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by some woman or other whose name I cannot remember, but it was a difficult scenario. The music was composed under adverse conditions and was written more or less as one writes for the films, first come first served! So some of the ideas were not too bad and some better not mentioned but as it had to
241:
Near the Palace of Pride, three knights
Sansloy (Lawless), Sansjoy (Joyless) and Sansfoy (Faithless) dance to compete for the hand of Duessa (Falsehood). St George enters and kills Sansfoy in fight. He leaves with Duessa. Una enters, still searching for St George, then falls asleep. Archimago enters
302:
If not top-class Walton, the score breathes the atmosphere of the theatre with an ease that augured well for an opera. Incidentally, the suite opens with the direction "allegro malizioso", the malice this time not being directed at a lover who had discarded him but at the magician in the ballet who
226:
Outside the House of
Archimago, St George and Una are lost in a storm and fall under the spell of Archimago, who transforms his female servant into an evil alter ego of Una. Spirits flutter menacingly about. St George is duped into thinking Una has been seduced by Archimago's servant, and he leaves
211:
is scored for three flutes (two doubling piccolos), two oboes (one doubling cor anglais), two clarinets, two bassoons, four horns, three trumpets, three trombones, one tuba, two harps, and percussion comprising timpani, glockenspiel, xylophone, tam-tam, cymbals and suspended cymbal, bass drum, side
256:
In the Palace of Pride the Seven Deadly sins display themselves: first Sloth and then
Gluttony, Wrath, Lechery, Avarice, Envy and finally Pride (as Queen). St George enters with Duessa. Sansjoy follows him and they fight. Duessa takes Sansjoy's side and is horrified when he is killed. St George,
184:
in London and then taken out on tour. It was well received at the premiere, and, despite the composer's reservations, was a success, being given 93 performances over the next two years. The ballet historian
Geraldine Morris suggests that the work fell out of favour after the war because of its
156:
led by Pride appear in Scene 3 and holiness returns in the fifth and final scene with Faith, Hope and
Charity. Walton's music, composed in great haste, followed the scenario carefully, though without great enthusiasm on his part. A slow and painstaking writer as a rule, he called on
32:
in 1943. Two versions of the score exist: one for the small orchestra for which Walton wrote (because of wartime constraints), and a posthumously constructed version rescored for an orchestra of the larger size usually favoured by the composer. The ballet, with a scenario by
108:
to create a new ballet for the Sadler's Wells company. By 1943 the company was performing mostly away from London, taking ballet round the country, with its dancers, orchestra and backstage staff heavily depleted by wartime conscription.
189:
should be seen by everyone, "for as the curtain falls one is tempted to cry with
Shakespeare: 'God for Harry, England and St George'". After 1945 the work dropped out of the repertoire and Ashton's choreography is now lost.
327:
in 1970. For this suite, about 13 minutes in length, Tauský − with Walton's approval − added extra instruments in the orchestral parts, bringing the originally small orchestra up to more
Waltonian proportions.
331:
In the late 1980s, the musical scholar
Christopher Palmer reconstructed the five-movement ballet score, further amplifying the original sparer orchestration. This version was recorded by the
271:
Near the Palace of Pride
Sansloy is mourning his two brothers. Archimago enters, still disguised as St George, and Sansloy kills him. St George enters, kills Sansloy and is reunited with Una.
520:
343:
edited the original score for a new recording, restoring some passages cut by Walton (and Palmer), and largely reverting to the smaller orchestral forces of the 1943 score.
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be done quickly as Freddy only had limited leave, it had to be done that way – 45 mins' music in less than 5 weeks. It was not much of a success from anyone's point of view.
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St George brings Una to the House of
Holiness. After pledging himself to England he bids farewell to his beloved and departs on his quest, to climactic music.
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drum, snare drum, tambourine, castanets, triangle, wood block, temple blocks, whip, tubular bells, sleigh bells, and piano, celeste and strings.
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had laid a spell on St George. There is a lightly scored and lilting siciliana, a long flute solo which has characteristic Waltonian wry charm.
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Ashton chose to create what he later called "a piece of wartime propaganda", depicting the triumph of good over evil. He chose a story from
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disillusioned, sees the Palace of Pride and Duessa for what they are, and to a dissonant climax he leaves the scene.
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The ballet music takes about 40 minutes in performance. The performing edition of the score published by the
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Not much to be said for it ... The subject, not very inspiring, had been concocted from Spenser's
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The score was lost for several years after the war, but the music scholar and critic
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423:"Starved for Beauty: British Ballet and Public Morale during the Second World War"
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extracted a four-movement suite from the score, which Tauský premiered at the
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By the 1940s Walton was an established composer, known for works including a
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tracked it down to a London warehouse. With Walton's approval the conductor
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wartime "propagandist, patriotic elements". One critic wrote in 1943 that
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as Una, the personification of Truth. Her alter ago, played by
371:, London. The prologue of the ballet was danced to music from
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Dance Research: The Journal of the Society for Dance Research
631:"Visionary Dances: Ashton's Ballets of the Second World War"
152:, was Duessa, "the scarlet whore", embodying Falsehood. The
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Walton's score follows the five-scene plot of the ballet.
535:
Palmer, Christopher (1990). Notes to Chandos CD CHAN 8871
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Lloyd-Jones, David (2002). Notes to Naxos CD CD 8.555868
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Percival, John. "Finding the paradox of Oscar Wilde",
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disguised as St George, wakes Una and leaves with her.
523:, Oxford University Press. Retrieved 6 December 2020
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800:Improvisations on an Impromptu of Benjamin Britten
323:in June 1961. Walton recorded the suite with the
180:The ballet was premiered on 7 April 1943 at the
412:Priory, Hugh (2002). Notes to Naxos CD 8.555868
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165:to help with the orchestration. He wrote of
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355:used Walton's music for a ballet about
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476:, 8 April 1943, p. 5; "New Ballet",
207:and edited by John Eric Floreen and
614:. Oxford: Oxford University Press.
1098:Variations on an Elizabethan Theme
871:Variations on a Theme by Hindemith
375:. (For the main section, Walton's
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1077:A Song for the Lord Mayor's Table
629:Morris, Geraldine (Winter 2008).
472:, 8 April 1943, p. 4; "The New",
55:Background and first performances
1172:Works based on The Faerie Queene
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339:. Ten years later the conductor
1067:In Honour of the City of London
468:"A New Sadler's Wells Ballet",
1152:Compositions by William Walton
807:Johannesburg Festival Overture
130:, the costumes and scenery by
16:Ballet score by William Walton
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333:London Philharmonic Orchestra
47:. It was first given by the
1157:Ballets by Frederick Ashton
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978:The Foreman Went to France
854:Spitfire Prelude and Fugue
351:In 1972 the choreographer
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647:10.3366/E0264287508000170
593:, 23 February 1972, p. 11
507:, No. 392, 1943, p. 356,
325:London Symphony Orchestra
134:and the music by Walton.
82:used for his 1931 ballet
553:Kennedy, pp. 123 and 301
72:and the "entertainment"
668:(subscription required)
470:The Manchester Guardian
450:Morris, pp. 169 and 171
441:Morris, pp. 170 and 180
431:(subscription required)
295:writes of the music of
205:Oxford University Press
92:Walton worked with the
63:, three concertos, the
1055:Façade – Entertainment
480:, 21 April 1943, p. 10
383:References and sources
369:Sadler's Wells Theatre
96:and Ashton was in the
1167:1943 ballet premieres
834:Prelude for Orchestra
821:Partita for Orchestra
49:Sadler's Wells Ballet
24:is a ballet score by
985:The First of the Few
893:Sinfonia Concertante
738:Troilus and Cressida
713:List of compositions
571:Kennedy, pp. 122–123
400:Kennedy, pp. 329–334
291:Walton's biographer
321:Royal Festival Hall
128:Doris Langley Moore
35:Doris Langley Moore
1045:Belshazzar's Feast
1037:Other compositions
992:Went the Day Well?
779:Capriccio burlesco
612:Portrait of Walton
209:Christopher Palmer
69:Belshazzar's Feast
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511:in Morris, p. 183
505:The Dancing Times
341:David Lloyd-Jones
154:Seven Deadly Sins
140:played the hero,
115:The Faerie Queene
40:The Faerie Queene
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881:Concertante
720:Stage works
521:"The Quest"
379:was used.)
357:Oscar Wilde
347:1972 ballet
182:New Theatre
159:Roy Douglas
144:, opposite
120:Elizabethan
1146:Categories
478:The Tatler
388:References
353:Joe Layton
227:in horror.
169:in 1957:
150:Beryl Grey
132:John Piper
1071:(cantata)
1049:(cantata)
758:The Quest
663:191495080
591:The Times
474:The Stage
373:The Quest
297:The Quest
187:The Quest
167:The Quest
51:company.
21:The Quest
1132:Category
762:(ballet)
752:(ballet)
728:The Bear
655:40263998
610:(1989).
307:Versions
61:symphony
999:Henry V
840:Scapino
742:(opera)
732:(opera)
601:Sources
278:Scene 5
264:Scene 4
249:Scene 3
234:Scene 2
219:Scene I
118:by the
65:cantata
1006:Hamlet
847:Siesta
748:Façade
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509:quoted
85:Façade
75:Façade
659:S2CID
651:JSTOR
199:Score
194:Music
122:poet
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361:O.W.
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