Summer and Smoke Opera in two acts based on the play by Tennessee Williams Libretto by Lanford Wilson… Op. 27. Autograph musical manuscript of the complete piano-vocal score of the opera, signed by the composer on the title and dated by him on the final page 28 Nov. [19]70, North Salem, N.Y. Lee HOIBY.
Summer and Smoke Opera in two acts based on the play by Tennessee Williams Libretto by Lanford Wilson… Op. 27. Autograph musical manuscript of the complete piano-vocal score of the opera, signed by the composer on the title and dated by him on the final page 28 Nov. [19]70, North Salem, N.Y.
Summer and Smoke Opera in two acts based on the play by Tennessee Williams Libretto by Lanford Wilson… Op. 27. Autograph musical manuscript of the complete piano-vocal score of the opera, signed by the composer on the title and dated by him on the final page 28 Nov. [19]70, North Salem, N.Y.
Summer and Smoke Opera in two acts based on the play by Tennessee Williams Libretto by Lanford Wilson… Op. 27. Autograph musical manuscript of the complete piano-vocal score of the opera, signed by the composer on the title and dated by him on the final page 28 Nov. [19]70, North Salem, N.Y.

Summer and Smoke Opera in two acts based on the play by Tennessee Williams Libretto by Lanford Wilson… Op. 27. Autograph musical manuscript of the complete piano-vocal score of the opera, signed by the composer on the title and dated by him on the final page 28 Nov. [19]70, North Salem, N.Y.

Folio. Unbound. 314 pp. Notated in pencil on light green 16-stave music manuscript paper, primarily on one side of each leaf only. Ca. 355 x 280 mm. Occasional autograph corrections, annotations, overpastes and cancelled pages. File holes to inner blank margins.

Together with:

1. Autograph musical manuscripts of early working drafts in piano-vocal score of Summer and Smoke including material based on the discarded libretto by Wesley Balk. Folio. Unbound. Ca. 500 pp. Notated on paper of various types and sizes.

2. Autograph musical manuscript of the discarded first scene of Summer and Smoke in piano-vocal score. Ca. 1967. 48 pp. Notated in pencil on 16-stave music manuscript paper. Together with a 1-1/2 pp. closely-typed copy of a letter dated February 13, 1967 written by Hoiby to the librettist of the work recounting in considerable detail the challenges he was having composing the work:

"I have been in the lowest of depths for about the last two months, all because of Summer and Smoke... I've never had the depressing conviction that something just didn't 'work.' By now, I'm afraid I'm utterly and completely disenchanted with what I've written, and shall have to begin all over again. I have many times tried to begin Scene 2, and found myself in a paralytic vice of creative blockage... I may find that I am unable finally to do this opera, though at this point I don't accept that idea."

3. An envelope with alternate manuscript overpastes with cuts and revisions for the 1980 Chicago Opera Theater broadcast of the opera and the 1989 University of Southern California, Long Beach productions.

4. A copy of the printed piano-vocal score published by Belwin-Mills in ca. 1976 with the composer's annotations and corrections, mostly in pencil, and with occasional printed overpastes. Folio. Publisher's wrappers. 332 pp. With 4 folio-sized sheets with the composer's directions, cuts and corrections to the score laid in. With composer's note to upper wrapper: "L[ee] H[oiby] Revised '88 Final Copy."

5. A second copy of the above, similarly marked with composer's annotations, corrections and overpastes. With "L[ee] H[oiby] Rev[ised]" to upper wrapper and "Lee Hoiby 2010 The Falls" to title, and with composer's list of cuts and revisions to inner upper wrapper.

6. A dye-line copy of Hoiby's autograph piano-vocal score. 300 pp. The stage manager, Dean Ekberg's, copy, with the addition of blocking diagrams opposite each page of music. Production notes, overpastes, instrumental cues/directions, lighting cues, etc., in coloured ink and pencil throughout. Two volumes. Folio. Spiral-bound.

After hearing Hoiby's earlier opera, A Month in the Country (the revised version of his Natalia Petrovna, based on a play by Ivan Turgenev, premiered by the New York City Opera in 1964), Tennessee Williams approached Hoiby with the suggestion that he might be interested in writing an opera based on one of Williams's works. Hoiby's setting of Summer and Smoke was the result; it is the first opera to be based on a Williams play and is perhaps Hoiby's most famous work.

Commissioned by the St. Paul Opera Association, Summer and Smoke was composed in 1970 and premiered on June 19th 1971 in St. Paul, Minnesota with Igor Buketoff conducting. It went on to a production by the New York City Opera on March 12th 1971 under Julius Rudel. "It continues to be performed with substantial success, and its 1980 production by the Chicago Opera Theater was broadcast in June 1982 by PBS-TV (WTTW), Chicago, and seen nationally. For its production during the Lee Hoiby Festival at California State University, Long Beach in 1989… Hoiby added a new scene in Act 1 drawn from his Three Women: Scenes for Soprano, Saxophone and Piano (1988)…"

"... Summer and Smoke is a skilful interweaving of offstage music and spoken passages. It is a lyrical, poetic and compelling work that critics praised as America's most successful opera to date. Paul Hume (writing in the Washington Post) considered it an 'opera of immense emotional power flooded with music of great beauty'." Elise Kirk in Grove Music Online.

Considered "a modern Romantic from the lineage of Barber and Menotti," Hoiby's Summer and Smoke is regarded as having achieved "an eloquence comparable to the later works of Barber." op. cit.

More recently, the work was revived at the Manhattan School of Music, where it received three performances in December, 2010: "When... Summer and Smoke... had its premiere in 1971, it was criticized by some for its conservative music, awash in the harmonic language of Menotti (Mr. Hoiby's mentor), Barber and Mahler, and its unabashedly lyrical vocal writing. But the work, with an effective and delicately poetic libretto by the playwright Lanford Wilson, also won deserved praise for doing what an opera is supposed to do: telling the story with sure dramatic pacing and understated expressivity, in music admirable for its directness and melodic grace."

"These qualities shone through on Wednesday night when the Manhattan School of Music Opera Theater presented the first of three performances, with Mr. Hoiby, 84, in attendance. The conductor Steven Osgood drew supple, beautifully restrained playing from the able musicians."

"Set in Glorious Hill, a small Mississippi town, the story unfolds during several momentous months in the lives of two young adults who grew up as neighbors: John Buchanan Jr., a dashing doctor, and Alma Winemiller, the sweet but inhibited daughter of a pious minister. The handsome production, directed by Dona D. Vaughn, using windows and sets that descend into place, imaginatively evoked the neighboring houses: the staid sitting room in the rectory where the Winemillers live and the doctor's office where young John Buchanan practices with his father." Anthony Tommasini in The New York Times, December 9, 2010.

A remarkable assemblage of material documenting the creation and production of what has been described as one of the finest operas composed by an American. Item #21187

Price: $35,000.00  other currencies

See all items in Music
See all items by