*EPIC* William Walton - Belshazzar's FEAST (full score + audio)

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Sir William Walton's epic cantata performed by the BBC Symphony Orchestra
Bryn Terfel, baritone
BBC Singers
BBC Symphony Chorus
conducted by
Sir Andrew Davis
Original video:    • Sir William Walton - Belshazzar's Feast (1...  
Although they are not specified in the published score, there is a clear delineation between sections,[5] as follows:

00:00 [Introduction] Thus spake Isaiah
05:06 By the waters of Babylon/If I forget thee O Jerusalem
10:12 Baritone Solo [Transition]
11:49 Babylon was a great city
14:29 In Babylon, Belshazzar the King made a great feast
Praise ye
19:31 Thus in Babylon, the mighty city
22:35 Baritone solo [Transition]
23:13 And in that same hour
24:38 Then sing aloud to God our strength
28:45 The trumpeters and pipers were silent (Choir accapella)
30:04 Then sing aloud to God our strength

Belshazzar's Feast was first performed at the Leeds Festival on 8 October 1931, with the baritone Dennis Noble, the London Symphony Orchestra and the Leeds Festival Chorus, conducted by Malcolm Sargent.[2] The work has remained one of Walton's most celebrated compositions.[3] Osbert Sitwell selected the text from the Bible, primarily the Book of Daniel, and Psalm 137. The work is dedicated to Walton's friend and benefactor Lord Berners. In the story of Belshazzar's Feast, the Jews are in exile in Babylon. After a feast at which Belshazzar, the Babylonian king, commits sacrilege by using the Jews' sacred vessels to praise the heathen gods, he is miraculously killed, the kingdom falls, and the Jews regain their freedom.

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 BBC, to its eventual form. The invitation came in a letter of 21 August 1929 from the BBC programme planner Edward Clark, who asked Walton for a work suitable for broadcasting, written for a small choir, soloist, and an orchestra not exceeding 15 players.[8] Walton and Clark knew each other, as they had had dealings in relation to the Viola Concerto, which was premiered only six weeks later with Paul Hindemith as soloist, an idea that been Edward Clark's brain-child.

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.[9] The baritone soloist was Dennis Noble, who recorded the work twice (including its premiere recording) and came to be particularly associated with it.

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[7] and with many accidentals. The addition of the brass bands was suggested by the festival director, the conductor Sir Thomas Beecham; the bands were on hand anyway for a performance of Berlioz’s Requiem, and Beecham said to the young Walton: "As you'll never hear the thing again, my boy, why not throw in a couple of brass bands?".[10] However, under the baton of Malcolm Sargent, an outstanding choral conductor, it was an immediate success, despite its severe challenges to the chorus.[11]

The London premiere was conducted by Adrian Boult on 25 November 1931. The young Benjamin Britten was in the audience.[4][8] The work was performed at the ISCM Festival in Amsterdam in 1933. Leopold Stokowski conducted two performances with the Philadelphia Orchestra in January 1934.[8] Sargent regularly programmed it throughout the rest of his career, and took it as far afield as Australia, Brussels, Vienna and Boston. Not only British conductors from Sargent to Simon Rattle, but also Eugene Ormandy, Maurice Abravanel, André Previn, Robert Shaw, Leonard Slatkin and Andrew Litton have recorded the work.[5] In 1947 Herbert von Karajan called it "the best choral music that's been written in the last 50 years".[12] Karajan only ever performed the work once, in 1948 in Vienna, but it was a performance that moved Walton to tears and he expressed amazement that he could ever have written such a wonderful work.[8]

On the other hand, the Synod of the Church of England considered its text inappropriate for performance in cathedrals, hence the Three Choirs Festival did not permit its performance until 1957. The Worcester Music Festival barred it until 1975.[13]