William Walton Catalogue

Division at this point,

Division at this point, after he had completed his work on the project. In the National Archives (PREM4/99/5, dated March 1942), a minute of 16 March says that the PM had told P. J. Grigg (Secretary of State for War) that he did not think Next of Kin ought to be shown publicly at present. There is also a letter of 28 March to say that Mr Churchill would leave the matter to Grigg’s judgement. First public showing: London, Carlton Cinema and the London Pavilion, 15 May 1942 First USA showing: New York, Rialto Cinema, 5 May 1943 Bibliography: Ruth Artmonsky, Jack Beddington: The Footnote Man (London: Artmonsky, 2006), 73–84 • Anthony Aldgate and Jeffrey Richards, Britain Can Take It: The British Cinema in the Second World War (London: Tauris, 2007), chapter 5: ‘Careless Talk Costs Lives: The Next of Kin’, pp. 96–114 • James Chapman, The British at War: Cinema, State and Propaganda, 1939–1945 (London: Tauris, 1998), 156, 190–91, 226, 285 • J. V. Morris, ‘Battle for Music: Music and British Wartime Propaganda, 1935–45’ (PhD diss., University of Exeter, 2011) • Jeffrey Richards, Thorold Dickinson: The Man and his Films (London: Croom Helm, 1986), 84–108 • MFB 9 (June 1942), 69; NYT, 6 May 1943, p. 25 (B. Crowther); Ob, 17 May 1942, p. 7 (C. A. Lejeune); Times, 14 May 1942, p. 6; ST, 17 May 1942, p. 2 (D. Powell) Recordings: film available on DVD DD 20093 Other versions C42a The Next of Kin adapted for radio and produced for broadcasting by Cecil McGivern Cast included: Nora Pilbeam, Stephen Murray, and members of the BBC Drama Repertory Companies. First performance: Broadcast on the Home Service on 6 July 1942. It was repeated on 1 August 1942. Part of the music (overall timing 12' 25") was taken from the soundtrack and dubbed on to discs for use by the BBC. C46b A Wartime Sketchbook for orchestra Arranged by Christopher Palmer and based on the music for the following films: C42 The Next of Kin 61 A. The Foreman went to France (C44); B. The Next of Kin (C42); C. Went the Day Well? (C47); D. Battle of Britain (C81) 1. Prologue (from B and C); 2. Bicycle Chase (from A); 3. Refugees (from A); 4. Scherzo (Gay Berlin) (from D); 5. Foxtrot (‘All Over the Place’ by Noel Gay and Frank Eyton) (from B); 6. Lovers (from B); 7. Striptease (from B); 8. Epilogue (from A) Instrumentation: 3.2.3.2/4.3.3.1/timp/perc (4: tri, cym, sus cym, tamt, cast, 2wb, glock, xyl, bells, church bell, bongos, sd, td, field drum, bd, drum kit, tamb, rattle, whip)/pno/hp/Spanish gtr (opt)/strings Duration: 20 minutes First performance: London, St Jude’s Church, Central Square, 2–3 March 1990 (recording sessions for the Chandos disc, see below) Publication: score and parts on hire: OUP, 1990 Recordings: CD Academy of St-Martin-in-the-Fields / Neville Marriner. Chandos CHAN 8870 (1990); CHAN 9426 (1995); CHAN 24112 (2003) C42c Prologue (No.1) from A Wartime Sketchbook arranged for organ by Christopher Palmer and Robert Gower Duration: 5 minutes Publication: Robert Gower, ed., A Walton Organ Book, OUP, 1996 Recording: CD Robert Gower (organ, Hereford Cathedral). Priory PRCD 591 (1996) C42d A Wartime Sketchbook arranged for concert band by Kimura Publication: available on hire from Music Supply Tokyo C42e No. 6 ‘Romance’ from A Wartime Sketchbook arranged for brass band by Paul Hindmarch Duration: 3 minutes First performance: Theale, Theale Green School, 8 May 1993 (Newberry Spring Festival); Besses O’Th’Barn Band, conducted by Paul Hindmarch Publication: available on hire: OUP, 1993 Recordings: CD Black Dyke Mills Band / James Watson. ASV CD WHL 2093 (1995) For perusal purposes only

62 C43 Macbeth C43 Ma c b e t h incidental music for William Shakespeare’s play Date of composition: 1941 (Christmas Day) to 1942 (New Year’s Day) Holograph: Beinecke Rare Book and Manuscript Library, Yale University: GEN MSS 601 (FRKF 581) Music composed for the following: A detailed musical plot was worked out by John Gielgud and Walton for the production: Act I: Prelude (Allegro furioso); Slow march—Transition between Scenes i and ii; Transition between Scenes ii and iii; iii and iv; iv and v; v and vi; vi and vii; Banquet Music; Transition to Scene viii. Act II: Prelude to Act II (Grave); Fanfare (Scene ii); Murder Music; Transition between scenes iia and iii; iii and iv; Banquo’s Ghost. Act III: Prelude to Act III; Fanfare; Witches’ Music; 3 apparitions; March of the Eight Kings; Transition between Scenes iii and iv; v and vi; vi and vii, vii and viii; viii and ix; Fanfare; Transition between Scenes ix and x; x and xi; Fanfares; Final lines. Instrumentation: 2(II + picc).2.ca.3.bcl.2/3.2.2.0/timp/ perc (2: cym, gong, cast, xyl, bell, sd, bd, tamb, flexatone, wind machine)/strings First performance: Manchester, Opera House, 16 January 1942; music (prerecorded by HMV for H. M. Tennant) played by the London Philharmonic Orchestra (which included Malcolm Arnold on first trumpet), conducted by Ernest Irving. Cast included John Gielgud (Macbeth), Leon Quartermaine (Banquo), Gwen FfrangÇon-Davies (Lady Macbeth), Jean Cadell (Weird Sister), and Alan Badel (Servant to Macbeth). Scenery: Michael Ayrton (some of his original designs in watercolour were with the score when discovered by the present author at OUP) and John Minton; costumes: Michael Ayrton. First London performance: Piccadilly Theatre, 8 July 1942, with the same cast Recordings: The first 78 rpm private recordings for use in this stage production were recorded on 6 January 1942. I am indebted to Philip Stuart, author of The London Philharmonic Discography (Westport (USA): Greenwood, 1997), for the following information: According to EMI archives, the matrix numbers of the fourteen sides were: CTPX11950–60 (recorded 6 January 1942) CTPX120092–3 (recorded 13 February 1942) CTPX12094 (recorded 16 February 1942) As the last three postdate the opening of the production, additional music or revisions may have been needed from Walton. All the masters were destroyed in November 1964 but copies survive; there is one set in the William Walton Archive, Ischia (presented by John Russell Thompson, an extra in the original production, in 1987) and a further, incomplete (CTPX11950–59 and CTPX12092–3) set given to the present author by the late Pembroke Duttson, whose relative was in the original production. Bibliography: Ronald Hayman, John Gielgud (London: Heinemann, 1971), 134–8 • Richard Mangan, ed., Gielgud’s Letters (London: Weidenfeld & Nicolson, 2004), 62–5 • MG, 16 Jan 1942, p. 6; 10 July 1942, p. 4; Ob, 5 July 1942, p. 2 (I. Brown); The Stage, 16 July 1942, p. 5; Theatre World 37 (September 1942), 9–17; Times, 6 July 1942, p. 8 Note: John Gielgud planned this production in 1941 and approached Walton through H. M. Tennant Ltd, in May or June, to see if he would provide a score. In a letter to the present author, dated 20 December 1975, Sir John wrote: [Walton] came to one or two rehearsals, and immediately decided to compose background music for the scenes of the witches, in accordance with the rhythms of their verses and the rhythms I was trying to achieve with the actresses in those scenes. I gave him the timings for the interludes and some scene-changes, and was amazed to find he had observed them meticulously without having to consult me further. I did not hear the music until it was ready to be used. . . . I was simply delighted when I heard it. (Craggs archive) In a letter, dated 12 July 1942, Walton asked Dallas Bower to go and see Macbeth or part of it again fairly soon, and ‘let me know how the music is sounding. And would you go and see John G. and tell him if you have any suggestions to make. I’ve warned him that I am sending you.’ In his reply, dated 21 July 1942, Bower told Walton that ‘the music was better ... and that he wanted to discuss some production points with him and JG.’ (BBC WAC) Other early performances: (1) First broadcast performance of recordings of the music (as used in the play) featured in Music-Lover’s Calendar, written by Walter Legge and produced by Alec Robertson. Broadcast on 13 September 1942 on the BBC Home Service Programme. • (2) Recordings of the music (‘borrowed from the theatre’) featured in From the Theatre in Wartime with John Gielgud and Gwen Frangcon-Davies. Produced For perusal purposes only