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102-465: Johannesburg Festival Overture is a composition for orchestra by the English composer William Walton , commissioned to mark the seventieth anniversary of Johannesburg in 1956. It is a short, lively piece, fast-moving throughout. In 1956, to celebrate the seventieth anniversary of the founding of Johannesburg , the city organised a festival. Leading performers were engaged including Margot Fonteyn ,

204-513: A greengrocer . Although they arrived in Oxford after the entrance trials were over, Mrs Walton successfully pleaded for her son to be heard, and he was accepted. He remained at the choir school for the next six years. The Dean of Christ Church, Dr Thomas Strong , noted the young Walton's musical potential and was encouraged in this view by Sir Hubert Parry , who saw the manuscripts of some of Walton's early compositions and said to Strong, "There's

306-410: A Sonata for Strings. One original work from this period was his Jubilate Deo , premiered as one of several events to celebrate his seventieth birthday. The British prime minister, Edward Heath , gave a birthday dinner for Walton at 10 Downing Street , attended by royalty and Walton's most eminent colleagues; Britten presented a Walton evening at Aldeburgh and Previn conducted an all-Walton concert at

408-598: A Theme by Hindemith (1963) and the Improvisations on an Impromptu of Benjamin Britten (1969), in both of which the source material is gradually transformed as Walton's own voice becomes more prominent. The critic Hugh Ottaway commented that in both pieces "the interaction of two musical personalities is   ... fascinating". Walton's first successful large-scale concert work, the Viola Concerto (1929)

510-458: A cultural education. His earliest work of note was a collaboration with Edith Sitwell , Façade , which at first brought him notoriety as a modernist , but later became a popular ballet score. In middle age, Walton left England and set up home with his young wife Susana on the Italian island of Ischia . By this time, he had ceased to be regarded as a modernist, and some of his compositions of

612-484: A facile or quick composer, and in his final decade, he found composition increasingly difficult. He repeatedly tried to compose a third symphony for André Previn , but eventually abandoned it. Many of his final works are re-orchestrations or revisions of earlier music. He orchestrated his song cycle Anon in Love (originally for tenor and guitar), and at the request of Neville Marriner adapted his A minor String Quartet as

714-523: A fast moving score full of syncopation and cross-rhythm that for years proved hazardous for conductors and orchestras alike. Throughout his career, Walton wrote works in this pattern, such as the lively Comedy Overture Scapino , a virtuoso piece commissioned by the Chicago Symphony Orchestra, described by The Musical Times as "an ingenious blending of fragments in exhilarating profusion." Walton's post-war works in this genre are

816-472: A few descriptive tags: "bittersweet", "nostalgic" and, after World War II, "same as before". Such convenient categorizations ignore the expressive variety of his music and slight his determination to deepen his technical and expressive resources as he grew older. His early discovery of the basic elements of his style allowed him to assimilate successfully an astonishing number of disparate and apparently contradictory influences, such as Anglican anthems, jazz, and

918-495: A living as a singing teacher and church organist. Charles's wife, Louisa Maria ( née Turner), had been a singer before their marriage. William Walton's musical talents were spotted when he was still a young boy, and he took piano and violin lessons, though he never mastered either instrument. He was more successful as a singer: he and his elder brother sang in their father's choir, taking part in performances of large-scale works by Handel , Haydn , Mendelssohn and others. Walton

1020-510: A lot in this chap; you must keep your eye on him." At the age of sixteen Walton became an undergraduate of Christ Church . It is sometimes said that he was Oxford 's youngest undergraduate since Henry VIII , and though this is probably not correct, he was nonetheless among the youngest. He came under the influence of Hugh Allen , the dominant figure in Oxford's musical life. Allen introduced Walton to modern music , including Stravinsky's Petrushka , and enthused him with "the mysteries of

1122-549: A one-act comic opera, The Bear , which was premiered at Britten's Aldeburgh Festival , in June 1966, and enthusiastically received. Walton had become so used to being written off by music critics that he felt "there must be something wrong when the worms turned on some praise." Walton received the Order of Merit in 1967, the fourth composer to be so honoured, after Elgar, Vaughan Williams and Britten. Walton's orchestral works of

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1224-498: A reduced orchestra version in 1957. The composer recorded the work with the Philharmonia Orchestra on 26 March 1957. Later recordings: William Walton Sir William Turner Walton OM (29 March 1902 – 8 March 1983) was an English composer. During a sixty-year career, he wrote music in several classical genres and styles, from film scores to opera. His best-known works include Façade ,

1326-464: A series of viola chords leads to the second subject, a tranquil theme in D minor , for the viola in its lower register. The themes are developed at varying dynamics and speeds, with solo viola and orchestra handing the themes to and fro and playing them in canon at times. There is no formal cadenza . After a vigorous tutti the movement ends quietly with the melancholic theme with which it began, clashing A Major over A Minor harmonies and unsettling

1428-437: A short orchestral piece, Siesta (1926) and a Sinfonia Concertante for piano and orchestra (1928), which was well-received at its premiere at a Royal Philharmonic Society concert, but has not entered the regular repertory. The Viola Concerto (1929) brought Walton to the forefront of British classical music. It was written at the suggestion of Sir Thomas Beecham for the viola virtuoso Lionel Tertis . When Tertis received

1530-644: A small chorus, orchestra of no more than fifteen players, and soloist. Osbert Sitwell constructed a text, selecting verses from several books of the Old Testament and the Book of Revelation . As Walton worked on it, he found that his music required far larger forces than the BBC proposed to allow, and Beecham rescued him by programming the work for the 1931 Leeds Festival, to be conducted by Malcolm Sargent . Walton later recalled Beecham as saying, "As you'll never hear

1632-405: A viola counter-theme. A development passage leads to the coda that draws the earlier themes into a characteristic Walton fugal treatment, leading to the climactic synthesis of the themes. The work was greeted with enthusiasm. It brought Walton to the forefront of British classical music. In The Manchester Guardian , Eric Blom wrote, "This young composer is a born genius" and said that it

1734-474: Is a rondo, fast-paced throughout. Its first tempo marking is presto capriccio; after a very small ritardando the tempo becomes vivacissimo, which accelerates into a prestissimo. The key is D. Oxford University Press published an 84 page study score in 1958. The score, edited by David Lloyd-Jones , is included in the William Walton Edition, in volume 14, "Overtures". Vilém Tauský arranged

1836-435: Is continued by the winds in contrapuntal lines. The second subject, deriving from the rocking figure of the first movement, is in the minor key. The development section mainly features on the first theme, gradually dividing it into fragments accompanying a long cantabile theme for the viola and later the woodwind. In the recapitulation, the first theme is given to the full orchestra, and the second to woodwinds and horns, with

1938-562: Is generally considered weak, and Walton's music, despite many passages that have won critical praise, is not dramatic enough to sustain interest. Grove calls the work a partially successful attempt to revivify the traditions of nineteenth-century Italian opera in a post-war era wary of heroic Romanticism. Walton's only other opera, The Bear , based on a comic vaudeville by Chekhov , was much better received. The critic Andrew Porter described it in The Musical Times as "one of

2040-724: Is in marked contrast to the raucous Portsmouth Point ; despite the common influence of jazz and of the music of Hindemith and Ravel, in its structure and romantic longing it owes much to the Elgar Cello Concerto . In this work, wrote Edward Sackville-West and Desmond Shawe-Taylor in The Record Guide , "the lyric poet in Walton, who had so far been hidden under a mask of irony, fully emerged." Walton followed this pattern in his two subsequent concertos, for Violin (1937) and for Cello (1956). Each opens reflectively,

2142-399: Is in three movements, and contrasts agitated and jagged passages with warmer romantic sections. The Cello Concerto is more introspective than the two earlier concertos, with a ticking rhythm throughout the work suggesting the inexorable passage of time. The two symphonies are strongly contrasted with one another. The First is on a large scale, reminiscent at times of Sibelius. Grove says of

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2244-413: Is in what Howes describes as a regular but condensed sonata form . After a three-bar introduction in which muted strings and low clarinet establish the tonality of A minor the viola enters with a melancholy 8 theme, in the middle register of the instrument. The theme is passed to the oboe, with the viola accompanying; then the viola repeats the theme in the high register. The pace quickens and

2346-550: Is not large. His most popular compositions continue to be frequently performed in the 21st century, and by 2010 almost all his works had been released on CD. Walton was born into a musical family in Oldham , Lancashire , the second son in a family of three boys and a girl. His father, Charles Alexander Walton, was a musician who had trained at the Royal Manchester College of Music under Charles Hallé , and made

2448-472: Is scored for three flutes (third doubling piccolo), two oboes, cor anglais, three clarinets in A, three bassoons (third doubling contrabassoon) – four horns in F, three trumpets in B-flat, three trombones, tuba – timpani, three or four percussion (side drum, cymbals, suspended cymbal, bass drum, xylophone, tambourine, triangle, tenor drum, maracas, rumba sticks, castanets, glockenspiel) – harp – strings. The work

2550-484: Is so obviously the head prefect of English music, whereas I'm the promising new boy." They remained on friendly terms for the rest of Britten's life; Walton admired many of Britten's works, and considered him a genius; Britten did not admire all of Walton's works but was grateful for his support at difficult times in his life. During the Second World War Walton was exempted from military service on

2652-417: Is some uncertainty about the solo part in this version. The violist Frederick Riddle , with whom Walton performed the work many times, made some adjustments to the solo line. He understood that Walton approved his changes and intended to incorporate them in the score of the revision, but when it was published, in 1962, the original line remained intact. In a 2006 study of the concerto, James F. Dunham attributes

2754-707: The BBC music department. Clark sent the manuscript to Hindemith, who agreed to give the first performance. The first performance was at the Proms at the Queen's Hall , London, on 3 October 1929; Hindemith was the soloist and the Henry Wood Symphony Orchestra was conducted by the composer. Hindemith did not possess an immaculate technique, but played with strong character, a full tone and great emotion. The composer later wrote that Hindemith's "technique

2856-566: The Johannesburg Festival Overture (1956), the "diverting but hard-edged Capriccio burlesco " (1968), and the longer Partita (1957), written for the Cleveland Orchestra , described by Grove as "an impressively concentrated score with a high-spirited finale [with] steely counterpoint and orchestral virtuosity". Walton's shorter pieces also include two tributes to musical colleagues, Variations on

2958-600: The La Scala company, the London Symphony Orchestra (LSO), and as soloists Yehudi Menuhin , Andrés Segovia and Pierre Fournier and as conductors Sir Malcolm Sargent and Guido Cantelli . Among the works the LSO scheduled for its five concerts was Walton's First Symphony , but Ernest Fleischmann , the musical director of the festival, also wanted a new Walton piece for the opening concert. He approached

3060-674: The London Symphony Orchestra . During 1934 Walton interrupted work on the symphony to compose his first film music, for Paul Czinner 's Escape Me Never (1934), for which he was paid £300. After a break of eight months, Walton resumed work on the symphony and completed it in 1935. Harty and the BBC Symphony Orchestra gave the premiere of the completed piece in November of that year. The symphony aroused international interest. The leading continental conductors Wilhelm Furtwängler and Willem Mengelberg sent for copies of

3162-497: The Royal Festival Hall . Walton revised the score of Troilus and Cressida , and the opera was staged at Covent Garden in 1976. Once again it was plagued by misfortune while in preparation. Walton was in poor health; Previn, who was to conduct, also fell ill; and the tenor chosen for Troilus pulled out. As in 1954, the critics were generally tepid. Some of Walton's final artistic endeavours were in collaboration with

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3264-516: The Sadler's Wells Ballet , The Wise Virgins , based on the music of J. S. Bach transcribed by Walton, and The Quest , with a plot loosely based on Spenser's The Faerie Queene ; and, for the concert hall, a suite of orchestral miniatures, Music for Children , and a comedy overture, Scapino , composed for the fiftieth anniversary of the Chicago Symphony Orchestra. Walton's house in London

3366-744: The Savoy Orpheans at the Savoy Hotel and wrote an experimental string quartet heavily influenced by the Second Viennese School that was performed at a festival of new music at Salzburg in 1923. Alban Berg heard the performance and was impressed enough to take Walton to meet Arnold Schoenberg , Berg's teacher and the founder of the Second Viennese School. In 1923, in collaboration with Edith Sitwell, Walton had his first great success, though at first it

3468-588: The cantata Belshazzar's Feast , the Viola Concerto , the First Symphony , and the British coronation marches Crown Imperial and Orb and Sceptre . Born in Oldham , Lancashire , the son of a musician, Walton was a chorister and then an undergraduate at Christ Church, Oxford . On leaving the university, he was taken up by the literary Sitwell siblings, who provided him with a home and

3570-511: The 1920s, while he was living in the Sitwells' attic, include the overture Portsmouth Point , dedicated to Sassoon and inspired by the well-known painting of the same name by Thomas Rowlandson . It was first heard as an entr'acte at a performance in Diaghilev's 1926 ballet season, where The Times complained, "It is a little difficult to make much of new music when it is heard through

3672-518: The 1930s, alongside the symphony, was the Violin Concerto (1939), commissioned by Jascha Heifetz . The concerto, Walton later revealed, expressed his love for Alice Wimborne. Its strong romantic style caused some critics to label it retrogressive, and Walton said in a newspaper interview, "Today's white hope is tomorrow's black sheep. These days it is very sad for a composer to grow old ... I seriously advise all sensitive composers to die at

3774-610: The 1950s include the music for a fourth Shakespeare film, Olivier's Richard III , and the Cello Concerto (1956), written for Gregor Piatigorsky , who gave the premiere in January 1957 with the Boston Symphony Orchestra and the conductor Charles Munch . Some critics felt that the concerto was old-fashioned; Peter Heyworth wrote that there was little in the work that would have startled an audience in

3876-484: The 1950s were criticised as old-fashioned. His only full-length opera, Troilus and Cressida , was among the works to be so labelled and has made little impact in opera houses. In his last years, his works came back into critical fashion; his later compositions, dismissed by critics at the time of their premieres, were revalued and regarded alongside his earlier works. Walton was a slow worker, painstakingly perfectionist, and his complete body of work across his long career

3978-488: The 1960s include his Second Symphony (1960), Variations on a Theme by Hindemith (1963), Capriccio burlesco (1968), and Improvisations on an Impromptu of Benjamin Britten (1969). His song cycles from this period were composed for Peter Pears ( Anon in Love , 1960) and Schwarzkopf ( A Song for the Lord Mayor's Table , 1962). He was commissioned to compose a score for the 1969 film Battle of Britain , but

4080-534: The Sonata for Violin and Piano (1947–49). In the opinion of Adams in Grove's Dictionary , the quartet is one of Walton's supreme achievements. Earlier critics did not always share this view. In 1956 The Record Guide said, "[T]he material is not first class and the composition as a whole seems laboured." The String Quartet in A Minor exists also in its later expanded form as the Sonata for String Orchestra (1971), which,

4182-470: The accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre ; he was also commissioned to write a choral setting of the Te Deum for the occasion. Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry Moore who had agreed to design

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4284-431: The age of 37. I know: I've gone through the first halcyon period and am just about ripe for my critical damnation." In the late 1930s Walton became aware of a younger English composer whose fame was shortly to overtake his, Benjamin Britten . After their first meeting, Britten wrote in his diary, "[...] to lunch with William Walton at Sloane Square . He is charming, but I feel always the school relationship with him – he

4386-517: The attic of their house in Chelsea, later recalling, "I went for a few weeks and stayed about fifteen years". The Sitwells looked after their protégé both materially and culturally, giving him not only a home but a stimulating cultural education. He took music lessons with Ernest Ansermet , Ferruccio Busoni and Edward J. Dent . He attended the Russian ballet, met Stravinsky and Gershwin , heard

4488-403: The audience to listen with breathless attention." In The Sunday Times , Ernest Newman said of Walton, "as a musical joker he is a jewel of the first water ... Here is obviously a humorous musical talent of the first order. Among the audience were Evelyn Waugh , Lytton Strachey , Virginia Woolf and Noël Coward . The last was so outraged by the avant-garde nature of Sitwell's verses and

4590-577: The composer in January 1956 with a commission for an orchestral work. He suggested that the piece should include some African themes, and sent Walton some Bantu melodies. Walton sent for recordings of African music from the African Music Society, and worked on the piece at his home in Ischia from February until the end of May 1956. He incorporated the main theme from Jean Bosco Mwenda 's "Masanga", which had been released on record earlier in

4692-491: The concert that opened the festival. Efrem Kurtz introduced the work to Britain in a Liverpool Philharmonic concert on 13 November 1956 at the Philharmonic Hall . Sargent conducted the first London performance, with the BBC Symphony Orchestra at the Royal Festival Hall on 23 January 1957. The American premiere was given by the Boston Symphony Orchestra conducted by Charles Munch on 15 March 1957. The work

4794-547: The concerto at the Three Choirs Festival in 1932 – the only time the two composers met. Elgar did not like the work and is said to have expressed dismay privately that "such music should be thought fit for a stringed instrument". In 1972 the choreographer Joe Layton used the concerto for a ballet about Oscar Wilde , O.W. , given by the Royal Ballet at Sadler's Wells Theatre , London. The prologue of

4896-642: The concerto is about 25 minutes. In his study of Walton, Michael Kennedy comments that in its design the Viola Concerto resembles Elgar's Cello Concerto in beginning with a slow ("or at any rate ruminative") movement followed by a quick scherzo, and concentrating most weight into the finale, "which ends in a mood of pathos by recalling the principal theme of the first movement". Influences suggested by other writers are Prokofiev in his First Violin Concerto (1923), and Hindemith in his Kammermusik No. 5 (1927). The first movement, marked andante comodo ,

4998-546: The concerto. Walton was given to revising his works after their first performances, and in 1961 he thinned the orchestration of the Viola Concerto, reducing the woodwind from triple to double, omitting one trumpet and the tuba, and adding a harp. The revised version was first performed at the Royal Festival Hall , London, on 18 January 1962, with John Coulling as soloist and the London Philharmonic Orchestra conducted by Sir Malcolm Sargent . There

5100-694: The critic Trevor Harvey wrote, combines Walton in his most energetically rhythmic mood with a "vein of lyrical tenderness which is equally characteristic and is so rewarding to listen to". . Malcolm Arnold undertook some of the transcription involved in this expansion of forces. The work was premiered by Marriner and the Academy of St. Martin in the Fields in March 1972 at the Perth Festival in Australia;

5202-522: The decade. Also included was a theme from Ruanda-Urundi , "Nimuze". Walton described the overture to his publisher as "a non-stop gallop ... slightly crazy, hilarious and vulgar". Walton's biographer Michael Kennedy calls it "a seven-minute Rossinian romp". Sargent conducted the South African Broadcasting Corporation Symphony Orchestra on 25 September 1956 at Johannesburg City Hall in

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5304-509: The end of 1928 the conductor Sir Thomas Beecham suggested that Walton should write a concerto for the violist Lionel Tertis , for whom composers including Vaughan Williams and Bax had written major works. After some preliminary discussion Walton agreed. He wrote the concerto while wintering in Amalfi , Italy, with his friends and patrons the Sitwells . He wrote in December 1928 that he

5406-624: The exclusive rights to play the concerto for two years, it was not heard in Britain until 1941. The London premiere, with a less famous soloist, and in the unflattering acoustics of the Royal Albert Hall , did not immediately reveal the work as a masterpiece. The String Quartet in A minor, premiered in May 1947, was Walton's most substantial work of the 1940s. Kennedy calls it one of his finest achievements and "a sure sign that he had thrown off

5508-399: The film company rejected most of his score, replacing it with music by Ron Goodwin . A concert suite of Walton's score was published and recorded after Walton's death. After his experience over Battle of Britain , Walton declared that he would write no more film music, but he was persuaded by Olivier to compose the score for a film of Chekhov 's Three Sisters in 1969. Walton was never

5610-625: The film-maker Tony Palmer . Walton took part in Palmer's profile of him, At the Haunted End of the Day , in 1981, and in 1982 Walton and his wife played the cameo roles of King Frederick Augustus and Queen Maria of Saxony in Palmer's nine-hour film Wagner . In March 1982 there were concerts marking Walton's eightieth birthday, at the Barbican and Royal Festival halls. The audience's response to

5712-419: The first three of the four movements by the end of 1933 and promised the premiere to the conductor Hamilton Harty . Walton then found himself unable to complete the work. The end of his affair with Imma von Doernberg coincided with, and may have contributed to, a sudden and persistent writer's block . Harty persuaded Walton to let him perform the three existing movements, which he premiered in December 1934 with

5814-654: The genre. Between 1934 and 1969 he wrote the music for 13 films. He arranged the Spitfire Prelude and Fugue from his own score for The First of the Few (1942). He allowed suites to be arranged from his Shakespeare film scores of the 1940s and 1950s; in these films, he mixed Elizabethan pastiche with wholly characteristic Waltonian music. Kennedy singles out for praise the Agincourt battle sequence in Henry V , where

5916-402: The hum of conversation." Sir Henry Wood programmed the work at the Proms the following year, where it made more of an impression. The composer conducted this performance; he did not enjoy conducting, but he had firm views on how his works should be interpreted, and orchestral players appreciated his "easy nonchalance" and "complete absence of fuss." Walton's other works of the 1920s included

6018-543: The libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted . In the same year, he prepared an authorised version of Façade , which had undergone many revisions since its premiere. In 1953, following

6120-458: The listener before quietly dying away. The second movement, unusually for a concerto, has the character of a scherzo. The first part, is in a quartal harmony, but strongly suggesting an E minor tonality. The tempo marking vivo con moto preciso , is in a basic 4 time but with many changes of metre. There is a climactic section for the full orchestra. In the words of the musicologist Christopher Palmer , "Here Walton pulls out all

6222-409: The manuscript, he rejected it immediately. The composer and violist Paul Hindemith stepped into the breach and gave the first performance. The work was greeted with enthusiasm. In The Manchester Guardian , Eric Blom wrote, "This young composer is a born genius" and said that it was tempting to call the concerto the best thing in recent music of any nationality. Tertis soon changed his mind and took

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6324-401: The music for a large-scale radio drama about Christopher Columbus , written by Louis MacNeice and starring Olivier. As with his film music, the composer was inclined to dismiss the musical importance of his work on the programme. Apart from these commissions, Walton's wartime works of any magnitude comprised incidental music for John Gielgud 's 1942 production of Macbeth ; two scores for

6426-469: The music makes the charge of the French knights "fearsomely real." Despite Walton's view that film music is ineffective when performed out of context, suites from several more of his filmscores have been assembled since his death. Walton worked for many years on his only full-length opera, Troilus and Cressida , both before its premiere and afterwards. It has never been regarded as a success. The libretto

6528-412: The music of Stravinsky, Sibelius, Ravel and Elgar. The writer adds that Walton's allegiance to his basic style never wavered and that this loyalty to his own vision, together with his rhythmic vitality, sensuous melancholy, sly charm and orchestral flair, gives Walton's finest music "an imperishable glamour". Another biographer of Walton, Neil Tierney, writes that although contemporary critics felt that

6630-513: The music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year. While there, Walton met Susana Gil Passo (1926–2010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding

6732-898: The omission of Riddle's revisions to a mistake by the publishers. A 2001 biography of Walton reports the composer's specific preference for his original version, without Riddle's alterations. The concerto carries the dedication "To Christabel" ( the Hon. Mrs Henry McLaren , with whom Walton had a platonic friendship despite mutual physical attraction). The original scoring is for piccolo , two flutes , two oboes , cor anglais , two clarinets , bass clarinet , two bassoons , contrabassoon , four horns , three trumpets , three trombones , tuba , timpani and strings. The 1961 revision (published in 1962) stipulates two flutes (one doubling piccolo), oboe, cor anglais, two clarinets (second doubling bass clarinet), two bassoons, four horns, two trumpets, three trombones, timpani, harp and strings. The playing time of

6834-453: The orchestra". Walton spent much time in the university library, studying scores by Stravinsky, Debussy , Sibelius , Roussel and others. He neglected his non-musical studies, and though he passed the musical examinations with ease, he failed the Greek and algebra examinations required for graduation. Little survives from Walton's juvenilia, but the choral anthem A Litany , written when he

6936-505: The performance of Belshazzar's Feast , at the latter, conducted by Previn, moved the composer to tears. Walton died at La Mortella on 8 March 1983, at the age of 80. His ashes were buried on Ischia, and a memorial service was held at Westminster Abbey , where a commemorative stone to Walton was unveiled near those to Elgar, Vaughan Williams and Britten. Walton was a slow worker. Both during composition and afterwards he would continually revise his music; he said, "Without an india-rubber I

7038-457: The post-war music did not match Walton's pre-war compositions, it has become clear that the later works are "if emotionally less direct, more profound." Walton's first work for full orchestra, Portsmouth Point (1925), inspired by a Rowlandson print of the same name, depicts a rumbustious dockside scene (in Kennedy's phrase, "the sailors of H.M.S. Pinafore have had a night on the tiles") in

7140-432: The production; Elisabeth Schwarzkopf , for whom the role of Cressida had been written, refused to perform it; her replacement, Magda László , had difficulty mastering the English words; and Sargent, the conductor, "did not seem well acquainted with the score". The premiere had a friendly reception, but there was a general feeling that Hassall and Walton had written an old-fashioned opera in an outmoded tradition. The piece

7242-466: The quartet. Walton was conscious that Britten, with Les Illuminations (1940), the Sinfonia da Requiem (1942), and Peter Grimes in 1945, had produced a series of substantial works, while Walton had produced no major composition since the Violin Concerto in 1939. Among English critics and audiences, the Violin Concerto was not at first rated one of Walton's finest works. Because Heifetz had bought

7344-479: The regular repertoire, unlike the ballet score Walton arranged from the music of Façade , the music for which was expanded for full orchestra, still retaining the jazz influences and the iconoclastic wit of the original. Music from The Quest and the whole of the Viola Concerto were used for another Sadler's Wells ballet, O.W. , in 1972. Walton wrote little incidental music for the theatre, his music for Macbeth (1942) being one of his most notable contributions to

7446-511: The same performers gave the British premiere in Bath later that month. Viola Concerto (Walton) In 1929 William Walton was regarded as an avant-garde composer, best known for Façade (1923), which had been a succès de scandale at its premiere. His exuberant and harmonically edgy concert overture Portsmouth Point (1926) maintained his reputation as an enfant terrible . Towards

7548-715: The score, the Chicago Symphony Orchestra premiered the work in the US under Harty, Eugene Ormandy and the Philadelphia Orchestra gave the New York premiere, and the young George Szell conducted the symphony in Australia. Elgar having died in 1934, the authorities turned to Walton to compose a march in the Elgarian tradition for the coronation of George VI in 1937. His Crown Imperial

7650-409: The staging, that he marched out ostentatiously during the performance. The players did not like the music: the clarinettist, Charles Draper asked the composer, "Mr Walton, has a clarinet player ever done you an injury?" Nevertheless, the work soon became accepted, and within a decade Walton's music was used for the popular Façade ballet , choreographed by Frederick Ashton . Walton's works of

7752-404: The stops". It is the longest of the three movements and as Frank Howes puts it in his study of Walton's music, it gathers up the mercurial emotions of the first two movements and reveals their serious purpose. The first theme is lively, elongating the rising fourths heard in the scherzo to rising fifths . It is introduced by the bassoon, followed by the viola over a pizzicato bass line, and

7854-502: The strongest and most brilliant things Walton has written". It is, however, a one-act piece, a genre not regularly staged at most opera houses, and so is infrequently seen. Operabase recorded four productions of the piece worldwide between 2013 and 2015. Apart from an early experiment in atonalism in his String Quartet (1919–22), which he later described as "full of undigested Bartók and Schoenberg", Walton's major essays in chamber music are his String Quartet in A Minor (1945–46) and

7956-547: The trammels of his cinema style and rediscovered his true voice." In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer 's Troilus and Criseyde , but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief,

8058-431: The tremendous impact of its first performance had full justification for feeling that a great composer had arisen in our land, a composer to whose potentialities it was impossible to set any limits." The work has remained a staple of the choral repertoire. In the 1930s, Walton's relationship with the Sitwells became less close. He had love affairs and new friendships that drew him out of their orbit. His first long affair

8160-500: The understanding that he would compose music for wartime propaganda films. In addition to driving ambulances (extremely badly, he said), he was attached to the Army Film Unit as music adviser. He wrote scores for six films during the war – some that he thought "rather boring" and some that have become classics such as The First of the Few (1942) and Laurence Olivier 's adaptation of Shakespeare's Henry V (1944). Walton

8262-475: The work again, my boy, why not throw in a couple of brass bands?" During early rehearsals, the Leeds chorus members found Walton's music difficult to master, and it was falsely rumoured in London musical circles that Beecham had been obliged to send Sargent to Leeds to quell a revolt. The first performance was a triumph for the composer, conductor and performers. A contemporary critic wrote, "Those who experienced

8364-519: The work that its "orgiastic power, coruscating malice, sensuous desolation and extroverted swagger" make the symphony a tribute to Walton's tenacity and inventive facility. Critics have always differed on whether the finale lives up to the rest of the work. In comparison with the First, the Second Symphony struck many reviewers as lightweight, and, as with many of Walton's works of the 1950s, it

8466-464: The work up. A performance by him at a Three Choirs Festival concert in Worcester in 1932 was the only occasion on which Walton met Elgar , whom he greatly admired. Elgar did not share the general enthusiasm for Walton's concerto. Walton's next major composition was the massive choral cantata Belshazzar's Feast (1931). It began as a work on a modest scale; the BBC commissioned a piece for

8568-532: The work, but admitted that it was naggingly memorable. The Manchester Guardian wrote of "relentless cacophony". The Observer condemned the verses and dismissed Walton's music as "harmless". In The Illustrated London News , Dent was much more appreciative: "The audience was at first inclined to treat the whole thing as an absurd joke, but there is always a surprisingly serious element in Miss Sitwell's poetry and Mr Walton's music ... which soon induced

8670-454: The year the Titanic met its iceberg (1912). It has nevertheless entered the regular repertoire, performed by Paul Tortelier , Yo-Yo Ma , Lynn Harrell and Pierre Fournier among others. In 1966 Walton successfully underwent surgery for lung cancer . Until then he had been an inveterate pipe-smoker, but after the operation he never smoked again. While he was convalescing, he worked on

8772-533: Was a succès de scandale . Façade was first performed in public at the Aeolian Hall, London , on 12 June. The work consisted of Edith's verses, which she recited through a megaphone from behind a screen, while Walton conducted an ensemble of six players in his accompanying music. The press was generally condemnatory. Walton's biographer Michael Kennedy cites as typical a contemporary headline: "Drivel That They Paid to Hear". The Daily Express loathed

8874-539: Was absolutely sunk." Consequently, his total body of work from his sixty-year career as a composer is not large. Between the first performance of Façade in 1923, for example, and that of the Sinfonia Concertante in 1928, he averaged only one small piece a year. Of his work as a whole, Byron Adams in Grove's Dictionary of Music and Musicians writes: Walton's music has often been too neatly dismissed by

8976-487: Was an immediate success with the public, but disappointed those of Walton's admirers who thought of him as an avant-garde composer. Among Walton's other works from this decade are more film scores, including the first of his incidental music for Shakespeare adaptations, As You Like It (1936); a short ballet for a West End revue (1936); and a choral piece, In Honour of the City of London (1937). His most important work of

9078-483: Was at first dismissive of his film scores, regarding them as professional but of no intrinsic worth; he resisted attempts to arrange them into concert suites, saying, "Film music is not good film music if it can be used for any other purpose." He later relented to the extent of allowing concert suites to be arranged from The First of the Few and the Olivier Shakespeare films. For the BBC, Walton composed

9180-550: Was capable of working quickly when necessary. Some of his stage and screen music was written to tight deadlines. He regarded his ballet and incidental music as of less importance than his concert works and was generally dismissive of what he produced. Of his ballets for Sadler's Wells, The Wise Virgins (1940) is an arrangement of eight extracts from choral and instrumental music by Bach. The Quest (1943), written in great haste, is, according to Grove, oddly reminiscent of Vaughan Williams. Neither of these works established itself in

9282-453: Was destroyed by German bombing in May 1941, after which he spent much of his time at Alice Wimborne's family house at Ashby St Ledgers in the countryside of Northamptonshire in the middle of England. While there, Walton worked on projects that had been in his mind for some time. In 1939 he had been planning a substantial chamber work, a string quartet, but he set it aside while composing his wartime film scores. In early 1945 he turned again to

9384-521: Was earning enough from composing to allow him financial independence for the first time. A legacy from a musical benefactress in 1931 further enhanced his finances, and in 1934 he left the Sitwells' house and bought a house in Belgravia . Walton's first major composition after Belshazzar's Feast was his First Symphony . It was not written to a commission, and Walton worked slowly on the score from late 1931 until he completed it in 1935. He had composed

9486-407: Was fifteen, anticipates his mature style. At Oxford Walton befriended several poets including Roy Campbell , Siegfried Sassoon and, most importantly for his future, Sacheverell Sitwell . Walton was sent down from Oxford in 1920 without a degree or any firm plans. Sitwell invited him to lodge in London with him and his literary brother and sister, Osbert and Edith . Walton took up residence in

9588-489: Was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia , and by the mid-1950s they lived there permanently. Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida . On the advice of the BBC, he invited Christopher Hassall to write

9690-627: Was marvellous, but he was rough—no nonsense about it. He just stood up and played." Tertis, who attended the premiere, realised that he had made a mistake in rejecting the concerto and soon took it up. When it was selected for performance at the International Society for Contemporary Music festival in Liège in September 1930, Tertis was the soloist, with Walton conducting. Over the next three years Tertis gave five more performances of

9792-475: Was regarded as old-fashioned. It is a very different kind of work from the First Symphony. David Cox describes it as "more a divertimento than a symphony ... highly personal, unmistakably Walton throughout", and Kennedy calls it "somewhat enigmatic in mood, and a superb example of Walton's more mature, concise, and mellow post-1945 style." Although generally a slow and perfectionist composer, Walton

9894-452: Was sent to a local school, but in 1912 his father saw a newspaper advertisement for probationer choristers at Christ Church Cathedral School in Oxford and applied for William to be admitted. The boy and his mother missed their intended train from Manchester to Oxford because Walton's father had spent the money for the fare in a local public house . Louisa Walton had to borrow the fares from

9996-458: Was so disappointed by Tertis's refusal that he considered recasting the concerto for violin and orchestra. It is not clear where the suggestion came from that the German composer and violist Paul Hindemith should be invited to premiere the work. In 1974 Tertis wrote in his memoirs that he had recommended Hindemith to Walton, but Walton had recalled in 1962 that the idea came from Edward Clark of

10098-466: Was subsequently staged in San Francisco , New York and Milan during the next year, but failed to make a positive impression, and did not enter the regular operatic repertory. In 1956 Walton sold his London house and took up full-time residence on Ischia. He built a hilltop house at Forio and called it La Mortella . Susana Walton created a magnificent garden there. Walton's other works of

10200-401: Was tempting to call the concerto the best thing in recent music of any nationality. The musical scholar Sir Donald Tovey wrote: In 1931 the teenage Benjamin Britten , later a friend but not an uncritical admirer of Walton, wrote in his diary about "Walton's wonderful Vla Concerto (beautifully played by Tertis) … a work of genius". A dissenting voice was that of Sir Edward Elgar , who heard

10302-410: Was with Imma von Doernberg, the young widow of a German baron. She and Walton met in the late 1920s and they were together until 1934, when she left him. Walton's later affair with Alice, Viscountess Wimborne (born 1880), which lasted from 1934 until her death in April 1948, caused a wider breach between Walton and the Sitwells, as she disliked them as much as they disliked her. By the 1930s, Walton

10404-545: Was working hard on the piece, and in February 1929 that he had finished the second movement. He said he considered the concerto potentially his finest work to date, although whether this assessment would hold true would depend on how the third movement turned out. On his return to England in the spring of 1929, Walton sent the completed concerto to Tertis, who immediately rejected it because of its modernity. Tertis later realised his error and wrote in his autobiography: Walton

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