Belshazzar's Feast

[rauschwerk]

I confess I was thinking mostly of the other two.

Yes, I'm with you on the music of those guys.

[rauschwerk]

Just been prompted to listen again to Andrew Davis. Talk about adrenaline! He's three and a half minutes faster (that's 10%) than Previn. Bryn Terfel an excellent soloist. Great singing and playing all round.

[BBMmk2]

Incidentally, I do hope this is not the case, with new Forum Members being "carped" by the regulars here, that they feel not all the welcome?

[mopsus]

No, I've always felt my views have had a fair hearing here. I've been around since the old BBC messageboard days, and slipped in rather quietly (I don't think I got a 'welcome Mopsus' acknowledgement). But when I've posted on the Performance or Radio 3 Arts boards, I've tended to get rather patronising, sneering replies, which has discouraged me from posting again in either place.

[Dave2002]

mopsus

Really good to read reports from people, such as yourself, who have actually played or sung in performances of major (or even minor/unusual) works. Don't be put off by others and do let us know your views.

I hardly did any singing, though I think I sang solo in a Christmas concert at primary school, and somewhat later sang in a few performances - Bruckner motets and Dream of Gerontius. I fear my interest at the time was less in the music than in some of the young lady singers! I have come to admire those who are able to sing well, but I've not sung in any public capacity for years, and I don't even sing in the shower now, though I used to sing along to the car radio (not only vocal parts) when I drove to and from work regularly.

Maybe this board should encourage a welcome or welcome back section. One I use sometimes polices new posters, and any new posters who don't put at least a short intro get a "warning" - which usually prompts an intro posting (who they are, what their interests are, etc.), which is then followed by some of the "regulars" saying "hi" back. Maybe not a mandatory approach, but at least an optional voluntary approach would help us all to get along well.

So, a belated welcome to you, mopsus, from me, and I hope others will also encourage you to stick with us.

[Dave2002]

I like this story about Walton and Beecham - taken from a well known source.

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?"

Maybe that encouragement is now having a detrimental effect on getting new performances. I heard it about a year ago in the RFH - terrific stuff. Otherwise I probably only heard it previously in Liverpool with one of Sargent, Groves or Pritchard - can't remember precisely which. Probably John Shirley Quirk was the soloist.

[Stanley Stewart]

Encouraged by a few months of winter hibernation ahead, I've started to transfer many off-air copies from the past to DVD, using a Panasonic HD recorder acquired in the summer for much improved picture and sound. This thread prompted me to take another look at Walton on film and I started by viewing a remastered DVD of Tony Palmer's, At The Haunted End of the Day, (1981) a Prix Italia winner, revealing and moving.

However, next to this DVD on the shelves was the icing on the cake, a 1999, 80mins documentary, covering Walton's career, followed by a full performance of Belshazzar's Feast in the splendour of the newly renovated Leeds Town Hall; even the opening sequence thrills with Wm and Susana
Walton looking down on the imposing grandeur in the Headrow, as they headed for the
airport. The renovation included the installation of modern lighting facilities which highlights the the beauty of the pillared architecture - delightful Victorian homilies; Honesty is the Best Policy,
Trial by Jury, etc, alternate throughout! On the platform, extended by the look of it, the huge double chorus, BBC Symphony chorus and Leeds Festival Chorus, was supplemented by two brass bands on either side of the organ. The leader of one of them - the Beeb I bet - using a sour expression when Andrew Davis asked them to stand for the opening Lamentation of the Israelites but the intended efficacy could be heard in the auditorium - and there was many tingling effects from the panoply of sound from chorus, brass bands and orchestra thereafter. Willard White, soloist, near the podium, brought a sense of clarity, gravity and power to the occasion. The wing and bounce of 20th century music throughout.

The documentary had several sequences at Ischia and Susana talks about the influence of the brilliant daylight had on Walton's composition. A vast contrast with his upbringing in Oldham although I had happy memories of repertory work at the Oldham Coliseum in 1967, I could see that life was tough for many people; I was a bit apprehensive about my reception as an actor in his mid-30s, playing the role of the Father in Pirandello's, Six Characters in Search of an Author,but I was heard with a quiet, listening intensity, which in turn, energises a performance - it all came rushing back as I watched the documentary, although I don't think it ever got a theatrical release. I'm confident that a few forum members will also prize their copy. A gem.

[BBMmk2]

Mopsus, be good to hear more of your experiences with choirs etc, like Hornspieler does!

[EnemyoftheStoat]

Encouraged by a few months of winter hibernation ahead, I've started to transfer many off-air copies from the past to DVD, using a Panasonic HD recorder acquired in the summer for much improved picture and sound. This thread prompted me to take another look at Walton on film and I started by viewing a remastered DVD of Tony Palmer's, At The Haunted End of the Day, (1981) a Prix Italia winner, revealing and moving.

However, next to this DVD on the shelves was the icing on the cake, a 1999, 80mins documentary, covering Walton's career, followed by a full performance of Belshazzar's Feast in the splendour of the newly renovated Leeds Town Hall; even the opening sequence thrills with Wm and Susana
Walton looking down on the imposing grandeur in the Headrow, as they headed for the
airport. The renovation included the installation of modern lighting facilities which highlights the the beauty of the pillared architecture - delightful Victorian homilies; Honesty is the Best Policy,
Trial by Jury, etc, alternate throughout! On the platform, extended by the look of it, the huge double chorus, BBC Symphony chorus and Leeds Festival Chorus, was supplemented by two brass bands on either side of the organ. The leader of one of them - the Beeb I bet - using a sour expression when Andrew Davis asked them to stand for the opening Lamentation of the Israelites but the intended efficacy could be heard in the auditorium - and there was many tingling effects from the panoply of sound from chorus, brass bands and orchestra thereafter. Willard White, soloist, near the podium, brought a sense of clarity, gravity and power to the occasion. The wing and bounce of 20th century music throughout.

I've been trying to track down a copy of that DVD, or rather retrieve it from a kleptomaniac relative, so I could check out that rather curious exchange between SAD and somebody in the chorus (?); unlikely to have been BBCSC given that SAD has always been held in the highest regard by the Chorus (and, I will add, their erstwhile Director). Of course you stand for the start of the piece; I couldn't imagine anyone seriously suggesting otherwise.

Two Belshazzars down now, not having joined early enough to do the Leeds one or the BAL-choice LNOP version (chosen on account of its professional semi-chorus; amusingly, the semi-chorus work was in fact shared between pros and "amateurs" (US: volunteers)).

[Stanley Stewart]

Thanks, EotS, Checked my recording this morning and can confirm the brief exchange of comments between one of the brass band musicians - around three and a half mins in - and the tone was amiable. Indeed, Sir Andrew 'corpsed' when one of the music stands collapsed on being adjusted for the standing position. He was quite relaxed throughout and clearly much respected by the musicians and chorus. The first pull-back shot from the auditorium of the massed forces on the platform is an awesome sight. A delightful sequence when he asked the chorus not to be so 'cheerful' in their cry of 'flame', received a huge laugh from them as he mimed the whiplash inflection he was seeking - and got it with might and main at the next attempt! A treat, too, during the documentary when Facade was discussed, followed in turn by an alternate line-delivery of the Tango by SAD, Susana Walton, Michael Berkeley and Willard White. Charmed, too, when I heard the
sophisticated Motet for four treble singers which Walton composed when he was 14.

I hope you recover your recording from friends but do PM me if you get a negative response. Otherwise, I'm forging ahead and in the past couple of days have added Duke Bluebeard's Castle, Proms 2004, with John Tomlinson blood -freezingly good as he leads Judith to the 7th door; and, praise be, a gutsy Glyndebourne production of Cosi fan Tutte, directed by Nick Hytner in 2004, with Orch for the Age of Enlightenment/Ivan Fischer, and five dazzling young studs, led by Miah Persson,(Fiordiligi), and Nicolas Rivenq,(Don Alfonso), spinning weasel words on the nature of love and deceit, mercifully with subtitles so that I could keep pace with the narrative.

[Historian]

Advance notice for those who are on the lookout for performances of Belshazzar's Feast. Edward Gardner conducted the Philharmonia Orchestra and Chorus. baritone soloist Roland Wood, at the Royal Festival Hall on Sunday 5th November. I will resist any references to fireworks, but the choir and orchestra both seemed on really good form. The concert was recorded and will be broadcast on November 28th (I believe - will check).

[ardcarp]

The concert was recorded and will be broadcast on November 28th

Good! How are the acoustics in the RFH these days?

[Historian]

Good! How are the acoustics in the RFH these days?

Pretty good; the refurbishment - some time ago now - seems to have improved things. However, I often find that recordings/broadcasts of concerts I have attended can be somewhat disappointing. Hopefully not in this case.

[Barbirollians]

I have just been listening to the Halle/Loughran from 1974 coupled with the Handley Gerontius. Excellent with a slight reservation about the Halle sopranos. Michael Rippon is a splendid soloist.