Folio. 1f. (recto autograph title, verso blank), 6 pp. Notated in pencil on 16- and 24-stave music paper. A working manuscript with occasional evidence of corrections and alterations. Slightly worn and soiled; three file holes to blank inner margins.
- An autograph musical manuscript signed, dated "31 July 54 Peterborough - 2 Apr. 58 NYC" in margin of final page. Oblong folio, Unbound. 8 pp. Notated in pencil on 16-stave music paper. With some corrections and alterations. Slightly worn and soiled; file holes to blank lower margins. With one leaf typescript of text laid in with one minor correction in pencil.
- An autograph musical manuscript signed. Folio. Unbound. Notated in pencil on 16-stave onionskin music paper paginated 13-21. With "c1986 by Lee Hoiby" to foot of first page. A fair copy with tempi and fingerings added.
- A combination autograph musical manuscript and printed copy ozaloid (i.e., some pages in autograph manuscript, some pages printed). Folio. Unbound. 13 pp. Autograph manuscript portions notated in ink and pencil on transparent and onionskin paper. With some corrections and/or alterations laid down. Slightly worn and soiled; some marginal tears.
- Three dye-line copies: one of no. 3 above with markings in pencil and red and blue pencil including corrections and two of no. 4 above with numerous corrections and alterations in lead and purple pencil and red ink.
- A printed copy on onionskin paper with a manuscript note "some bars not corrected" to first page.
Leontyne Price, a distinguished soprano and the first African-American to become a leading artist at the Metropolitan Opera in New York, introduced many of Lee Hoiby’s songs to the public, at Carnegie Hall and other noted venues. "Price felt Hoiby's music was tailor-made for her voice.
In a National Endowment for the Arts interview, she recalled being introduced to his songs by her longtime accompanist, David Garvey, saying 'I fell in love with them. It's just the way he writes, and from then on he was on my program often.' She also recalled the standing ovation Hoiby's songs brought at a 1991 Carnegie Hall recital." Timothy Freenfield-Sanders/G. Schirmer, NPR, March 29, 2011.
"The River-Merchant's Wife, The Dust of Snow, Summer Song, Winter Song, and In the Wand of the Wind... The songs are dramatic ones showing Hoiby to be a first-rate vocal writer... Wonderfully effective, they are a fine addition to the repertoire and to Miss Price's program." Charles Crowder, The Washington Post, 1967. "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… 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. Item #31096
Price: $2,500.00 other currencies