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.
One of the world’s leading publishers of printed classical and educational music.
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.
Eskdale (tpt), Willem de
Eskdale (tpt), Willem de Mont (vc), and William Bradshaw (perc), conducted by George Weldon. Curtain by John Piper. 7 December 1952: first performance in Australia, Melbourne, University Union House Theatre. Kevin McBeath (reciter), Richard Chugg (fl, picc), Thomas White (cl, bcl), Charles Crowley (a sax), Standish Roberts (tpt), Don Howley (vc), and Ernest Lighton (perc), conducted by Harry Hutchins. 17 November 1953: concert to celebrate the 30th anniversary of Façade, London, Royal Festival Hall. Joan Cross and Peter Pears (reciters), with members of the English Opera Group Orchestra, conducted by Paul Sacher. 8 December 1953: New York, Juilliard School of Music (Festival of British Music concert). Florence Page Kimball and Adolph Anderson (reciters), with ensemble, conducted by Frederick Prausnitz. 3 July 1954: York, Theatre Royal (York Festival concert). Edith Sitwell (reciter) and members of the English Opera Group Orchestra, conducted by Norman del Mar. 12 January 1955: BBC Third Programme. A broadcast of the first Australian recording of Façade (see Recordings). Kevin McBeath (reciter), with the New Music Ensemble, conducted by Harry Hutchins. 24 July 1955: King’s Lynn, St George’s Guildhall. Irene Worth and Peter Pears (reciters) and members of the English Opera Group Orchestra, conducted by Vilem Tausky. This performance was repeated on 24 and 29 September 1955 in London at the Scala Theatre. 20 August 1956: Edinburgh, Freemason’s Hall. Edith Sitwell and Hedli Anderson (reciters) with members of the Melos Ensemble, conducted by Peter Stadlen. 9 October 1962: concert to mark Edith Sitwell’s 75th birthday, London, Royal Festival Hall. Irene Worth and Sebastian Shaw (reciters), with the English Chamber Orchestra, conducted by Sir WilliamWalton. 12 June 1973: BBC Radio 3 broadcast to celebrate the 50th anniversary of Façade from the Aeolian Hall, London. Mary Thomas and Derek Hammond-Stroud (reciters) and members of the London Sinfonietta, conducted by Sir WilliamWalton. 29 August 1978: performance to mark the 50th anniversary of the performance in Siena in 1928. Siena, Palazzo Chigi Saracini. Cathy Berberian and Jack Buckley (reciters), Ezio Martello (fl, picc), Mario Vitale (cl, bcl), Giuseppe Parmigiani (a sax), Luciano Caggiati (tpt), Paolo Beschi (vc) and Adelmo Mafezzoni (perc), conducted by Giorgio Bernasconi. C12 Façade 11 Publication: Study score: OUP, 1951 at 16s. No. 14 in the score contains the note ‘In collaboration with C. L. [Constant Lambert]’, who composed the first eleven bars. Score and parts on hire. This established the definitive order of the Fanfare plus 21 poems (as listed in Holographs, above), arranged in seven sets of three poems. Although the performances at the Aeolian Hall and Lyric Theatre in 1942 and 1946 had included all the pieces that now comprise Façade Entertainment, they were not in the order that they are known today and there is no evidence that this order was used in any performance prior to the publication of the score in 1951. OUP had planned to publish a deluxe version of the score in March 1930 with 300 copies signed by Edith Sitwell and WilliamWalton, but nothing came of it. Deluxe score: OUP, 2 March 1972. A limited, fine-bound edition to mark the composer’s 70th birthday (his actual birthday was 29 March) and the 50th anniversary of the first performance. Two versions were published: (1) 250 copies, signed by the composer and numbered, at £30; (2) 750 copies, numbered, at £12. Both versions were printed on heavy cartridge paper and boxed, the signed edition quarter-bound in leather, the other edition in buckram. Besides the re-engraved score of the music itself, the edition included a newly commissioned cover and colour illustrations by John Piper, colour reproductions of the John Piper curtain and of John Armstrong’s ballet designs, new essays by Sacheverell Sitwell and Frederick Ashton, a note (a reprint), mainly about the poems by Edith Sitwell, the poems separately printed, a hitherto unpublished, rejected setting (‘Herodiade’s Flea’), reproduced in facsimile of Walton’s manuscript, and—perhaps most valuable of all—a new pressing, specially manufactured by Decca for this edition, of the original recording of the Entertainment made in 1929, with Constant Lambert and Edith Sitwell as speakers, minus ‘Valse’. WWE vol. 7, pp. 1–160 (2000). Offprinted as study score. Score and parts offprinted OUP, 2000. Set of parts and reciter’s part: issued (not engraved) by OUP, 1981. Reciter’s part, Façade Entertainment and Façade 2: OUP, 1992. Bibliography: • Stewart Craggs and David Lloyd-Jones, WWE vol. 7 • D. L. Boone, ‘The Treatment of the Trumpet in Six Published Chamber Works Composed between 1920 and 1929’ (PhD diss., University of Urbana-Champaign, Illinois, 1972) For perusal purposes only
12 C12 Façade • Kevin McBeath, ‘Façade: A Noise like Amber’, CraggsML, pp. 34–58 • Gyllian Phillips, ‘Something Lies Beyond the Scene [seen] of Facade’ in Literature and Musical Adaptation, ed. H. J. Meyer (Amsterdam: Rodopi, 2002), pp. 61–80 • E. L. Lasansky, ‘WilliamWalton’s Façade: An Entertainment’ (DMA diss., University of Arizona, 1991) • JofS66 (2010), 399–407 (R. Rice); The Listener, 7 June 1973, p. 773 (R. Fuller); Liv D Post, 4 Aug 1951, p. 4 (A.K.H.); Liv Ev Exp, 3 Aug 1951, p. 1 (R.S.); M&L 33 (1952), 90 (I. Keys); MEJ 87 (2000), 37–44 (C. W. McCoy); MMR 81 (1951), 245 (G.A.); MusAm (1949), 279 (R. Sahib); MO 75 (1951), 29, MT 91 (1950), 280 (‘Jo C’), STimes, 14 Oct 1962, p. 40 (F. Aprahamian); 24 Nov 1963, p. 32 (D. Shawe-Taylor); Times, 2 June 1950, p. 8; 14 June 1952, p. 8; 9 July 1952, p. 4; 18 Nov 1953, p. 2; 30 Aug 1955, p. 5; 10 Oct 1962, p. 16 Recordings: • 1929 (11 numbers): Edith Sitwell and Constant Lambert / WilliamWalton (recorded New Chenil Galleries, Chelsea, 28 November 1929). Decca T124–5 / K991/2 (1941); OUP110 (part of deluxe edition of the score, 1972); ECM834 (1979); Decca SYMCD 1203 (1997) • 1949 (20 numbers, without ‘Tarantella’): Edith Sitwell and David Horner / Frederick Prausnitz. CBS Records Set MM829 / ML 2047, ML 5241 (1958); Sony SMK 46685 (1994) • 1953 (21 numbers): Kevin McBeath / Harry Hutchins. New Music (Australia) NMLP1 • 1954 (21 numbers): Edith Sitwell and Peter Pears / Anthony Collins. Decca LXT 2977; Decca Eclipse ECS 560 (1970); Decca CD 0289 468 801 2 (2001) • 1961 (18 numbers): Vera Zorina / Eugene Ormandy. Columbia MS 6449 (SBR235034); CD SBK62400 • 1964 (21 numbers): Hermione Gingold and Russell Oberlin / Thomas Dunn. Decca DL 10097; Brunswick SXA 4526 • 1967 (21 numbers): Cleo Laine and Annie Ross / John Dankworth. Phillips International STL 5449 • 1972 (21 numbers): Fenella Fielding and Michael Flanders / Neville Marriner. HMV ASD 2786; EMI CDB 7 62842 (1990); EMI Collector’s Edition 4 40864 2 (2012) • 1972 (21 numbers): Peggy Ashcroft and Paul Schofield / WilliamWalton (recorded at Decca Studio No. 3, Broadhurst Gardens, London, 5–7 May 1969; music recorded first, voices added later). ARGO ZRG 649; Decca (CD) 450 136 2 (2003) • 1976 (21 numbers): Tony Randall / Arthur Fiedler. Columbia M 33980 • 1979 (21 numbers): Rosemary Carewe / John Carewe. Persona Cassette PSA 101 • 1980 (21 numbers): Janet Bookspan / David Epstein (recorded 1976). Candide CE 31116; Vox Records ACD 8153 • 1980 (21 numbers and Façade 2): Cathy Berberian and Robert Tear / Steuart Bedford. OUP 201; Gamut GOUPC 201 (1990) • 1980 (21 numbers): Cathy Berberian and Jack Buckley / Giorgio Bernasconi (recorded 22 April 1980). CD Accord 205 722 • 1987 (21 numbers and Façade 2): Peggy Ashcroft and Jeremy Irons / Riccardo Chailly. Decca CD 421 717–2 • 1990 (21 numbers): Prunella Scales and Timothy West / Jane Glover. ASV CD DCA679 • 1991 (21 numbers and Façade 2): Susana Walton and Richard Baker / Richard Hickox. Chandos CHAN 8869; CHAN 9426 (1995) • 1992 (21 numbers): William Warfield / Ian Hobson. Arabesque Z6644 CD • 1992 (21 numbers): Benjamin Luxon and Sheila Amit / Peter Gilbert-Dyson. Symposium SYMCD 1180 • 1993 (21 numbers and additional poems): Pamela Hunter / Silveer Van Den Broeck. Discover DICD 920125 • 1996 (21 numbers and Façade 2): Lynn Redgrave / Joseph Silverstein. Arabesque Z6699 CD • 2001 (34 numbers): Eleanor Bron and Richard Stilgoe / David Lloyd-Jones. Hyperion CDA 67239 Other versions Façade Arranged for male and female reciters by the composer for the 1964 Adelaide Festival, en route by air to Australia. The practice of sharing the narration between two reciters had developed from April 1926, but for this performance Walton set out detailed suggestions, which he subsequently altered for the London performance in August 1965. First performance: Adelaide, Union Hall, 13 March 1964. Kevin McBeath and Morna Jones (reciters), with the Festival Chamber Group, conducted by WilliamWalton. First UK performance: London, Royal Albert Hall, 27 August 1965 (Henry Wood Promenade concert, shown on BBC television). Hermione Gingold and Russell Oberlin (reciters), with the Melos Ensemble, conducted by WilliamWalton. Holograph: Papers of Kevin McBeath, State Library of Victoria, Melbourne Bibliography: David Lloyd-Jones, WWE vol. 7 For perusal purposes only
Facebook
Twitter
Email