The Tempest. Autograph working musical manuscript of the complete opera in three acts. Marked "first draft." Piano-vocal score. Set to a libretto by Mark Shulgasser after William Shakespeare.

The Tempest. Autograph working musical manuscript of the complete opera in three acts. Marked "first draft." Piano-vocal score. Set to a libretto by Mark Shulgasser after William Shakespeare.

Folio (ca. 355 x 278 mm.). Unbound. Notated in pencil on 16-stave paper.

Act I: 139 pp. (7 of which are in photocopy).
Act II: 125 pp. (9 of which are in photocopy).
Act III: 120 pp. (9 of which are in photocopy).

With extensive autograph corrections and revisions, cancels, and overpastes, including a significant quantity of music composed and discarded.

Together with:
- Manuscript notes relating to dates of composition of sections, instrumentation, and proofreading. 5 pp.

Also with:
- The "Wedding Masque from Shakespeare's The Tempest... written for the Wedding of Owen and Allison Brown on March 16, 1985 at San Francisco." Autograph musical manuscript. Folio. Unbound. 10 pp. Notated in pencil on 16-stave music paper. Scored for coloratura soprano, two sopranos, mezzo soprano, two counter-tenors, tenors, four baritones, two basses, bass baritone, and orchestra.Together with a photographic copy incorporating autograph corrections and annotations in lead and red pencil. Variously dated 1984-86.

The present manuscript constitutes the sole major source for The Tempest, the only other source being some preliminary sketches found in two of Hoiby's sketchbooks.

The Tempest was first performed on June 21, 1986 by the Des Moines Metro Opera conducted by Robert Larsen.

"Lee Hoiby's beautiful, stimulating opera The Tempest... Shakespeare's magical, otherworldly play, makes frequent reference to music and its transformative powers; Hoiby picks up on all the cues, and then some. His musical language has been described as conservative and tonal - even Romantic - but there's far too much variety and imagination on display here to make such a facile categorization. Even in lush, melodious passages - of which there are many - he shows a genuine affinity for the natural music implied by Shakespeare's elevated, ornate language, coupled with an artistic personality of his own strong enough to transfigure it for his own clear-eyed purposes. His enormous skill in differentiating his characters musically also contributes to the success of this work... Caliban, the island native enslaved... gets to deliver the wonderfully incantatory Act II aria, Be not afeard, which has the feel of a modern classic... The luxuriant trio for the three goddesses, with its Wagnerian overtones, is another memorable one." Opera News CD review

"As a composer Hoiby was a modern Romantic from the lineage of Barber and Menotti. The influence of the former is evident in his warm lyricism, while that of the latter is found in a propensity for light, genial humour. Though much of his music is characterized by a disarming diatonic simplicity, his ambitious works tend towards greater harmonic and textural complexity. Interest in his music has centred chiefly around his operatic, choral and vocal works, which seem to stimulate his most deeply felt efforts. Some of these works – for example Summer and Smoke, Galileo Galilei and The Tempest – achieve an eloquence comparable to the later works of Barber. With greater critical acceptance of more conservative musical styles from the early 1980s onwards, Hoiby’s music has been performed and recorded with increasing frequency." Richard Jackson and Walter G. Simmons in Grove Music Online.

A major work by a notable American composer. Item #31016

Price: $15,000.00  other currencies

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