William Walton Catalogue

C18 Ro m e o an d Ju l i

C18 Ro m e o an d Ju l i e t Ballet in two tableaux by Constant Lambert. Curtains, with scenic additions, by Max Ernst and Joan Miró. Date of orchestration: [1925–6]. It is disputed whether Walton played any part in the orchestration of this ballet Copyist’s manuscript: Manuscript Collections, British Library (Reference Division), Loan MS 92. 1, 2. Full score, dated ‘Monte Carlo 1925–6’. Instrumentation: picc.1.1.2.1/2.2.1.0/timp/perc (2: tri, cyms, cast, glock, xyl, sd, bd, tamb)/strings (8.6.4.4.2–4) Duration: 30 minutes First performance: Monte Carlo, Opera House, 4 May 1926; orchestra conducted by Marc-César Scotto. Ballets Russes, with choreography by Bronislava Nijinska. Dancers included Serge Lifar and Tamara Karsavina. Other early performances: Paris, Théâtre Sarah- Bernhardt, 18 May 1926; orchestra conducted by Roger Desormière. Dancers included Lifar and Nikitina. • London, His Majesty’s Theatre, 21 June 1926; orchestra conducted by Eugene Goossens. Dancers included Woizikovsky and Karsavina. Publication: piano score: OUP, 1928 Bibliography: Andrew Motion, The Lamberts: George, Constant and Kit (London: Chatto & Windus, 1986), 144–5, 148–51 • Richard Shead, Constant Lambert (London: Simon, 1973), 49–64 (rev. edn: London: Thames, 1980) • The Times, 22 June 1926, p. 14 C19 Si e s t a for small orchestra Date of composition: 1926, revised 1962 Holograph: whereabouts unknown Instrumentation: picc.1.1.2.1/2.0.0.0/strings Dedication: To Stephen Tennant Duration: 5 minutes First performance: London, Aeolian Hall, 24 November 1926 (Guy Warrack series of Chamber Orchestra Concerts); Aeolian Chamber Orchestra, conducted by William Walton C19 Siesta 25 Other early performances: London, BBC Studios (Savoy Hill), 22 January 1928 (broadcast by the BBC in the London and Daventry Programme); London Chamber Orchestra, conducted by Anthony Bernard. (Billed in Radio Times as the second performance.) • London, Aeolian Hall, 19 November 1929; London Chamber Orchestra, conducted by Anthony Bernard Publication: full score: OUP, 1929 at 5s Bibliography: MT 67 (December 1926), 1122; Times, 25 Nov 1926, p. 12 Recordings: 78, CD London Philharmonic Orchestra / Walton (recorded No. 1 Studio, Abbey Road, London, 25 October 1938): HMV C3042 (1939); EMI ED29 0715 1 (1986); EMI CDH 763381 (1992) • London Philharmonic Orchestra / Adrian Boult. Decca LXT 5028 (1955); Decca 425 661 2 (1990) Note: Writing to his mother in early December 1926, Walton told her ‘[I have] conducted my piece “Siesta” at the Aeolian Hall about a fortnight ago. Unfortunately I receive nothing for it, but it is well worth doing for the experience.’ Almost a year later, Walton invited Siegfried Sassoon ‘to hear “Siesta” at the BBC, Savoy Hill, on [Sunday] at 3–0 o’clock.’ When thinking of revising the work (at the suggestion of OUP in December 1961), Walton agreed with Alan Frank (head of the Music Department) and described it as ‘a rather enchanting piece. I think it will be better “senza sord.” for the most part—better balance between the woodwind and strings, as I’ve indicated.’ Revised version Holograph: Beinecke Rare Book and Manuscript Library, Yale University: GEN MSS 601 (FRKF 1428). A printed copy of the full score was used by the composer in 1962 to make minor revisions (in pencil and ballpoint). The instrumentation remained the same, the dedication was erased in pencil (for reasons unknown) and ‘W. T. Walton’ changed to ‘William Walton’. Proof copies of the orchestral parts, with autograph annotations by Walton in red ink, and blue and red crayon, comprising the first and second proof copies of the complete strings, flute, oboe, clarinet, bassoon and horn parts also exist. Publication: study score: OUP, 1963 at 7s 6d • WWE vol. 18, pp. 1–38 Bibliography: David Lloyd-Jones, WWE vol. 18 Recordings: LP, CD London Philharmonic Orchestra / Walton (recorded Walthamstow Assembly Hall, 15 April 1970). Lyrita SRCS 47 (1971); Lyrita SRCD 224 (1992) For perusal purposes only

26 C20 The Triumph of Neptune • London Philharmonic Orchestra / Bryden Thomson. Chandos CHAN 9148 (1994); CHAN 9426 (1995) • Northern Sinfonia / Richard Hickox. EMI CDM 5 66542 2(1998); EMI Collector’s Edition 4 40861 2 (2012) • English Northern Philharmonia Orchestra / David Lloyd-Jones. Naxos 8.555868 (2002) Other versions C19a Siesta arrangement for piano (duet) by the composer Publication: piano score: OUP, 1928 at 5s • WWE vol. 20, pp. 79–87 Bibliography: Michael Aston, WWE, vol. 20 Recordings: LP Keith Swallow and John Wilson (pianos). Cameo 2036 (2005) C19b Siesta arrangement for two pianos by Richard Rodney Bennett First performance: London, Wigmore Hall, 1 December 1977; Susan Bradshaw and Richard Rodney Bennett. Bibliography: Times, 3 Dec 1977, p. 12 (J. Chissell) C19c Ballet: a Pas de Deux choreography by Frederick Ashton First performance: London, Sadler’s Wells Theatre (the Vic-Wells Ballet), 24 January 1936 (postponed from 21 January because of the death of King George V); Sadler’s Wells Orchestra, conducted by William Walton. Principal dancers: Pearl Argyle and Robert Helpmann. Choreographer: Frederick Ashton; designer: Matilda Etches. Bibliography: ST, 26 Jan 1936, p. 5 (E. Newman); Times, 25 Jan 1936, p. 8 C19d Ballet: Siesta choreography by Anthony Tudor First performance: London, BBC TV Studios, Alexandra Palace, 2 February 1937; BBC Television Orchestra, conducted by Hyam Greenbaum. Dancers: Maude Lloyd and Anthony Tudor. Decor and costumes: Peter Bax; produced by Dallas Bower. Bibliography: Judith Chazin-Bennahum, The Ballets of Anthony Tudor (Oxford: OUP, 1994), 265 C19e Ballet: a new Pas de Deux Commissioned for Walton’s 70th birthday year. Choreography by Frederick Ashton who called it ‘a birthday card for Willie Walton’. First performance: Snape Maltings, Aldeburgh, Suffolk (Aldeburgh Festival, in association with the Royal Opera House, Covent Garden), 28 July 1972; English Opera Group Orchestra, conducted by David Taylor. Principal dancers: Vyvyan Lorrayne and Barry McGrath. An evening of opera and ballet in honour of Walton’s 70th Birthday. First London performance: Sadler’s Wells Theatre, 9 October 1972, with the same performers. Bibliography: Julie Kavanagh, Secret Muses: The Life of Frederick Ashton (London: Faber, 1996), 531 • David Vaughan, Frederick Ashton and his Ballets (London: A. & C. Black, 1977), 132–3, 380–81 (rev. edn, London: Dance Books, 1999) • About the House 4/1 (1972), 44–5; Times, 31 July 1972, p. 8 (J. Percival) C20 Th e Tr i u m p h of Ne p t u n e English pantomime in ten scenes for large dance ensemble by Lord Berners, partly orchestrated by Walton. Scenario by Sacheverell Sitwell. Date of orchestration: November 1926 Holograph: Manuscript Collections, British Library (Reference Division), Music Loan.106.20–106.27 Instrumentation: 2(II + picc).2.ca.2.bcl.2.cbn/4.3.2.1/ timp/perc (2: cym, xyl, sd, bd, tamb)/pno/hp/strings First performance: London, Lyceum Theatre, 3 December 1926; the resident orchestra, conducted by Henry Defosse. Ballets Russes, with choreography by Georges Blanchine (who also danced ‘Snowball’) Other performances: Paris, Théâtre Sarah-Bernhardt, 27 May 1927. The ballet remained in the repertory until 1928 but was never revived. Publication: piano score: J & W Chester, 1927 Note: Walton told his mother in early December 1926 that ‘I have had to orchestrate four large numbers of Berners’s ballet and it has kept me hard at it’ (WW archive). In a letter to the present author, dated 25 February 1978, Walton claimed that Berners rescored the full ballet when he found the time to do so. It was originally a very rushed job for everyone concerned (Craggs archive). For perusal purposes only