Oxford University Press is proud to publish musical works by some of the most significant composers of the 20th and 21st centuries, with a catalogue that includes a broad range of choral, orchestral and chamber music.
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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.
From 17 April to 23
From 17 April to 23 August 1948, I had the daunting task of writing out the 148 pages of a new copy of the entire full score (I think I wrote the word ‘Alleluia’ about 180 times!). This new score was necessary because William had made a considerable amount of revisions throughout, mostly thinning out the scoring, and cutting out much of the original percussion parts (to the detriment of the work, in my opinion). In particular he greatly altered the scoring of the passage from p. 119 to p. 130 in the study score. In February 1959, he made a couple of further small changes (after the study score had been published). In a later letter dated 14 June 1987 Mr Douglas added: at some time Walton entirely rescored the final 14 bars . . . extending them to 18 bars, using the full orchestra and adding the upper octaves, instead of only the lower instruments. Also, at a rehearsal somewhere abroad (it could have been Salzburg [recte Vienna]) the organist suggested adding a full organ chord halfway through the very last chord of the work. Walton agreed, and added it to the score (Craggs archive). First performance: London, Royal Albert Hall, 8 March 1950; Dennis Noble, BBC Chorus, Goldsmiths Choral Union and the BBC Symphony Orchestra, conducted by Sir Malcolm Sargent Other performances: Worcester, Cathedral Church of Christ and St Mary, 2 September 1957 (Three Choirs Festival); Harvey Alan, Three Choirs Festival Chorus and City of Birmingham Symphony Orchestra, conducted by David Willcocks First French performance: Paris, Théâtre des Champs Elysées, 1 February 1957; Robert Massard, French Radio Choir and National Orchestra, conducted by Charles Bruck First Israeli performance (in Hebrew): Jerusalem, Binyaney Ha’ooma, 21 July 1963; Mordecai Ben-Shachar, Tel Aviv Choir and Israeli Philharmonic Orchestra, conducted by Sir WilliamWalton. Repeated in Tel Aviv, Mann Auditorium (23 July 1963), and Haifa, Armon Theatre (25 July 1963). Publication: study score: OUP, 1957, at 25s (reissued in 1981) • vocal score (rev. edn): OUP, 1959 at 12s • de luxe full score: OUP, 1978, at £60; a boxed edition (350 copies, signed by Walton), which included the essay ‘The Origins of Belshazzar’s Feast’ by Michael Kennedy, was published on the 500th anniversary of OUP • WWE vol. 4, pp. 1–174 (volume dedicated to Roy Douglas on his 100th birthday) • study score: OUP, 2013 at £26.00 • vocal score OUP, 1931, 1957, 2007 (newly engraved) C24 Make we joy now in this fest 33 Bibliography: Steuart Bedford, WWE vol. 8 • Berrows Worcester Journal, 6 April 1957, p. 6 (A. T. Shaw); Choral Journal 44 (February 2004), 27–37 (R. Kelly); M&L 35 (October 1957), 407 (E.B.); MG 6 Sept 1957, p. 7 (C. Mason); Times, 2 Feb 1957, p. 3 Recordings: LP, CD Dennis Noble / London Philharmonic Choir, Philharmonic Promenade Orchestra / Adrian Boult. Nixa NLP904 (1954); Nixa NIXCD 6012 (1988) • James Milligan / Royal Liverpool Philharmonic Chorus and Orchestra / Malcolm Sargent. EMI ALP 1628 (1958); EMI CHS 7 63376 2 (1990) • Donald Bell / Philharmonia Choir and Orchestra / Walton (recorded Kingsway Hall, 2–5 February 1959). Columbia 33CX 1679 (1959); SAX 2319 (1961); EMI Concert Classics SXLP 30236 (1977); EMI SLS 5246 (1982); EMI CHS 5 65004 2 (2000) • John Shirley-Quirk / London Symphony Chorus and Orchestra / André Previn. EMI SAN324 (1972); CDM 7647232 (1993); EMI 6 80508 2 (2012) • David Wilson-Johnson / London Symphony Chorus and Orchestra / Richard Hickox. EMI CDC 749496 2 (1989); EMI CDM 5 65235 2 (1989); EMI HMV 5728362 (1998) • Bryn Terfel/BBC Singers and BBC Symphony Chorus and Orchestra / Andrew Davis. Telarc TEL 45099786822 (1994) • Thomas Hampson / City of Birmingham Symphony Chorus and Cleveland Orchestra Chorus, City of Birmingham Symphony Orchestra / Simon Rattle. EMI CDC 5 56592 2 (1998); EMI Collector’s Edition 4 40867 2 (2012) • Gwynne Howell / Philharmonia Chorus and Orchestra / David Willcocks. Chandos CHAN 8760 (1989); CHAN 9426 (1995) Note: On 14 August 1959 Dallas Bower wrote to Alan Frank at OUP informing him that ‘he was much interested in a possible colour film of Belshazzar’s Feast for N.B.C.’ (OUP archive). Other versions C23a Belshazzar’s Feast selections arranged for symphonic wind band by Beno Publication: available on hire from Music Supply Tokyo For perusal purposes only C24 Ma k e w e jo y no w in th i s fe s t carol for unaccompanied mixed choir (SATB) Text: anonymous 15th-century English Date of composition: 21–3 December 1931
34 C25 Choral Prelude ‘Herzlich thut mich verlangen’ (BWV 727) Commissioned by: the Daily Dispatch (Manchester), and first published (in facsimile) in that newspaper on 24 December 1931 Holograph: whereabouts unknown Duration: 2 minutes 30 seconds First performance: unable to trace Publication: score: OUP, 1932 at 3d (OCS 750) • WWE vol. 6, pp. 13–14; offprinted as OCS 750 (rev.), 1999 Bibliography: Timothy Brown, WWE vol. 6 • Daily Dispatch, 24 Dec 1931, pp. 1e and 5c–e Recordings: CD Trinity College Choir, Cambridge / Richard Marlowe. Conifer CDCF 14 (1989) • Bach Choir / David Willcocks. Chandos CHAN 8998 (1991); CHAN 9426 (1995) • Finzi Singers / Paul Spicer. Chandos CHAN 9222 (1993); CHAN 9426 (1995) Note: Publication of this carol follows those that Peter Warlock had written for newspapers, namely ‘Bethlehem Down’ in the Daily Telegraph (24 December 1927) and the song ‘The Frostbound Wood’ in Radio Times (20 December 1929). C25 Ch o r a l Pr e l u d e ‘He r z l i c h t h u t mi c h v e r l a n g e n’ (BWV 727) By J. S. Bach, freely arranged for solo pianoforte by WilliamWalton. This work was a contribution to A Bach Book for Harriet Cohen. The other contributors of the piano transcriptions of works by J. S. Bach were: Granville Bantock (‘Wachet auf’, BWV 645), Arnold Bax (Fantasia in G, BWV572), Lord Berners (‘In dulce jubilo’, BWV729), Arthur Bliss (‘Das alte Jahr’, BWV614), Frank Bridge (‘Komm, süsser Tod’, BWV478), Eugene Goossens (Andante, BWV1047), Herbert Howells (‘O Mensch, bewein dein Sünde gross’, BWV622), John Ireland (‘Meine Seele erhebt den Herrn’, BWV648), Constant Lambert (‘Der Tag, der ist so freudenreich’, BWV605), Ralph Vaughan Williams (‘Ach bleib bei uns, Herr Jesu Christ’, BWV649), and W. Gillies Whittaker (‘Wir glauben all en einen Gott’, BWV740). Date of arrangement: 1931 Holograph: Music Department, Mount Scopus Library, The Hebrew University of Jerusalem Library, Jerusalem (Catalogue number: 4 Mus.2 (3) ). The wrapper is inscribed by Harriet Cohen with the title, and ‘Gift to the Library of the Hebrew University in Jerusalem, Palestine from Harriet Cohen CBE’. Copy in the British Library at Facs. Suppl.XIII (5). Dedication: For Harriet Cohen Duration: 1 minute 20 seconds First performance: London, Queen’s Hall, 17 October 1932. Harriet Cohen. First American performance: New York, Town Hall, 19 November 1932; Harriet Cohen Other performances: London, BBC Studios, 22 June 1941 (broadcast on the BBC Home Service); Harriet Cohen Publication: score: OUP, 1932 at 5s • WWE vol. 20, p. 56 • score (with an introduction by David Owen Norris): OUP, 2013 at £12.95 Bibliography: Michael Aston, WWE vol. 20 • Harriet Cohen, A Bundle of Time: Memoirs (London: Faber, 1969), 183 • Helen Fry, Music and Men: The Life and Loves of Harriet Cohen (Stroud: History Press, 2008), 207 • MO 56 (November 1932), 235; NYT, 19 Nov 1932, p. 20 (H.T.); Times, 21 Oct 1932, p. 12 Recordings: CD Angela Hewitt. Hyperion CDA 67309 (2010) • Jonathan Plowright, ed., Bach Piano Transcriptions, vol. 9. Hyperion CDA 67767 (2010) C26 Th r e e So n g s for voice and piano 1. Daphne (nello stile inglese); 2. Through Gilded Trellises (nello stile spagnuolo); 3. Old Sir Faulk (nello stile americano) Texts: Edith Sitwell Date of composition: December 1931 to February 1932 Holograph: whereabouts unknown Dedication: For Dora and Hubert Foss Duration: 1: 3 minutes; 2: 4 minutes; 3: 2 minutes First (private) performance: Rickmansworth, Nightingale Corner (the Foss home), 9 April 1932; Dora Stevens and Hubert Foss First public performance: London, Wigmore Hall, 10 October 1932; Dora Stevens and Hubert Foss For perusal purposes only
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