts on hire: OUP, 1987<br />
Recordings: CD Academy of St-Martin-in-the-Fields /<br />
Neville Marriner. Chandos CHAN 8841 (1991); CHAN<br />
9426 (1995)<br />
C44<br />
Th e Fo r e m a n We n t to Fr a n c e<br />
music for the film<br />
Date of composition: 1942 (January–February 1942).<br />
The film was shot between 1 August and 9 November 1941<br />
(see note under The Next of Kin).<br />
Holograph: whereabouts unknown<br />
Film details: Original narrative by J. B. Priestley. Script<br />
by John Dighton, Angus MacPhail, and Leslie Arliss, based<br />
on the experiences of Melbourne Johns, to whom the film<br />
is dedicated. Director: Charles Frend; producer: Michael<br />
Balcon; associate producer: Alberto Cavalcanti; editor:<br />
Robert Hamer. Ealing Studios.<br />
Duration of film: 82 minutes<br />
Cast included: Clifford Evans (Fred Carrick), Constance<br />
Cummings (Anne Stafford), Tommy Trinder (Tommy Hoskins),<br />
Gordon Jackson (Alastair‘Jock’ MacFarlan, 19th Fusilliers), and<br />
Robert Morley (Mayor Coutare of Bivary).<br />
Music composed for the following: Main titles; June<br />
1940; Bicycle: ‘Oh! Mr. Porter’ (Thomas and George Le<br />
Brunn, arr.WW); Mayor chase; Refugees; Lorry in traffic;<br />
Sunset; La Ravelese; Moto Poulencuo; Montage; Burning<br />
village; A dressing station; Anne receives news of her sister’s<br />
death; Nuns singing; Jock’s Death; French captain and<br />
departure from France; End titles.<br />
Music played by the London Philharmonic Orchestra,<br />
conducted by Ernest Irving. Recorded at Ealing Studios.<br />
For perusal purposes only
64 C45 The First of the Few<br />
Instrumentation: unable to trace<br />
First showing: London, Pavilion, Marble Arch, 12 April<br />
1942<br />
First USA showing (as Somewhere in France): New<br />
York, Globe, 11 July 1943<br />
Bibliography: James Chapman, The British at War: Cinema,<br />
State and Propaganda, 1939–45 (London: Tauris, 1998),<br />
171–4 • DocNL 3 (April 1942), 58; MFB 9 (April 1942),<br />
41; MG, 10 Oct 1942, p. 6; Times, 10 April 1942, p. 6<br />
Recordings: film available on DVD OPTD 1136<br />
Note: In a letter to the present author, dated 2 July 1975,<br />
J. B. Priestley wrote, ‘It was Michael Balcon who asked<br />
me to write the script of The Foreman went to France.<br />
I agreed to do this providing that I was left to invent what<br />
happened to the Foreman when he arrived in France’<br />
(Craggs archive).<br />
C45<br />
Th e Fi r s t of th e Few<br />
music for the film<br />
Date of composition: 1942 (commenced 31 May). The<br />
film was shot between June and December 1941.<br />
Holograph: whereabouts unknown<br />
Film details: Story by Henry C. James and Kay Strueby;<br />
screenplay by Anatole de Grunwald and Miles Malleson.<br />
The story of R. J. Mitchell (1895–1937), who designed the<br />
Spitfire. Producer and director: Leslie Howard; associate<br />
producers: George King and John Stafford. British Aviation<br />
Pictures (D and P Studios, Denham).<br />
Duration of film: 118 minutes<br />
Cast included: Leslie Howard (R. J. Mitchell), David<br />
Niven (Geoffrey Crisp), Rosamund John (Diana Mitchell), and<br />
Roland Culver (Commander Bride).<br />
Music composed for the following: Title music:<br />
Prologue: 1; Prologue: 2; Clouds to Leslie [i.e. Leslie<br />
Howard, who played Mitchell]; Card drops, clouds to<br />
work; Models to start of Race; Plane crash to hospital;<br />
Clouds to Venice; End of Venice and hangar; Fanfare;<br />
Race; Montage; Photograph to garden; Fanfare; Reception:<br />
2; Glider; Beer garden; Club dining room: 1; club dining<br />
room: 2; Leslie’s office to house; Montage to Leslie’s house<br />
(shots of the Spitfire’s factory production); Montage to<br />
garden; Wife and Leslie in garden; Play-out and Final<br />
titles.<br />
Music played by the London Symphony Orchestra,<br />
conducted by Muir Mathieson. <strong>Walton</strong> asked Roy Douglas<br />
for help: ‘I’ve not got the exact footage but there will be<br />
about a half hour’s music to be done . . . for not later than July<br />
1st’ (postcard, not dated [June 1942], Douglas archive).<br />
Instrumentation: unable to trace<br />
Film first shown: London, Leicester Square Theatre,<br />
21 August 1942, in aid of the RAF Benevolent Fund<br />
First USA showing (as Spitfire): New York, Rivoli<br />
Cinema, 12 June 1943<br />
Bibliography: Leslie Ruth Howard, A Quite Remarkable<br />
Father (London: Longmans, 1959), 260–61 • Ronald<br />
Howard, In Search of My Father (London: Kimber, 1981),<br />
104–20 • DocNL 3 (September 1942), 128; MFB 9<br />
(September 1942), 111; NewS, 29 Aug 1942, p. 140 (W.<br />
Whitebait); Ob, 23 Aug 1942, p. 2 (C. A. Lejeune); Times,<br />
20 Aug 1942, p. 2<br />
Recordings: film available on DVD SDMD 2043<br />
Note: Some scenes were shot at an RAF station using pilots,<br />
not actors, to portray their contribution to the story, among<br />
them Bader, Cunningham, and Townsend.<br />
Other versions<br />
C45a Prelude and Fugue (‘The Spitfire’)<br />
arranged by the composer for full orchestra<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 607)<br />
Instrumentation: 2(II + picc).2(IIopt).2.2(IIopt)/4.2.3.1<br />
(opt.)/timp/perc (1: cyms, sus cym, bell, sd)/hp/strings<br />
The printed score states that ‘optional second oboe and<br />
second bassoon [and tuba] parts have been added by Vilem<br />
Tausky, with the composer’s authorization’.<br />
Duration: 8 minutes<br />
First performance: Liverpool, Philharmonic Hall, 2 January<br />
1943; Liverpool Philharmonic Orchestra, conducted by<br />
<strong>William</strong> <strong>Walton</strong><br />
First London performance: Royal Albert Hall, 21<br />
February 1943 (‘Salute to the Red Army’, organized by<br />
the MoI); London Philharmonic Orchestra and a section of<br />
the BBC Symphony Orchestra, conducted by Dr Malcolm<br />
Sargent<br />
For perusal purposes only<br />
Early broadcast performances: Bedford, Corn Exchange<br />
(BBC Home Service), 26 March 1943; BBC Symphony<br />
Orchestra, conducted by Clarence Raybould • Manchester,
Houldsworth Hall, 24 May 1943 (special orchestral concert<br />
of British music for schools; broadcast on the BBC Home<br />
Service); BBC Northern Orchestra, conducted by Ronald<br />
Biggs<br />
First American performance: New York, Carnegie<br />
Hall, 3 February 1949; Philharmonic Symphony Orchestra,<br />
conducted by Leopold Stokowski<br />
Other early performances: London, Royal Albert<br />
Hall, 23 February 1944; London Symphony Orchestra,<br />
conducted by Dr Malcolm Sargent. Used as a ‘Salute for<br />
the RAF’ in Salute to the Red Army, again organized by the<br />
MoI.<br />
Publication: study score: OUP, 1961 at 10s 6d • WWE<br />
vol. 17, pp. 53–87<br />
Bibliography: David Lloyd-Jones, WWE vol. 17<br />
Recordings: 78, LP, CD Hallé Orchestra / <strong>Walton</strong> /<br />
Laurance Turner (solo violin) (recorded Houldsworth Hall,<br />
Manchester, 24 June 1943). HMV C3359 (1943); HMV<br />
7P312 (1963); EMI ED 29 0715 1 (1986); CDH7 63381<br />
2 (1992) • Royal Liverpool Philharmonic Orchestra /<br />
Charles Groves. Columbia TWO 272 (1969); EMI CDM<br />
5 66593 2 (1997); EMI Collector’s Edition 4 40862 2<br />
(2012) • Philharmonia Orchestra / <strong>Walton</strong> (recorded<br />
No.1 Studio, Abbey Road, London, 16 October 1963).<br />
EMI SXLP30139 (1972); EMI SLS5246 (1982); CHS5<br />
65003 2 (1994) • Academy of St-Martin-in-the-Fields /<br />
Neville Marriner. Chandos CHAN 8870 (1990); CHAN<br />
9426 (1995); CHAN 241/2 (2003) • English Northern<br />
Philharmonia Orchestra / Paul Daniel. Naxos 8.553869<br />
(1999)<br />
C45b Spitfire Prelude (shortened<br />
version)<br />
arranged for organ by Dennis Morrell<br />
Publication: score: OUP, 1966 at 3s 6d (Oxford Organ<br />
Music Series) • Robert Gower, ed., A <strong>Walton</strong> Organ Album,<br />
OUP, 1996<br />
C45c Spitfire Prelude and Fugue<br />
arranged for military band by H. Barrie Hingley<br />
Publication: unpublished<br />
Recordings: CD Central Band of the RAF / H. B. Hingley.<br />
EMI 7243 5 68575 2 0 (1992)<br />
C45d Spitfire Prelude<br />
arranged for military band by Rodney Bashford<br />
C45 The First of the Few 65<br />
Publication: piano conductor: Boosey & Hawkes Ltd,<br />
1966 at 35s (QMB 273)<br />
C45e Spitfire Fugue<br />
arranged for military band by J. L. Wallace<br />
Publication: piano conductor: Boosey & Hawkes Ltd,<br />
1970 at £2 10s (QMB 288)<br />
Recordings: CD Prelude and Fugue: Band of the Scots<br />
Guard / Major R. Owen. SRC 107 (2001)<br />
C45f Prelude and Fugue<br />
arranged for symphonic wind band by Yoto<br />
Publication: available on hire from Music Supply Tokyo<br />
C45g Spitfire Prelude<br />
arranged for concert wind band by Leonard Cecil<br />
Publication: Musikverlag Emil Ruh, Switzerland (n.d.)<br />
C45h Prelude and Fugue<br />
transcribed for symphonic band by Gerhart Drijvers<br />
Publication: full score: Baton Music/OUP, 2004<br />
C45i Prelude and Fugue<br />
arranged for brass band by Elgar Howarth<br />
Publication: full score: Rosehill Music/OUP, 2003<br />
C45j Prelude and Fugue (The ‘Spitfire’)<br />
arranged for brass ensemble by Eric Crees for Sir <strong>William</strong><br />
<strong>Walton</strong>’s 80th birthday celebrations and the London<br />
Symphonic Brass Ensemble<br />
Instrumentation: 3 picc tpt, 3 tpt, flugel, 4 hn, 3 tbn,<br />
2 euph, 2 tubas, timp, perc<br />
First performance: London, Barbican Concert Hall,<br />
2 February 1982; London Symphonic Brass Ensemble<br />
Publication: score and parts on hire: OUP, 1982<br />
C45k Prelude and Fugue (The ‘Spitfire’)<br />
arranged for brass ensemble by Elgar Howarth<br />
Instrumentation: picc tpt, 2 ct, 2 tpt, 4 hn, 3 tbn, tuba,<br />
timp, perc (2)<br />
Publication: full score: Rosehill Music/OUP, 2002<br />
For perusal purposes only
66 C46 Christopher Columbus<br />
C46<br />
Ch r i s t o p h e r Co l u m b u s<br />
incidental music for Louis MacNeice’s play<br />
Written for broadcasting to celebrate the 450th anniversary<br />
of Columbus’s discovery of the New World. Produced<br />
by Dallas Bower.<br />
Date of composition: 1942<br />
Holograph: Beinecke: GEN MSS 601 (FRKF 623)<br />
• Marquesa’s Song: ‘Down in the Kingdom of Granada’:<br />
Cambridge University Library (MS.Add.8959/34)<br />
Music composed for the following:<br />
Act I<br />
Introduction and chorus (Maestoso); Background to Columbus<br />
and Prior (Andante); Recitation and chorus (Allegro moderato);<br />
Fanfare for Talavera; Fanfare for the Duke of Medina-Sidonia;<br />
Fanfare for the Duke of Medina Celi; Fanfare for Cardinal<br />
Mendoza; Court Music—Sarabande (not used in the 1942<br />
production but restored in 1992); Song: ‘Down in the<br />
Kingdom of Granada’; Male chorus: ‘No-no-never again!’;<br />
Beatriz’s song; Intoning of ‘Kyrie eleison, Christe eleison’;<br />
Chorus: ‘Granada has fallen’; Fanfare; Fanfare for Queen<br />
Isabella [not used in the 1942 production but restored in<br />
1992]; Fanfare; Fanfare; Fanfare and background.<br />
Act II<br />
Introduction: Port music and background (Vivo); Woman’s<br />
song; ‘There be three Ships’ (Moderato); Background music<br />
on Beatriz’s song; Drumming (Alla marcia); Per Dominum;<br />
Litany of the Saints; Capstan Shanty (Quick); Shanty: ‘We’re<br />
gone away . . .’; Sea music (to denote the passage of time);<br />
Night music (Solemne); Chorus: ‘Gold-gold-gold’; Speaking<br />
chorus: ‘Look-look-look’ and Te Deum; Indian chorus<br />
and reprise; Fanfare; Background and speaking chorus;<br />
Chorus, orchestra and tenor soloist: ‘Glory to God ...’<br />
(Vivacissimo).<br />
Instrumentation: picc.3.2.ca.2.bcl.2.cbn/4.3.3.1/timp/<br />
perc (3: cym, cast, xyl, sd, td, bd, tamb, maracas, rumba<br />
sticks, gtr)/hp/Mezzo/T, Bar soli/2 speakers/speaking<br />
chorus (SATB)/strings<br />
Roy Douglas orchestrated five small sections.<br />
Duration: 120 minutes<br />
First performance: Bedford, Corn Exchange, 12 October<br />
1942 (BBC Home Service); BBC Symphony Orchestra and<br />
BBC Chorus, conducted by Sir Adrian Boult. Solo singers:<br />
Joan Lennard (soprano), Bradbridge White (tenor), and<br />
Stanley Riley (baritone), with George Elliott (guitar).<br />
Cast included: Laurence Olivier (Columbus), Stephen<br />
Murray (Bartolomé), Marius Goring (second speaker), Hedli<br />
Anderson (Marquesa), and Margaret Rawlings (Beatriz).<br />
Other performances: A shortened 90-minute version<br />
was planned for broadcast on 9 October 1944, with the BBC<br />
Symphony Orchestra conducted by Clarence Raybould,<br />
neither Sir Adrian Boult nor Victor Hely-Hutchinson being<br />
available. Bedford School Hall was booked for the recording<br />
but the project did not proceed.<br />
Four sections from the original recording were used in a<br />
schools broadcast about ‘Columbus and his first voyage’—<br />
BBC Home Service, 24 May 1943. The original recording<br />
was rebroadcast on 8 April 1973 (BBC Radio3).<br />
First modern performance: London, BBC Studios,<br />
Maida Vale, 11 May 1991 (to coincide with the quincentenary<br />
celebrations). This recording was subsequently<br />
broadcast on 26 January 1992 (Radio 3); BBC Singers and<br />
BBC Symphony Orchestra, conducted by Simon Joly, with<br />
Sarah Connolly (soprano), Arthur Davies (tenor), Geoffrey<br />
Davidson (baritone), Colin Downes (guitar).<br />
Cast included Alan Howard (Columbus), Hannah Gordon<br />
(Beatriz), and Elizabeth Bell (Queen Isabella). Director: Ian<br />
Cotterell.<br />
Publication: score and parts on hire: OUP, 1974<br />
Bibliography: Ralph Hill, Made for Millions: A Critical Study<br />
of the New Media of Information and Entertainment (London:<br />
Contact, 1947), 54 • Zelda Lawrence-Curran, ‘All the<br />
Things that Might Have Been: Christopher Columbus’,<br />
CraggsML, pp. 132–81 • Louis MacNeice, Christopher<br />
Columbus: A Radio Play (London: Faber, 1944), 9 • The<br />
Listener, 15 Oct 1942, p. 508 (A. Dent); MT 114 (June 1973),<br />
631–2 (C. Palmer); RT, 9 Oct 1942, p. 1 (D. Bower); 9 Oct<br />
1942, p. 4 (R. Hill); 30 Oct 1942, p. 5<br />
Recordings: Soloists / BBC Symphony Orchestra and<br />
BBC Chorus / Sir Adrian Boult. BBC Sound Archive<br />
Recording T 28082. Originally recorded by the Philips-Hill<br />
process, a then new recording process which used film.<br />
Note: Correspondence, now in the BBC Written Archives,<br />
is of considerable musicological interest and describes how<br />
<strong>Walton</strong> came to write this massive score. The original<br />
request came from Dallas Bower, the producer, and is dated<br />
26 January 1942. Writing to <strong>Walton</strong> on 14 October 1942,<br />
Dallas Bower told him that there had been nothing but praise<br />
for the music and in a postscript wrote ‘Larry and Vivian are<br />
determined to have you for Henry!’<br />
The production is also described by Bower in the interview<br />
with Carole Rosen (15 October 1991; see p. 48) which<br />
includes details of his great disappointment that Vivien<br />
Leigh was unable to take part as Beatriz. ‘I was seriously<br />
misdirected by the casting office in Broadcasting House.’<br />
Dallas Bower also gave a short interview (‘Not Too Badly<br />
[sic] Really’) during the interval when the new production<br />
was broadcast in January 1992.<br />
For perusal purposes only
Other versions<br />
C46a Christopher Columbus: A Musical<br />
Journey<br />
Cantata from the above, for mezzo, tenor, baritone<br />
soli, 2 speakers, mixed chorus (SATB), and orchestra.<br />
Score prepared by Carl Davis. Text prepared by Patrick<br />
Garland.<br />
Instrumentation: picc.3.2.ca.3.bcl.2.cbn/4.3.3.1/timp/<br />
perc (3: sus cym, tamt, cast, sd, bd, tamb)/hp/gtr/strings<br />
Duration: 59 minutes<br />
First performance: Brighton, Concert Hall (The<br />
Dome), 18 May 2002; Brighton Festival Chorus and the<br />
Royal Philharmonic Orchestra, conducted by Carl Davis.<br />
Cast included Greta Scacchi and Rufus Sewell.<br />
First broadcast performance: BBC Radio 3, 20<br />
October 2005 (performance taken from the Chandos<br />
recording, see below)<br />
Publication: score and parts on hire: OUP, 2002<br />
Bibliography: Opera, 53 (July 2002), 862–3 (M. Kennedy)<br />
Recordings: CD Soloists, speakers, BBC National Chorus<br />
of Wales and BBC National Orchestra of Wales / Richard<br />
Hickox. Chandos CHSA 5034 (2005)<br />
C46b Suite from the incidental music for<br />
Christopher Columbus<br />
for contralto and tenor soli, mixed chorus (SATB), and<br />
orchestra, arranged by Christopher Palmer and comprising:<br />
1. Fiesta; 2. Romanza; 3. Gloria<br />
Instrumentation: 3.3.3.3/4.3.3.1/timp/perc (3/4: sus<br />
cym, tamt, castanets, sd, bd, tamb)/2hp (II opt)/strings<br />
Duration: 12 minutes 30 seconds<br />
First performance: London, All Saints Church, Tooting,<br />
11 and 12 October 1989 (recording sessions for the Chandos<br />
disc, see below)<br />
First American performance: Chicago, Rhoades<br />
Auditorium (Medical School), 24 April 1992; Lake Forest<br />
Symphony Orchestra, conducted by Paul Anthony McRae.<br />
First UK concert performance: London, Royal<br />
Albert Hall, 28 August 1992; Judith Howarth (soprano),<br />
Arthur Davies (tenor), the BBC Singers and BBC Concert<br />
Orchestra, conducted by Barry Wordsworth<br />
Publication: score and parts on hire: OUP, 1987<br />
Recordings: CD Linda Finnie (mezzo), Arthur Davies<br />
(tenor) / Westminster Singers, City of London Sinfonia /<br />
C47 Went the Day Well? 67<br />
Richard Hickox. Chandos CHAN 8824 (1990); CHAN<br />
9426 (1995)<br />
C46c Romanza from Christopher<br />
Columbus (Beatriz’s Song)<br />
arranged for organ by Christopher Palmer<br />
Publication: Robert Gower, ed., A <strong>Walton</strong> Organ Album,<br />
OUP, 1996<br />
Recordings: CD Robert Gower (organ, Hereford<br />
Cathedral). Priory PRCD 591 (1996)<br />
C46d Beatriz’s Song<br />
arranged for medium voice and guitar by Hector Quine<br />
Duration: 3 minutes<br />
Publication: vocal score: OUP, 1974 at 35p (Oxford<br />
Solo Song series)<br />
C46e Beatriz’s Song<br />
for voice and strings (taken from the original score)<br />
Publication: WWE vol. 8, pp. 42–44<br />
C46f Beatriz’s Song<br />
arranged for voice and piano by Steuart Bedford<br />
Publication: WWE vol. 8, pp. 45–7<br />
Bibliography: Steuart Bedford, WWE vol. 8<br />
C46g Beatriz’s Song<br />
arranged for female voice and piano by Christopher<br />
Palmer<br />
Publication: Christopher Palmer, ed., <strong>William</strong> <strong>Walton</strong>:<br />
A Song Album, OUP, 1991<br />
C46h Romanza from Christopher<br />
Columbus: Beatriz’s Song<br />
arranged for clarinet and piano by Christopher Palmer<br />
Publication: Christopher Palmer, ed., <strong>William</strong> <strong>Walton</strong>:<br />
A Clarinet Album, OUP, 1992<br />
For perusal purposes only<br />
C47 We n t th e Da y We l l?<br />
music for the film<br />
Date of composition: September–October 1942
68 C48 Fanfares<br />
Holograph: whereabouts unknown • Sketch for main<br />
titles (short score in pencil): Stewart R. Craggs • Radio<br />
music and Plan B: Contained in the attached synopsis of the<br />
scene is a note which is crossed out: ‘Cavalcanti suggests<br />
[that the radio music] should be strident jazz—harsh saxes<br />
or trumpet à la Louis Armstrong.’ A <strong>Walton</strong> waltz (from<br />
The First Shoot, C29) was substituted. At the foot of p. 3,<br />
<strong>Walton</strong> wrote ‘Turns on the radio (Louis Levy and his<br />
Orchestra).’ • <strong>William</strong> <strong>Walton</strong> Archive, Ischia (formerly in<br />
Muir Mathieson’s possession) (ID22)<br />
Film details: Based on Graham Greene’s story ‘The<br />
Lieutenant Died Last’; screenplay by Angus MacPhail, John<br />
Dighton, and Diana Morgan. Director: Alberto Cavalcanti;<br />
producer: Michael Balcon; associate producer: S. C.<br />
Balcon. Ealing Studios.<br />
Duration of film: 92 minutes<br />
Cast included: Leslie Banks (Oliver Wilsford), Valerie Taylor<br />
(Nora Ashton), Marie Lohr (Mrs Fraser), Mervyn Johns (Sims);<br />
Elizabeth Allan (Peggy Fry), Thora Hird (Ivy), Frank Lawton (Tom<br />
Sturry), Muriel George (Mrs Collins), and Patricia Hayes (Daisy),<br />
with men of the Gloucestershire Regiment as soldiers.<br />
Music composed for the following: Main titles;<br />
Title: Saturday, the 23rd of May (Fanfare); Village scene;<br />
Saturday evening (Fanfare); Lovers’ music [based on the<br />
choral ballet music from the film of As You Like It (C31)];<br />
Title—Whit Sunday, the 24th (Fanfare); Radio music; Plan<br />
B; Attack on the Home Guard; Chopper; Title—Sunday<br />
evening (Fanfare); Rain-pipe; Radio blues (WW—arr.<br />
E. Irving); Title—Monday, the 25th (Fanfare); Home Guard<br />
attack; Oliver Wilsford’s death; End titles.<br />
Music played by the London Philharmonic Orchestra,<br />
conducted by Ernest Irving. Recorded at Ealing Studios.<br />
Instrumentation: 2.1.2.1/4.3.2.1/timp/perc (2: cym,<br />
sd, bd,)/pno/hp/strings<br />
The score was written in September and October 1942.<br />
Roy Douglas was called in by <strong>Walton</strong> to orchestrate some<br />
small sections in order to complete the music in time for<br />
the recording sessions. He remembers how <strong>Walton</strong> mockingly<br />
sang the last bars of the diatonic tune which formed<br />
part of the opening and closing titles—‘Went the day, went<br />
the day, went the day WELL’—in order to inspire himself.<br />
Roy Douglas worked on some of the orchestrations<br />
between 19 and 24 September 1942 at Ashby.<br />
First UK showing: London, London Pavilion, 1<br />
November 1942<br />
First USA showing (as 48 Hours): New York, Little<br />
Carnegie Playhouse, 24 June 1944<br />
Bibliography: Anthony Aldgate and Jeffrey Richards,<br />
Britain Can Take It (London: Tauris, 2007), 115–37<br />
• Charles Barr, Ealing Studios (Moffat: Cameron and<br />
Hollis, 1998), 30–33 • John Chapman, The British at War:<br />
Cinema, State and Propaganda, 1939–45 (London: Tauris,<br />
1998), 226–8 • Penelope Houston, Went the Day<br />
Well? (London: BFI Publications, 1992) • DocNL, 3<br />
(November–December 1942), 149; KineW 308 (29 Oct<br />
1942), 6; MFB 9 (November 1942), 142; NewS, 31 Oct<br />
1942, p. 288 (W. Whitebait); Ob, 1 Nov 1942, p. 2 (C. A.<br />
Lejeune); Times, 29 Oct 1942, p. 6<br />
Recordings: The film is available on DVD ZI 38 498<br />
(Ealing Classics); digitally remastered on OPTD 2066<br />
(2011)<br />
Other versions<br />
C47a Prologue (from A Wartime<br />
Sketchbook)<br />
arranged for organ by Christopher Palmer and Robert<br />
Gower<br />
Publication: Robert Gower, ed., A <strong>Walton</strong> Organ Album,<br />
OUP, 1996<br />
Recordings: CD Robert Gower (organ, Hereford<br />
Cathedral). Priory PRCD 591 (1996)<br />
C48<br />
Fa n f a r e s<br />
for brass and timpani<br />
Composed for Salute to the Red Army, by Louis MacNeice.<br />
Date of composition: 1943<br />
Holograph: whereabouts unknown<br />
Duration: unknown<br />
First performance: London, Royal Albert Hall, 21<br />
February 1943. Trumpets and drums of the Life Guards,<br />
the Royal Horse Guards and the Royal Air Force, conducted<br />
by Dr Malcolm Sargent. Broadcast on the BBC Forces<br />
network.<br />
Bibliography: Basil Dean, Mind’s Eye, 1927–1972<br />
(London: Hutchinson, 1973), 283–6 • Basil Dean, The<br />
Theatre at War (London: Harrap, 1956), 304–10 • Ob, 28<br />
Feb 1943, p. 2 (W. Glock); Times, 22 Feb 1943, p. 4<br />
Recordings: Trumpets and drums of the Life Guards,<br />
Royal Horse Guards, and Royal Air Force / Sargent. BBC<br />
Archive recording: acetates 5985–9; tape MT 5985.<br />
For perusal purposes only
A copy is also in the National Sound Archive (BL).<br />
Note: Devised and produced by Basil Dean, to celebrate<br />
the 25th anniversary of the decree setting up a Red Army of<br />
‘workers and peasants’ on 23 February 1918, on behalf of<br />
the Campaigns’ Division of the Ministry of Information.<br />
One of two fanfares by <strong>Walton</strong> was played immediately<br />
after the opening announcement by Henry Oscar, and<br />
the other (A Triumphant Fanfare to the Red Army), following<br />
a speech by the Rt. Hon. Anthony Eden, the Foreign<br />
Secretary, at the end.<br />
In a letter to the present author, dated 3 October 1974,<br />
Basil Dean wrote ‘Besides contributing some fanfares,<br />
<strong>Walton</strong>, who was vice-chairman of the ENSA Advisory<br />
Music Committee, was fully involved in all the musical<br />
arrangements’ (Craggs archive).<br />
Other versions<br />
C48a Memorial Fanfare for Henry Wood<br />
for full orchestra<br />
A revised and amplified version of the first of the Red Army<br />
Fanfares.<br />
Date of composition: 1945. <strong>Walton</strong> was commissioned<br />
on 17 January in a letter from W. W. Thompson. Nine days<br />
later he wrote again acknowledging safe receipt of the full<br />
score and informing <strong>Walton</strong> that rehearsals had been fixed<br />
for 2 and 4 March (BBC WAC).<br />
Commissioned by: the Daily Telegraph for the Henry<br />
Wood Memorial Concert<br />
Holograph: British Library, London: Music Deposit<br />
1998/04 (O. W. Neighbour Collection), dated: ‘February<br />
5th 1945’.<br />
Instrumentation: 3 + 6.9.9.9/12.9.9.3/timp (2)/perc<br />
(4: cyms, tamts, sds, bds)/org/3hp/strings (38.34.28.26.20)<br />
Duration: 2 minutes 30 seconds<br />
First performance: London, Royal Albert Hall, 4 March<br />
1945 (Henry Wood Memorial Concert; broadcast on the<br />
BBC Home Service); BBC Symphony Orchestra, London<br />
Philharmonic Orchestra, and London Symphony Orchestra,<br />
conducted by Sir Adrian Boult<br />
Other early performances: London, Royal Albert<br />
Hall, 21 July 1945; London Symphony Orchestra and<br />
BBC Symphony Orchestra, conducted by Constant<br />
Lambert • London, St. Sepulchre’s Church (Holborn),<br />
26 April 1946 (fanfare played prior to the ceremony of<br />
the unveiling of the Henry Wood Memorial Window);<br />
Symphony Orchestra (members drawn from the BBC<br />
Symphony Orchestra and the London Symphony Orchestra),<br />
C49 The Quest 69<br />
conducted by Basil Cameron • London, Royal Albert<br />
Hall, 22 February 1949; London Symphony Orchestra,<br />
conducted by Dr <strong>William</strong> <strong>Walton</strong><br />
Publication: WWE vol. 17, pp. 89–97 (2009)<br />
Bibliography: David Lloyd-Jones, WWE vol. 17 • DT,<br />
5 March 1945, p. 3 (A. Dick and F. Bonavia); MG, 23 July<br />
1945, p. 4; Ob, 22 July 1945, p. 5 (D.C.B.); Times, 5 March<br />
1945, p. 8; 23 July 1945, p. 6<br />
C49<br />
Th e Qu e s t<br />
ballet in five scenes<br />
Scenario by Doris Langley Moore after Spenser’s Faerie<br />
Queene.<br />
Date of composition: 1943; the score is dated ‘March<br />
29th 1943’ (<strong>Walton</strong>’s 41st birthday)<br />
Holograph: Beinecke: GEN MSS 601: Complete holograph<br />
score (FRKF 605a). Believed lost, it was rediscovered<br />
by John Warrack in a Sadler’s Wells warehouse in 1957<br />
(see note below) • Copyist’s manuscript of the full score<br />
(FRKF 605b) • Frederick Ashton’s instructions to <strong>Walton</strong><br />
for the score are detailed in Appendix C of David Vaughan’s<br />
book Frederick Ashton and his Ballets • <strong>William</strong> <strong>Walton</strong><br />
Archive, Ischia: holograph piano score (plus‘Comic cuts for<br />
The Quest’) (ID1033) • OUP Hire Library: original 1943<br />
copyists’ parts<br />
Synopsis by Doris Langley Moore: Scene 1: Outside<br />
the House of Archimago: St George and Una, lost in a<br />
storm, fall under the spell of Archimago, who transforms<br />
his female servant into an evil semblance of Una. St George<br />
is deceived and leaves in disgust.<br />
Scene 2: Near the Palace of Pride: Duessa chooses<br />
Sansfoy as her cavalier. St George challenges him to battle<br />
and kills him. Duessa throws herself at St George’s mercy,<br />
and they leave together. Una, searching for St George, is<br />
deceived by Archimago, who enters disguised in similar<br />
armour.<br />
Scene 3: The Palace of Pride: St George enters the Palace<br />
of Pride with Duessa. Sansjoy follows him and they fight.<br />
Duessa takes the side of the Saracen Knight and reveals<br />
her love for him when he is killed. St George, doubly<br />
disillusioned, sees the Palace of Pride and Duessa in their<br />
true light.<br />
The beginning of this scene contains the Dances of<br />
the Seven Deadly Sins [Ernest Irving helped to score<br />
this section]: Variation 1: Sloth; Variation 2: Gluttony;<br />
Variation 3: Wrath; Variation 4: Lechery (a hesitation<br />
For perusal purposes only
70 C49 The Quest<br />
waltz); Variation 5: Avarice; Variation 6: Envy; Variation<br />
7: Pride.<br />
Scene 4: Near the Palace of Pride: Sansloy is mourning<br />
for his two brothers. Archimago enters, still disguised<br />
as St George, and Sansloy kills him. Una realises that she<br />
has been deceived by the Magician. Sansloy makes violent<br />
love to her. St George enters, kills Sansloy, and is reunited<br />
with Una.<br />
Scene 5: The House of Holiness: St George brings<br />
Una to the House of Holiness. After pledging himself to<br />
England, St George bids farewell to his beloved Una and<br />
departs on his quest.<br />
Note: Ashton’s instructions to <strong>Walton</strong> for the score appear<br />
in David Vaughan’s book Frederick Ashton and his Ballets (see<br />
below). His first idea was to use music by Delius, but then<br />
it was thought more suitable to commission a score, and the<br />
obvious choice of composer was <strong>Walton</strong>.<br />
The ballet was rehearsed on tour. In a letter to the<br />
present author, dated 20 December 1975, Michael Somes<br />
remembered that bits of the score ‘arrived on backs<br />
of envelopes, piece by piece, and Sir Frederick would<br />
choreograph the latest bit!’ Beryl Grey recalls that ‘the last<br />
Act ... was finished during the last week of rehearsal time.<br />
He had to choreograph before the music arrived! The music<br />
was most exciting and inspiring, as were the John Piper<br />
costumes and sets’ (letter to the present author, dated<br />
31 March 1976).<br />
John Piper told the present author (letter dated 20 July<br />
1976) that ‘I had plenty of time—probably three months or<br />
so—to execute my designs. Nobody helped on the designs,<br />
but of course Fred Ashton was in constant touch, and many<br />
of the design ideas—especially for costumes—were his’<br />
(Craggs archive).<br />
Instrumentation: 2(I & II + picc).2(II + ca)2.2/2.2.1.0/<br />
perc (1: timp/tri, cyms, sus cym, cast, large temple block, bells,<br />
sd, bd, tamb, whip, jingles)/cel/keyed glock/hp/strings<br />
Dedication: To the Sadler’s Wells Ballet Company, and in<br />
particular to Ninette, Margot, Constant, Bobbie & Freddie<br />
Duration: 45 minutes<br />
First performance: London, New Theatre (Sadler’s Wells<br />
Ballet), 6 April 1943. The Quest was preceded by Les Sylphides<br />
and followed by Façade. Sadler’s Wells Touring Orchestra,<br />
conducted by Constant Lambert.<br />
It was repeated in May and September 1943, January<br />
and June 1944, and May and August 1945.<br />
Choreography by Frederick Ashton. Scenery and<br />
costumes: John Piper; scenery painted by Alick Johnstone;<br />
costumes executed by Alec Shanks.<br />
Cast included Leslie Edwards (Archimago), Robert<br />
Helpmann (St George), Margot Fonteyn (Una), David<br />
Paltenghi (Sansjoy), Beryl Grey (Duessa), Moira Shearer<br />
(Pride), Julia Farron (Faith) and Jean Bedells (Charity).<br />
Note: The score contains a number of amusing and racy<br />
<strong>Walton</strong>ian comments, for example:<br />
Scene I: Archimago emerges from wigwam; fig.10: Bats<br />
flutter around St G and U (and the audience) sleepy; four<br />
before fig.20: ... and exits disgusted (and so am I!).<br />
Scene II: 1 after fig.28: Enter Sansloy and the Geisha—<br />
she doesn’t wash herself so like this music, she stinks!<br />
Fig.35: Duessa again interrupts indicating that she<br />
thinks he’s a bit weak as may be assumed from the<br />
music; one before fig.36: enter the Boy Scout, ‘how<br />
dare you assault innocent girl’; fig.41 2 after—These<br />
bloody bats again.<br />
Scene III: S and St G start their rough stuff (Wild<br />
West); The next exciting instalment follows immediately;<br />
The disintegration of Bobbie’s [Helpmann]<br />
eyelashes; ... everyone disintegrates—rats, cobwebs,<br />
Mr Dalton’s [Hugh Dalton, Minister of Economic<br />
Warfare in the 1940–5 government], etc. descend;<br />
‘here are Bobbie’s eyelashes’; St G reduced to tears<br />
(like me!).<br />
Scene IV: these b. bats again; At this moment, Baden-<br />
Powell who has been enjoying with marked interest the<br />
pornographic goings on rushes out. . . .<br />
Scene V: end of St G’s dance: more holiness tomorrow.<br />
Publication: WWE vol. 3, pp. 103–344 (2014)<br />
Bibliography: David Lloyd-Jones, WWE vol. 3 • Cyril<br />
W. Beaumont, The Sadler’s Wells Ballet (London: Beaumont,<br />
1946), 170–78 • Meredith Daneman, Margot Fonteyn<br />
(London: Viking, 2004), 173–8 • Edwin Evans, Music<br />
and the Dance (London: Jenkins, 1948), 106–8 • Fernau<br />
Hall, Modern English Ballet (London: Melrose, 1950), 197,<br />
202 • Julie Kavanagh, Secret Muses: The Life of Frederick Ashton<br />
(London: Faber, 1996), 288–92 • Francis Spalding, John<br />
Piper/Myfanwy Piper: Lives in Art (Oxford: OUP, 2009),<br />
226–7 • David Vaughan, Frederick Ashton and His Ballets<br />
(London: A. & C. Black, 1977), 196–200, 428–30 (rev.<br />
edn, London: Dance Books, 1999) • John Warrack, The<br />
Decca Book of Ballet, ed. David Drew (London: Muller,<br />
1958), 384–8 • Danc T 34 (June 1943), 404–6 (E. Evans);<br />
MG, 8 July 1943, p. 3 (G.P.); Times, 7 April 1943, p. 6; 26 May<br />
1943, p. 6<br />
Recordings: CD English Northern Philharmonia<br />
Orchestra / David Lloyd-Jones. Naxos 8.555868 (2002)<br />
In a conductor’s note, David Lloyd-Jones writes:<br />
‘For the 1990 première recording of The Quest, the late<br />
Christopher Palmer prepared an edition which considerably<br />
expanded <strong>Walton</strong>’s orchestration, written for<br />
slightly reduced wartime forces, especially in the matter<br />
For perusal purposes only
of added brass, percussion and piano; it also introduced a<br />
number of additional dynamic effects. The present recording<br />
presents <strong>Walton</strong>’s original orchestration, though with<br />
reference to the modest augmentations he made when<br />
the short Suite from the ballet was published in 1962. The<br />
other important difference is that it incorporates the cuts,<br />
mainly in Scenes 1 and 4 and amounting to some sixty<br />
bars, that <strong>Walton</strong> subsequently insisted on introducing<br />
to his hurriedly composed score, while at the same time<br />
restoring some bars missing from the Palmer edition. This<br />
hitherto unknown list of cuts is preserved in the <strong>Walton</strong><br />
Archive’ (see WWE).<br />
Note: When searching for the holograph score, John<br />
Warrack enlisted <strong>Walton</strong>’s help who, in a letter dated<br />
27 August 1957, provided more amusing comments<br />
about the ballet: ‘Bobby Helpmann looked more like the<br />
Dragon than St George!’ and ‘a Passacaglia could have<br />
been magnificent if there had been any orchestra.’ He<br />
admitted that he did not know where the score was but<br />
John Warrack continued his search and finally found it in<br />
an old Sadler’s Wells warehouse. <strong>Walton</strong> was delighted<br />
that his ‘bit of musicology’ had been useful in tracking<br />
it down (postcard to John Warrack, dated 21 August<br />
1958).<br />
Other versions<br />
C49a The Quest<br />
performing version of the complete ballet music, edited by<br />
John Eric Floreen and Christopher Palmer<br />
Instrumentation: 3(II & III + picc).2(II + ca).2.2/<br />
4.3.3.1/timp/perc (5: tri, clash cym, sus cym, tamt, cast,<br />
wb, 3 temple blocks, glock, xyl, t bells, sd, md, low tom, bd,<br />
whip, sleighbells, tamb)/pno/cel/2hp/strings<br />
Duration: 42 minutes<br />
First performance: London, St Jude’s Church, Central<br />
Square, 6–7 March 1990 (recording sessions for the Chandos<br />
disc, see below)<br />
Publication: score and parts on hire: OUP 1990<br />
Recordings: CD London Philharmonic Orchestra /<br />
Bryden Thomson. Chandos CHAN 8871 (1991); CHAN<br />
9426 (1995)<br />
C49b The Quest<br />
Orchestral suite from the ballet in four movements,<br />
arranged by Vilem Tausky with the co-operation of the<br />
composer.<br />
C50 Henry V 71<br />
Date of arrangement: 1961<br />
1. Introduction (Storm) and The Magician and the<br />
Transformation; 2. Siciliana (The Spell); 3. The Challenge;<br />
4. The Reunion (Passacaglia)<br />
Instrumentation: 2(II + picc).2(II + ca).2.2/4.2.3.0/<br />
timp/perc (1/2: cym, sus cym, bell, cast, cel, sd, bd,<br />
tamb)/cel/keyed glock/hp/strings<br />
Duration: 15 minutes<br />
First concert performance: London, Royal Festival<br />
Hall, 3 June 1961; BBC Concert Orchestra, conducted by<br />
Vilem Tausky<br />
First broadcast performance: London, Royal Albert<br />
Hall, 21 July 1962 (first night of the Promenade concerts and<br />
broadcast on the BBC Light Programme); BBC Symphony<br />
Orchestra, conducted by Sir <strong>William</strong> <strong>Walton</strong><br />
Publication: study score: OUP, 1962 at 21s<br />
Bibliography: Times, 23 July 1962, p. 14<br />
Recordings: LP, CD London Symphony Orchestra /<br />
<strong>Walton</strong> (recorded in Walthamstow Assembly Hall, 14 April<br />
1970). Lyrita SRCS49 (1971); SRCD224 (1992)<br />
Note: In a letter dated 21 May 1946, there is mention of The<br />
Quest being revised and an orchestral suite being extracted<br />
from the ballet (Norman Peterkin to WW, OUP archive).<br />
C49c Suite from The Quest<br />
arranged for concert wind band by Kimura<br />
Publication: available on hire from Music Supply Tokyo<br />
C49d O.W.<br />
A ballet choreographed by Joe Layton in which both the<br />
Viola Concerto (C22) and The Quest were used. ‘O.W.’<br />