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Here's what Guenther Koegebehn posted over at the Rozsa Forum some time ago from data in Alan Poulton's account (I hope it's okay to post this, Guenther!?):
The March is Walton's, the introduction to it is Arnold's...
Here are the parts of the manuscript in Arnold's hand (the rest is in Walton's handwriting):
5M1 "Pilot's Run" 0'59"
12M1 "Interior of Heinkel" 1'15"
13M1 "Battle in the Air" (pages 1-15 in Walton's hand , pages 16-24 in Arnold's)
14M1, 14M2 (no title) 1'31"
14M3 March Introduction 2'14"
14M3A alternative version to 14M3 2'11"
(from Alan Poulton's book)
It seems there's about 12 minutes or so of the whole Walton score that's Arnold's. Mind you, the second half of the Battle in the Air is largely under a repeat sign, to my ears, so I dunno if 'pages 16-24' represent the second half of the first half, or the second half overall. The tail end coda, is clearly Arnold's big splash into the sea.
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Wasn't Arnold the conductor (credited) of Walton's score as well?
Yes, he was.
Walton, surprisingly, found good theme-writing hard later in life.
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Andre Previn does say more about the chat on the phone.
Walton said something like, 'Who's this Ron Goodwin chap when he's at home?' and Andre told him that he too had had a score replaced by RG.
So Walton said, 'What does he do, apart from replace other peoples' scores?'
It needs to be said though that Goodwin always gave credit to Walton's score. He said he thought the studio asses for replacing it, but he needed the job.
I'm not sure, but I think the march for this one is the one where Walton filled out his orchestra instructions, where the Italian bit usually goes at the top, with, 'With Ham, Lamb, and Strawberry Jam'.
That's the real Walton, always with a glint in the eye.
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