William Walton Catalogue

C32 Dr e a m i n g Li p

C32 Dr e a m i n g Li p s music for the film Date of composition: 1936 Holograph: whereabouts unknown Film details: Adapted from the play Melo by Henri Bernstein; screenplay by Carl Meyer, Margaret Kennedy, and Cynthia, Lady Asquith. Director and producer: Paul Czinner; associate producer: Max Schach; editor: David Lean. Capitol Film Corporation, Denham Studios. Duration of the film: 94 minutes Cast included: Elisabeth Bergner (Gaby Lawrence), Raymond Massey (Miguel del Vayo), Romney Brent (Peter Lawrence), Felix Aylmer (Sir Peter Blaker), Joyce Bland (Christine), and Sydney Fairbrother (Mrs Stanway). Music composed for the following: Title music, Rumba, Tango, Foxtrot, Coffee making sequence, Temperature chart sequence, Dream sequence; Exterior of house, Rape sequence, Café sequence, Final sequence, and end titles. (As set out by Walton in a letter, dated 30 January 1937, to G. H. Hatchman at the Performing Right Society (PRS archive).) Hyam Greenbaum may have orchestrated several items and provided additional music but all was uncredited. Tchaikovsky’s Violin Concerto (last movement), Beethoven’s Violin Concerto (with cadenza), and Tchaikovsky’s Waltz featured in the film and were recorded by Antonio Brosa in a studio reconstruction of Queen’s Hall, London. The rape scene is mentioned only in Walton’s letter to the PRS and does not appear on the Mechanical Copyright Protection Society’s list. It may, at some stage, have been omitted on the recommendation of the Board of Film Censors. Music played by the London Symphony Orchestra conducted by Boyd Neel. Instrumentation: unable to trace First UK showing: London, London Pavilion, 2 February 1937 First USA showing: New York, Rivoli, 19 May 1937 Publication: Unpublished, although a concert suite of music from the film was planned by Walton and Hubert Foss (letter in the OUP archive dated 7 February 1937). Nothing, however, materialized. Writing to Hyam Greenbaum on 25 July 1938, Foss said ‘I am still waiting on you for the suites from Walton’s As You Like It and Dreaming Lips’ (OUP archive). C105 Theme 43 Bibliography: Boyd Neel, My Orchestras and Other Adventures: The Memoirs of Boyd Neel (Toronto: University of Toronto Press, 1985), 98–100 • H. Dawkes and J. Tooze, ‘A conversation with Antonio Brosa’, Royal College of Music Magazine 65, no. 1 (Easter 1969), 10 • MFB 4 (February 1937), 28; MG, 28 Sept 1936, p. 12; 3 Feb 1937, p. 6 (R.H.); Ob, 31 Jan 1937; 7 Feb 1937, p. 14 (C. A. Lejeune); Times, 16 Oct 1936, p. 12; 3 Feb 1937, p.12 C105 Th e m e for organ improvisation One of four themes submitted to André Marchal (blind organist of St Germain-des-Prés in Paris) for ‘Improvisations of a Symphony based on these themes, specially submitted by four British composers.’ Besides William Walton contributing the theme (6 bars) for an Adagio, Alan Bush contributed the subject for a Fugue, Benjamin Britten the theme for a Scherzo (Allegro moderato), and Constant Lambert the theme for a Toccata. Date of composition: 1936 Holograph: The Arabesque Trust for Blind Pipe Organists (current owners of the estate and copyright of Felix Aprahamian) Commissioned by: Felix Aprahamian (as secretary of the Organ Music Society) First performance: London, St. John’s Church, Red Lion Square, 12 November 1936; André Marchal, organ Publication: The themes were printed for the Organ Music Society by Boosey & Hawkes Ltd. Bibliography: Donald Mitchell and Phillip Reed, eds, Letters from a Life: The Selected Letters and Diaries of Benjamin Britten, 1913–1976, vol. 1 (London: Faber, 1991), 441 • MT 77 (December 1936), 1104, 1111–13 (A. Frank) (‘The first of the four movements was the Adagio which seemed perfectly in accord with the mood of Mr Walton’s subject and drew from it a really beautiful piece of atmospheric organ music.’) For perusal purposes only

44 C33 Crown Imperial C33 Cr o w n Im p e r i a l coronation march for orchestra The score has the motto ‘In beawtie beryng the crone imperiall’, a quote from the poem In Honour of the City of London by William Dunbar (?1460–c1520). Date of composition: February–April 1937 In the South Wales Argus of 4 May 1937, it was reported that ‘Mr. Walton wrote it and his publisher has prepared it against the clock. The full score was finished at 5 am on Friday 9 April and picked up by messenger at 8.45 the same morning. The parts and score were ready for rehearsal by 10am on the following Tuesday.’ Holograph: Full score: Beinecke: GEN MSS 601 (FRKF 595a) • Piano arrangement (four staves): Beinecke: GEN MSS 601 (FRKF 595b) Commissioned by: the BBC, originally for the coronation of King Edward VIII, but after his abdication used at the coronation of King George VI and Queen Elizabeth (BBC memos dated 27 November 1936 and 5 March 1937) Instrumentation: 3(III + picc).2.ca.2.bcl.2.cbn/4.3.3.1/ timp/perc (2, pref. 3: tri, cyms, large gong, glock, t bell, sd, td, bd)/org (opt)/hp/strings Duration: 8 minutes 15 seconds (with optional cuts: 6 minutes 45 seconds) First performance: London, Kingsway Hall, 16 April 1937 (recording session for HMV DB 3164, 78 rpm); BBC Symphony Orchestra, conducted by Sir Adrian Boult, with Berkeley Mason (organ) First broadcast performance: London, BBC Studios, 9 May 1937; BBC Orchestra (Section B), conducted by Clarence Raybould First public performance: London, Westminster Abbey, 12 May 1937; Coronation Orchestra and Dr. Ernest Bullock (organ), conducted by Sir Adrian Boult. It was included on the list of music (as‘Coronation March’) to be played before the service and used for the entry of the dowager Queen Mary and Queen Maud of Norway into the Abbey, with, according to the Musical Times, ‘Edward German’s Coronation March and some Handel and Purcell.’ First concert performance: London, Queen’s Hall, 28 August 1937; BBC Symphony Orchestra conducted by William Walton Other early performances: Leeds, Town Hall, 7 October 1937; London Philharmonic Orchestra, conducted by William Walton • Liverpool, Central Hall, 12 October 1937; Liverpool Philharmonic Orchestra, conducted by Albert Coates • Hastings, White Rock Pavilion, 16 October 1937; Hastings Municipal Orchestra, conducted by Julius Harrison • Edinburgh, Usher Hall, 21 October 1937; Reid Symphony Orchestra, conducted by Sir Donald Tovey Publication: photocopy of original (uncut) version of the score (and parts) on hire: OUP • WWE vol. 17, pp. 1–51 (2009) (first publication at full length and original orchestration) • study score offprinted (with Orb and Sceptre) OUP, 2010 Bibliography: David Lloyd-Jones, WWE vol.17 • James Brooks Kuykendall, ‘The English Ceremonial Style circa 1887–1937 and its Aftermath’ (PhD diss., Cornell University, 2005) • MT 78 (June 1937), 497–501; (September 1937), 808 (H. Grace), 829 (E. Evans); Times, 24 April 1937, p. 9; 13 May 1937, p. 10; 15 May 1937, p. 10 Recordings: 78, CD BBC Symphony Orchestra / Adrian Boult. HMV DB 3164 (1937); EMI ED 29 1092 1 (1987); Pickwick CDO 1058 (2003) LP, CD Philharmonia Orchestra / Walton (recorded Kingsway Hall, London, 18 March 1953). Columbia 33C1016 (1953); SEL 1504 (1954); EMI HQM1006 (1965); EMI SLS5246 (1982); CHS5 65003 2 (1994) • London Philharmonic Orchestra / Adrian Boult. EMI 3388 (1977); EMI CDM 5655842 (1995); EMI 327285 2 (2012); EMI Collector’s Edition 4 40862 2 (2012) • City of Birmingham Symphony Orchestra / Louis Frémaux. EMI ASD 3348 (1977); EMI CDC 7 475122 (1987); EMI 6 80506 2 (2012) Note: In a letter from Walton to Hubert Foss, dated 11 May 1937, there is a mention of the idea of John Masefield, the Poet Laureate, providing words for the Trio which ‘I am willing to have published’ (OUP archive). This was clearly an attempt to copy the similar treatment of the trio of Elgar’s Pomp and Circumstance March No. 1. In a letter, dated 8 February 1941, Walton asked Julian Herbage at the BBC whether it ‘would be in order if I make a cut or two in the Coronation March—knocking off about two minutes? It will be reducing it to its original length of about six minutes. I must confess that I spun it out to its detriment . . . in order to comply with the BBC’s commissioned length of eight or nine minutes’ (BBC WAC). Other versions For perusal purposes only C33a Crown Imperial version by Vilem Tausky, with reduced orchestra and cuts sanctioned by the composer