Orb and Sceptre is a march for orchestra written by William Walton for the coronation of Queen Elizabeth II in Westminster Abbey, London, on 2 June 1953. It follows the pattern of earlier concert marches by Elgar and Walton himself in consisting of a brisk opening section followed by a broad melody in the middle, trio, section and a return to the lively first theme to conclude the piece after a second appearance of the big tune.
Walton had composed the march Crown Imperial , in 1936 for the coronation of Elizabeth II's father, King George VI. [1] It was generally well received – the BBC predicted that it would be ranked alongside Elgar's Pomp and Circumstance Marches [1] – but disappointed those of Walton's admirers who thought of him as an avant-garde composer. [2] By 1953 Walton was no longer perceived as avant-garde, and a ceremonial march in the Elgar tradition was generally expected. Orb and Sceptre was commissioned by the Arts Council of Great Britain, [3] and Walton obtained permission to dedicate the piece to the Queen, a considerable honour, as such permission was rarely granted. [4]
Walton said that he had taken the title of Crown Imperial from a speech in Shakespeare's Henry V:
I am a king that find thee, and I know
'Tis not the balm, the sceptre and the ball,
The sword, the mace, the crown imperial,
The intertissued robe of gold and pearl,
The farced title running 'fore the king,
The throne he sits on, nor the tide of pomp
That beats upon the high shore of this world,
No, not all these, thrice-gorgeous ceremony,
Not all these, laid in bed majestical,
Can sleep so soundly as the wretched slave.
Turning to the same speech for the title of his new work, he said he jibbed at Ball and Sceptre and turned it into Orb and Sceptre. (He said he was reserving Bed Majestical for the coronation of King Charles III.) [5]
Orb and Sceptre was recorded for the gramophone twice before its public debut at the Coronation service. Walton flew from his home in Ischia to conduct the piece with the Philharmonia Orchestra for Columbia on 18 March 1953 at the Kingsway Hall, [6] and Sir Malcolm Sargent conducted the work with the London Symphony Orchestra (LSO) for Decca at the same venue. [7] The public premiere was given by the Coronation Orchestra (a specially convened ensemble comprising leading players from British orchestras and string quartets) [8] conducted by Sir Adrian Boult. [6] The first concert performance was by the LSO conducted by Sir John Barbirolli at the Royal Festival Hall five days later. [9] Walton conducted the first American performance of the work at the Hollywood Bowl on 13 August 1953, in his debut conducting appearance in the US. [10]
The critic Frank Howes finds the opening section of the work more thematically complex than that of Crown Imperial. It begins in the key of E major with bright trumpet fanfares before leaping into the march section, heavily syncopated and brightly orchestrated. This section moves briefly through what Howes calls a "drastic modulation" into C major before returning to E. [11]
As with Crown Imperial the middle section is a quieter trio in C, marked meno mosso. This theme is heard subdued on the strings, before being repeated in its more stately and grand form. The main march section is then heard again, building up to the final hearing of the trio section back in the home key of E. This time Walton uses the whole orchestra, the tune shared between fortissimo strings and fanfare-like brass. A short, fast coda ends the piece. [12]
Orb and Sceptre is scored for piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets in A, 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in C, 3 trombones, tuba, timpani, snare drum, cymbals, bass drum, tambourine, harp, organ (optional), and strings.
Walton struggled to find inspiration for the piece, and during its composition he thought it would not be as good as Crown Imperial. [13] He later convinced himself that it was not inferior to its predecessor. His biographer Michael Kennedy disagrees, feeling that Orb and Sceptre lacks as fine a central tune and such "vigorous panache" in the fast outer sections as those of Crown Imperial. [9] The Times found the work joyous and youthful, with, in the trio:
Orb and Sceptre has been arranged for organ by Sir William McKie, for piano and for small orchestra, both by Roy Douglas, and for military band. [15]
Sir Edward William Elgar, 1st Baronet, was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.
The Pomp and Circumstance Marches, Op. 39, are a series of five marches for orchestra composed by Sir Edward Elgar. The first four were published between 1901 and 1907, when Elgar was in his forties; the fifth was published in 1930, a few years before his death; and a sixth, compiled posthumously from sketches, was published in 1956 and in 2005–2006. They include some of Elgar's best-known compositions.
Sir William Turner Walton was an English composer. During a sixty-year career, he wrote music in several classical genres and styles, from film scores to opera. His best-known works include Façade, the cantata Belshazzar's Feast, the Viola Concerto, the First Symphony, and the British coronation marches Crown Imperial and Orb and Sceptre.
Sir Adrian Cedric Boult, CH was a British conductor. Brought up in a prosperous mercantile family, he followed musical studies in England and at Leipzig, Germany, with early conducting work in London for the Royal Opera House and Sergei Diaghilev's ballet company. His first prominent post was conductor of the City of Birmingham Orchestra in 1924. When the British Broadcasting Corporation appointed him director of music in 1930, he established the BBC Symphony Orchestra and became its chief conductor. The orchestra set standards of excellence that were rivalled in Britain only by the London Philharmonic Orchestra (LPO), founded two years later.
The London Symphony Orchestra (LSO) is a British symphony orchestra based in London. Founded in 1904, the LSO is the oldest of London's symphony orchestras. The LSO was created by a group of players who left Henry Wood's Queen's Hall Orchestra because of a new rule requiring players to give the orchestra their exclusive services. The LSO itself later introduced a similar rule for its members. From the outset the LSO was organised on co-operative lines, with all players sharing the profits at the end of each season. This practice continued for the orchestra's first four decades.
Sir Harold Malcolm Watts Sargent was an English conductor, organist and composer widely regarded as Britain's leading conductor of choral works. The musical ensembles with which he was associated included the Ballets Russes, the Huddersfield Choral Society, the Royal Choral Society, the D'Oyly Carte Opera Company, and the London Philharmonic, Hallé, Liverpool Philharmonic, BBC Symphony and Royal Philharmonic orchestras. Sargent was held in high esteem by choirs and instrumental soloists, but because of his high standards and a statement that he made in a 1936 interview disputing musicians' rights to tenure, his relationship with orchestral players was often uneasy. Despite this, he was co-founder of the London Philharmonic, was the first conductor of the Liverpool Philharmonic as a full-time ensemble, and played an important part in saving the Royal Philharmonic Orchestra from disbandment in the 1960s.
The Violin Concerto by William Walton was written in 1938–39 and dedicated to Jascha Heifetz, who commissioned the work and performed it at its premiere on 7 December 1939 with the Cleveland Orchestra conducted by Artur Rodziński. The British premiere, delayed by the Second World War, was given on 1 November 1941, with Henry Holst as soloist and the composer conducting. Walton later reorchestrated the concerto; the revised version was premiered in 1944. The work has been frequently recorded and has established itself as one of the composer's most durable compositions.
Ralph Vaughan Williams dedicated his Symphony No. 4 in F minor to Arnold Bax.
The Viola Concerto by William Walton was written in 1929 and first performed at the Queen's Hall, London on 3 October of that year by Paul Hindemith as soloist and the composer conducting. It had been written with the violist Lionel Tertis in mind, and he took the work up after initially rejecting it. The concerto established Walton as a substantial figure in British music and has been recorded by leading violists internationally. Walton revised the instrumentation of the concerto in 1961, lightening the orchestral textures.
Crown Imperial is an orchestral march by William Walton, commissioned for the coronation of King George VI in Westminster Abbey in 1937. It is in the Pomp and Circumstance tradition, with a brisk opening contrasting with a broad middle section, leading to a resounding conclusion. The work has been heard at subsequent state occasions in the Abbey: the coronation of Queen Elizabeth II in 1953, the wedding of Prince William in 2011 and the coronation of King Charles III in 2023. It has been recorded in its original orchestral form and in arrangements for organ, military band and brass band.
The Symphony No. 2 by William Walton was written between 1957 and 1960, and premiered in September 1960. It received a mixed reception at first: some critics thought Walton's music old-fashioned. Subsequently it has been re-evaluated and praised. The work was first performed by the Royal Liverpool Philharmonic Orchestra, conducted by John Pritchard and was first recorded by the Cleveland Orchestra, conducted by George Szell. It has subsequently been recorded by conductors from Britain, the US and elsewhere.
The Symphony No. 1 in B♭ minor is one of two symphonies by the English composer William Walton. The composer had difficulty in completing the work, and its first public performance was given without the finale, in 1934. The complete four-movement work was premiered the following year.
Edward Elgar's Third Symphony Op. 88 (posth.) was incomplete at the time of his death in 1934. Elgar left 130 pages of sketches, which the British composer Anthony Payne worked on for many years, producing a complete symphony in 1997, officially known as "Edward Elgar: the sketches for Symphony No 3 elaborated by Anthony Payne" or in brief "Elgar/Payne Symphony No 3". The first public performance was at the Royal Festival Hall, London, on 15 February 1998, by the BBC Symphony Orchestra conducted by Andrew Davis.
William Walton received a commission for an original composition from Granada Television in June 1961. Walton delivered the work in August 1962 as Granada Prelude, Call Signs and End Music.
Johannesburg Festival Overture is a composition for orchestra by the English composer William Walton, commissioned to mark the seventieth anniversary of Johannesburg in 1956. It is a short, lively piece, fast-moving throughout.
The conductor Malcolm Sargent's career as a recording artist began in the days of acoustic recording, shortly before the introduction of the microphone and electrical recording, and continued into the stereo LP era. He recorded prolifically from 1924 until 1967, the year of his death.
The English conductor Sir Adrian Boult was a prolific recording artist. Unlike many musicians, he felt at home in the recording studio and actually preferred working without an audience. His recording career ran from November 1920, when working with Diaghilev's Ballets Russes he recorded the ballet music, The Good-Humoured Ladies, to December 1978, when he made his final recording of music by Hubert Parry.
Scapino is a short work for large orchestra by William Walton, described by the composer as a "comedy overture". It was commissioned by the Chicago Symphony Orchestra and was first performed in 1941. A revised version was premiered in 1950.
Siesta is a short piece for small orchestra, written by William Walton and premiered in 1926. It was later used for a ballet by Frederick Ashton. Walton was a devotee of Italy, and its influence is apparent in this work.
In Honour of the City of London is a 1937 cantata by William Walton for mixed chorus and orchestra. The text is by the 15th–16th-century poet William Dunbar. It was written for the Leeds Triennial Festival for which Walton had composed Belshazzar's Feast in 1931, but it failed to gain the popularity of the earlier work and is comparatively infrequently performed.
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