Composizioni

• Composition: 1965–7
• First Performance: 3 June 1967. Jubilee Hall, Aldeburgh. Monica Sinclair, Popova; John Shaw, Smirnov; Norman Lumsden, Luka. English Chamber Orchestra, James Lockhart conductor.
• Duration: About 48 minutes
• Libretto: By Paul Dehn (1912–76), adapted from Anton Chekhov (1860–1904)
• Dedication: “Dedicated to the memory of Serge and Natalie Koussevitzky”
• Craggs Catalogue Number: C79
• Performing Forces:
• Cast:
Yelina Ivanovna Popova, a widow - mezzo-soprano
Grigory Stephanovich Smirnov, a landowner - baritone
Luka, servant to Popova - bass
2 walk-on speaking roles, both men
• Orchestral Instrumentation: Flute (doubling piccolo), oboe (doubling English horn), clarinet (doubling bass clarinet), bassoon – horn, trumpet, trombone – timpani, 2 percussion (side drum, tenor drum, bass drum, cassa chiara, triangle, tambourine, cymbals, suspended cymbal, gong, jingles, 3 blocks, woodblock, whip, rattle, xylophone, vibraphone, tubular bells in F-sharp and C, crotales, bongos) – harp – piano – string quintet (1.1.1.1.1) or string orchestra
• Manuscript: Serge Koussevitzky Foundation Collection. Library of Congress, Washington D.C. Full score. Dated ‘30.4.67, Forio d’Ischia’. Also 11 pages of revisions in full score.
Frederick R. Koch Collection. Beinecke Rare Book and Manuscript Library, Yale University. Manuscript FRKF 604. Autograph sketches. 37 pages.
• Publication: Oxford University Press, 1968. Score and parts are available on hire. Material available for purchase:

• Recordings:

• Composition: 1960. Orchestral version dates from 1971.
• First Performances:
Original version: Tuesday, 21 June 1960. Shrubland Park Hall, Claydon, Ipswich. Sir Peter Pears tenor, Julian Bream guitar.
Orchestral version: 21 June 1971. Mansion House, London. Robert Tear tenor, London Mozart Players, Harry Blech conductor
• Duration: About 10 minutes
• Text: Anonymous, sixteenth and seventeenth centuries. Selected by Christopher Hassall from The English Galaxy of Shorter Poems (edited by Gerald Bullett).
• Movements:
1.     Fain would I change that note     [Lento amabile]
2.     O stay, sweet love     [Allegretto]
3.     Lady, when I behold the roses     [Lento sostenuto]
4.     My love in her attire     [Allegro leggiero]
5.     I gave her cakes and I gave her ale     [Andantino]
6.     To couple is a custom     [Allegro giocoso]

• Craggs Catalogue Number: C71
• Performing Forces: Tenor solo - Guitar solo
• Performing Forces of Orchestral Version: Tenor solo - Percussion (tabor, tambo di basso, cassa chiara, block) – harp – strings
• Manuscript: Private collection of Mrs. Lilias Sheepshanks. Manuscript of original version. Frederick R. Koch Collection. Beinecke Rare Book and Manuscript Library, Yale University. Manuscript FRKF 633. Autograph manuscript full score of the orchestral version. 23 pages.
• Publication:
Oxford University Press. Vocal score, 1960, 019 3458616. Guitar part edited by Julian Bream.
Oxford University Press. Study score, 1971. Score and parts of the orchestral version are available on hire only.
• Arrangements: Arranged for voice and piano, by Christopher Palmer, 1990. Publication: Oxford University Press. Included in William Walton: A Song Album, 1991, 019 3437597. [Purchase online from SheetMusicPlus.com: A Song Album]

• Recordings:

• Text:
    1.  Fain would I change that note

        Fain would I change that note
        To which fond love hath charmed me.
        Long, long to sing by rote,
        Fancying that that harmed me.

        Yet when this though doth come,
        Love is the perfect sum
        Of all delight.
        I have no other choice
        Either for pen or voice
        To sing of write.

        O love, they wrong thee much
        That say thy sweet is bitter,
        When thy riper fruit is such
        As nothing can be sweeter.
        Fair house of joy and bliss,
        Where truest pleasure is,
        I do adore thee.
        I know thee what thou art,
        I serve thee with my heart
        And fall before thee.

    2.  O stay, sweet love

        O stay, sweet love, see her the place of sporting;
        These gentle flowers smile sweetly to invite us,
        And chirping birds are hitherward resorting.
        Warbling sweet notes only to delight us;
        Then stay dear love, for, tho’ thou run from me,
        Run ne’er so fast, yet I will follow thee.

        I thought, my love, that I should overtake you;
        Sweet heart, sit down under the shadow’d tree.
        And I will promise never to forsake you,
        So you will grant to me a lover’s fee,
        Whereat she smiled, and kindly to me said —
        ‘I never meant to live and die a maid’.

    3.  Lady, when I behold the roses

        Lady, when I behold the roses, sprouting
        Which clad in damask mantles deck the arbours,
        And then behold your lips where sweet love harbours,
        My eyes present me with a double doubting:
        For viewing both alike, hardly my mind supposes
        Whether the roses be your lips, or your lips the roses.

    4.  My Love in her attire

        My Love in her attire doth shew her wit,
        It doth so well become her:
        For every season she hath dressings fit,
        For Winter, Spring and Summer.
        No beautry she doth miss
        When all her robes are on;
        But beauty’s self she is
        When all her robes are gone.

    5.  I gave her Cakes

        I gave her Cakes and I gave her Ale,
        I gave her Sack and Sherry;
        I kist her once and I kist her twice,
        And w e were wondrous merry.

        I gave her Beads and Bracelets fine,
        I gave her Gold down derry;
        I thought she was afear’d till she stroaked my beard,
        And we were wondrous merry. Merry my hearts, merry my Cocks,
        Merry my Sprights, my hey down derry
        I kist her once and I kist her twice,
        And we were wondrous merry.

    6.  To couple is a custom

        To couple is a custom:
        All things thereto agree.
        Why should not I then love
        Since love to all is free?

        But I’ll have one that’s pretty,
        Her cheeks of scarlet dye,
        For to breed my delight
        When that I lig her by.

        Tho’ virtue be a dowry,
        Yet I’ll chuse money store:
        If my love prove un-true
        With that I can get more.

        The fair is oft un-constant,
        The black is often proud,
        I’ll chuse a lovely brown:
        Come, fiddler, scrape thy crowd.

        Come, fiddler, scrape thy crowd,
        For Peggy thy brown is she
        Must be my bride, God guide
        That Peggy and I agree.

• Composition: The manuscript is dated 16 August 1916
• First Performance:  Sunday, 17 September 1916. Cathedral Church of Christ the King, Oxford. Henry Ley organ.
• Craggs Catalogue Number: C3
• Instrumentation: Organ solo
• Manuscript: The British Library, Manuscript Collections, Add. 52384. Titled ‘Choral Prelude on Wheatley’. Dated ‘August 16th. 1916’.
• Publication: This work has never been published.
• Recordings: This work has never been recorded for commercial release.  A recording was made, at the organ of Christ Church Cathedral, Oxford, for the Walton documentary At the Haunted End of the Day(1981), directed by Tony Palmer for ITV.

• Arrangement: 1931, from music by Johann Sebastian Bach. A contribution to A Bach Book for Harriet Cohen.
• First Performance: Monday, 17 October 1932. Queen’s Hall, London. Harriet Cohen piano.
• Duration: About 2 minutes
• Dedication: To Harriet Cohen
• Craggs Catalogue Number: C25
• Instrumentation: Piano solo
• Manuscript: Jewish National and University Library, The Hebrew University of Jerusalem. Music Department.
• Publication: Oxford University Press, 1932, in A Bach Book for Harriet Cohen. Materials available for purchase:

• Recordings:

• Arrangement: Arranged by the composer from the music for the film Escape Me Never, composed 1934.
• First Performance: Unknown
• Duration: About 3 minutes
• Craggs Catalogue Number: C54a
• Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons – 4 horns, 3 trumpets, 3 trombones, tuba – timpani, 3 percussion (side drum, tambourine, cymbal, tam-tam) – harp – strings
• Manuscript: See manuscript information for the film score to Escape Me Never.
• Publication: Oxford University Press. Score and parts are available on hire.
• Arrangements: Arranged for piano solo, by the composer. Publication: Oxford University Press, 1935. Discontinued.
• Recordings: This music has only been recorded as part of Christopher Palmer’s Escape Me Never Suite.

• Composition: 1930–1. Revised considerably in 1948, and again very slightly in 1959
• First Performance: 8 October 1931. Town Hall, Leeds. Dennis Noble baritone, Leeds Festival Chorus, London Symphony Orchestra, Sir Malcolm Sargent conductor. The Leeds Triennial Festival.
• Duration: About 35 minutes
• Text: Selected and arranged from the Bible by Sir Osbert Sitwell (1892–1969). The text is excerpted from Psalms 81 and 137, and the Book of Daniel.
• Commission: Commissioned by the British Broadcasting Corporation (BBC).
• Dedication: “To Lord Berners”
• Craggs Catalogue Number: C23
• Performing Forces: Baritone solo - Double mixed chorus (SSAATTBB) – Semi-chorus (SSAATTBB) - 2 flutes, piccolo, 2 oboes, cor anglais (only if no saxophone), three clarinets in B-flat (first doubling clarinet in E-flat, third doubling bass clarinet in B-flat), alto saxophone in E-flat, 2 bassoons, contrabassoon – 4 horns in F, 3 trumpets, 2 tenor trombones, bass trombone, tuba – timpani, 3 or 4 percussion (side drum, tenor drum, triangle, tambourine, castanets, cymbals, bass drum, gong, xylophone, glockenspiel, wood block, slapsticks, anvil) – 2 harps – piano (optional) – organ – strings. -
Two brass bands (optional), each consisting of: 3 trumpets, 2 tenor trombones, bass trombone, tuba.
• Manuscript: There is no known surviving manuscript.
William Walton Trust. Three pages of manuscript in pencil, revisions to the brass and organ parts, from figures 74 to 77. Donated by Roy Douglas.
Frederick R. Koch Collection. Beinecke Rare Book and Manuscript Library, Yale University. Catalogued as FRKF 1052. A copy of the printed vocal score, first edition, with inscription from Walton to Edward Clark.
• Publication: Oxford University Press. Vocal score, 1931, 019 3384612. Re-printed with sol-fa, 1933 (discontinued). Full score, 1957, 019 3384604 (discontinued). Study score, 1957, 019 3384647. Deluxe full score signed by the composer, 1978, 019 3384639. Score, vocal score, and parts are available on hire.
[Purchase online from SheetMusicPlus.com: Vocal score]
[Purchase online from SheetMusicPlus.com: Study score]
[Purchase online from SheetMusicPlus.com: Deluxe full score]

• Recordings:

• Text:
    Thus spake Isaiah:
    Thy sons that thou shalt beget
    They shall be taken away,
    And be eunuchs
    In the palace of the King of Babylon
    Howl ye, howl ye, therefore:
    For the day of the Lord is at hand!

    By the waters of Babylon,
    By the waters of Babylon
    There we sat down: yea, we wept
    And hanged our harps upon the willows.

    For they that wasted us
    Required of us mirth;
    They that carried us away captive
    Required of us a song.
    Sing us one of the songs of Zion.

    How shall we sing the Lord’s song
    In a strange land?

    If I forget thee, O Jerusalem,
    Let my right hand forget her cunning.
    If I do not remember thee,
    Let my tongue cleave to the roof of my mouth.
    Yea, if I prefer not Jerusalem above my chief joy.

    By the waters of Babylon
    There we sat down: yea, we wept.

    O daughter of Babylon, who art to be destroyed,
    Happy shall he be that taketh thy children
    And dasheth them against a stone,
    For with violence shall that great city Babylon be thrown down
    And shall be found no more at all.

    Babylon was a great city,
    Her merchandise was of gold and silver,
    Of precious stones, of pearls, of fine linen,
    Of purple, silk and scarlet,
    All manner vessels of ivory,
    All manner vessels of most precious wood,
    Of brass, iron and marble,
    Cinnamon, odours and ointments,
    Of frankincense, wine and oil,
    Fine flour, wheat and beasts,
    Sheep, horses, chariots, slaves
    And the souls of men.

    – – – – – –

    In Babylon
    Belshazzar the King
    Made a great feast,
    Made a feast to a thousand of his lords,
    And drank wine before the thousand.

    Belshazzar, whiles he tasted the wine,
    Commanded us to bring the gold and silver vessels:
    Yea! the golden vessels, which his father, Nebuchadnezzar,
    Had taken out of the temple that was in Jerusalem.

    He commanded us to bring the golden vessels
    Of the temple of the house of God,
    That the King, his Princes, his wives
    And his concubines might drink therein.

    Then the King commanded us:
    Bring ye the cornet, flute, sackbut, psaltery
    And all kinds of music: they drank wine again,
    Yea, drank from the sacred vessels,
    And then spake the King:

    Praise ye
    The God of Gold
    Praise ye
    The God of Silver
    Praise ye
    The God of Iron
    Praise ye
    The God of Wood
    Praise ye
    The God of Stone
    Praise ye
    The God of Brass
    Praise ye the Gods!

    Thus in Babylon, the mighty city,
    Belshazzar the King made a great feast,
    Made a feast to a thousand of his lords
    And drank wine before the thousand.

    Belshazzar whiles he tasted the wine
    Commanded us to bring the gold and silver vessels
    That his Princes, his wives and his concubines
    Might rejoice and drink therein.

    After they had praised their strange gods,
    The idols and the devils,
    False gods who can neither see nor hear,
    Called they for the timbrel and the pleasant harp
    To extol the glory of the King.
    Then they pledged the King before the people,
    Crying, Thou, O King, art King of Kings:
    O King, live for ever…

    And in that same hour, as they feasted
    Came forth fingers of a man’s hand
    And the King saw
    The part of the hand that wrote.

    And this was the writing that was written:
    ‘MENE, MENE, TEKEL UPHARSIN’
    ‘THOU ART WEIGHED IN THE BALANCE
    AND FOUND WANTING’.
    In that night was Belshazzar the King slain
    And his Kingdom divided.

    – – – – – –

    Then sing aloud to God our strength:
    Make a joyful noise unto the God of Jacob.
    Take a psalm, bring hither the timbrel,
    Blow up the trumpet in the new moon,
    Blow up the trumpet in Zion
    For Babylon the Great is fallen, fallen.
    Alleluia!

    Then sing aloud to God our strength:
    Make a joyful noise unto the God of Jacob,
    While the Kings of the Earth lament
    And the merchants of the Earth
    Weep, wail and rend their raiment.
    They cry, Alas, Alas, that great city,
    In one hour is her judgement come.

    The trumpeters and pipers are silent,
    And the harpers have ceased to harp,
    And the light of a candle shall shine no more.

    Then sing aloud to God our strength.
    Make a joyful noise to the God of Jacob.
    For Babylon the Great is fallen.
    Alleluia!

    — Sir Osbert Sitwell (1892–1969), from Biblical sources

• Composition: 1977
• First Performance: 20 November 1977. St. Paul’s Church, Rochester, New York. Choir of St. Paul’s Church, David Fetler conductor, David Craighead organ.
• Duration: About 3 minutes
• Text: George Herbert (1593–1633)
• Tempo: Maestoso [128 m.]
• Dedication: “Commissioned for the 150th Anniversary of Saint Paul’s Church, Rochester, New York.”
• Craggs Catalogue Number: C94
• Performing Forces: Mixed chorus (SATB) Organ
• Manuscript: Frederick R. Koch Collection. Beinecke Rare Book and Manuscript Library, Yale University. Manuscript FRKF 618. Autograph score in pencil. Dated ‘1977’. 8 pages.
• Publication:
Oxford University Press. Vocal score, 1978, 019 3503662, Oxford Anthems # A326.
Oxford University Press. Edited by Timothy Brown. William Walton Edition, Volume 6, “Shorter Choral Works without Orchestra”, 1999, ISBN 0-19-359432-3.
[Purchase online from SheetMusicPlus.com: William Walton Edition, Volume 6]
• Arrangements: Arranged for choir, organ and brass, by Christopher Palmer, 1990. Instrumentation: 4 trumpets, 4 horns, 4 trombones, tuba – timpani, 3 percussion – harp – organ. Publication: Oxford University Press. Score and parts are available on hire only.

• Recordings:

• Text:
        Let all the world in ev’ry corner sing,
        My God and King!

    The heav’ns are not too high,
    His praise may thither fly;
    The earth is not too low,
    His praises there may grow.

        Let all the world in ev’ry corner sing,
        My God and King!

    The Church with psalms must shout,
    No door can keep them out;
    But above all, the heart
    Must bear the longest part.

        Let all the world in ev’ry corner sing,
        My God and King!

    —  George Herbert  (1593–1633)

• Composition: 1970
• First Performance: Unknown
• Duration: Under 2 minutes
• Text: Anonymous, sixteenth century
• Tempo: Gioioso [99 m.]
• Craggs Catalogue Number: C84
• Performing Forces: Mixed chorus (SATB)
• Manuscript: William Walton Museum, Forio d’Ischia. Autograph score in pencil.
• Publication:
Oxford University Press. Vocal score, 1970, 019 3430029, Oxford Choral Songs # X201 (discontinued). Also included in the volume Carols for Choirs 2, 1970, 019 3535654.
[Purchase online from SheetMusicPlus.com: Carols for Choirs 2]
Oxford University Press. Edited by Timothy Brown. William Walton Edition, Volume 6, “Shorter Choral Works without Orchestra”, 1999, 019 3594323. Vocal score, 019 3594374. [Purchase online from SheetMusicPlus.com: Vocal score]
[Purchase online from SheetMusicPlus.com: William Walton Edition, Volume 6]

• Recordings:

• Text:
        All this time this song is best:
        ‘Verbum caro factum est.’ [‘the Word is made flesh.’]

    This night there is a child y-born
    That sprang out of Jesse’s thorn;
    We must sing and say thereforn,

        All this time this song is best:
        ‘Verbum caro factum est.’

    Jesus is the childes name,
    And Mary mild is his dame;
    All our sorrow shall turn to game:

        All this time this song is best:
        ‘Verbum caro factum est.’

    It fell upon high midnight:
    The starres shone both fair and bright;
    The angels sang with all their might,

        All this time this song is best:
        ‘Verbum caro factum est.’

    Now kneel we down on our knee,
    And pray we to the Trinity
    Our help, our succour for to be;

        All this time this song is best:
        ‘Verbum caro factum est.’

    — Anonymous, sixteenth century

• Composition: 1979–80
• First Performance: Tuesday, 16 March 1982. Royal Festival Hall, London. Mstislav Rostropovich cello.
• Duration: About 6 minutes
• Dedication: For Mstislav Rostropovich
• Craggs Catalogue Number: C98
• Instrumentation: Cello solo
• Manuscript: Frederick R. Koch Collection. Beinecke Rare Book and Manuscript Library, Yale University. Manuscript FRKF 611. Autograph score. 6 pages.
• Publication: Oxford University Press, 1982. Materials available for purchase:

• Recordings:

• General Information:
I.   Allegro     
II.  Lento     
III. Alla Cubana     
IV.         
V. Con slancio     
• Composition: 1970–1
• First Performances: No. 2 — Sunday, 13 February 1972. Queen Elizabeth Hall, London. Julian Bream guitar. Nos. 1–3 — Wednesday, 29 March 1972. BBC Television Centre, London. Julian Bream guitar. Complete — Saturday, 27 May 1972. Assembly Rooms, Bath. Julian Bream guitar.
• Duration: About 14 minutes
• Dedication: “Dedicated to Malcolm Arnold, with admiration and affection for his 50th birthday”
• Craggs Catalogue Number: C86
• Instrumentation: Guitar solo
• Manuscript: William Walton Museum, Forio d’Ischia.
• Publication: Oxford University Press, 1974. Materials available for purchase:

• Arrangements:
Varii capricci, for orchestra (1975–6)
Five Bagatelles for Guitar and Orchestra, arranged by Patrick Russ (1992)
Two Bagatelles, arranged for flute and piano by Christopher Palmer. Publication: Oxford University Press. Included in William Walton: A Flute Album, 1992, 019 3594080. [Purchase online from SheetMusicPlus.com: A Flute Album]

• Recordings:

For additional recordings of this music, see the following arrangements:
Five Bagatelles for Guitar and Orchestra, arranged by Patrick Russ (1992)
Varii capricci, for orchestra (1975–6)

• Composed: The manuscript is dated 2 October 1982.
• Duration: Under 1 minute.
• Dedication: For Barnaby and Cordelia Craggs, the children of Walton’s bibliographer, Stewart Craggs.
• Craggs Catalogue Number: C101
• Instrumentation: oboe – violin
• Manuscript: The private collection of Walton’s bibliographer, Stewart Craggs. It is dated ‘2.10.82’.
• Publication: This work has never been published.
• Recordings: This work has never been recorded.

• General Information:
I.   Giocoso     
II.  Andantino     
III. A tempo di Hesitation Waltz     
IV. A tempo, sub. Vivace     
V. Vivace     
• Composition: 1980. A revision and arrangement of music for the ballet The First Shoot (1935).
• First Performance:  19 December 1980. Goldsmith’s College, London. The Grimethorpe Colliery Band, Elgar Howarth conductor. Recording session for the Walton documentary At the Haunted End of the Day, directed by Tony Palmer. First transmitted on ITN, Sunday, 19 April 1981.
• First Public Performance:  Monday, 7 September 1981. Royal Albert Hall, London. The Grimethorpe Colliery Band, Elgar Howarth conductor.
• Duration: About 10 minutes
• Dedication: “In Mem. C. B. Cochran and his Young Ladies”
• Craggs Catalogue Number: C29b
• Instrumentation: Soprano cornet, 8 cornets, flugelhorn, 3 horns, 2 baritone horns, 2 tenor trombones, bass trombone, 2 euphonium, 2 basses in E-flat, 2 basses in B-flat – timpani, percussion (xylophone, glockenspiel, side drum, bass drum, tenor drum, cymbals)
• Manuscript: Frederick R. Koch Collection. Beinecke Rare Book and Manuscript Library, Yale University. Manuscript FRKF 594. Autograph full score. 48 pages.
• Publication: Oxford University Press. 1986. Score and parts are available on hire.
• Arrangements: The First Shoot, transcribed for orchestra by Christopher Palmer (c.1991) - Arranged for concert band by Ray Farr. Publication: Warner/Chappell, 2001.
• Recordings:

For additional recordings of this music, see the following arrangement: The First Shoot, transcribed for orchestra (arr. Palmer, 1991)

• Composition: 1976
• First Performance: Thursday, 3 June 1976. Zoological Gardens, Regent’s Park, London. Trumpeters of the Royal Military School of Music, Kneller Hall, Trevor Platts conductor. For the entrance of the Queen to the Zoological Gardens, at a reception marking the 150th anniversary of the Zoological Society of London. Played again prior to her inaugural opening of the new Lion Terraces.
• Duration: Under 1 minute
• Dedication: “To Solly Z. that Lion of Lions”  [i.e. Lord Solly Zuckerman]
• Craggs Catalogue Number: C93
• Instrumentation: 3 trumpets in C, 3 tenor trombones, 2 bass trombones – 2 percussion (side drum, bass drum, cymbal)
• Manuscript: The private collection of Lord Solly Zuckerman.
• Publication: This work has never been published.
• Recordings: This work has never been recorded.

• General Information:
I. Solemne     
II.     
III. Allegro con moto     
IV. Allegro con moto     
V. Vivo     

• Composition: 1979–80. Walton withdrew the work, and the musical material was reworked into his brass band version of The First Shoot and the Prologo e fantasia.
• First Performance: Unknown. Probably never performed.
• Duration: About 10 minutes
• Instrumentation: Soprano cornet, 8 cornets, flugelhorn, 3 tenor horns, 2 baritone horns, 2 trombones, 2 euphonium, bass in E-flat, bass in B-flat – timpani, percussion (bass drum, side drum, tenor drum, cymbal, xylophone, tambourine)
• Manuscript: Frederick R. Koch Collection. Beinecke Rare Book and Manuscript Library, Yale University. Manuscript FRKF 612. Autograph full score. 45 pages.
• Publication: This work has never been published.
• Recordings: This work has never been recorded.

• Composition: 1979, titled Salute to Sir Robert Mayer on his 100th Birthday. Revised in preparation for publication in 1980.
• First Performance: 5 June 1979. Royal Festival Hall, London. Twelve trumpet players, aged 14 to 18.
• Duration: Under 1 minute
• Craggs Catalogue Number: C97
• Instrumentation: 3 trumpets in C, 3 trombones – percussion (snare drum). Note: Snare drum is only required when moving directly on into Walton’s arrangement of God Save the Queen.
Original Version: 12 trumpets in B-flat
• Manuscript: Frederick R. Koch Collection. Beinecke Rare Book and Manuscript Library, Yale University. Manuscript FRKF 620. Autograph full score. 1 page.
• Publication: Oxford University Press, 1980. Re-published in 1987 as part of “Introduction and National Anthem”, together with Walton’s arrangement of God Save the Queen. Score and parts are available on hire. Materials available for purchase:

• Recordings: This work has never been recorded.

• Composition: 1943. Composed for a pageant, written by Louis MacNeice and produced by Basil Dean, to commemorate the 25th anniversary of the establishment of the Red Army.
• First Performance: 21 February 1943. Royal Albert Hall, London. Trumpets and drums of the Life Guards, the Royal House Guards, and the Royal Air Force, Sir Malcolm Sargent conductor.
• Craggs Catalogue Number: C48
• Instrumentation: Walton’s exact instrumentation is unknown, though the surviving recording indicates the work called for brass and timpani.
• Manuscript: There is no known surviving manuscript of this work.
• Arrangements: Memorial Fanfare for Henry Wood, for large orchestra (1945)
• Publication: This work has never been published.
• Recordings: This work has never been recorded commercially.  An archival recording of the premiere performance survives in the BBC Archive (recording 5985-9), and this is the only known surviving musical material of these fanfares.

• Composition: 1974
• First Performance: Thursday, 1 April 1976. De Lane Lea Studios, Wembley, London. The Band of the Life Guards, Harry Rabinowitz conductor. Recording session for the television program,Your National Theatre, to commemorate the opening of the National Theatre. The program was first transmitted on ITV, Saturday, 21 August 1976.
• Duration:  About 1 minute
• Craggs Catalogue Number: C92
• Instrumentation: Trumpet in E-flat, 6 trumpets in B-flat, 3 tenor trombones, bass trombone – timpani, 2 percussion (side drum, cymbal, tambourine, bells)
• Manuscript: Frederick R. Koch Collection. Beinecke Rare Book and Manuscript Library, Yale University. Manuscript FRKF 617. Autograph full score. Titled “Fanfare for the National”. 8 pages.
• Publication: This work has never been published.
• Recordings: This work has never been recorded.

• Composition: 1973. This fanfare is intended to be followed immediately by the coronation march Orb and Sceptre.
• First Performance: Thursday, 29 November 1973. Royal Festival Hall, London. Trumpeters of the Royal Military School of Music, Kneller Hall, Lt.-Col. Rodney B. Bashford conductor. The EMI 75th Anniversary Concert.
• Duration: Under 1 minute
• Craggs Catalogue Number: C89
• Instrumentation: 9 trumpets in B-flat (3.2.2.2), 4 tenor trombones, 3 bass trombones – timpani, 3 percussion (side drum, bass drum, cymbal)
• Manuscript: Frederick R. Koch Collection. Beinecke Rare Book and Manuscript Library, Yale University. Manuscript FRKF 615. Autograph full score. Titled “Fanfare for the 75th anniversary of E.M.I.”. 6 pages.
• Publication: Oxford University Press, 1975. Materials available for purchase:

• Recordings:

• Composition: 1959
• First Performance:  Friday, 5 June 1959. Westminster Hall, London. The State Trumpeters. For the Queen’s entrance at a NATO Parliamentary Conference.
• Duration: Under 1 minute
• Craggs Catalogue Number: C69
• Instrumentation: Trumpet in E-flat, 7 trumpets in B-flat (three are optional), 2 tenor trombones, 2 bass trombones (second is optional)
• Manuscript: The British Library, Manuscript Collections. Manuscript Add. 59813, “Macnaghten Concerts Collection Vol. XVII”. The second manuscript in this volume of the collection. Autograph full score. 7 pages.
• Publication: Oxford University Press, 1972. Materials available for purchase:

• Recordings:

• Composition:  1981
• First Performance:  Saturday, 10 October 1981. Wengerner Mühle [the guest house of Dr. Karl-Friedrich Still], Recklinghausen. Members of the Westphalia Symphony Orchestra, Karl Rickenbacher conductor.
• Duration: Under 1 minute
• Dedication: “For Karl”  [i.e. Walton’s neighbor on Ischia, Karl-Friedrich Still, on his 70th birthday]
• Craggs Catalogue Number: C99
• Instrumentation: 7 trumpets – percussion
• Manuscript: The private collection of Dr. Karl-Friedrich Still, Recklinghausen
• Publication: Oxford University Press, 1983. Materials available for purchase:

• Recordings: This work has never been recorded.