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CLASSICAL  January 2010

CLASSICAL January 2010

Subject:

Walton's kings, thanes, and majors

From:

Steve Schwartz <[log in to unmask]>

Reply-To:

Moderated Classical Music List <[log in to unmask]>

Date:

Sat, 23 Jan 2010 20:32:52 -0800

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (82 lines)

William Walton
Music from the Olivier Films
Arranged by Christopher Palmer

*  Richard III: A Shakespeare Scenario *
*  Fanfare and March from Macbeth
*  Major Barbara: A Shavian Sequence

* Sir John Gielgud, speaker
Academy of St. Martin-in-the-Fields/Sir Neville Marriner
Chandos CHAN10435X 60:45

Summary for the Busy Executive: "Sound drums and trumpets."

The British composer William Walton began writing film scores in the
early Thirties with music for Escape Me Never (1934).  The music often
outshone the movie and certainly ran steps beyond most of the British
and Hollywood work of the time.  However, Walton, while certainly capable,
didn't achieve his present status as one of the greatest film composers
of all until his collaboration with Lawrence Olivier on three Shakespeare
films: Henry V (1944), Hamlet (1948), and Richard III (1955).  By that
time, Walton had learned several lessons - as had just about every other
film composer - from the example of Prokofiev's Alexander Nevsky (1938),
including how to give essentially snippets of music symphonic weight and
movement.  The Henry V score alone forced a major reassessment of Walton's
previous film efforts.

Other than excerpts, usually confined to three or four arrangements by
Muir Mathieson, this music has to my dismay and shock been unavailable
for many years.  Chandos, perhaps as part of its Walton Edition, has
begun to make up for the long absence by releasing the Shakespearian
scores, along with other Walton film music.  The late Christopher Palmer,
a film fanatic and fortunately a superb musician, arranged Walton's cues
into coherent movements, although he admits that Walton's practice in
Richard had been to write in long paragraphs, so the job became relatively
easy.  We get, probably for the first time outside of seeing the movie
itself, almost everything in Walton's cues, rather than the drastically-reduced,
though highly effective suites made by Mathieson.

Richard III represents Walton at his best - a revving Rolls-Royce engine
of invention and drama.  The tunes are unbelievably good, and of course
Walton's craftsmanship provides elegantly perfect settings for these
jewels.  I admire Walton's other work, but I really love these - the
creation of a mock-Tudor style that owes nothing to either Edward German
or Vaughan Williams, the glitter of the orchestra, and of course the
themes that hug you.

The Macbeth pastiche comes from incidental music for a Gielgud 1941
production of the play.  The musical material comes mainly from the
banqueting scenes and "March of the Eight Kings." By throwing in a
cartload of double reeds, Walton gets the effect of bagpipes.  As Palmer
remarks in his liner notes, "the more flutes and piccolos and oboes and
cors anglais available, the better."

Also from 1941, the composer's score to the Shaw-Pascal film Major
Barbara rambles through familiar Old Waltonian grounds.  Cheeky, subtly
satirical (the opening credits transform "Onward, Christian Soldiers"
into a not-quite pompous fanfare and march), it bubbles with good humor,
and it boasts a chameleon love theme that expresses everything from light
courtship to Tristan-like passion.  My favorite section of the score,
Adolphus's visit to Undershaft's factory, bangs and clatters with drums,
hammers, and anvils while remaining purposeful and cleanly orchestrated.

I'm used to the old Walton EMI recordings of the Shakespeare suites,
so Marriner came as a bit of a surprise, particularly his tempos.  Walton
I'd call an "efficient" conductor, one who lets the music pretty much
stand on its own.  Marriner is more thoughtful and deliberate.  Early
on, I had the queasy feeling that he adopted a slower-than-what-I've-heard
beat just to gin up Significance, the last thing this music needs.
However, I always found a very musical (and effective) reason for his
deviations from what I expected. I will say, however, that Chandos's
engineering seemed to me less clear, though more natural, than the EMI
recording.  You say "potato." It's not enough to keep anybody away from
this magnificent work.

Steve Schwartz

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