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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.
16. Valse (‘Daisy and
16. Valse (‘Daisy and Lily’) The estate of the late Mr Francis Sitwell. First performance: 27 April 1926 17. Jodelling Song (‘We bear velvet cream’) British Library: MS Mus.1565. Bequeathed to the BL in 2004 by the American actress Irene Worth. A note on the envelope states ‘Given to Irene Worth by WilliamWalton’. First performance: 12 June 1926 18. Scotch Rhapsody (‘Do not take a bath in Jordan, Gordon’) HRHRC. First performance: 27 April 1926 19. Popular Song (‘Lily O’Grady’) HRHRC. First performance: 27 November 1927 or 14 September 1928 20. Foxtrot (‘Old Sir Faulk’) Two versions: British Library. Add. MS 64120. HRHRC. First performance: 12 June 1923 21. Sir Beelzebub (‘When Sir Beelzebub’) HRHRC. First performance: 24 January 1922 Instrumentation: fl (+ picc), cl (+ bcl), a sax [from June 1923 onwards], tpt, perc (1: tri, cym, cast, Chinese block, sd, tamb, jingles), vc, reciter A note in the published score says: ‘If the violoncello part is too arduous for one player, the part has also been distributed for two players. This alternative version may in any case be found preferable where two players are available’. (For details about the composition of the original ensemble for Façade, see Neil Ritchie, ‘Footnote to Façade’, The Book Collector 45/2 (summer 1996), 261–2, n. 557.) Dedication: To Constant Lambert (in the 1951 first publication) Duration: 40 minutes Performance History Chronological list of early and significant performances. 24 January 1922: first private performance, London, 2 Carlyle Square. Musicians: unable to trace (although Angus Morrison told the present author that the same players might have played at both the private and first public performances—see below). Introduction by Osbert Sitwell; reciter: Edith Sitwell; conductor: WilliamWalton. Drop curtain by Frank Dobson (also used at the second private performance). The titles and poems are listed as follows in two surviving undated typed programmes believed to have been used for the performance (HRHRC): 1. Overture; 2. Madame Mouse Trots (Dame Souris trotte); 3. The octogenarian; 4. Aubade; 5. The Wind’s C12 Façade 7 Bastinado; 6. Said King Pompey; 7. Interlude; 8. Jumbo’s Lullaby; 9. Small Talk (1), Small Talk (2); 10. Rose Castles; 11. Introduction and Hornpipe; 12. Long Steel Grass; 13. When Sir Beelzebub; 14. Switchback; 15. Bank Holiday (1), Bank Holiday (2); 16. Springing Jack; 17. En Famille; 18. Mariner Man (Presto) 7 February 1922: second private performance, London, Mrs Robert Mathias’s house, Montagu Square. This may have been a shorter recital amongst the earliest ‘trial’ performances, as a programme (discovered by Neil Ritchie), sold at Sotheby’s, Dover, on 23 July 1987 (Lot 184) reveals (it is described as ‘similar in appearance and content, but there are seven fewer poems, and they are numbered differently’). The performance would have just pre-dated the publication by the Favil Press of Edith Sitwell’s poems. This would agree with Edwin Evans’s description (MT 85, 1944, p. 331): ‘It was the following year that it [Façade] was offered as a complete “entertainment”, first in sundry Mayfair drawing-rooms and then at the Aeolian Hall.’ It is also possible that Mrs Belloc Lowndes, novelist and sister of Hilaire Belloc, may have offered to play hostess to a further private performance (see Stephen Lloyd, WilliamWalton: Music of Fire, Woodbridge: Boydell, 36). 1. Overture; 2. (a) ‘Dame Souris trotte . . .’ (b) The Octogenarian; 3. (a) Aubade (b) The Wind’s Bastinado (c) Said King Pompey; 4. Interlude; 5. (a) Jumbo’s Lullaby (b) Small Talk (c) Rose Castles; 6. (a) Introduction and Hornpipe (b) Long Steel Grass (c) When Sir Beelzebub 12 June 1923: first public performance, London, Aeolian Hall. Edith Sitwell (reciter), Robert Murchie (fl, picc), Paul Draper (cl, bcl), F. Moss (sax), Herbert Barr (tpt), Ambrose Gauntlett (vc), and Charles Bender (perc), conducted by WilliamWalton. Curtain by Frank Dobson. Fanfare, Preface by Osbert Sitwell, Overture; 1. (a) Gardener Janus Catches a Naiad (b) Clown Argheb’s Song; 2. (a) Lullaby for Jumbo (b) Trams (c) Madam Mouse trots (d) Switchback; 3. (a) Small Talk (b) By the Lake (c) Said King Pompey; 4. (a) Serenade (instrumental) The Octogenarian (b) Herodiad’s flea (c) Through gilded trellises (d) Trio for Two Cats and a Trombone; 5. (a) The Man from a Far Countree (b) Daphne (c) Country Dance; 6. (a) Gone dry (b) Mariner Man (c) Rose Castles (d) En Famille (e) Hornpipe; 7. (a) Aubade (b) The Owl (c) Dark Song (d) Foxtrot; 8. (a) Ass Face (b) Beelzebub For perusal purposes only
8 C12 Façade Bibliography: • Tim Barringer, ‘Façades of Façade: WilliamWalton, Visual Culture and English Modernism in the Sitwell Circle’, British Music and Modernism (1895–1960), ed. Matthew Riley (Farnham: Ashgate, 2010), 125–45, 245–6 • Richard Greene, Edith Sitwell: Avant-Garde Poet, English Genius (London: Virago, 2011), 152–7, 167–8 • John Lehmann, A Nest of Tigers: Edith, Osbert and Sacheverell Sitwell in their Times (London: Macmillan, 1968), 1–11 • R. L. Megroz, The Three Sitwells: a Biographical and Critical Study (London: Richards, 1927), 69–78 • Osbert Sitwell, Laughter in the Next Room (London: Macmillan, 1949), 168–98 • Sacheverell Sitwell, Introduction to Façade: An Entertainment (London: Oxford University Press, 1972; de-luxe edition), xiii–xv • DE, 13 June 1923, p. 7; DGr, 14 June 1923, p. 5 (Swaffer); DM, 13 June 1923, p. 7; DT, 3 June 1923, p. 6; Ev St, 13 June 1923, p. 3 (‘K.K.’); Illus Lon N, 23 June 1923, p. 1124; MGn, 13 June 1923, p. 12; MorPt, 13 June 1923, p. 10; New Age, 21 June 1923, p. 120 (H. Rootham); Ob, 17 June 1923, p. 10 (P. A. Scholes); PMGaz, 13 June 1923, p. 3 (E. Evans); Sun Exp, 17 June 1923, p. 6; Times, 14 June 1923, p. 12; Vogue, vol. 62, no. 13 (July 1923), pp. 36, 70 (G. Cumberland) 27 April 1926: London, New Chenil Galleries, Chelsea. Edith Sitwell, Neil Porter, and Constant Lambert (reciters), B. Macrae (fl, picc), Paul Draper (cl, bcl), A. Cox (sax), Herbert Barr (tpt), Ambrose Gauntlett (vc), Charles Bender (perc), conducted by WilliamWalton. Curtain by Frank Dobson. (see NPG: The Sitwells, 1994). Fanfare Group A: Hornpipe, En Famille, Mariner Man; Group B: Small talk, By the Lake, Said King Pompey; Group C: Daphne, A Man from a Far Countree, Country Dance; Group D: Switchback, ‘Dame Souris trotte’, Lullaby for Jumbo, Trams; Group E: Aubade, Foxtrot: ‘Old Sir Faulk’; Fanfare and Introduction to Group F: The Octogenarian, Trio for Two Cats and a Trombone (Long Steel Grass), Through Gilded Trellises, I Do Like to Be beside the Seaside; Group G: Valse, Polka, Jodelling Song, Scotch Rhapsody; Group H: Something Lies beyond the Scene, Four in the Morning, Sir Beelzebub Bibliography: • Arnold Bennett, The Journals of Arnold Bennett, 1921–1928, ed. Norman Flower (London: Cassell, 1933), 130 • BM Bull, 8, 1926, p. 142 (B. de Zoete); ST, 2 May 1926, p. 7 (Ernest Newman; reprinted in Newman, From the World of Music: Essays from ‘The Sunday Times’ (London: Calder, 1956), 101–4); Times, 29 April 1926, p. 14 29 June 1926: London, New Chenil Galleries, Chelsea. Edith Sitwell and Constant Lambert (reciters), Robert Murchie (fl, picc), Paul Draper (cl, bcl), A. Cox (sax), Herbert Barr (tpt), Walter Britton (vc), H. Weston (perc), conducted by WilliamWalton. Fanfare Group A: Hornpipe, En Famille, Mariner Man, Scotch Rhapsody; Group B: Valse, Swiss Jodelling Song, Polka; Group C: By the Lake, Said King Pompey, Aubade, Foxtrot: ‘Old Sir Faulk’; Group D: March, Four in the Morning, Sir Beelzebub; Fanfare and Introduction to Group E: The Octogenarian, Trio for Two Cats and a Trombone, Through Gilded Trellises, Lullaby for Jumbo, I Do Like to Be beside the Seaside; Group F: Daphne, A Man from a Far Countree, Country Dance; Group G: Something Lies beyond the Scene, Tarantella, Mazurka Writing to Thomas Balston, her editor at Duckworth & Co., on 9 August 1926, Edith Sitwell mentioned that there may have been more manuscripts for Façade but WilliamWalton had scratched out half the numbers saying that they were no good (Washington State University Library). This was the first appearance of ‘Tarantella’. According to Neil Richie (letter to the present author, dated 30 April 2001), Edith Sitwell had answered an enquiry in January 1937 from Ronald Marshall of Belfast, ‘I am afraid the “Tarentella” [sic] is not printed in any of my books, because it was written purely as a basis for the music (unlike any of the other poems). I did not care for it separately, and have not kept a copy’ (Craggs archive). 3 September 1926: first broadcast performance, London, BBC 2LO Studio, Savoy Hill. Part performance in a programme called The Wheel of Time: A Fantasy in Three Parts by Edith, Osbert, and Sacheverell Sitwell, together with WilliamWalton. See MT 67 (1926), 1004 (‘Ariel’); RT, 27 Aug 1926, p. 371. For perusal purposes only 28–30 November 1927: London, Arts Theatre Club, Great Newport Street, during the run of the play First-class
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