William Walton: Belshazzar's Feast By Yung-Kai Tsai (PhD in Musicology, National Taiwan Normal University) With the exception of his Viola Concerto, Walton’s cantata Belshazzar’s Feast can be considered the most popular work in the composer’s output. This cantata was commissioned by the British Broadcasting Corporation (BBC). Osbert Sitwell (1892-1969) wrote the libretto based on the Bible. The first half of the cantata’s narrative was based on Psalm 137. Through the prophet Isaiah, God informed the Jews that they would lose Jerusalem and be captivated by the Babylonians. The Jews wept on the riverbank, reminisced Zion, and sang the “song of Zion” for the Babylonians. The second half of the cantata was based on the Book of Daniel (chapter five) from the Old Testament. The Babylonian king Belshazzar hosted a banquet, in which he allowed the sacred goblets taken from the Jewish temple to be used by his guests; he also praised the gods of gold, silver, bronze, iron, and wood. A miracle occurred during the banquet: a hand appeared in the air, writing on the wall. The captivated Jew Daniel was summoned by the king to interpret the inscription: he explained that these were the words of God. Daniel informed King Belshazzar that God—and God only—is the ruler of all, not the inanimate gods worshipped worshiped by the king. However, the arrogant king refused to acknowledge his sins and lost of throne, consequently. This cantata opens with the trombones, symbolizing the will of God. The choir then, a cappella, narrates Isaiah’s prophecy. The orchestra joins in, symbolizing the river of Babylon while the choir represents the weeping Jews. The Jews’ feelings turn from sorrow to anger. Solo baritone proceeds, leading the choir and conveying the Jews’ nostalgia for Jerusalem and their curse on the Babylonians. After solo baritone narrates the fertility and luxury of Babylon, the choir follows with excitement, leading to the second half and core of the cantata, namely, King Belshazzar’s feast. The trumpets, symbolizing the horns, represent the king. The Babylonians’ idol worship is conveyed by the bright timbre of the orchestra: Walton uses various instruments to create rough equivalents of the images of “gold, silver, bronze, iron, wood, and stone.” For example, the cymbals represent the iron; and the woodwind, the wood. The climax, God’s writing on the wall, is presented by solo baritone. He is complemented by the orchestra, which conveys the skin-crawling effect of the scene. In the Bible, the king and his people meet their doom on the night of this miracle. The cantata concludes with the bright timbre of the trumpets and the agitating sound of the percussion, presenting the Jews—presented by the choir—who, dancing and weeping for joy, praise their God. Translated by Feng-Shu Lee
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