Walton The Collector's Edition

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Walton The Collector's Edition

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dc.contributor.other William Walton es
dc.contributor.other Richard Cassilly es
dc.contributor.other Dame Janet Baker es
dc.contributor.other Gerald English es
dc.contributor.other Benjamin Luxon es
dc.contributor.other Elizabeth Bainbridge es
dc.contributor.other Richard Van Allan es
dc.contributor.other Malcolm Rivers es
dc.contributor.other Robert Lloyd es
dc.contributor.other George Mcpherson es
dc.contributor.other Gwynne Sullivan es
dc.contributor.other Handel Thomas es
dc.contributor.other Alan Jones es
dc.contributor.other Daniel McCoshan es
dc.contributor.other Royal Opera Chorus es
dc.contributor.other Robin Stapleton es
dc.contributor.other Orchestra of the Royal Opera House es
dc.contributor.other John Brown es
dc.contributor.other Lawrence Foster es
dc.coverage.spatial London, England es
dc.date.accessioned 2013-07-09T16:39:18Z
dc.date.available 2012
dc.date.available 2013-07-09T16:39:18Z
dc.date.copyright 2012
dc.date.issued 2013-07-09
dc.identifier.uri http://hdl.handle.net/123456789/3420
dc.description.abstract Occupying an important historical position between his better-known colleagues Ralph Vaughan Williams and Benjamin Britten, William Walton is seen by many as the first modern British composer to approach the brilliance and vitality which characterized English music during Handel's day. Born in northwest England during the first years of the twentieth century, Walton was the son of a choirmaster, and appropriately, served as a chorister at Christ Church Cathedral at Oxford from 1912 to 1918. Studies at the university itself proved unsatisfying, and William left Oxford without a degree in 1920, relying instead upon the patronage of the Sitwell family, who had befriended the young composer. Through the influence of this affluent and well-known family, Walton was able to break into the London music scene, and by 1922 his chamber piece Façade had achieved some popularity with the concert-going public. A performance of his comic overture Portsmouth Point in Zurich in 1926, and Paul Hindemith's championing of his Viola Concerto in 1929 helped introduce Walton music into the European music scene. The famous Belshazzar's Feast for chorus and orchestra soon followed, and the 1930s brought with commissions from well-known musical figures, including Jascha Heifetz, who asked the composer to write him a Violin Concerto in 1939. Walton spent much of World War II composing music for films, including Next of Kin and The Foreman Went to France. In 1948, he moved to Ischia, a small island off of Naples, and he was knighted in 1951. In 1954, after many years of effort, his grand opera Troilus and Cressida was produced at Covent Garden; unfortunately, the work has not received the attention it deserves. Walton composed prolifically until the end of his life, fulfilling commissions for such notables as George Szell, Gregor Piatigorsky and Mstislav Rostropovich. In 1973, he conducted a fiftieth anniversary performance of Facade. While never again achieving the degree of public and critical acclaim which he enjoyed before the World War II, he was nevertheless able to live comfortably on Ischia, where he died in 1983. Although he was overshadowed in the latter half of his career by Benjamin Britten, Walton was never the old-fashioned reactionary (a frequent, but unjust, accusation). Much like his contemporaries Poulenc and Prokofiev, Walton was at heart an expressive, lyric composer who refused to subjugate this natural ability to the "modernist" tendencies that the press berated him for not embracing. His music is a sparkling synthesis of old and new, the greatest examples of which can be found in the two Symphonies (1935 and 1960), and the Viola (1929), Violin (1939) and Cello (1956) Concertos. © Blair Johnston, All Music Guide es
dc.description.tableofcontents CD11-- From isle to isle chill waters (Cressida, Troilus), Who would go drumming about the town? (Pandarus, Cressida), My name is Diomede (Diomede, Pandarus), Oh, I’m no use no use (Pandarus, Diomede, Troilus, Cressida, Evadne)-- Act III ; (Lugebre) Is there no word? (Watchmen, Cressida, Evadne), no answering sign on the walls (Cressida, Watchment), Cressida daughter (Calkas), O gods O deathless gods (Cressida), Proud wondrous Cressida (Diomede, Cressida), so here’s an end of it all (Evadne, Watchmen), Evadne…Evadne…Troilus! (Troilus, Pandarus, Evadme, Cressida), Will I please him thous? (Cressida, Evadne, Troilus, Pandarus), What is this sudden alarm? (Troilus, Chorus, Cressida, Pandarus, Diomede), Troy false of heart yet fair! (Diomede, Troilus, Cressida, Pandarus, Calkas, Evadne, Chorus), Troilus you must not die for me (Cressida, Troilus, Diomede, Calkas, Pandarus), Diomede…Father!...(Cressidai)-- es
dc.format.extent 58:53 min. es
dc.format.medium 1 CD Rom (58 min., 53 seg) : Stereo 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte F.M Estéreo es
dc.subject.lcc 808668144 es
dc.subject.lcsh Operas es
dc.title Walton The Collector's Edition es
dc.title.alternative William Walton The Collector's Edition es
dc.title.alternative Troilus and Cressida es
dc.title.alternative Troilus and Cressida Opera in Three Acts es
dc.title.alternative Walton Edición Coleccionista es
dc.title.alternative William Walton Edición Coleccionista es
dc.title.alternative Troilus y Cressida Ópera en Tres Actos es
dc.language.rfc3066 eng es
dc.rights.holder EMI Records Ltd. es
dc.identifier.classification 5099944085827 es
dc.subject.cdu Wal.03 es


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