0:00:02 > 0:00:07*
0:00:10 > 0:00:13# Praise ye
0:00:13 > 0:00:17# Prai-ai-aise ye
0:00:17 > 0:00:22# The god of gold
0:00:22 > 0:00:29CHORUS: # Prai-ai-aise ye
0:00:29 > 0:00:35# Prai-ai-aise ye-e-e
0:00:35 > 0:00:40# The go-o-od o-o-of
0:00:40 > 0:00:43# Go-o-old
0:01:20 > 0:01:24# Praise ye, the god of silver... #
0:01:27 > 0:01:33Leeds Town Hall and a score that breathes England's choral tradition.
0:01:33 > 0:01:38It's gone on to become a robust bastion of the repertoire.
0:01:38 > 0:01:41# Praise ye, the god of iron
0:01:41 > 0:01:45# Praise ye, the god of iron... #
0:01:45 > 0:01:51This programme brings Walton's oratorio, Belshazzar's Feast,
0:01:51 > 0:01:56back to the city in which it was first performed nearly 70 years ago.
0:01:56 > 0:01:59# Praise ye, the god of wood... #
0:02:00 > 0:02:07Belshazzar's Feast, I think, is one of the great choral works of the century.
0:02:08 > 0:02:12# Praise ye, the god of stone
0:02:18 > 0:02:21# Praise ye, the god of brass
0:02:21 > 0:02:25# Prai-ai-aise ye
0:02:25 > 0:02:28# The god of bra-a-ass... #
0:02:33 > 0:02:40'Belshazzar's Feast comes from a long tradition of choral music in England,
0:02:40 > 0:02:44'especially in the north of England.'
0:02:44 > 0:02:51At 33, I would like less from the tenors, but I want to hear the orchestra here.
0:02:51 > 0:02:57Walton grew up in this milieu, and also with the brass band.
0:02:59 > 0:03:04Brass bands, can you play this standing?
0:03:04 > 0:03:07'Walton was very happy, I think,
0:03:07 > 0:03:15'when someone suggested he should have two brass bands in addition to a symphony orchestra,
0:03:15 > 0:03:19'so he grabbed it as a true northerner would.'
0:03:19 > 0:03:22Let's... Can we try it, please?
0:03:49 > 0:03:55# Prai-ai-aise ye-e-e... #
0:03:55 > 0:04:02It's very punchy, very daring. It departs from what we understand oratories to be.
0:04:04 > 0:04:10It makes this bold statement using rhythms and certain instruments
0:04:10 > 0:04:16that have hardly ever been recognised and accepted
0:04:16 > 0:04:19as something to make a religious statement.
0:04:19 > 0:04:21Once again.
0:04:21 > 0:04:28For this performance, the BBC Symphony Chorus is joined by the Leeds Festival Chorus,
0:04:28 > 0:04:31who originally gave the premiere.
0:04:31 > 0:04:39# ..By the wa-a-aters
0:04:39 > 0:04:41# Of Babylon
0:04:41 > 0:04:48# By the wa-a-aters of Babylon... #
0:04:48 > 0:04:52'The structure of the piece is very clear.
0:04:52 > 0:04:56'You have this opening lamentation, "By the waters of Babylon
0:04:56 > 0:04:59"we sat down and wept".
0:04:59 > 0:05:02# ..Where we wept
0:05:02 > 0:05:06# Where we wept... #
0:05:06 > 0:05:10'It's very much in the English tradition, harmonically.'
0:05:10 > 0:05:15There's this sense of bitter-sweetness, as I say,
0:05:15 > 0:05:22and a melancholic sense that runs through a lot of English music through the centuries.
0:05:22 > 0:05:30The work goes on to depict the worship of pagan gods at the Feast of the Babylonian king, Belshazzar.
0:05:30 > 0:05:37Then, there's his dramatic fall as a mysterious hand condemns him with Writing On The Wall.
0:05:37 > 0:05:44The music ends with the hallelujahs of the Israelites freed from captivity in Babylon.
0:05:44 > 0:05:46Let's do a little Handel.
0:05:46 > 0:05:54'The supreme choral work, of course, that all our choral societies have lived on is the Messiah.'
0:05:54 > 0:05:59ORGANIST PLAYS INTRO TO "Handel's Messiah"
0:06:01 > 0:06:04# Hallelujah!
0:06:04 > 0:06:05# Hallelujah!
0:06:05 > 0:06:08# Hallelujah! Hallelujah!
0:06:08 > 0:06:10# Hallelujah...! #
0:06:10 > 0:06:15'The most famous chorus from the Messiah is the Hallelujah Chorus
0:06:15 > 0:06:20'and that must have been somewhere in the back of Walton's mind
0:06:20 > 0:06:28'when he wrote his own hallelujahs in his piece, as the Israelites rejoice at the defeat of Babylon.'
0:06:28 > 0:06:31# ..Hallelujah! Hallelujah...! #
0:06:31 > 0:06:39Walton's hallelujahs have much more bounce and are more 20th century - they swing in a way Handel doesn't!
0:06:39 > 0:06:41# Hallelujah!
0:06:41 > 0:06:43# Hallelujah!
0:06:43 > 0:06:45# Hallelujah!
0:06:45 > 0:06:49# Hallelujah! Hallelujah! Hallelujah!
0:06:49 > 0:06:52# Hallelujah!
0:06:52 > 0:06:54# Praise ye... #
0:06:57 > 0:07:02When you say, "Hallelu-u-ujah", make sure that's really full.
0:07:03 > 0:07:06# Hallelu-ujah! Hallelu-u-ujah! #
0:07:06 > 0:07:11Hallelujah Chorus stands there as one of the great tributes to God.
0:07:11 > 0:07:19'Walton's hallelujahs are bound to man and his elation at the expense of somebody else.
0:07:19 > 0:07:24'That's a feeling that comes very definitely across.'
0:07:24 > 0:07:29# ..Praise ye, the go-o-ods
0:07:29 > 0:07:32# Praise ye, the gods... #
0:07:32 > 0:07:37'I think Belshazzar's Feast represents a reaffirmation'
0:07:37 > 0:07:43of the fact that the English choral tradition is not dead
0:07:43 > 0:07:46and can be renewed by a genius.
0:07:49 > 0:07:55William Walton was born in the industrial Lancashire town of Oldham,
0:07:55 > 0:07:58but seemed keen to escape it.
0:08:25 > 0:08:32Walton had little to say about Oldham, but then he WAS a reluctant interviewee.
0:08:32 > 0:08:36Your home life when you were a boy in Oldham -
0:08:36 > 0:08:39that wasn't grand or posh, was it?
0:08:39 > 0:08:42It was not at all, anything but.
0:08:42 > 0:08:46- Tough?- Tough it was, yes.
0:08:46 > 0:08:52William was a very private person, so he felt offended at questions.
0:08:52 > 0:08:57So he had a wonderful solution. He used to say yes, no or maybe.
0:08:57 > 0:09:02- Could you look after yourself on a desert island?- Yes.- Cook?- No. Yes.
0:09:02 > 0:09:07The poor interviewer didn't know what to say!
0:09:07 > 0:09:09I'm a bit stuck here!
0:09:09 > 0:09:14Even Ted Heath told me once that when he saw William, he said,
0:09:14 > 0:09:18"That's the solution! Say yes, no or maybe."
0:09:18 > 0:09:22- I can't tell you how I do it. - I won't press you further.
0:09:22 > 0:09:27- Are you busy writing on Ischia? Are we going to hear...?- Not really, no.
0:09:27 > 0:09:31- Do you ever turn to Facade? - Not if I can help it.
0:09:31 > 0:09:37William, isn't it time we had a full-length biography of you?
0:09:37 > 0:09:42Er...I don't think just yet, no. I'm rather young for that.
0:09:47 > 0:09:54This is where William Walton was born - at 93 Werneth Hall Road
0:09:54 > 0:09:56 in March 1902.
0:09:56 > 0:10:01It's hardly the most deprived area. It's a better-off area of Oldham.
0:10:01 > 0:10:08Both my parents were singers. My father, in particular, was choirmaster
0:10:08 > 0:10:13in the local church of St John's, and he made me sing in it.
0:10:13 > 0:10:19I loathed it. He used to rap me over the knuckles when I sang a wrong note.
0:10:19 > 0:10:24That way I learnt to be rather accurate.
0:10:24 > 0:10:29# Drop, dro-op, dro-op, dro-o-op
0:10:29 > 0:10:34# Drop, dro-op, dro-op... #
0:10:34 > 0:10:42Here we are in the church where Walton's father was organist and choirmaster for over 20 years.
0:10:42 > 0:10:46Looking around us now, it's a carpet shop!
0:10:46 > 0:10:49Young Walton learnt to sing here.
0:10:49 > 0:10:56It's said he could sing the Messiah from memory before he could speak!
0:10:56 > 0:11:02I think this is where the seeds of Belshazzar's Feast were sown.
0:11:02 > 0:11:09# ..Prince of pea-ea-eace
0:11:09 > 0:11:13# Cease not
0:11:13 > 0:11:18# Cease not, wet eyes... #
0:11:18 > 0:11:25This small piece was written by Walton when he was 14 and lay in a library in America until I found it.
0:11:25 > 0:11:30As far as I know, this is its first performance.
0:11:30 > 0:11:35# ..To cry-y-y for vengeance
0:11:35 > 0:11:39# Sin doth never cea-ease... #
0:11:39 > 0:11:44For a small boy of 14, the harmony is very sophisticated.
0:11:44 > 0:11:50# ..Drop, dro-op, drop Dro-o-op... #
0:11:50 > 0:11:56He hadn't had much harmony tuition.
0:11:56 > 0:12:02I suspect he acquired this knowledge from singing a lot of church music
0:12:02 > 0:12:05before he went to Oxford.
0:12:05 > 0:12:08It's not the music you expect from a schoolboy.
0:12:08 > 0:12:12# ..In you-our
0:12:12 > 0:12:19# Dee-ee-eep floo-oo-ood
0:12:19 > 0:12:21# Drown all
0:12:21 > 0:12:24# My faults
0:12:24 > 0:12:29# And fea-ea-ears... #
0:12:29 > 0:12:35His mother saw an advert for a choral scholarship at Christ Church, Oxford,
0:12:35 > 0:12:41and so they arranged to go to Oxford by train to have an oral examination.
0:12:41 > 0:12:46Family legend says the money which had been saved for the train journey
0:12:46 > 0:12:51was taken by Father down to the pub the night before and spent on booze.
0:12:51 > 0:12:56When the mother came to look for it the next morning, it had all gone.
0:12:56 > 0:13:04She had to borrow the train fare, they caught a later train, they missed the time for the examination,
0:13:04 > 0:13:09but the examiner very kindly heard William and gave him the place.
0:13:09 > 0:13:16From Christ Church Choir School, Walton became an undergraduate at Oxford,
0:13:16 > 0:13:21but despite musical promise, he didn't do well academically.
0:13:21 > 0:13:29One valuable achievement was to befriend Sacheverell Sitwell, the youngest of that fashionable family.
0:13:29 > 0:13:36So when Walton was sent down, the Sitwells asked him to London and he didn't have to go back to Oldham.
0:13:36 > 0:13:44William wouldn't come back to Oldham because there was no chance then of making a living as a composer.
0:13:44 > 0:13:48There was very little chance anywhere else
0:13:48 > 0:13:56so he was lucky to meet the Sitwells who put a roof over him and kept him under a comfy umbrella for 15 years!
0:13:56 > 0:14:00Otherwise, William would have never been heard of, ever!
0:14:03 > 0:14:10In all the right London circles, the Sitwell family were making a name for themselves.
0:14:10 > 0:14:18Osbert, Edith and Sacheverell's belief in Walton as a composer led to Facade, which put him on the map.
0:14:18 > 0:14:26He set Edith's eccentric poems, which she recited from behind a curtain, through a megaphone.
0:14:29 > 0:14:36It was interesting to see him work on these poems, because he wrote so quickly
0:14:36 > 0:14:42and is not very fond of poetry, but he has an instinct for words.
0:14:42 > 0:14:45It was remarkable for a boy under 20.
0:14:47 > 0:14:50# Daisy and Lily
0:14:50 > 0:14:53# Lazy and silly
0:14:53 > 0:14:58# Walk by the shore of the wan grassy sea
0:14:58 > 0:15:01# Talking once more 'Neath a swan bosomed tree
0:15:01 > 0:15:05# Rose castles, tourelles Those bustles where swells
0:15:05 > 0:15:09# Each foam-bell of ermine They roam and determine
0:15:09 > 0:15:13# What fashions have been and what fashions will be
0:15:13 > 0:15:18# What tartan leaves born What crinolenes worn. #
0:15:22 > 0:15:28Facade is very much influenced by jazz and popular music
0:15:28 > 0:15:34and he took the brilliance of the jazz world and married it to the texts.
0:15:34 > 0:15:39Edith Sitwell was a remarkable explorer of words,
0:15:39 > 0:15:45but without Walton's music, we wouldn't remember these poems now.
0:15:45 > 0:15:48# Tra-la-la!
0:15:48 > 0:15:52# See me dance the polka Said Mr Wagg like a bear
0:15:52 > 0:15:56# With my top hat and my whiskers that tra-la-la trap the fair
0:15:56 > 0:15:59# Where the waves seem chiming haycocks, I dance the polka there
0:15:59 > 0:16:03# Stand Venus's children in gay frocks, maroon and marine and stare
0:16:03 > 0:16:06- # To see me fire my pistol - Through the distance blue as my coat
0:16:06 > 0:16:10# Like Wellington, Byron the Marquis of Bristol Busbied great trees float
0:16:10 > 0:16:14# While the wheezing hurdy gurdy Of the marine wind blows me
0:16:14 > 0:16:18# To the tune of Annie Rooney sturdy over the sheafs of the sea
0:16:18 > 0:16:22# And bright as a seedsman's packet With zinias, candy-tufts chill
0:16:22 > 0:16:25- # Is Mrs Marigold's jacket - As she gapes at the inn door still
0:16:25 > 0:16:29# At dawn in the box of the sailor Blue as the decks of the sea
0:16:29 > 0:16:33# Nelson awoke, crowed like the cocks, back to the dust sank he
0:16:33 > 0:16:37# And Robinson Crusoe rues so The bright and foxy beer
0:16:37 > 0:16:41# But he finds fresh isles in a negress' smiles, the poxy doxy dear
0:16:41 > 0:16:45- # As they watch me dance the polka - Said Mr Wagg like a bear
0:16:45 > 0:16:49- # In my top hat...- And my whiskers that...- Tra-la-la trap the fair
0:16:49 > 0:16:52# Tra-la-la-la tra-la-la-la-la! #
0:16:55 > 0:17:02Walton did spend some time when he was short of cash, which was most of the time in this period,
0:17:02 > 0:17:04writing foxtrots for the Savoy house orchestra,
0:17:04 > 0:17:08and there are legacies from Facade
0:17:08 > 0:17:13and the time when he was fascinated by jazz in Belshazzar's Feast.
0:17:13 > 0:17:15A saxophone is in the orchestra.
0:17:15 > 0:17:22I can't think of any holy piece up to that period which had a saxophone in use!
0:17:26 > 0:17:34This is followed by a passage for the chorus which again shows the syncopated feel...in...
0:17:34 > 0:17:38# Babylon, Belshazzar the King made a grea-ea-eat feast
0:17:38 > 0:17:41# MADE a feast to... #
0:17:41 > 0:17:44And so on, which is kind of swung.
0:17:47 > 0:17:50# In Ba-a-abylon
0:17:51 > 0:17:56# Belshazzar the King Made a grea-ea-eat feast
0:17:56 > 0:18:00# Made a feast to a thousand of his lords
0:18:00 > 0:18:03# And drank wine before the thousand... #
0:18:10 > 0:18:18The commission for Belshazzar's Feast was one of the first given by the BBC to a British composer.
0:18:18 > 0:18:23The BBC suggested I write a piece on a subject everybody knew about.
0:18:23 > 0:18:29It sounds simple to find such a subject. It isn't, really.
0:18:29 > 0:18:36Osbert Sitwell suggested Belshazzar's Feast and The Writing On The Wall,
0:18:36 > 0:18:38which is a fairly universal subject.
0:18:40 > 0:18:45The first London performance was broadcast in November of 1931,
0:18:45 > 0:18:52but it had been premiered in Leeds Town Hall in October, conducted by Malcolm Sargent.
0:18:52 > 0:18:57- I was there, terrified. It sounded like nothing on earth,- I- thought!
0:18:57 > 0:19:02- What did the audience think?- They were mesmerised into accepting it.
0:19:10 > 0:19:12DRILL DRONES
0:19:18 > 0:19:23The Town Hall was opened in 1858. It was designed by Cuthbert Broderick
0:19:23 > 0:19:30and is where the Leeds Festival Chorus does most of its concerts.
0:19:30 > 0:19:34Ever since 1858, the chorus has been singing here,
0:19:34 > 0:19:39and in 1931 the hall would have looked as it looks now.
0:19:39 > 0:19:44The hall was revamped to original specifications not too long ago,
0:19:44 > 0:19:50and the crushed strawberry pillars came as quite a shock to the singers.
0:19:50 > 0:19:54It is in a long line of very notable northern town halls,
0:19:54 > 0:20:01and especially notable for the moralistic slogans - "Trial by jury",
0:20:01 > 0:20:04"Honesty is the best policy", etc.
0:20:04 > 0:20:10It's a great uplifting experience to sing in here and see these things.
0:20:13 > 0:20:17- # Boom...boom...boom! # - Yes, absolutely!
0:20:17 > 0:20:23- It's frustrating, isn't it, playing piano...- If you're so inadequate. - Yes.
0:20:23 > 0:20:31For this Masterworks performance, the BBC's Symphony Chorus and Leeds Festival Chorus are joining forces.
0:20:32 > 0:20:35In the Clothworkers' Hall,
0:20:35 > 0:20:43this is their first rehearsal together with Andrew Davis and BBC chorusmaster Stephen Jackson.
0:20:43 > 0:20:46It falls to me
0:20:46 > 0:20:52to say what an enormous pleasure it is for the BBC Symphony Chorus to join you.
0:20:52 > 0:20:58It's a bit complicated in that we have firsts and seconds in the BBC
0:20:58 > 0:21:01in both choir one and choir two,
0:21:01 > 0:21:09so that you might just find yourself standing next to somebody singing a part that you would not expect.
0:21:09 > 0:21:16This is either because the person has not been to enough rehearsals, or for better reasons.
0:21:21 > 0:21:26# By the wa-a-aters...
0:21:26 > 0:21:33# By the wa-a-aters
0:21:33 > 0:21:36# Of Babylon... #
0:21:36 > 0:21:43Belshazzar's Feast is notorious for the problems it gave the choir at the first performance,
0:21:43 > 0:21:50and, despite familiarity, it still has its challenges, even for experienced choruses.
0:21:50 > 0:21:52# ..There we sat down
0:21:52 > 0:21:58# Yea, we wept
0:21:58 > 0:22:02# We-e-ept
0:22:02 > 0:22:06# Yea, we wept
0:22:06 > 0:22:11# We-e-ept... #
0:22:11 > 0:22:15'We didn't do very well there, did we?'
0:22:15 > 0:22:17Um...
0:22:18 > 0:22:20Yeah.
0:22:20 > 0:22:25Belshazzar is the icing on the cake for the Leeds Festival Chorus.
0:22:25 > 0:22:32We've had music from Elgar, Parry, Sullivan, Dvorak and, more recently, Michael Berkeley and others,
0:22:32 > 0:22:37but Belshazzar has just taken off ever since we did it in 1931.
0:22:37 > 0:22:42It's a great experience and we are very proud it is part of our history.
0:22:42 > 0:22:49This is my father's score of Belshazzar's Feast from 1931.
0:22:49 > 0:22:52He has sung from it many times since.
0:22:52 > 0:22:55It was autographed by William Walton.
0:22:55 > 0:23:00It's always been in the family and will always stay there.
0:23:00 > 0:23:04I don't want any Sunday morning sound here.
0:23:04 > 0:23:12The altos are still flat on page 17, the sopranos are still flat on 18, so we need the works.
0:23:12 > 0:23:15Upbeat to the bar before nine.
0:23:17 > 0:23:21# ..Above my chief joy
0:23:21 > 0:23:26# Jeru-u-usalem
0:23:26 > 0:23:29# Oh, Jeru-u-usalem
0:23:29 > 0:23:33# Jeru-u-usalem
0:23:33 > 0:23:42# Jeru-u-usalem... #
0:23:42 > 0:23:45Down, down, down.
0:23:45 > 0:23:47Less.
0:23:47 > 0:23:55My father was in the Leeds Chorus when the first performance was given.
0:23:55 > 0:24:02He told my mother that it was a very strange piece, quite unusual, he'd never sung anything like it before,
0:24:02 > 0:24:07and wasn't quite sure what he felt about it.
0:24:07 > 0:24:10As rehearsals progressed, he got excited about it.
0:24:10 > 0:24:18He told my mum, "Whichever concert you come to, come to this one. It's going to be really something!"
0:24:18 > 0:24:21# ..Praise ye
0:24:21 > 0:24:28# Praise ye! Praise ye! Praise ye! Praise ye...! #
0:24:30 > 0:24:34This whole thing wants to swing a bit more.
0:24:34 > 0:24:38It's all too straight English choral tradition.
0:24:38 > 0:24:45I've been in Leeds Festival Chorus a long time and so was my father. We were in the Chorus together.
0:24:45 > 0:24:52When I first sang Belshazzar, I remember saying how difficult I found it,
0:24:52 > 0:24:57and he said to me, "How do you think we first coped with it in 1931?"
0:24:57 > 0:25:03Give me more of the actions and really... # Grea-ea-eat! #
0:25:03 > 0:25:08Bit more Count Basie, if you know what I mean.
0:25:14 > 0:25:18# Prai-ai-aise ye!
0:25:18 > 0:25:21# Praise ye... #
0:25:21 > 0:25:27Belshazzar's Feast was seen, when it first appeared, as very radical,
0:25:27 > 0:25:31but underneath the superficial modernity of it,
0:25:31 > 0:25:36there's a lot that does link it to the past.
0:25:36 > 0:25:41It had its new qualities, but basically it's a glorious panoply,
0:25:41 > 0:25:46a great use of chorus and orchestra in a huge sort of romp.
0:25:48 > 0:25:51MUSIC DROWNS SINGING
0:26:09 > 0:26:17Leeds Festival Chorus mythology has it that the brass bands were placed on either side of the organ.
0:26:17 > 0:26:23We've tried it in different places, but I think it's better up there.
0:26:28 > 0:26:35Although William was born in Oldham, he had never used brass bands,
0:26:35 > 0:26:41so this was the first opportunity he had to blow his own trumpet!
0:26:52 > 0:26:59It is a marvellous effect, this sound reverberating from one side of the hall to the other.
0:27:04 > 0:27:10'Only once or twice in the life of each of us comes such a day as this,
0:27:10 > 0:27:15'when we realise that we're watching history in the making,
0:27:15 > 0:27:20'when future generations will look back on this day.'
0:27:24 > 0:27:29The authorities in England were very impressed with Belshazzar's Feast
0:27:29 > 0:27:34and asked William to write the first Coronation March.
0:27:41 > 0:27:49They realised they had a man who could produce the grand sound you'd have for a coronation,
0:27:49 > 0:27:56and William was so thrilled because Crown Imperial was so enormously successful.
0:28:05 > 0:28:09Walton's English "Pomp and Circumstance" style
0:28:09 > 0:28:16was part of an amazing creative output in the '20s and '30s, including the First Symphony,
0:28:16 > 0:28:19his first major work after Belshazzar.
0:28:22 > 0:28:30The fast scherzo of the symphony is quite original and it's a legacy from Belshazzar.
0:28:30 > 0:28:38This brilliant, hard-edged writing and the brutality of some of it is taken from the choral piece,
0:28:38 > 0:28:42but put into more abstract symphonic terms.
0:28:42 > 0:28:50Good. Could you in the strings really GRIP this first note - "rag-a-dum" - each time it happens?
0:28:50 > 0:28:53Very biting and nasty everywhere.
0:28:57 > 0:29:00DRUMS AND VIOLINS CREATE MENACING TONE
0:29:13 > 0:29:18The scherzo is marked "com malizia" - "with malice" -
0:29:18 > 0:29:24and he needn't have written it, really, because it's so obvious!
0:29:28 > 0:29:36There's a dangerous quality that is present in much of the culture of Europe between the two world wars.
0:30:01 > 0:30:06This dynamic rhythm and energy is one side of Walton's music.
0:30:06 > 0:30:13But there's also a great lyrical beauty in which the Sitwells had a hand.
0:30:13 > 0:30:17The day the Sitwells took William to Italy
0:30:17 > 0:30:21was one of the best turns they did him,
0:30:21 > 0:30:26because Italy became so important to him and influenced his music
0:30:26 > 0:30:31and, of course, eventually he lived there for the major part of his life.
0:30:50 > 0:30:58The beginning of the Violin Concerto, commissioned by Jascha Heifetz, then the world's greatest violinist,
0:30:58 > 0:31:03was probably the most beautiful tune he ever wrote.
0:31:13 > 0:31:20Oh, it really does convey this wonderful sense of Mediterranean sunlight and sunshine
0:31:20 > 0:31:24and lazy afternoons, and also of love.
0:31:44 > 0:31:51SUSANA WALTON: Italy was a most enormous influence in William's life.
0:31:51 > 0:31:57As he came from Oldham, and the weather there is rather on the grey side,
0:31:57 > 0:32:04the moment William was brought by the Sitwells to Amalfi, he discovered a new world -
0:32:04 > 0:32:06the light!
0:32:08 > 0:32:12This is the main thing for a composer.
0:32:12 > 0:32:17You write on white paper with black lines in a pencil or a pen
0:32:17 > 0:32:21and you always in England must have electric light.
0:32:21 > 0:32:26Here, the light was white and he could work without an electric light.
0:32:26 > 0:32:29This made an enormous difference.
0:32:29 > 0:32:34Walton first came to Ischia with his wife Susana just after the war,
0:32:34 > 0:32:42and then in 1961 they built this house and garden as an environment in which Walton could work.
0:32:42 > 0:32:49The garden was designed by Russell Page. It's now one of the most magnificent in the Mediterranean.
0:32:58 > 0:33:05The langour of the Violin Concerto might seem to belong to a very different world to Belshazzar,
0:33:05 > 0:33:08but all may not be what it seems.
0:33:08 > 0:33:11I think it's not the sort of music
0:33:11 > 0:33:17that you can lean back and let it bask all over you.
0:33:23 > 0:33:31On its world premiere they spoke about it being a personal, intense, direct and straightforward piece,
0:33:31 > 0:33:37which, for me, says frankly rather more about Oldham than Ischia.
0:33:37 > 0:33:42There's something all the time urging the music forward
0:33:42 > 0:33:47and there is that same quality there in so much of his music.
0:34:22 > 0:34:28There's a quirkiness about his music, there's a twinkle in the eye.
0:34:28 > 0:34:31Only he could have written it.
0:34:35 > 0:34:37Great.
0:34:37 > 0:34:40That was great.
0:34:40 > 0:34:43MUSICAL CLOCK CHIMES
0:34:53 > 0:35:00- How does Oldham regard Walton? - He was a bit of a forgotten figure. He moved to Italy
0:35:00 > 0:35:04and he only came back to visit his mum.
0:35:04 > 0:35:09It was only after his death that people began to remember him again.
0:35:09 > 0:35:14- Is there a permanent memorial? - We're doing two things.
0:35:14 > 0:35:18There's a living memorial in the annual Walton Festival,
0:35:18 > 0:35:22and in this shopping centre there's a permanent memorial!
0:35:22 > 0:35:28You've seen the clock which chimes a bit of Crown Imperial every hour.
0:35:28 > 0:35:34- Just a reminder. - I'm sure the shoppers say, "That's Crown Imperial"(!)
0:35:34 > 0:35:37If one more does every day, good!
0:35:37 > 0:35:45- Up here there's some very beautiful coloured glass.- This was a tribute by fellow Oldhamer, Brian Clark,
0:35:45 > 0:35:48and it tells his life through these tableaux.
0:35:48 > 0:35:55This one looks at his letter home to his mum from Oxford, asking for money when he was 16,
0:35:55 > 0:36:00and takes us through to a page of Belshazzar's Feast.
0:36:00 > 0:36:05- You get a flavour of Italy. - He'd have liked the palm trees.
0:36:05 > 0:36:13I think you do get a feeling of what it might have been like to sit and soak up the sun, even in Oldham.
0:36:15 > 0:36:21I don't think William's music ever came easily, and he used to say
0:36:21 > 0:36:27it was worse than having a baby - it lasted longer and was more painful.
0:36:27 > 0:36:34But Belshazzar was one of the wonderful occasions in William's life when everything came together.
0:36:41 > 0:36:43I don't hear enough gong.
0:36:43 > 0:36:47It needs as much low pitch as you can give it.
0:36:50 > 0:36:55'The overall structure of the piece is extremely satisfying.'
0:36:55 > 0:37:02The tension builds up and then just at the right moment something happens to release it,
0:37:02 > 0:37:08the most marvellous one being, of course, The Writing On The Wall.
0:37:10 > 0:37:16It's one example of Walton's very imaginative use of the orchestra.
0:37:16 > 0:37:20# And if this was the writing that was written... #
0:37:20 > 0:37:28'The castanets making a creaking noise, low moanings in the percussion and the double basses.'
0:37:28 > 0:37:31# ..Mene
0:37:31 > 0:37:37# Tekel upha-a-arsin... #
0:37:37 > 0:37:41'It's one of the eeriest passages in music.'
0:37:47 > 0:37:51# Thou art weighed in the balance
0:37:51 > 0:37:55# And found wa-a-anting
0:38:03 > 0:38:16# In that night was Belsha-a-azzar the King slain
0:38:16 > 0:38:18# SLAIN
0:38:18 > 0:38:22# And his kingdom divided... #
0:38:28 > 0:38:31I never thought I'd have to do this,
0:38:31 > 0:38:35but "slain" sounds a bit cheerful.
0:38:36 > 0:38:41Coming out of this really sort of creepy music,
0:38:41 > 0:38:46it now needs to sound very shocked and horrified and ghastly, really.
0:38:46 > 0:38:50Let's do a ghastly "slain" once just to...
0:38:50 > 0:38:52"Slain!"
0:38:55 > 0:38:56"Slain".
0:38:56 > 0:38:58SLAIN!
0:38:58 > 0:39:00Oh, yes, that's better.
0:39:10 > 0:39:18I think when the dust settles, we will see Walton as a very important figure who did break new ground
0:39:18 > 0:39:23and we do wonder at the sheer barbaric splendour of it all.
0:39:23 > 0:39:26I think it continued a glorious tradition,
0:39:26 > 0:39:31yet showed a new direction this tradition could move in.
0:39:34 > 0:39:39'Belshazzar is one of these landmark pieces.'
0:39:39 > 0:39:46He wanted a splendid, dramatic work for a choral festival and that's what he gave us, without any frills.
0:39:46 > 0:39:50That's why it's such a damn good piece.
0:40:11 > 0:40:18# Thou spake Isaia-a-ah
0:40:18 > 0:40:24# Thy sons that thou shalt beget
0:40:24 > 0:40:27# They shall be taken away
0:40:27 > 0:40:30# And be eunuchs
0:40:30 > 0:40:36# In the palace of the Ki-i-ing of Babylon
0:40:36 > 0:40:40# Ho-o-owl ye
0:40:42 > 0:40:45# Ho-o-owl ye
0:40:45 > 0:40:47# Therefore
0:40:48 > 0:40:52# For the day
0:40:52 > 0:40:57# Of the Lo-o-ord
0:40:57 > 0:41:04# Is at ha-a-and
0:41:35 > 0:41:38# By the waters
0:41:38 > 0:41:46# By the wa-a-aters
0:41:46 > 0:41:50# Of Babylon
0:41:50 > 0:41:56# By the wa-a-aters of Babylon
0:41:56 > 0:41:59# There we sat down
0:41:59 > 0:42:03# There we sat down
0:42:03 > 0:42:09# Yea, we we-e-ept
0:42:09 > 0:42:12# We-e-ept
0:42:12 > 0:42:17# Yea, we we-e-ept
0:42:17 > 0:42:19# We-e-ept
0:42:19 > 0:42:25# And ha-a-anged
0:42:25 > 0:42:30# Our ha-a-arps
0:42:30 > 0:42:41# Upon the wi-i-illows
0:43:06 > 0:43:10# For they, they that hath wasted us
0:43:10 > 0:43:12# Wasted us
0:43:12 > 0:43:15# Required of us mirth Mirth
0:43:15 > 0:43:19# They that carried us away captive
0:43:19 > 0:43:21# Captive
0:43:21 > 0:43:23# Required of us a song
0:43:23 > 0:43:25# Song
0:43:25 > 0:43:31# Sing us one of the songs of Zion
0:43:31 > 0:43:36# Sing us one of the songs of Zion
0:43:41 > 0:43:47# How shall we si-i-ing the Lord's so-o-ong?
0:43:50 > 0:43:59# How shall we si-i-ing
0:43:59 > 0:44:07# The Lo-o-ord's song
0:44:07 > 0:44:11# How shall we si-i-ing
0:44:11 > 0:44:16# The Lord's song
0:44:16 > 0:44:22# In a stra-a-ange
0:44:22 > 0:44:26# La-a-and?
0:44:27 > 0:44:33# In a stra-a-ange
0:44:33 > 0:44:37# La-a-and?
0:45:15 > 0:45:24# I-I-If I forge-e-et thee
0:45:24 > 0:45:30# Forge-e-et thee
0:45:30 > 0:45:38# Oh, Jeru-u-usalem
0:45:38 > 0:45:42# Oh, Jerusalem
0:45:42 > 0:45:47# Let my right hand forget her cunning
0:45:47 > 0:45:51# Let my right hand forget her cunning
0:45:51 > 0:45:58# If I do not remember thee-ee
0:45:58 > 0:46:04# Let my tongue cleave to the roof of my mouth
0:46:04 > 0:46:09# Let my tongue cleave to the roof of my mouth
0:46:09 > 0:46:12# Yea, if I prefer not
0:46:12 > 0:46:15# Jerusale-e-em
0:46:15 > 0:46:19# If I prefer not Jerusalem
0:46:19 > 0:46:22# Jeru-u-usalem
0:46:22 > 0:46:29# Above my-y-y chief jo-o-oy
0:46:29 > 0:46:34# Oh, Jeru-u-usalem
0:46:34 > 0:46:38# Oh, Jeru-u-usalem
0:46:38 > 0:46:44# Oh, Jeru-u-usalem
0:46:44 > 0:46:53# Oh, Jeru-u-usalem
0:46:53 > 0:46:58# Jeru-u-usalem
0:46:58 > 0:47:04# If I prefer not thee
0:47:04 > 0:47:09# Above my chief
0:47:09 > 0:47:14# Jo-o-oy
0:47:19 > 0:47:28# By the wa-a-aters
0:47:28 > 0:47:31# Of Babylon
0:47:31 > 0:47:35# By the wa-a-aters
0:47:35 > 0:47:38# Of Babylon
0:47:38 > 0:47:43# There we sat do-o-own
0:47:46 > 0:47:51# Yea, we we-e-ept
0:47:51 > 0:47:58# We we-e-ept
0:47:58 > 0:48:06# Yea, we we-e-ept
0:48:20 > 0:48:25# O daughter of Babylon Who art to be destroyed
0:48:25 > 0:48:30# Happy shall he be that taketh thy children
0:48:30 > 0:48:33# And dasheth them against a stone
0:48:33 > 0:48:35# For violence
0:48:35 > 0:48:41# Shall that great city Babylon
0:48:41 > 0:48:44# Be thrown down
0:48:44 > 0:48:46# Thrown down
0:48:46 > 0:48:50# Thrown down
0:48:52 > 0:48:55# And shall be found
0:48:55 > 0:49:01# Shall be found
0:49:01 > 0:49:10# No more at a-a-all
0:49:10 > 0:49:20# No more at a-a-all
0:49:20 > 0:49:26# Shall be fou-ou-ound
0:49:26 > 0:49:35# No mo-o-ore
0:49:35 > 0:49:42# At a-a-all
0:50:19 > 0:50:25# Ba-a-abylon was a great city
0:50:25 > 0:50:30# Her merchandise was of gold and silver
0:50:30 > 0:50:34# Of precious stones, of pearls Of fine linen
0:50:34 > 0:50:38# Of purple silk and scarlet
0:50:38 > 0:50:40# All manner vessels of ivory
0:50:40 > 0:50:45# All manner vessels of most precious wood
0:50:45 > 0:50:48# Of brass, iron and marble
0:50:48 > 0:50:51# Cinnamon, odours and ointments
0:50:51 > 0:50:55# Of frankincense, wine and oil
0:50:55 > 0:50:58# Fine flour, wheat and beasts
0:50:58 > 0:51:02# Sheep, horses, cha-a-ariots
0:51:02 > 0:51:05# Sla-a-aves
0:51:06 > 0:51:14# And the sou-ou-ouls
0:51:14 > 0:51:18# Of me-e-en
0:51:23 > 0:51:26# In Ba-a-abylon
0:51:28 > 0:51:31# Belshazzar the King made a great feast
0:51:31 > 0:51:36# Made a feast to a thousand of his lords
0:51:36 > 0:51:38# And drank wine before the thousand
0:51:44 > 0:51:46# Belshazzar
0:51:46 > 0:51:50# Whiles he tasted the wine comma-a-anded us
0:51:50 > 0:51:54# To bring the gold and silver vessels
0:51:54 > 0:52:00# Yea, the golden vessels which his father Nebuchadnezzar had taken out
0:52:00 > 0:52:05# Of the temple that was in Jeru-u-usalem
0:52:09 > 0:52:15# He commanded us to bring the golden vessels
0:52:15 > 0:52:18# Of the temple of the house of God
0:52:20 > 0:52:25# That the King, his princes His wives
0:52:25 > 0:52:32# And his concubines might dri-i-ink therein
0:52:37 > 0:52:41# Then the King comma-a-anded us
0:52:41 > 0:52:45# The Ki-i-ing commanded us
0:52:45 > 0:52:48# Bring ye the cornet
0:52:48 > 0:52:53# Flute, sackbut, psaltery
0:52:53 > 0:53:02# And all kinds of mu-u-usic
0:53:02 > 0:53:05# All kinds of music
0:53:11 > 0:53:15# They drank wine again
0:53:19 > 0:53:25# The-e-ey drank from the sacred vessels
0:53:38 > 0:53:43# And the-e-en
0:53:43 > 0:53:46# Spa-a-ake
0:53:46 > 0:53:49# The-e-en spake
0:53:49 > 0:54:00# The Ki-i-ing
0:54:16 > 0:54:19# Praise ye
0:54:19 > 0:54:23# Prai-ai-aise ye
0:54:23 > 0:54:28# The god of go-o-old
0:54:28 > 0:54:34# Prai-ai-aise ye-e-e
0:54:34 > 0:54:40# Prai-ai-aise ye-e-e
0:54:40 > 0:54:52# The god of go-o-old
0:55:22 > 0:55:28# Prai-ai-aise ye, the god of silver God of silver
0:55:40 > 0:55:45# Prai-aise ye, the god of iron Praise ye, the god of iron
0:55:57 > 0:56:00# Praise ye, the god of wood
0:56:08 > 0:56:11# Praise ye, the god of stone
0:56:15 > 0:56:19# Praise ye Praise ye, the god of brass
0:56:19 > 0:56:22# Praise ye
0:56:22 > 0:56:27# Praise ye, the god of brass
0:56:34 > 0:56:37# Praise ye
0:56:37 > 0:56:40# Praise ye
0:56:40 > 0:56:45# Prai-ai-aise ye
0:56:50 > 0:56:53# Praise ye
0:56:53 > 0:56:57# Prai-ai-aise ye
0:56:57 > 0:57:00# Praise ye, praise ye
0:57:00 > 0:57:04# Praise ye, the gods
0:57:13 > 0:57:16# Prai-ai-aise ye
0:57:16 > 0:57:20# Prai-ai-aise ye
0:57:20 > 0:57:23# Prai-ai-aise ye
0:57:23 > 0:57:25# Prai-ai-aise ye
0:57:25 > 0:57:29# Praise ye-e-e
0:57:29 > 0:57:32# Prai-ai-aise ye
0:57:32 > 0:57:36# Prai-ai-aise ye
0:57:36 > 0:57:40# Prai-ai-aise ye
0:57:40 > 0:57:42# Praise ye
0:57:42 > 0:57:45# Praise ye
0:57:47 > 0:58:01# Prai-ai-aise ye
0:58:01 > 0:58:05# The go-o-ods
0:58:26 > 0:58:32# Prai-ai-aise ye-e-e
0:58:32 > 0:58:38# Praise ye-e-e
0:58:38 > 0:58:43# The go-o-ods
0:59:06 > 0:59:11# Thus in Babylon the mighty city
0:59:12 > 0:59:16# Belshazzar the King made a great feast
0:59:16 > 0:59:21# To a thousand of his lords
0:59:21 > 0:59:24# And drank wine before the thousand
0:59:27 > 0:59:32# Belsha-a-azzar whiles he tasted the wine
0:59:32 > 0:59:37# Commanded us to bring the gold and silver vessels
0:59:37 > 0:59:42# That his princes, his wives
0:59:42 > 0:59:45# And his co-o-oncubines
0:59:45 > 0:59:48# His concubines
0:59:48 > 0:59:54# Might rejoi-oi-oice
0:59:54 > 0:59:57# And drink therein
1:00:00 > 1:00:04# After they had praised their strange gods
1:00:04 > 1:00:07# The idols and the devils
1:00:07 > 1:00:10# False gods
1:00:10 > 1:00:15# False gods who can neither see nor hear
1:00:24 > 1:00:29# Called they for the ti-i-imbrel
1:00:29 > 1:00:31# And the pleasant harp
1:00:31 > 1:00:39# To extol the glo-o-ory
1:00:39 > 1:00:43# O-O-Of
1:00:43 > 1:00:46# The Ki-i-ing
1:00:48 > 1:00:53# Then they pledged the King before the people
1:00:53 > 1:00:56# Crying
1:00:59 > 1:01:05# Thou-ou-ou, O Ki-i-ing
1:01:05 > 1:01:10# Art Ki-i-ing
1:01:10 > 1:01:14# Of Ki-i-ings
1:01:30 > 1:01:34# O Ki-i-ing
1:01:34 > 1:01:39# O Ki-i-ing
1:01:39 > 1:01:42# Li-i-ive
1:01:42 > 1:01:50# For e-e-ever
1:01:50 > 1:01:54# Live for ever, live for ever
1:01:54 > 1:01:58# Live for e-e-ever
1:02:07 > 1:02:10# And in that same hour
1:02:10 > 1:02:16# As they fea-ea-easted
1:02:16 > 1:02:22# Came forth fingers of a man's ha-a-and
1:02:23 > 1:02:28# And the King saw the part of the hand that wrote
1:02:37 > 1:02:42# And this was the writing that was written
1:02:49 > 1:02:52# Mene
1:02:52 > 1:02:55# Mene
1:02:55 > 1:03:00# Tekel upha-a-arsin
1:03:11 > 1:03:15# Thou art weighed in the balance
1:03:15 > 1:03:19# And found wanting
1:03:26 > 1:03:29# In that night
1:03:29 > 1:03:37# Was Belsha-a-azzar the King
1:03:37 > 1:03:39# Slain
1:03:39 > 1:03:45- # SLAIN - And his ki-i-ingdom divided
1:04:29 > 1:04:34# Then sing aloud to God our strength
1:04:34 > 1:04:39# Make a joyful noise unto the God The God of Jacob
1:04:39 > 1:04:44# Make a joyful noise unto the God of Jacob
1:04:46 > 1:04:51# Take a psalm Bring hither the ti-i-imbrel
1:04:54 > 1:04:59# Blow up the trumpet Blow the trumpet in the new moon
1:04:59 > 1:05:04# Blow up the trumpet Blow the trumpet in the new moon
1:05:04 > 1:05:08# Blow the trumpet Blow the trumpet
1:05:08 > 1:05:13# Blow the trumpet Blow the trumpet
1:05:13 > 1:05:16# Blow the trumpet Blow the trumpet
1:05:16 > 1:05:20# In Zi-i-ion
1:05:20 > 1:05:26# For Ba-a-abylon the great
1:05:27 > 1:05:31# Babylon is fallen Babylon is fallen
1:05:31 > 1:05:32# Fallen
1:05:32 > 1:05:35# Fa-a-allen
1:05:35 > 1:05:39# Fa-a-allen
1:05:39 > 1:05:41# Fa-a-allen
1:05:41 > 1:05:43# Hallelujah! Hallelujah!
1:05:43 > 1:05:46# Hallelu-u-ujah!
1:05:50 > 1:05:55# Then sing Sing aloud to God our strength
1:05:55 > 1:05:59# Make a joyful noise to the God of Jacob
1:05:59 > 1:06:03# Then sing Sing aloud to God our strength
1:06:03 > 1:06:07# Make a joyful noise unto the God of Jacob
1:06:15 > 1:06:23# While the Kings of the ea-ea-earth
1:06:23 > 1:06:26# Lame-e-ent
1:06:26 > 1:06:36# And the merchants of the ea-ea-earth weep
1:06:36 > 1:06:40# Wai-ai-ail
1:06:40 > 1:06:42# Wee-ee-eep
1:06:42 > 1:06:48# Wai-ai-ail, wee-ee-eep
1:06:48 > 1:06:55# Wail and rend their raiment
1:06:55 > 1:07:01# Rend their rai-ai-aiment
1:07:01 > 1:07:08# They cry alas that grea-ea-eat city
1:07:08 > 1:07:14# A-A-Alas that great city
1:07:14 > 1:07:23# A-A-Alas that great city-y-y
1:07:23 > 1:07:34# In o-o-one hou-ou-our
1:07:34 > 1:07:42# Is her ju-u-udgment come
1:07:42 > 1:07:45# In one hour
1:07:45 > 1:07:52# Is her ju-u-udgment
1:07:52 > 1:07:56# Co-o-ome
1:07:56 > 1:08:07# The trumpeters and pi-i-ipers are silent
1:08:07 > 1:08:13# And the harpers have ceased
1:08:13 > 1:08:17# To ha-a-arp
1:08:17 > 1:08:21# And the li-i-ight
1:08:21 > 1:08:28# Of a candle shall shine no mo-o-ore
1:08:28 > 1:08:34# Shall shi-i-ine no more
1:08:35 > 1:08:40# Shine no mo-o-ore
1:08:42 > 1:08:48# No-o-o mo-o-ore
1:08:48 > 1:08:54# Shall shi-i-ine
1:08:55 > 1:09:03# No-o-o
1:09:03 > 1:09:10# Mo-o-ore
1:09:19 > 1:09:21# Then sing
1:09:21 > 1:09:24# Sing aloud
1:09:25 > 1:09:31# Sing aloud to God our strength
1:09:31 > 1:09:35# Make a joyful noise to the God of Jacob
1:09:35 > 1:09:39# Then sing Sing aloud to God our strength
1:09:39 > 1:09:45# For Babylon Babylon the great is fallen
1:09:45 > 1:09:49# Sing aloud for Babylon is fallen
1:09:49 > 1:09:53# Sing Sing aloud for Babylon is fallen
1:09:53 > 1:10:04# Hallelujah! Hallelujah! Hallelu-u-ujah!
1:10:04 > 1:10:08# Hallelu-u-ujah!
1:10:08 > 1:10:10# Hallelujah!
1:10:10 > 1:10:11# Hallelujah!
1:10:11 > 1:10:13# Hallelujah!
1:10:17 > 1:10:19# Hallelujah!
1:10:19 > 1:10:21# Hallelu-u-ujah!
1:10:21 > 1:10:23# Hallelujah!
1:10:23 > 1:10:25# Hallelu-u-ujah!
1:10:25 > 1:10:27# Hallelujah!
1:10:27 > 1:10:29# Hallelu-u-ujah
1:10:29 > 1:10:32# Hallelu-u-ujah
1:10:32 > 1:10:35# Hallelu-u-ujah
1:10:35 > 1:10:38# Hallelu-u-ujah
1:10:38 > 1:10:41# Hallelu-u-ujah
1:10:41 > 1:10:43# Hallelujah!
1:10:43 > 1:10:44# Hallelujah!
1:10:44 > 1:10:47# Hallelujah!
1:10:47 > 1:10:48# Hallelujah!
1:10:48 > 1:10:50# Hallelujah!
1:10:50 > 1:10:53# Ha-lle-lujah!
1:10:53 > 1:10:57# Then si-i-ing
1:10:57 > 1:11:00# Sing alou-ou-oud
1:11:00 > 1:11:08# To God our stre-e-ength
1:11:08 > 1:11:16# Make a joyfu-u-ul noi-oi-oise
1:11:16 > 1:11:24# To the God of Jaco-o-ob
1:11:24 > 1:11:27# Then sing
1:11:27 > 1:11:33# Sing alou-ou-oud
1:11:33 > 1:11:40# Sing alou-ou-oud
1:11:40 > 1:11:42# Sing aloud
1:11:42 > 1:11:46# To God our strength
1:11:49 > 1:11:53# For great Babylon's fallen
1:11:53 > 1:11:56# Great Babylon's fallen
1:11:56 > 1:11:57# Hallelujah!
1:11:57 > 1:12:00# Hallelujah!
1:12:00 > 1:12:03# Hallelujah! Hallelujah!
1:12:03 > 1:12:06# Hallelu-u-u
1:12:06 > 1:12:11# Hallelu-u-u
1:12:11 > 1:12:13# Hallelu-u-u
1:12:13 > 1:12:15# Hallelu-u-u
1:12:15 > 1:12:20# Hallelu-u-ujah!
1:12:20 > 1:12:27# Ha-a-allelu-u-ujah! #
1:13:12 > 1:13:16MUSIC BOX PLAYS TUNE FROM "Facade"
1:13:46 > 1:13:50Subtitles by Keir Murray BBC Scotland - 1999