www.churchillbooks.com/GuidePDFs/g82.pdfA HISTORY OF THE ENGLISH-SPEAKING PEOPLES. [1952-1957] .... 1956; January (20,000) and August 1957; January 1958 (9750); February 1959 (5000); ...
A HISTORY OF THE ENGLISH-SPEAKING PEOPLES
The first volume of A HISTORY OF THE ENGLISH-SPEAKING PEOPLES was published by Cassell in April 1956, with 130,000 copies. There were four volumes in the set, the final one appearing in 1958. The volume titles are:
Vol. I THE BIRTH OF BRITAIN
Vol. II THE NEW WORLD
Vol. III THE AGE OF REVOLUTION
Vol. IV THE GREAT DEMOCRACIES
Cassell did a first class job on these books, tall 8vo volumes bound in smooth red cloth with gilt titles and red stained top edges. The dustjackets had special illustrations for each volume. Firsts are plentiful, but fine copies are not. Collectors should be alert for foxing, faded top edges, or colour shift on the dustjacket spines. Dustjacket flaps should not advertise later volumes on first editions.
This work is far from a comprehensive history. It emphasises Churchill's recurring theme of the unity of the English Speaking world. It also focuses on a number of specific turning points in history where one person made a difference, the unstated message being "like me".
The American first edition by Dodd Mead is not as nice a production as the English. The books are shorter and bound in grey cloth. Again, there are huge numbers of reprints and BOMC printings. The US firsts should have $6.00 prices on the dj flaps, red stained top page edges, no debossed dot on the rear cover, and correct dates on the title pages. Please note that the trade firsts DO have a statement on the dj flaps about the book being a BOMC selection.
Like THE SECOND WORLD WAR, there was a deluxe Chartwell Edition published by the Educational Book Co. Ltd. The Canadian edition is dervied from the US edition with similar jacket design, but a more attractive binding in dark blue cloth. There have also been numerous paperbacks and abridged editions over the years. There was a nice leather bound edition produced by the Easton Press in 1992.
There were four excerpted works which are listed individually: The American Civil War, Heroes of History, The Island Race, and Joan of Arc.
Click on red text or pictures below to view current inventory of specific edition.
THE ISLAND RACE. An abridgement by Timothy Baker of the four volumes of A History of the English speaking peoples.
CHURCHILL.WINSTON S.; .Cassell & Co.London.,1964.
FIRST EDITION.Large 4to.Fully illustrated throughout in colour and black & white.Fine copy in near fine dustwrapper with some very minor rubbing to edges.Lovely copy.:.
March: A History of the English-speaking Peoples', incidental music for television
In 1959, William Walton was commissioned to compose music for the opening and closing credits of a television series based on Winston Churchill's History of the English-speaking Peoples. The resulting work, March for the History of the English-speaking Peoples, was recorded by the London Symphony Orchestra in May of that year and later published by Oxford University Press. However, the television project never materialized, and consequently Walton's score, which might have become one of his more familiar among popular audiences through television exposure, was all but forgotten. With the moderate surge in popularity that Walton's music enjoyed in the last decade of the twentieth century (due in no small part to an effort by Chandos Records and the William Walton Trust to have his complete works recorded), this and other little-known pieces have become available for consideration. Though not a particularly substantial work (it lasts less than five minutes), the March for the History of the English-speaking Peoples is nonetheless well crafted. The introductory section contrasts a festive, brass-heavy fanfare with a lyrical passage in the strings. The middle section takes on a ceremonial tone, with a rhapsodic string and woodwind melody that swells into a grandiose tutti section. An abrupt key change takes us back to the lively initial material, while a dramatic rubato leads to a broadly orchestrated rendering of the first section's lyrical second theme. This swells to a magnificent maestoso that seems to suggest a joyful but solemn conclusion; it is playfully undercut at the last minute by a final return of the lively first theme, which carries us to the end of the piece.