William Lawton Lawrence V. The libretto that Sitwell compiled is almost entirely from the Bible - mainly from Daniel, with extracts from Isaiah, Psalm and the Book of Revelations. Characteristic of the period:
Synopsis[ edit ] The cantata is in ten distinct sections, played continuously. After a brief, recited introduction, the chorus and baritone sing of their homeland Zionin an emotional setting of Psalm By the waters of Babylon, there we sat down: The narrative then begins, and in a prolonged sequence we hear their horror, and then outrage, at the profanities of the king, followed by an exuberant march section depicting the king and his court praising their gods.
The section is framed by a descending figure of four notes that, through repetition, passes down through the orchestra, immediately establishing a jazz influence with a flattened first note and marked syncopation.
This leads to an eerie, and economically orchestrated, depiction of the writing on the wall, and the death that night of Belshazzar the story of Daniel interpreting the writing is omitted.
The people celebrate their freedom, in a joyous song of praise interrupted by a lament over the fall of a great city derived from Psalm 81 and the Book of Revelation.
The chorus represents the Jewish people throughout, although they adopt the tone of the Babylonians when telling the story of the feast. The baritone soloist has the role of narrator.
History and commentary[ edit ] Walton struggled with the setting for several years, and it grew from its original conception as a short work for small forces, as commissioned by the BBCto its eventual form.
This was an age of gifted amateur choruses, and conductors and institutions dedicated to bringing forward new music, and the Leeds Festival took on the first performance. At first the work seemed avant-garde because of its extrovert writing and musical complexity; it is however always firmly tonal although it is scored without a key signature  and with many accidentals.
The young Benjamin Britten was in the audience. Leopold Stokowski conducted two performances with the Philadelphia Orchestra in January The Worcester Music Festival barred it until Belshazzar's Feast, by English composer William Walton, is a raucous oratorio first performed in It recounts the story of the Jews' Babylonian exile, the midfeast judgment of God against King Belshazzar, and the celebration of the toppling of his oppressive regime.
for mixed chorus, baritone solo & orchestra This edition of Walton's vibrant cantata presents a fully accurate score based on all extant sources, along with an informative preface and textual notes.
Compatible orchestral parts on hire and a compatible vocal score on sale are also available. Belshazzar's feast, or the story of the writing on the wall The choral work Belshazzar's Feast by the English composer William Walton; "The writing on the wall" is sometimes also referred to by the use of some combination of the words "Mene, Mene, Tekel, Upharsin", as they were written on the wall in tale of Belshazzar's.
Belshazzar's Feast is a cantata by the English composer William Walton.
It was first performed at the Leeds Festival on 8 October , with the baritone Dennis Noble, the London Symphony Orchestra and the Leeds Festival Chorus, conducted by Malcolm Sargent. . Belshazzar's Feast William Walton.
And this was the writing that was written: 'MENE, MENE, TEKEL UPHARSIN' 'THOU ART WEIGHED IN THE BALANCE AND FOUND WANTING'.
Belshazzar's Feast: Study Score (William Walton Edition (Sep. Title Per Vol.)) [Steuart Bedford, William Walton] on schwenkreis.com *FREE* shipping on qualifying offers. for baritone solo, semi-chorus, SATB & orchestra This study score combines the scholarship of the Edition with the practical benefits of the smaller format.
Orchestral material is .