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William Walton: Façade (Something Lies Beyond the Scene) The Complete Version- After a set of 40 Poems by Edith Sitwell
 
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William Walton: Façade (Something Lies Beyond the Scene) The Complete Version- After a set of 40 Poems by Edith Sitwell

Pamela Hunter , William Walton Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)

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Product details

  • Composer: William Walton
  • Audio CD (1 May 1995)
  • Number of Discs: 1
  • Label: Discover
  • ASIN: B00000220Z
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 293,880 in Music (See Top 100 in Music)

1. Ouverture: Flourish Madam Mouse Trots
2. The Octogenarian
3. Aubade-Jane, Jane
4. The Winds Bastinado
5. Said King Pompey
6. Jumbo's Lullaby
7. Small Talk I
8. Small Talk II
9. Rose Castles
10. Hornpipe
11. Long Steel Grass
12. When Sir Beelzebub
13. Switchback
14. Bank Holiday I
15. Bank Holiday II
16. Springing Jack
17. En Famille
18. Mariner Man
19. Came The Great Popinjay
20. Ass Face
See all 42 tracks on this disc

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Most Helpful Customer Reviews
1 of 1 people found the following review helpful
A Valuable document. 14 April 2011
Pamela Hunter's 'complete version' of Facade is an essential addition to any Walton collection. Her enunciation of the words is exemplary, as is her recorded balance. The first 18 tracks have the poems in the order used at the first (private) performance and - a novel approach - she reads those poems for which the music is no longer extant. Although she omits three further poems for which the music is now lost (Clown Argheb's Song, Gone Dry and Dark Song), musically her CD is as complete as possible. The booklet contains all the texts. If one is to hear the whole CD in a single sitting one might feel that having two reciters avoids any monotony of the single voice, but because the words are of prime importance it has to be said that Pamela Hunter's version is the one to be preferred. With her, the last word in A Man from a Far Countree, instead of a firm spoken 'oh', becomes an expressive hushed 'ah!' which might well echo the listener's reaction to this version.

The Greenfield review in Gramophone can be found here,
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