Walton: Belshazzar's Feast

 

Is Belshazzar's Feast Sir William Walton's most universal composition? When speaking of Walton in general terms, is he referred to as Sir William Walton, composer of Belshazzar's Feast? I think the answer to be 'highly likely', even if he wrote music which is believed to be more important than the Biblical oratorio.

If one were to only get a feeling of the work from the opening, one might expect a rather gloomy affair, rather than the spectacle to come. Walton effectively sets the scene of the Babylonian Captivity, played for utter seriousness.  I must admit, I get Belshazzar and Nebuchadnezzar mixed up, for both of their tales are caught up in the same eras of history, with similar Biblical stories attached to them. Belshazzar's Feast concerns the 'Writing on the Wall'.

For a large-scale oratorio, there are a surprising number of portions dedicated to a cappella choir, although the orchestra is never far away at any point. The two ensembles, orchestral and choral, are intimately tied together, where Walton never favors one over the other as far as importance in concerned. Each type of ensemble have their moments, and oh the colors the composer is able to eke out of them.

Important too, is the vocal soloist, here tackled by large-voiced bass Gwynne Howell. If a cappella choir is unusual in such a musical setting, certainly segments of vocal solo without orchestra is a unique choice.

Once we get to the titular feast, it is the orchestra which comes to the fore as the revelers praise the various heathen Gods. A battery of percussion and an expanded orchestra provide the listener with oodles of colorful portraits, as each toast to the Gods is introduced by the chorus and soloist. Walton's inclusion of saxophone into the orchestral spectrum is another strange choice on the part of the composer, but makes its presence known without shame. Is it Walton's purpose to make this most popular section of the work, with praises of the heathen Gods, the one most enjoyed by the populous, allying the listeners with Belshazzar instead of the captives?

Once Belshazzar has reached his fate, another 10 minutes of mostly choral/orchestral paeans are still to come. Thus, my only fault with the work is that the ending celebrations simply go on for far too long, albeit with a short stretch of choral intimacy. The conclusion is a glorious moment of too much for too long, though, so one can overlook its imbalance.

The Coronation Te Deum is a very engaging work as well, although it too is rather sectionally structured akin to Belshazzar's Feast. The added role for pipe organ is one more bit of coronation spectacle, although the work ends in a quiet moment of solemnity. I recently heard a version of Coronation Te Deum for pipe organ and chorus (BLOG), but unsurprisingly, I enjoy the orchestral version more.

I am unfamiliar with Sir William's setting of a Gloria, although I see no less than Louis Fremaux with the CBSO has recorded the work as well. As opposed to many sacred works Walton set to music, this one retains its Latin, instead of the more common Anglican English.

Again, I hear a rather segmented approach to Walton's Gloria, tying all of the works on this program together fairly closely. If I am less enthusiastic over the musical language in this piece, complete with Walton's muscular orchestrations, I think it comes from my unfamiliarity with the piece. Otherwise, the composer's trademark quirky harmonies and dissonance are fully on display here, as are his tricksy rhythms and diverse musical settings.

One often looks to André Previn for fine performance of William Walton's compositions, and with baritone John Shirley-Quirk, this is no less true in Belshazzar's Feast. On this Chandos recording, Sir David Willcocks leads the Philharmonia Orchestra and his famed Bach Choir. Indeed, they all give a superlative performance, although the dynamics are quite wide in the church acoustic, with the bass drum coming through strongly. Chandos captures the spatial effects in the Coronation Te Deum and Gloria remarkably well, something I hadn't noticed as much on other recordings of the same works.

So, what is the verdict? This recording could easily be a favorite, for Willcocks leads with vitality and insight, a true champion of the British choral staple at the podium. The adult chorus is set a taddy bit behind the orchestra, where the listener isn't going to be understanding distinct words from the singers, a common occurrence in a work such as Belshazzar's Feast. Yet the chorus makes a grand wall of sound one wants from a symphonic chorus-sized ensemble.

The addition of two similarly grandiose choral/orchestral vehicles, ones in a somewhat similar mode as Belshazzar's Feast, is a boon to my ears. One can really latch onto Walton's style and motions as a listener across the three works presented on this Chandos recording. Of course, the whole Walton Chandos series is worth seeking out.

 

 

 

Works
Belshazzar's Feast (34.09)
Coronation Te Deum (9.10)
Gloria (18.06)

Soloist
Gwynne Howell, baritone (BF)
Ameral Gunson, contralto (Gloria)
Neil Mackie, tenor (Gloria)
Stephen Roberts, baritone (Gloria)

John Scott, organ

Ensemble
The Bach Choir
Philharmonia Orchestra
Sir David Willcocks, conductor

Label: Chandos
Year: 1989
Total Timing: 61.38

 

 

 

I think the message I most want to convey is to seek out Walton's Belshazzar's Feast no matter which recording it is. The oratorio is a masterpiece of the 20th Century.

Willcocks, the Philharmonia, and The Bach Choir provide two more grand choral/orchestral works in the Walton style to savor, an intelligent pairing with the larger work.

 

 

 

 

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