Belshazzar's Feast - Walton - 2. Yea We Wept/They That Wasted Us Flashcards

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1
Q

What happens at the ‘Yea, we wept’ section?

A

The choir splits into 8 parts, 2 choruses. The 2nd chorus sing ‘Yea, we wept’ as a call, which the 1st chorus respond to with ‘Wept’, creating an antiphonal echo effect.

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2
Q

What role does the orchestra play in the ‘Yea, we wept’ section?

A

It accompanies the 1st chorus singing ‘Wept’ with the Double Bass and Timpani.

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3
Q

Describe the textural development from the word ‘harps’ when the choir sing ‘hanged our harps upon the willow’.

A

Further polyphony develops, although all of the parts remain legato to represent the flowing waters. This metaphor is extended further with a long melisma on the word willows.

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4
Q

What tonality do we move into for ‘They that wasted us’ and what mood is created?

A

An A minor tonality develops as the music becomes more agitated.

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5
Q

Describe the harmonies in the vocal lines in ‘They that wasted us’.

A

The tenors and basses are singing in major 2nds (an A and a B), which creates dissonance and portrays their anger.

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6
Q

What do the female parts do as a response to ‘They that wasted us’?

A

They sing ‘Wasted us’ with forte piano dynamics, with an octave leap downwards on the words ‘wasted us’ and ‘captive’.

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7
Q

What is the rhythm for ‘Wasted us’?

A

It is the same as the Babylon theme.

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8
Q

What does the time signature do in the ‘They that wasted us’ section?

A

Walton manipulates the time signatures so that more important words such as: ‘Wasted us’, ‘mirth’, ‘captive’ and ‘song’, on the 1st beat of the bar.

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9
Q

What idea does Walton reuse in the figure following ‘They that wasted us’?

A

On the word ‘Zion’, he uses a downward octave leap. This shows us that it is an important place as the first syllable is accented. But the descent connotes the negativity of the loss of their homeland.

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10
Q

At the 2nd appearance of the word ‘Zion’, what does Walton do to create a rushed intensity?

A

He wrote for Zion to be sung at a high G, which crescendos and holds over a few bars. Meanwhile, a 6/8 hemiola in the muted trumpet and trombone creates a rushed feel.

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