William Walton

His wife was the Argentinian beauty, Susana Walton. The couple never had children, but lived together on an island in the South of Italy in their spectacular garden, La Mortella, until his death in 1983. Long after his death, Susana Walton held music master-classes there.

Walton composed his last big screen score-again for Olivier-this time for Three Sisters (1970).

He scored the music for The Battle of Britain (1969), but it was replaced only two weeks before the film was released.

He was awarded the O.M. (Order of Merit) in November 1967 for his services to music.

The years following into the 1960s were challenging for Walton as composing became difficult and focused on recasting previous work.

This time Walton's music for Richard III (1955) swelled with the facade of pomp that edges the play-repeating the main theme throughout-while keeping the nuances of treachery which dominates the play's content to dramatic economy. Although the film proved to be the most popular and perhaps influential of Olivier's trilogy, it received only one nomination as best picture.

He continued work on an opera (Troilus and Cressida, 1954) and his general musical output, which, all told, would surpass 75 works. Walton did no more film work until Olivier came knocking for the third and final time for a Shakespearean score.

Walton was knighted in 1951 and received the Order of Merit in 1968. But as fate will often have it, Walton was not finished with Shakespeare.

He was made a Knight Bachelor in the 1950 King's New Year Honours List for his services to music.

Once again Olivier wanted a score, now for his Hamlet (1948). The music was appropriately subdued to reflect the nature of the play. The film was a landmark for the time and garnered four Oscars with Walton again being nominated for the score.

One of these film tasks put him back in acquaintance with Olivier who was adapting Shakespeare's Henry V (1944). Having scored five war period films so far, this would be the first of three scores for Olivier's filmed Shakespeare plays. With its implied spirit of nationalism, the music ranged over rousing heroic sections to Renaissance dance and pastoral elements, so familiar to the public in the efforts of such older contemporaries as Ralph Vaughn Williams. The score was nominated for an Oscar, and it remains perhaps the best known of Walton's film music. After the war Walton continued to be a public favorite, and though ranging over new projects in all composing areas, his post-Romantic sentiments would continue to be his foundation.

Walton did four scores for him, including Walton's first Shakespearean effort, As You Like It (1936) which starred Laurence Olivier. With the outbreak of World War II, Walton entered military service but was given leave to compose music for propaganda films based on his already proficient examples of ceremonial themes.

Through the 1930s his choral and symphonic works bolstered that reputation all the more. His first ventures into film music were in association with the Hungarian émigré director/producer Paul Czinner.

But he devoted most time to composing (chamber, concerto, and vocal music) which paid off initially in 1929 with his Viola Concerto, putting him solidly in the British classical music scene.

William Walton came from a musical family. He entered Christ Church, Oxford at the early age of sixteen but left without a degree in 1920. A fine musician, he was essentially self-taught as a composer, except some instruction from Hugh Allen, the cathedral organist. Through literary friends and other associations he became acquainted with the London music and cultural scene. In addition to his own genius for harmonies and texturing (as seen in early choral works), Walton was influenced by the works of Stravinsky, Sibelius, and jazz. The use of the latter brought some early snubbing as a modernist among conservative music critics.

But during some lean years of the 1920s, Walton helped support himself playing piano at jazz clubs.