Extensive musical setting for the play by Euripides, to be performed in the original Greek. The score consists of orchestral accompaniment with much choral work by two male choirs to support the play itself which is declaimed against the music or spoken unaccompanied. Flexible staging is indicated. The orchestral forces required are 2 flutes, 2 hautboys, 2 clarinets in B flat, 2 bassoons, 4 horns, 2 trumpets in C, 3 trombones, contra bass tuba, timpani, harp and strings.
Synopsis: The god Apollo has conceded to Admetus, King of Pherae in Thessaly, the right to appoint another in his place when Thánatos (Death) comes to claim the king. Admetus fails to find a willing replacement until his wife, Alcestis, offers herself. The demi-god Heracles (Hercules) arrives on the day Death is to take Alcestis. He meets the grief-stricken Admetus who urges Heracles to remain in his house as a guest. Alcestis dies. Out of pity for the plight of both Alcestis and Admetus, Heracles pursues Thánatos, wrestles him into submission and brings Alcestis home to her repentant husband.
- M-H 1/1-1
Autograph full score. Brown leather-bound volume tooled in a flower design at the edges. 39 cm x 50 cm x 3 cm. Damaged spine lettered ‘ALKESTIS’ (c.f. Alcestis elsewhere) in black. Two front papers. 1st recto of these is signed in red pencil ‘GWL Marshall‑Hall.’ 30-stave score paper, no imprint, black inked. 175 paginations of score paper inscribed in pencil on the lower right corner with a second pagination at the top right corner. Page l is inscribed in pencil: ALKESTIS. The score begins at p.5, which is inscribed with the title in Greek, then: ‘Act I. Introduction.’ and signed ‘G.W.L. Marshall‑Hall. 25 March 98’, the date copying of this score commenced. The scoring is: 2 flutes, 2 hautboys, 2 clarinets in B, 2 bassoons, 4 horns, trumpets in C, 3 trombones, contra bass tuba, timpani, harp and strings.
The Introduction ends at p.12, and the score continues at p.13 with ‘Act I. Melodrama.’ The spoken Greek is present in the written score on pp.13–18, but generally the words of the actors are present only on cut-out sections of the published play in Greek which are pasted in throughout. English occurs sporadically throughout the score in pencil wherever space has allowed. It would seem that the work was sung in Greek wherever the chorus was introduced, but, to aid understanding for the singers, an English translation has been filled in.
At p.21, the scoring is again indicated, the hautboys being replaced by the words: ‘20 bars’ and with the addition of timpani. At this page also, two TTBB ‘semi‑choruses’ are introduced. At p.85 the page is headed ‘Finale. Act I.’ Act I ends at p.91. ‘Act II Introduction’’ begins at p.93. At p.119 a stage direction in English is added in red pencil. At p.151 the word ‘chorus’ is written in the right margin. Act II ends at p.126. ‘Act III Introduction’ begins at p.129 and ends at p.159. ‘Act III Melodrama’ begins at p.161. and ends at p.164. ‘Finale. Act III’ begins at p.166 and ends at p.174 where the page is signed and dated: ‘FINIS. G.W.L. Marshall‑Hall. 17/4/98.’
- M-H 1/1-2: 1 to 5
Fragments of Alcestis.
M-H 1/1-2 1. Vocal and piano score fragment in black ink. Equates with the full score of Alcestis at M‑H l/l‑l from bar 2, p.63 of the lower pagination, to p.84. 6 pages (3 sheets) of 15-stave score paper once part of a 30-stave format but torn across at the half page. No pagination or imprint. Much overscoring at the second recto and verso and the third recto.
M-H 1/1-2 2. Single sheet of score paper written on one side only. 20 bars of an unidentified piano sketch in pencil, the vocal part not present. Apparently once part of M-H 1/1-2:1.
M-H 1/1-2 3. Vocal and piano score fragment, marked as ‘Chorus VI.’ Equates with the full score of Alcestis M‑H l/l‑l from p.151 to p.158. 12-stave score paper with a circle emblem imprint and the words ‘AUSTRAL Nr.3’ within. Black inked. The first recto margin holds the pencilled inscription: ‘Prof. Marshall‑Hall.’ 8 paginations. Slip of additional notation at p.3.
M-H 1/1-2: 4. Vocal and piano score of Chorus 1 & 2 of Alcestis. Equates with the full score at M‑H l/l‑l from p.21 to bar 7 of p.61 of the lower pagination. 14-stave score paper, imprinted ‘Austral Nr.2’ within a circle.
M-H 1/1-2: 5. Vocal and piano score of a section of Act II of Alcestis and another of Act II. Equates with the full score at M‑H l/l‑l from bar 3 of p.14 to p.17 for the first recto and verso of the two sheets of the archive. This first sheet holds the imprint ‘Austral Nr.2’ within a circle. The second sheet is torn and though possibly once joined to the first sheet does not continue the score from that point, though it is also black inked as a vocal and piano score with Greek wording. The first sheet holds a pencilled underlay of the Greek original which appears to be a phonetic version to aid the choir in pronunciation. The second sheet is possibly bars 5 and 6 of p.99 to p.100 of Act II in M‑H l/l‑l, in reduced form.
M-H 1/1-2: 6. Blank page among the Alcestis fragments. 12-stave score paper.
- M-H 1/1-3: 1 to 18
Orchestral parts of Alcestis. A brown paper folder, 28cm x 36.5cm, contains orchestral parts. The cover is inscribed in red pencil: ‘Alcestis. Divinite du Stisc.’ also spelt ALCESTES on some parts. 12-stave score paper imprinted ‘Bell Brand No.3(a)’ with a bell emblem above for all except M-H 1/1-3: 9.
Present are: 4 first violin parts, 5 second violin, 2 viola, 1 violoncello, 1 double bass, 1 Hautboy, 1 clarinet 1 bassoon, 1 trumpet, 1 French horn.
An opera in twenty-five scenes requiring a minimum of two alternating sets. All major characters are non-singing actors. Major musical forces are a double SATB chorus and an orchestra of 3 flutes and piccolo, 2 oboes, hautboys, 3 clarinets, 1 bassoon, 4 horns, 3 trumpets, 2 tenor trombones, 1 bass trombone, 1 bass tuba, 1 harp, timpani, violins, violas, cellos and double basses.
The libretto is based on the legend of the Messenian king, Aristodemus (reigned 731–724 BC). According to J. Lempriere’s A Classical Dictionary (London, 1860), this king conducted a successful campaign against Sparta during which the proud Spartan women were prostituted as part of the policy of conquest. When Aristodemus found his own unmarried daughter with child, however, with clear double standards, his rage was turned against the girl, whom he murdered. Thereafter the king was haunted by visions of his daughter’s long hair, the symbol of womanhood. He commits suicide, leaving a bloody war behind him as his only heir. G.W.L. Marshall‑Hall’s version of this story is much more complex.
Synopsis: The virgins of Sparta, coming to worship before the shrine of Artemis, are raped by the Messenian youths. Out of shame the maids commit mass suicide by slitting open their veins. King Teleklus, hearing their cries, attempts to rescue them but is killed by Artander. As he lies dying, the King grasps the feet of the statue of the goddess and begs retribution. In reply Artemis sends pestilence and death to the Messenian youths and war to Sparta. The Messenian king, Aristodemus, is forced to retreat with the remnants of his army to the citadel of Ithome. Artemis pursues him, predicting that to appease her Aristodemus will sacrifice his daughter in vain, that all his house will die as suicides and that his subjects will be forced from the land or given into slavery.
Tisis, son of Alcis, is sent by Aristodemus to the Pythian Apollo at Delphi to ask how the anger of Artemis should be appeased. Apollo answers that a virgin of the blood of Aephytus was to be elected from the descendants of Herakles and sacrificed to Artemis. If no‑one of that clan could be found then a maiden of another race could be substituted, but only with the consent of her father. The lot falls on the daughter of Lyciscus. Ophineus, a blind sage tries to warn Aristodemus that the oracle has deceived him and the elected virgin is not a descendant of Herakles. Aristodemus refuses to listen. Apollo restores Ophineus’s sight and sends the sage into a frenzied trance during which he sees a vision of the deaths of the King and Queen. A guard finds Lyciscus and his daughter have escaped, leaving a message with a slave that the girl was adopted and Lyciscus therefore was not free to give her in sacrifice. Aristodemus’s daughter, Taira proudly offers herself as a replacement since she is of the blood of Herakles and her paternity certain. A messenger brings news of disaster on the nearby battlefield and Aristodemus steels himself to the death of his child whose life must be sacrificed by his own hand as chief priest of his people.
Damis, who is betrothed to Taira, accuses Aristodemus of being deceived by the oracle and thus the murderer of his own child. He claims she is no virgin but already pregnant to him and the sacrifice has been in vain. Aristodemus rushes to the altar of Artemis where Taira is preparing for her death. The King takes the girl by the hair, and shouting ‘liar’ cuts her throat, splits open her belly and demands that all should look on her innocence. Aristodemus is told by Ophineus that the sacrifice is not acceptable to the goddess. Aristodemus prays for a sign to contradict the sage but the shield of Artemis falls and shatters on the shrine’s floor and the palace doors clash in a sudden burst of lightning and thunder. The Queens hangs herself. Aristodemus, on finding her, orders three perfumed litters to be placed before the shrine. He lays out the bodies of mother and daughter on either side of the empty central bier and goes to meet the enemy at the city gates. There he tells the people to abandon the land and take ship to safety. He then returns to the shrine of Artemis and commits suicide. He is found there by the Spartans who see the vision of Ophineus of the three funeral biers and the three furies standing by each, one with a knife, one with a halter and one with a sword.
- M‑H 1/2‑1—Full score
Full score of Aristodemus. Calf bound. Composer’s autograph. 27.5cm x 35cm x 5.25cm. The front and back covers are tooled at the edges in black patterns and with the title ‘Aristodemus’ also in black tooling in a design on the front cover only. Black inked score except for Scene XX which is in blue ink. The first recto is inscribed ‘G.W.L. Marshall-Hall, Melbourne c/o Fischer‑Sobel [sic] , 1 Harley Rd., Swiss Cottage N.W.’ in the composer’s hand. The second recto holds the top page of a published libretto reading: ‘Aristodemus. A Tragedy by G.W.L. Marshall‑Hall. “Alle Schuld racht sich auf Erden”—Goethe.’ The libretto is, therefore, by the composer. The second verso holds a page from a published libretto reading:
Aristodemus, King of Messenia
Taira, his Daughter
Ophioneus, a soothsayer, blind
Damis, a youth betrothed to Taira
Chorus of Messenian women and old men
Soldiers, attendants, etc
Tisis, Bearer of the Oracle
The Scene is laid before the Palace of the King of Ithome.’
Only the members of the Chorus of Messenian women and old men are required to sing. The score reveals that this list of characters does not indicate singers but actors who are required to declaim extensive poetic passages throughout with orchestral accompaniment.
The final occupied page (p.528) is signed and dated: ‘Aug 11th 1902. G.W.L. Marshall‑Hall.’ The score consists of 528 paginations and eight blank leaves of score paper. There are three frontpapers, as described above, and two blank endpages. 20-stave score paper, imprinted ‘B.C.’ on a bar across a lyre emblem, underwritten ‘No.6.’ No orchestral parts are present in this collection, but the instrumentation indicated by this score is for: 3 flutes, piccolo, 2 oboes (with Hb, p.14, and Hob., p.16, indicating the use of the hautboy after the opening scene), 3 clarinets, 1 bassoon, 4 horns, 3 trumpets, 2 tenor trombones, 1 bass trombone, 1 bass tuba, harp timpani, violins, violas, cellos, double basses.
Note: the University of Melbourne holds the library of the Royal Victorian Liedertafel. This contains an uncatalogued holding of 125 printed copies of the chorus: ‘Honour the mighty Father’ from Scene V of Aristodemus and the orchestral parts to the same chorus consisting of 6 first violin parts, 6 second violin, 3 viola, 2 cellos, 2 double basses, a combined part for first and second flute, another for third flute and piccolo, a clarinet part, a harp part, and single parts for bass clarinet, for 4 horns in two divisions, bass tuba, bassoon, contra bassoon, a fourth horn together with a third bassoon, an oboe, two trumpets together and a third separate, two trombones, a bass trombone and timpani.
The work is divided into 25 scenes, 20 marked in red ink and roman numerals as:
- Scene 1—pp.1–26
- Scene 2—pp.27–83
- Scene 3—pp.84–86
- Scene 4—pp.87–100
- Scene 5—pp.101–164
- Scene 6—pp.165–166
- Scene 7—pp.167–177
- Scene 8—pp.177–199
- Scene 9—pp.200–227
- Scene 10—pp.228–232
- Scene 11—pp.233–248
- Scene 12—pp.249–250
- Scene 13—pp.251–263
- Scene 14—pp.265–289
- Scene 15—pp.289–303
- Scene 16—pp.305–375
- Scene 17—p.376
- Scene 18—pp.377–444 (4 blank pages occur)
- Scene 19—pp. missing from the numbering
- Scene 20—pp.449–493
- Scene 21—p.493
- Scene 22—p.494
- Scene 23—pp.495–511
- Scene 24—pp.514–523
- Scene 25—pp.524–528
- M-H 1/2‑2
A piano and vocal score of the opera Aristodemus. Off‑white linen bound. Black inked score. 24cm x 27cm x 3cm. There are four frontpages. The first recto is inscribed ‘G.W.L. Marshall‑Hall. Conservatorium of Music. Melbourne. Victoria.’ The second recto holds the first page of a printed libretto as for M‑H 1/1‑1 (full score). The second verso holds the printed cast list as in M-H 1/1‑1 and of the same origin as M-H 1/2‑5. There are four endpages, the first recto holding an Index of 25 scenes and their definition and pagination viz:
Scene I Artemis. p.3 Scene II Hymn to Artemis. Chorus. p.13 Scene III Entrance of Aristodemus. p.50 Scene IV Entrance of Tisio. p.52 Scene V Chorus. The birth of Hercules. p.60 Scene VI Entrance of the Queen. p.105 Scene VII Entrance of Taira. p.106 Scene VIII March. p.112 The sacrifice. p.116 Scene IX Entrance of Ophioneus. p.119 Ophioneus’s frenzy. p.120 Scene X Chorus. ‘Words of madness’ etc. p.131 Scene XI Entrance of guard. p.134 Taira’s self‑sacrifice. p.136 Chorus ‘Soundless are the feet.’ p.141 Sceno XII Entrance of Messenger. p.144 Scene XIII Farewell of Taira. p.145 Scene XIV Chorus. ‘The Lament.’ p.151 Scene XV Entrance of Damis. p.165 Scene XVI Chorus. ‘Agamemnon’s sacrifice’ [sic]. p.170 Scene XVII Messenger. Death of Taira. p.221 Scene XVIII Curse of Ophioneus (Shield scene). p.222 Scene XIX Chorus. ‘Thou that dwellest’ etc. p.229 Scene XX Chorus. ‘The Fall of Ilium.’ p.255 Scene XXI Messenger, Death of the Queen etc. p.278 Scene XXII Guard. Fall of Ithome etc. p.279 Scene XXIII Death of Aristodemus. p.280 Scene XXIV Chorus. ‘Behold! Behold!’ p.286 Scene XXV The vengeance of Artemis [sic]. p.297.’
There are 298 pencilled paginations. The pages have originally been numbered in another order and replaced throughout. This may have been done to allow for the addition of pp.13–54 which are on smaller paper than that of the general score. 12-stave score paper imprinted ‘Bell Brand No. 3’ with emblem of four bells and tie, the bells marked ‘A & Co M’ (i.e., Allan and Company, Melbourne). The additional smaller pages (pp.13–54) are 12-stave and of the same imprint, but size No.1. These hold Scene 11. The libretto is partly written over the piano scoring for the actors, and partly consists of pasted-in extracts from a printed libretto.
- M-H 1/2‑3
Piano and vocal score of Aristodemus. Bound in off‑white linen. Black inked. 27cm x 3cm x 3cm. The front cover is inscribed in black within a design in the upper left corner: ‘Aristodemus.’ 4 front pages. The second recto and verso contain pasted-in title page and character list from a printed libretto, as in M‑H 1/1‑5. 298 paginations on the recto with verso implied. Pencil. 12-stave score paper imprinted ‘Bell Brand No.3’, with the emblem as for M-H 1/2‑2. The published libretto is pasted in at entries throughout for the actors but is otherwise handwritten for the chorus. Occasional handwritten words also occur for the actors. The choral areas are also given a German libretto written above the English.
- M-H 1/2‑4
Printed choral score for Act I, Scene II, of Aristodemus. The chorus begins: ‘Woe! Woe! Woe unto us.’ 13 paginations. The endpage is blank. 12-stave music score paper in 4-line accolades. No imprint.
- M-H 1/2-5
Published libretto of Aristodemus inscribed as being by G.W.L. Marshall‑Hall. Orange-pink covers of soft paper. 47 pages holding 25 scenes. 18.5cm x 24.75cm x lcm. Printed by the Atlas Press, Block Place, Little Collins St, Melbourne. The text is substantially the same as that used throughout the full score and the vocal scores.
- M-H 1/2‑6
Handwritten German libretto for Aristodemus. An exercise book with red marbled hard cover, labelled on the front: ‘Aristodemus in German.’ 63 paginations of blue-lined white exercise paper with one third of the volume blank. A translation from the English by M‑H. Two loose leaves at p.21 containing verses in English. On biscuit-coloured exercise paper, blue lined. 25 scenes marked. Appears to be in M-H’s hand, but the loose leaves are in another hand.
Dido and Aeneas
Opera in five acts, requiring five sets, SAAB soloists, 1 male and 1 female chorus, orchestra of full strings, 2 flutes, 2 hautboys, 2 clarinets in B flat, 2 bass clarinets in B flat, 2 bassoons, 4 horns in F, 2 trumpets in C, 2 tenor trombones, bass trombone, contra bass tuba, timpani and harp.
Note on the title: The title of this opera is given in the autograph complete vocal score as simply Dido. It is inscribed as the work of George William Louis Marshall‑Hall, the composer, the libretto being the work of his brother, Algernon S. Marshall‑Hall. This appears to be the earliest part of the archive. It is probable that this dates from the period before the Australian appointment and possibly indicates that the opera is part of the Marshall‑Hall juvenilia. The title: ‘Dido and Aeneas’ is inscribed in Marshall‑Hall’s mature hand in the piano and vocal score of Act II, but the title ‘Dido’ reappears in the piano and vocal score of section five of Act I, where the work is referred to as a ‘dramatic cantata.’ As no other complete version of the work is present, it would seem that at least Act I, Scene IV, and all of Act II were later revised without the whole work undergoing reconstruction.
[Amended version of the synopsis contained in M‑H 1/3‑3.] Aeneas, [leader of the Trojan forces], wandering in quest of the land promised to him by Jupiter, puts in at the port of Carthage where he accepts the hospitality of its Queen, Dido. Aeneas falls in love with Dido who secretly returns his passion. Under the influence of her sister Anna, Dido invites Aeneas and the Trojans to a grand hunt to be given in their honour. At the height of the chase Juno summons a great storm, forcing Aeneas and Dido to take refuge in a cave where, after a vain attempt at refusal Dido gives in to Aeneas’s entreaties. Time passes while the lovers remain engrossed in one another and the Trojans become restless through enforced inactivity. Jupiter appears to Aeneas in a dream, warning him that he must depart at once. Aeneas orders the ships made ready and goes to take leave of Dido. The Queen has been told by Anna of the preparations going on around the ships and reproaches Aeneas for deserting her. He pleads that it is at the command of the gods. The Trojans, fearing that Dido will hold them by force, resolve to weigh anchor in the night. As they are offering up their customary prayers Anna and Dido come in disguise to make a last effort to persuade Aeneas to stay. They find Achates [a Trojan chieftan] who turns them back. Dido returns to the palace where, in the courtyard, a pyre has been erected on her orders. Her intention is to free herself from the grip of love by burning the armour Aeneas has left behind in his haste. Anna leaves to fetch the priests. Dido sings a passionate complaint against Aeneas, lights the pyre and mounts it in a paroxysm of frenzy, cursing Aeneas, She stabs herself with Aeneas’s sword and dies as the priests enter. They pray to Jupiter to send Iris to rescue her from Hades. The fleet of the Trojans is seen in the distance sailing away.
- M‑H 1/3‑1
Autograph full score of Act I, Scene IV. Green leatherette bound volume with ruled impress edge back and front. 48cm x 37.5cm x 0.5cm. Black inked score. One blank frontpage, one blank endpage. The first recto is inscribed ‘Dido and Aeneas. Act I Scene IV’ and signed: ‘G.W.L. Marshall‑Hall.’ 30-stave score paper without imprint or pagination. Scored for 2 flutes, 2 hautboys, 2 Clarinets in Bb, bass clarinet in B flat, 2 bassoons, 4 horns in F, 2 trumpets in C, 2 tenor trombones, bass trombone, contra bass tuba, kettledrum, violins, violas, cellos, double basses.
- M‑H 1/3‑2
Second full score of Act I, Scene IV. Green leatherette bound volume with ruled impress at edge back and front. Gold inscribed front cover: ‘Dido and Aeneas. Act I. Scene IV. Full Score.’ The recto of the frontpage is signed: ‘G.W.L. Marshall‑Hall, Melbourne University, Victoria, Australia.’ The first recto of the score is inscribed ‘Dido and Aeneas [Act I Scene IV]. G.W.L. Marshall‑Hall’ and is so signed at the foot of the page also, where the words ‘Melbourne University Victoria’ are again added. 20-stave music score paper. Imprinted ‘BREITKOPF and HÄRTEL. No.12. C.’ with the bear and shield with a legioneer’s head and the date 1719 used as an emblem. 48 paginations.
Scoring indicated: flutes, hautboys, clarinets in B, bass clarinet in B, bassoons, 4 horns in F, trumpets in C, 2 trombones, bass trombone, tuba, kettledrums, 2 harps, violins, violas, cellos and double basses. Binding and cutting of the left edge of the page has obliterated some numbers, but the actual score is for two of each. Compare with M‑H 1/2‑1 and M‑H 1/2‑6: 1 to 18.
- M-H 1/3-3
Autograph complete piano and vocal score. Navy leatherette bound volume. Tooled and gold embossed on the cover: ‘Music.’ 23.5cm x 29.5cm x 0.75cm. Black inked score. 200 paginations. Predominantly red marbled endpapers. The first recto inscribed ‘Dido. Opera in five Acts by Algernon. S. Marshall‑Hall. Music by George W.L. Marshall‑Hall.’ The first verso is blank but the second verso is inscribed ‘Index.’ The page is partially obscured by newspaper clippings on gardening pasted over the handwritten entries. Pagination of the Acts is indicated together with scenes and important entries. The second recto holds the title ‘Dido’ and a list of characters, viz:
- DIDO [Queen of Carthage]—Soprano
- ANNA [her sister]—Mezzo Soprano
- ACHATES [a Trojan chief]—Tenor
- AENEAS [leader of the Trojans]—Baritone
- JUNO—Mezzo Soprano
- Trojans. Carthaginians, Dido’s maidens.
- Priests, Priestesses—Chorus
A synopsis follows. At p.168, the score ends at the half page and is inscribed ‘The End. George W.L. Marshall Hall [no hyphen].’ Then follow paginations 171-200 which are almost totally covered in newspaper clippings on gardening. These are obscuring music in the same hand as the rest of the score, being additions and insertions to it.
- M‑H 1/3‑4
Manila folder holding a piano and vocal score of a scene from Dido and Aeneas. 14 pages (7 sheets) of unpaginated 12-stave score paper. Scored in black ink. No imprint. 30.75cm x 24.25cm. The first recto is inscribed ‘Scene from Dido. A Dramatic Cantata’ and is roughly signed ‘GWLMH’ run together. This scene in fact corresponds to p.25 of the vocal score and its continuation in M-H 1/3‑3, i.e., it is the second last section—Section five of the Index of Act One of Dido.
- M-H 1/3‑5
Black leatherette bound volume with impressed design on back and front covers containing a piano and vocal score of Act II of Dido and Aeneas, the front cover impressed ‘Music.’ The inside of the front cover is inscribed in pencil: ‘Dido and Aeneas Act II by G.W.L. M‑H’ in Marshall‑Hall’s hand. Also: ‘Patey and Willis. 44 gt [Great] Marlborough St, London.’ 23.5cm x 29.5cm x 0.5cm. 12-stave Acme score paper. No imprint. The pages are sewn into the cover. Black inked. No paginations. 29 occupied sheets, i.e. 58 unmarked pages, the last verso blank. The end page marked: ‘End of Act II’ and signed ‘G.W.L. M Hall [no hyphen].’ Some overscoring occurs at the presumed p.15. Additions in pencil occur at p.35 bar 3, p.38 line 2, p.41 last bar, p.42 last line, p.48 second line.
- M‑H 1/3‑6: 1-36
Brown paper holder inscribed in red pencil: ‘Dido and Aeneas. parts’ and in plain pencil: ‘Professor G.W.L. Marshall Hall [no hyphen]’ and ‘Full Scene in Inventory [?].’ Beneath the red-pencilled title page in plain pencil is written: ‘Act I Scene IV.’ The contents are as indicated. Score paper for all the parts is of uniform size 34cm x 27cm and is imprinted ‘B.C.’ on a lyre design as emblem and under it ‘No.2.’ All parts are in black ink with the same heading: ‘Dido and Aeneas. Act I. Scene IV’, followed by the composer’s name and the part intended. Red pencilled alphabetical rehearsal cues present throughout. Present are: 7 first violin parts, 8 second violin, 3 viola, 3 violoncello, 2 double bass, 1 first and second Flute, 1 oboe, 1 clarinet, 1 bassoon, 1 first and second horn, 1 third and fourth horn, 1 trumpet, 1 first and second trombone, 1 bass trombone, 1 bass tuba, 1 timpani, 1 harp.
Opera in four acts, requiring 10 sets for 12 scenes, 2 sopranos, 2 contraltos, 4 tenors, 3 baritones and 2 basses as soloists, with two other male voices not specified by the composer directly but as a baritone and a tenor (The Monte and Earl Rolf), a male chorus and an orchestra consisting of a strings, 2 flutes, piccolo, 2 hautboys, 2 clarinets in C, 2 bassoons, a double bassoon, 4 horns in F, 4 trumpets in C, 3 trombones, tuba, contra bass, kettledrum and percussion.
Synopsis: Harold is an opera in four Acts with a Prologue. There are 12 scenes in all with a possible duplication of Act I, Scene 1, and Act I, Scene II, as well as Act I, Scene III and Act III, Scene II.
Prologue: Godwin, Earl of Wessex voluntarily appears before the Witan (the Saxon Parliament) accused of treason. The Saxon Godwin argues that he rightly defended his own people against the foreign Normans in their midst and that he is loyal to the king, Edward the Confessor. Godwin is exonerated. Sweyn, his eldest son, is then accused of seducing a nun, Algive, who was forced into the cloister to prevent her marrying Sweyn. In repentance, Sweyn relinquishes his heritage as his father’s heir, and this his claim to the English crown, in favour of his brother Harold. He becomes a pilgrim. The double trial inflames the Witan which calls on the Saxons to drive out the Normans
Act I Scene 1: To strengthen his cause and provide a Saxon heir able to replace the aging King Edward’s idiot son, Godwin urges Harold to marry Aldyth, daughter of the Saxon Morcan of Mercia. Harold resolves to remain true to Edith, his cousin, whom he cannot marry without dispensation under the laws of consanguinity.
Act I Scene 2: To ensure he keeps the peace, hostages from Godwin’s family, Wolnoth, Harold’s brother, and Haco, Sweyn’s eldest son, are taken by Odo, Bishop of Bayeaux, to be placed in the Norman Duke William’s care in France. His mother, Githa, makes Harold swear to rescue Wolnoth if William refuses to release him.
Act I Scene 3: Edith and Harold meet to declare their love. The seer, Hilda, Edith’s grandmother, sees a crown blazing over Harold’s head and predicts that the day the couple marries will be the most fateful of Harold’s life.
Act II Scene 1: With William ill in England, Harold rashly promises to support William’s claim to the throne in order to keep the threatened peace. William, intending to force an oath of allegiance from him, lures Harold to France by keeping the hostages beyond the agreed time. Harold is warned by Haco not to trust William, but Harold resolves to keep his promise.
Act II Scene 2: On Haco’s advice, Harold acts as if in a dream as he swears the required oath with his hand on a covered reliquary. Odo uncovers the contents to reveal only bones. Harold starts back, horrified.
Act II Scene 3: Githa persuades Edith to enter the nunnery, thus setting Harold free to marry Aldyth. Harold and Alred enter, arguing the validity of Harold’s oath to William, which Harold now intends to break. Harold sends Alred to the chieftains to ask if they will still follow him if he breaks his vow. He refuses to marry Aldyth. Edith, returning, overhears this. She renounces all claims on Harold and leaves to become a nun. Harold laments his broken vow to William and to Edith.
Act II Scene 4: The dying Edward names Harold as his heir. As monks begin prayers for the dying, Edward starts up and prophecies that a distant nation will rule England, a new tongue will be imposed and the Saxons will disappear.
Act III Scene 1: Harold, with the Saxon army, prepares to march against the Norman invasion. Before his troops, who have no knowledge of the broken oath, a Norman messenger-priest accuses the new king of perjury and demands he be delivered up to William as a traitor. Harold sends a reply that he was duped into the oath and that the church has relieved him of any guilt. His troops rally to him and leave for Hastings. Alone, Harold broods on his fate, fearing his sin will be England’s ruin.
Act III Scene 2: Hilda tells a shocked Edith that Harold will soon be hers. Harold comes to bid Hilda farewell. Hilda gives him a protective banner Wicca, a witch appears, and Hilda asks her to predict the outcome of the battle. Wicca hands her a stick which turns into a snake. It’s bite kills Hilda.
Act IV Scene 1: With others, Githa, Alred and later Edith search for Harold among the fallen on the battlefield of Senlac.
Act IV Scene 2: As William’s troops celebrate their victory, the searchers find Harold’s body. Alred asks for it, but William orders the body be left exposed. He predicts the rise of a great nation through this mingling of blood on the battlefield. Edith reviles William, praises Harold’s sacrifice of love and life, and dies, cradling his body. Alred raises his arms in blessing as the agitated bystanders run from the scene.
- M‑H 1/4‑1—Full score
Autograph full score of Act I of Harold. Deep purple leatherette bound volume, the spine embossed in gold: ‘Harold–Act I.’ 36.5cm x 28.75cm x 2.5cm. Black inked score. One blank frontpage and one blank endpage. 233 paginations, plus two unpaginated score paper sheets preceding the score itself. Imprinted ‘LARD ESNAULT. Paris 25 Rue Feydeau’ in an embossed rectangle. 24-stave score paper with two printed additional percussion lines below. Brown staving. The first recto inscribed in the composer’s hand: ‘G.W.L. M-Hall. Melbourne University.’ The first verso inscribed ‘Harold.* Music Drama by G.W.L. Marshall--Hall.’ The asterisked indication reads: ‘founded upon Lytton’s Historical Romance.’ This is followed by a cast list:
- Sopranos: EDITH grand-daughter of Hilda, cousin to Harold
- GITHA wife of Godwin, cousin to Hilda
- Contraltos: HILDA grandmother of Edith, a VALA
- WICCA a reputed witch
- Tenors:SWEYN eldest son of GODWIN(to be rendered by the same singer if possible)
- HACO son of Sweyn
- ALRED Bishop of Winchester
- EDWARD King of England.
- Baritones:GODWIN Earl of Wessex
- HAROLD son of Godwin
- SIWARD Earl of Northumbria
- Basses:WILLIAM Duke of Normandy
- ODO Bishop of Bayeaux
The second recto inscribed ‘Chorus of Saxons, and Normans; a monk; Norman lords; Earl Rolf; Saxon and Norman serving-men, knights etc. etc. The scene of action is sometimes in England, and other times in Normandy.’ Both the first recto and first verso are in M-H’s hand. The second recto is signed by him and the following notice is added: ‘N.B. The various tempi are only partially indicated, their exact rendering being left to the discretion of the conductor, who must be guided by his musical feeling. In many scenes (such as Act II, Scene III) the utmost liberty is allowable, and the tempo slackens or quickens with the ebb and flow of the melody, and can be regulated only by the emotional perception of the conductor. Considerable latitude must also be extended to the singers, when emotional exigencies come under consideration; But any alteration of the score for the sake of vocal display is to be absolutely avoided as grossly misrepresenting art. Where the voice and the orchestra are heard together, the forte and fortissimo of the latter must be tempered to those of the former: G.W.L. Marshall-Hall.’
The recto is blank. Pagination then begins at p.l where the Prologue commences. The page is headed: ‘Prologue. The Witana-gemote. Westminster hall.’ Stage directions are given in English (black ink) and German (red ink) throughout the Prologue which continues to p.113. The libretto is given in English and German in black ink as far as p.113 only. Tempo directions are in English. The scoring is for 2 flutes and piccolo, 2 hautboys, 2 clarinets in C, 2 bassoons, double bassoon, 4 horns in F, 4 trumpets in C, 3 trombones, tuba, contra-bass, kettledrum, percussion and strings. 3 male choruses are required.
Page 114 is headed: ‘Act I. Scene 1. A room in the house of Godwin.’ The scene is described in English in red ink. From p.114 to p.181 stage directions are given in English only and in red ink. The libretto is given in English only but in black ink. At p.161 the page is headed: ‘Scene 11’ in red ink. At p.182 the page is headed: ‘Scene 111’ in red ink. From p.182 to the end of the volume, i.e. Scene 111, the English libretto is underlined in German. At p.201 the English stage directions are also given in German in red ink.
- M‑H 1/4‑2—Full score of Act II
A full autograph score of Act II of Harold. Description and dimensions as for M-H 1/4-1 of which it is the extension. The spine is embossed in gold: ‘Harold—Act II.’ Black inked score. One blank front endpage and one blank endpage. Pagination begins at 234 and ends at 456, the verso occupied but not paginated. At p.234 the page is headed: ‘Act II’ in black ink and inscribed in red ink: ‘Scene 1. Normandy. A room in a castle of Duke William.’
The orchestration is as for M-H 1/4-1. Imprinted as in M-H 1/4-1. The libretto is in English in black ink. The stage directions are in English in red ink. at p.288 the page is headed in red ink: ‘Scene 11. A long, narrow, dimly lit chapel,’ and continues with an extensive scene description. At p.320 at the half page: ‘Scene III’ is inscribed in black ink. Then in red ink: ‘England. A park in the vicinity of the royal palace.’ At p.427 the page is headed in red ink: ‘Scene IV. The Confessor’s Chamber,’ followed by an extensive description of the scene. Deletions and renotations occur on the majority of the pages as in M-H 1/4-1. These are easily read and do not create a major disturbance to page visuals as in Vol.1, nor are they as extensive in each instance. No German is included in this volume. No full score of Act III or Act IV is present in the archive.
- M‑H 1/4‑3—Full score of an extract from the Prologue
Full score autograph extract from the Prologue to Harold. A navy leatherette cover 27.5cm x 37.5cm x 1.5cm with darker corners and with edgings embossed in arabesques holds a white label on the front section reading: ‘HERVAR.’ The interior sides of this cover are green and grey marbled. The score within is separate and does not appear ever to have been bound into the cover. It lies horizontal to the cover opening. The score paper pages are of the same size as the cover. They are tied at the left edge in three places with twine string. There are 48 paginations. Black inked score. 24 stave. No imprint.
The contents correspond to the full score M-H 1/4-1 from p.20 at the last bar to the end of p.60, i.e. from the first page of the extract to the end of its p.44. At p.45 of the extract corresponds to p.61 of the full score. M-H 1/4-1 but the extract lacks the vocal lines present in the full score. pp 46,47,48, of the extract do not correspond with the full score, where the vocal fabric is continued, but constitute an orchestral ending to the extract not present in the full score. This extract may have been the section of Harold known as ‘Godwin’s Defence’ used at the 1888 performance of a portion of the opera by Henschel at the London Popular Concerts. The origin of the term ‘Hervar’ on the label is not clear.
See also M-H 1/4-8: 1 to 40
- M‑H 1/4‑4—Piano and vocal score of Act I
An autograph piano and vocal score of Act I of Harold. A purple leatherette bound volume, the spine and corners of a stronger shade of purple than the brown toned cover which is embossed in gold on the front: ‘Music.’ 24.5cm x 29.5cm x 2.5cm. Black inked score. No imprint. 12-stave score paper in brown lining. Pagination begins at 2 and continues to 222, with four preceding blank score paper pages, excepting the fourth, which is an unpaginated p.l. The volume ends with 11 blank score paper pages, the verso of the eleventh being plain paper and inscribed:
‘Prologue. Scene 1. The WITENA-GEMOT-: p.l.Act I Scene I
- Godwin and Githa—p.130
- Godwin and Harold—[p.] 147
- Harold alone—[p.] 161
- Normans Odo and Harold—[p.] 166
- Ditto. Githa and Wolnath—[p.] 168
- Ditto and Haco—[p.] 174
- Act I Scene II Edith and Harold [p.] 182
- Ditto and Hilda—[p.] 207
2 red marbled front end pages are followed by 4 white front end pages, the first recto of which is inscribed ‘Harold. Music—Drama by G.W.L. Marshall-Hall (founded upon Lyttons’ Historical Romance).’ The first verso holds a list of characters which corresponds to that of the full score M-H 1/4-1. The second recto holds the same performance advice as is given in M-H 1/4-1 on the second recto of the frontend pages of that score. Page l. (unpaginated) is headed: ‘Prologue. The Witena-gemote.’ The scene ‘Westminster Hall’ and its following description are in red ink. At p.4 the left margin contains indications for four male choruses to be used. Greek words are pencilled over the piano score at p.165 and continue to the 4th line of p.166. They recur at p.179.
- M‑H 1/4‑5—Piano and vocal score of Acts II, III and IV
An autograph piano and vocal score of Harold acts two, three and four. This is the only copy of Acts Three and Four in the archive, possibly also the only surviving copies. A blue-green leatherette bound volume, the spine and corners in a darker shade. The spine is embossed in gold bands, with the word ‘Music.’ 24.5cm x 30cm x 3cm. Black inked score. The score has been inserted reversed and must therefore be read commencing at the back of the volume. Marbled endpapers occur where the score begins. A label on the inside of the front cover reads: ‘Bound by Thos. Atkinson. Bookseller etc. Kendal.’ The recto of the first plain endpage is inscribed ‘Harold’ in pencil. An arithmetical problem in pencil is also inscribed. A loose sheet of tattered paper is inserted before the score begins. This is the Index to the volume in which the scene commencement pages and entries of soloists are given for Acts 2, 3 and 4 in black ink. There are 299 paginations and 11 blank pages of 12-stave brown line MS without imprint. The libretto is in English and in black inked throughout. Page l is inscribed in black ink: ‘Act II’ and in red ink: ‘Scene 1. Normandy. The interior of a castle of Duke William.’
At p.37 the second scene begins. The page is inscribed ‘Scene II. A long, narrow, dimly lit chapel.’ Page 61 is inscribed ‘Scene III. England. A Park in the vicinity of the royal palace.’ Page 146 is inscribed ‘Scene IV. The Confessor’s Chamber.’ Page 161 is ended: ‘End of Act II.’ Page 162 is headed: ‘Act III. Scene I. Part of a Saxon encampment.’ Page 192 is headed: ‘Scene II—The same as Act I Scene III—Edith is seated on the greensward, near the fountain.’ Page 247 is inscribed ‘End of Act III.’ Page 248 is inscribed ‘Act IV. Scene I. The battlefield of SENLAC.’ Page 253 is headed: ‘Scene II. A curtain of the tent is drawn, and discloses a large number of Normans, amongst whom is Duke William, carousing.’ Page 299 ends: ‘The end of Act IV’ and is signed across the right margin: ‘G.W.L. Marshall-Hall.’ Pages ll9-122 are in fact additional printed areas from a published score of the same size as the general format of this score. These correspond to part of M-H 1/4-6, i.e., pp.45, 46, 47, 48 of the latter, here also numbered in ink 119, 120, 121 and 122. Of these pp.45-46 are loose. Pages 47-48 are pasted in. These pages carry additional inked entry markings. These are: p.ll9 (published page 45) headed ‘Harold’ as is p.120 (46) in black ink; p.121 (47) 3rd last bar: ‘Edith’ in black ink; p.122 (48) headed ‘Edith’; at the 2nd last bar of line 3 in black ink ‘Edith’ in red and over it black ink; and at line 4 bar 2: ‘Harold’ in red over black ink. Over the last 2 bars a pasted in additional pair of staves is headed: ‘Edith’ and ‘Harold’ under it in red ink. At p.123 the score in original form resumes. At pp.205 and 206, Greek is pencilled over the English libretto together with pencilled added notation. This occurs again at pp.208, 249, 250, 251. The final page has an unpaginated pencilled piano sketch in reverse on the page in relation to the main score.
- M‑H 1/4‑6—Published song, ‘Where the Thorny Brake’ for Act II
The published song ‘Where the Thorny Brake.’ Also subtitled: ‘From the second Act of Harold by G.W.L. Marshall-Hall.’ Published by the Magazine of Music as a Supplement in September 1888 together with an Andante for organ or harmonium by Allen Allen. The pages present are numbered 45 to 48. These correspond to Act II, vocal score M-H 1/4-5 pages 117 to 122.
- M‑H 1/4‑7—Fragment of piano and vocal score
Fragment of a piano and vocal score of Harold. 4 pages (2 leaves) of score paper of which 3 pages are occupied in black ink. 12 stave. No imprint. This corresponds to M-H 1/4-5 at p.143, 144, 145 i.e. Act II Scene III, but appears to be a related working, not a duplicate. It is for Harold alone as soloist.
- M‑H 1/4‑8—Orchestral parts
Orchestral parts of Harold. All on score paper 24cm x 31.5cm. 12 stave. A segment of the Prologue corresponding to M-H 1/4-1 from p.20 at the last bar to bar 3 of p.64. Present are: 7 first violin parts, 7 second violin, 5 viola, 8 violoncello and double bass, 1 flute, 1 piccolo, 1 oboe, 1 clarinet, 1 bassoon, 1 double bassoon,1 first and second horn, 1 third and fourth horn, 1 trumpet, 1 first and second trombone, 1 bass trombone, 1 tuba, 1 kettledrum. These parts appear to be for the same section as that treated as M-H 1/4-3. The preparation of these orchestral parts lends weight to the argument that they may have been used for the 1888 performance by Henschel at the Popular Concerts in London. Equally they may have been prepared for a Melbourne concert.
See also: ‘A Harold Overture’ M-H 2/3‑1 included in the orchestral works listings. This full score is headed ‘founded upon the music drama by G.W.L. Marshall‑Hall.’
Musical Times - 1 March 1888
SCENA FROM HAROLD, LONDON, 2 FEBRUARY 1888
“London Symphony Concerts,” Musical Times 1 March 1888, 150.
"The time is happily past when English composers could not gain a hearing for their efforts on account of the national prejudice against music of home manufacture, and Mr. Marshall Hall, who, we are told, has written three grand operas, several overtures, a symphony, string quartets, and many other things, must be counted exceptionally unfortunate. Until the Symphony Concert of the 2nd ult. his name had never appeared in a concert programme. Whether Mr. Henschel’s motive in giving him a place was genuine belief in his abilities or merely artistic compassion, is of no consequence; a composition, or rather an excerpt was submitted for judgment, and judgment must be passed upon it fairly and without favour. It was called a Scena, but it is really a baseless declamatory solo from an opera entitled “Harold,” and is supposed to be delivered by Earl Godwin when defending himself before the Witan in Westminster Hall. Here there is an obvious anachronism, for Westminster Hall was not built until the time of William Rufus; but that constitutes the least of Mr. Marshall Hall’s offences. He has studied Wagner deeply, and apparently thinks that the most advanced methods of the Bayreuth revolutionist should be adopted by a young English composer. The voice part is most ungrateful to the singer, who, moreover, has to contend against a mass of surging, furious orchestration. One theme of a rhythmical character appears, but is so tortured by its harmonic surroundings that its effect is lost. But beneath all this extravagance we discerned signs of genuine power, and if Mr. Marshall Hall will realise that he has commenced at the wrong end he may yet do honour to English art. Mr. Santley did everything that was possible with his piece, and a sympathetic audience received it kindly."
Age - 12 March 1891
OVERTURE FROM HAROLD, MELBOURNE, 12 MARCH 1891
“The Victorian Orchestra,” Age 13 March 1891, 6.
“[Marshall-Hall’s] overture from Harold, produced under his direction last night, is plainly the work of a man who has something to say, and who knows how to say it. Many parts of it strike one, even on a first hearing, as being both clever and original, while the whole composition is most interesting, and the orchestration always effective. It would be presumptuous on so slight a knowledge of the overture as can be gleaned by listening to a single performance to attempt to criticise in detail a work which evidently needs to be thoroughly known if it is to be duly comprehended, and therefore nothing need be added to the above remarks, save that the professor would be conferring a favor upon the habitués of these concerts by affording them an opportunity of becoming better acquainted with his Harold overture. At the conclusion of the work the composer was warmly recalled to the platform.”
Australasian - 14th March 1891
“Music,” Australasian 14 March 1891, 503.
“Professor Marshall Hall made his first appearance on a Melbourne concert platform on this occasion, when he conducted an overture to a musical drama of his own composition, entitled “Harold.” The overture proves beyond doubt that the author has been a disciple of Wagner, whose scores he has heard and studied to advantage. Without closely criticising such a work after a single hearing, it may be said at once that it created a decidedly favourable impression, as the work of a musician who had all his heart in his work, and does not do things by halves. Another opportunity of hearing it will be welcome. Professor Hall conducted the overture with an energy and enthusiasm that surely fails to become contagious amongst the members of the orchestra; at the conclusion he was recalled.”
Romeo and Juliet
This four act opera requires five sets, possibly reducible to four sets. The libretto is an adaptation by the composer of the Shakespeare play bearing the same title. The work requires two tenors, two baritones, six basses, two sopranos and one alto as soloists, a mixed chorus and mutes, and an orchestra consisting of: piccolo, 3 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp and strings.
Synopsis: The plot closely follows that of Shakespeare’s Romeo and Juliet.
- M-H 1/5-1—A full score of Act I
Full score of Act One of the opera Romeo and Juliet. Brown leather bound volume. Autograph score, in the composer’s hand. 36cm x 28cm x 2cm. Gold embossed on the front cover: ‘Romeo and Juliet. Act I.’ Black inked score. One front endpage and one blank endpage. The second recto is inscribed ‘Romeo and Juliet. Opera in 4 Acts after Shakespeare by G.W.L. Marshall-Hall. 1912’ in the composer’s hand.
The third recto is inscribed with the following:
‘Romeo and Juliet.
Chorus of Capuleto; Montagues; Citizens.
Characters who do not sing. Officers and attendants; servants; pages.’
The fourth recto is inscribed with the following:
‘The Action takes place in Verona.
Act 1. Scene 1. A street.
Scene 2. The Great Hall in the palazzo of Capulet.
Act 2. Scene 1. An orchard, overlooked by a balcony of Capulet’s house.
Scene 2. A street, with the Chapel of the Franciscans at the back.
Scene 3. The same.
Act 3. Scene. A boudoir, adjoining Juliet’s chamber.
Act 4. Scene. A burial ground, containing the Monument of the Capulets.’
The fifth recto holds a sketch in black ink of a steam ship. This is signed: ‘T. Scharf.’ Below are the words: ‘If thy ways star anew! The old sun waits on you, The old loves too!’ The words are signed: ‘Olive Scharf.’ Three bars of piano music run up the right side of the drawing and are signed: ‘Your old friend E.S.’ Sketch 5.8cm x 8cm pasted in
The score contains 172 paginations. 24 line score paper imprinted ‘B & H. Nr 14. c.’ with the Breitkopf & Härtel emblem. The orchestration indicated at p.l of the score is: piccolo, 2 flutes, oboe, English horn, 2 clarinets in B, bass clarinet, 2 bassoons, 4 horns in F, 3 trumpets in C, 3 trombones, tuba, kettledrums, side drum and cymbals and strings. The page is inscribed at the head: ‘Act I Scene I. G.W.L. Marshall-Hall.’ A red inked German libretto with adjusted notation is placed under the English libretto.
- M-H 1/5-2—A full score of Act II
Full score of Act II of the opera Romeo and Juliet. Identical in description to M-H l/5-l of which this volume is the extension. An autograph in a copyist’s hand. 229 paginations. 5 pages of blank score paper. 10 frontend pages and 2 end pages blank. Black ink autograph score not in the same hand as M-H l/5-l. At p.229 the score paper is signed with the composer’s initials: ‘ M-H’ where the page is also inscribed ‘End of Act 2. 26/7/12.’ The red inked German libretto continues at p.2. Three additional single line slips occur at p.126. These accommodate the red inked German libretto associated adjustments of notation. Elsewhere such adjustments occur on the score body.
- M-H 1/5-3—A full score of Acts III and IV
Full score of Acts III and IV of the opera Romeo and Juliet. Identical in description to M-H l/5-l and M-H 1/5-2 of which this volume is the final extension of the set of three. An autograph in a copyist’s hand. Black inked score. 203 paginations. 10 frontpages and one endpage blank. Page l is inscribed ‘Act 3 Scene I’ and p.121 is inscribed ‘Act 4.’ No Scene II occurs for either Act. Renotation occurs at p.3. Blue pencilled cue numbers are used throughout. A red inked German libretto continues as in M-H l/5-l and M-H 1/5-2. Revised tempo indications occur at pp 82-83, 85, 105.
- M-H 1/5-4—A piano and vocal score
Piano and vocal score of the opera Romeo and Juliet. Brown linen bound volume, the pages now loose, apparently from use. Autograph black inked score. Inscribed on front cover and spine: ‘Romeo and Juliet.’ 36cm x 28cm x 2.5cm. 287 pencilled paginations. 12-stave score paper imprinted ‘B & H. Nr l.C.L.10’ with the Breitkopf & Härtel emblem to the left.
The first recto of the 3 frontend sheets is inscribed in blue-black ink in M-H’s hand: ‘Romeo and Juliet. Opera in 4 Acts by G.W.L. Marshall-Hall. After the original text of Shakespeare. The German version is from the famous translation of Tieck and Schlegel.’ This is written over a nearly obliterated pencilled address in London. Not decipherable.
The third recto is inscribed in pencil: ‘Dedicated to my Australian friends.’ In the composer’s hand.
The first recto of the score paper is unpaginated but bears in the place usually reserved the number 2578. In black ink it is signed by M-H and inscribed ‘Romeo & Juliet. Act I. G.W.L. Marshall-Hall.’ A faintly pencilled address is partly visible at the page end. This is possibly 11 Sterndale Road, Wood Greene [sic]. Page l of the score is inscribed ‘Romeo and Juliet. Act I. Scene 1. G.W.L. Marshall Hall.’ The black inked score is much overwritten in pencil in English and in German, apparently in M-H’s hand. The English libretto is underwritten with the German libretto in red ink with accommodating notation. At the page end is inked: ‘E x S. 4558.’ This number also occurs at p.29 and 167. This is the publisher’s plate number, corresponding with that of the published piano and vocal score by Enoch and Son, M-H 1/5-6. This autograph score appears to have been that used for publishing purposes as p.2. is inscribed ‘Note for Printer—omit numbers,’ a reference to the blue pencilled rehearsal cue numbers which occur throughout. Pencilled numbers occurring throughout at line ends appear to be associated with the engraving process. The recto of the endpage is occupied with a German translation of the English directions of the final page of the score, in pencil.
All additions, deletions and writing seem to be, like the score, in M-H’s own hand. This makes the artifact a particularly important one (a) because it is a final corrected autograph of M-H’s and (b) it was used to produce the published score of Enoch and Sons, London. It therefore represents M-H’s final thoughts on the opera, the published version appearing in 1914, shortly before the composer’s death.
- M-H 1/5-5—Piano and vocal score of Act I, Scene I: the Queen Mab scene
Part of a vocal and piano score of the Queen Mab scene of Act I, Scene I, of the opera Romeo & Juliet. 20 pages (10 sheets) of 12-stave score paper of which 5 sheets (10 pages) are blank. No imprint. The brown paper cover is inscribed ‘Romeo & Juliet. 3.’ The words ‘Acts 3 and 4’ have been crossed out. A label on the inside cover reads: ‘Prof Marshall-Hall. 1 Creswick St. Hawthorn’ on a ‘Sands & McDougall, Stationers of Collins St. Melbourne’ label, together with a Mayne Nickless parcel receipt. The first recto is inscribed in pencil: ‘Act I Scene I’ but in fact this is the Queen Mab scene beginning at p.26 of the published score M-H 1/5-6 and running to p.36.
- M-H 1/5-6—Published piano and vocal score
Published vocal and piano score of the opera Romeo & Juliet, 1914. 24.5cm x 31cm x 2.5cm. Grey paper cover, black bound back, blue printed front. Handwritten at the top of the front cover, possibly in Percy Grainger’s hand: ‘Given to the Grainger Museum 25 June 1935 by …’ and signed K. Marshall-Hall. This is possibly the signature of M-H’s wife, Kate. The cover reads: ‘Romeo and Juliet. An Opera in 4 Acts. Arranged from the Original Text of Shakespeare. The German version from the famous Translation of Tieck & Schlegel. Music by G.W.L. Marshall-Hall. Price 12/- net. London. Enoch and Sons. 14 and 14A Great Marlborough Street W … Printed in England. Copyright MCMXIV by Enoch and Sons.’ All cast lists, action places, and contents are duplicated in German. Publisher’s plate number is ‘E & S. 4558.’ Some hand pencilled performance directions occur throughout. There are indications on the housing of this artifact that it was part of a donation from Mrs Kate Marshall-Hall.
- M-H 1/5-7—Second published piano and vocal score
The second published vocal and piano score of Enoch & Sons. The description is as for M-H 1/5-6.
- M-H 1/5-8—Publisher’s proofs
Publisher’s proofs of M-H 1/5-6, i.e. E & S. 4558. 4 bundles of sheets holding on one side only a page of the published score. 32.5cm x 26.5cm. Bundle One: Act I Scenes I and 2. i.e. to the end of Act I as in M-H 1/5-6. Sewn in 2 places with green cotton on the left edge. Bundle Two: Act II, Scene I. To the end of Act II, Scene I of M-H 1/5-6. Sewn in 2 places with white cotton with some pages loose. Bundle Three: Act II, Scene 2 and Scene Three. To the end of the act as given in M-H 1/5-6. Sewn in 2 places with green cotton. Bundle Four: Acts 3 and 4. To the end of the opera as given in M-H 1/5-6. Sewn in 3 places with white cotton with some pages loose.
- M-H 1/5-9—Orchestral parts
Orchestral parts of the opera Romeo & Juliet. A bundle in brown paper tied with white string with a University of Melbourne label reading: ‘Miscellaneous M.S. Orchestral Parts -by G.W.L. Marshall-Hall.’ The word ‘Aristodemus’ had been crossed out and ‘Romeo and Juliet’ added. These are orchestral parts on 12-stave score paper with the imprint: ‘B & H. Nr I.C. 1.10.’ with the Breitkopf & Härtel emblem. Parts are for Act I Scene I, but are incomplete, extending to the rehearsal figure 14 only. Present are: 1 first violin part, 2 second violin, 1 viola, 1 violoncello, 1 double bass, 1 first and second flute, 1 piccolo, 1 oboe, 1 English horn, 1 first and second clarinet, 1 bassoon, 1 first and second horn, 1 third and fourth horn, 1 first and second trumpet, 1 third trumpet, 1 first and second trombone, 1 third trombone and tuba, 1 kettledrum, 1 cymbals, 1 side drum and triangle with ‘etc.’ i.e. other percussion.
- M-H 1/5-10—Orchestral parts Act II, Scene I
Orchestral parts of Act II, Scene 1 of the opera Romeo and Juliet. Each part in a brown paper cover. Generally 12-stave score paper with the imprint: ‘B & H. Nr I.c.10.10.’ and the Breitkopf & Härtel emblem. Present are: 7 first violin parts, 4 second violin, 4 viola, 2 violoncello, 2 double bass, 1 combined first and second flute, 1 third flute and piccolo, 1 first and second oboe, 1 English horn, 2 bass clarinet, 1 first and second bassoon, 1 first and second horn, 1 third and fourth horn, 1 first and second trumpet, 1 third and fourth trumpet, 1 third trombone and tuba, 1 timpani, 1 bass drum, cymbals and triangle, 1 harp.
- M-H 1/5-11—MS libretto
Libretto of the opera Romeo & Juliet. 24 paginations of ruled exercise book paper 20.5 cm x 26 cm, sewn at left edge in white linen. Typed in purple with underlining in red ink, the first recto hand written: ‘Romeo & Juliet. Opera in 4 Acts. After the play of Shakespeare by G.W.L. Marshall-Hall. Copyright.’ The second recto holds a handwritten character and action list.
This one act opera requires three sets, SATBB soloists, mixed chorus, children’s chorus and an orchestra of full string sections, 3 flutes/piccolo, 2 oboes, 1 cor anglais, 2 clarinets, 1 bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, harp and percussion. Where possible the full score used for performance by the composer when conducting has been used to identify fragments. This score is indicated by its catalogue number throughout. Where a second check has been necessary this has also been included; in this case the check has been via a vocal and piano score in which not only the usual form is present but which includes rare detailing. The libretto is by the composer.
The one act opera Stella was given at Her Majesty’s Theatre, Melbourne, on 4 and 11 May 1912. Billed as an opera in three scenes, it was directed by Madame Elise Wiedermann and Mr Harry Hill. The composer conducted. Signor Rebottars was Chorus Master and the cast consisted of:
Stella (Soprano)—Rosina Buckman
Dr Kirke (Tenor)—Richard Hawley
Mostyn Chamley (Bass)—A. Bartleman
Rev. Weldon (Baritone)—Stanley Horwood
Mrs Chase (Mezzo-Soprano)—Marg. Murdoch.
The programme clearly sets the place of action as: ‘Australia.’ Fifteen performances were given in London at the Palladium from 8 June 1914.
Scene 1: In the house of the widowed Mrs Chase her child lies ill, attended by Dr Noel Kirke who is in love with the child’s nurse, Stella. A friend of Mrs Chase, Mostyn Chamley, mayor of the town and President of the Social Purity Society, visits the house which Stella and Kirke who are there conferring over the treatment of the child. Chamley recognises Stella as the girl whom he eloped with ten years before but whom he has since deserted. Chamley, now married with a family and a position to protect, hints at assistance for Stella in return for her silence. Stella treats the offer with contempt but Chamley broods over the power he feels she has over him. The Rector, Rev. F Weldon, finds Chamley in Mrs Chase’s house and speaks to him about the dislike of the Jewish Kirke’s being called in to attend Mrs Chase’s son. Kirke has dismissed the nurse sent by the Rector and substituted Stella. For a member of his congregation therefore Kirke had in fact substituted a woman the Rector regarded as of bad repute.
Like Chamley, he had recognised her as the girl who had run off to have an affair with a man who abandoned her some time later. At the time, the Rector recalls, Chamley was on holiday with the Weldons. The Rector intends to tell Mrs Chase, a member of the Social Purity Society, that Kirke has placed this ‘wicked woman’ in her household and that it can bode no good. Chamley tries to change his mind, saying that to get another nurse at short notice would be difficult. The Rector gives in. Mrs Chase enters and arranges for a meeting of the Society to be held in her house that night, as is usual, and induces Chamley to bring his new hymn for performance.
Scene 2: In the garden of Kirke’s house Stella meets the doctor in order to collect the child’s medicine. She recalls how, by Kirke’s kindness, she has been able to find work as a nurse for some time past. She announces that this happy time must now end but refuses to tell Kirke why. In order to keep her with him Kirke proposes marriage. Stella refuses. Kirke asks is it because she does not love him. Stella bursts into tears. They are interrupted by a manservant who brings the child’s medicine. Kirke gives it to Stella, warning her that it is poisonous if wrongly taken and tells her he will see her later that evening to hear her reply to his proposal. She leaves.
Scene 3: An open scene shows the ti-tree bush, the garden, verandah and lit windows of Mrs Chase’s house where she is welcoming the members of the Social Purity Society. Plcnickers pass in the ti-tree to a moonlight picnic and the strains of a waltz (known as the Stella waltz) are heard. Stella passes sadly into the house as the Rector and Chamley enter. The Rector still intends to tell Mrs Chase of Stella’s past and as Noel enters confronts him. But Kirke says he dismissed the old nurse because she drank. The Rector implies Stella is no better and Kirke demands he explain himself as he is speaking of the woman he has asked to be his wife. Kirke goes into the garden. The Rector and Chamley heatedly discuss the need to tell Mrs Chase the truth while that good lady comes onto the verandah, sees Noel there below and sings of her desire to see a match between Stella and the doctor. Stella comes out, hearing Kirke’s voice, and watches, unseen from among the garden trees. These various threads lead to a Quintet. Mrs Chase leads Kirke off. As the Rector goes to enter the house he comes face to face with Stella. They recognize one another but the Rector passes without greeting her. Agitatedly Stella goes to Chamley and asks if the Rector really knows all. Chamley says he does and that he, the Rector, will tell Mrs Chase as soon as the Society Meeting is over.
Stella considers. She cannot stay and bring dishonour to Kirke, nor leave with her name tarnished in his eyes. Chamley offers to help her. Before she can reply the window near them opens noisily and the Rector is heard announcing Chamley will address the meeting on ‘The Necessity of Pure Ideals in Our Home Life’ and that later Chamley’s new hymn will be sung. Chamley staggers wildly into the house protesting it is all a hideous nightmare. Stella drinks the child’s medicine in a suicide attempt as she hears Kirke coming. He finds her in a state of distress. She tells him of her past. Kirke breaks into an impassioned and generous declaration of sympathy for her. He still thinks her merely distraught as she sinks into his arms, dying, as the voices of the Social Purity Society rise in Chamley’s hymn. General consternation and hysteria break out as first Kirke screams, then the others rush out and realise Stella is dead.
- M-H 1/6-1—A full score
A full score of the opera Stella. Off white linen bound. Composer’s autograph. Possibly used only as a reference score. 40cm x 50cm x 2.5cm. Black inked score. Second recto inscribed ‘Stella. Opera in three Scenes by G.W.L. Marshall-Hall.’
Third recto is inscribed ‘Persons of the drama –
NOEL KIRKE. Tenor. A young physician.
MOSTYN CHAMLEY. Basso cantante. Major; and President of the local ‘Social Purity Society’; a former lover of Stella.
THE REV. WELDON. Baritone. Rector of the Parish.
STELLA WINTON. Soprano. Nurse to Mrs Chase’s sick child.
MRS CHASE. Mezzo soprano. A lady friend of the Mayor, and Rector; in whose house the members of the S.P.S. meet.
MUTE CHARACTERS. Servant to Mrs Chase. Manservant to Noel. The sick child of Mrs Chase.
Chorus of Picknickers; and of The Committee of the ‘Social Purity Society.’
Fourth recto shows pencil sketches of the stage set abstracts for Scenes 1, 2 and 3. These are inscribed over: ‘Place of the action: A seaside town in Australia. Time: Present Day (1909). Scene I. A room in the house of Mrs Chase. Scene II The garden of Dr Kirke’s house. Scene III. Garden and verandah of Mrs Chase’s house, with Bush-country, and sea-scape.’ The fifth recto is blank. The instrumentation consists of strings, 3 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 French horns. 2 trumpets, 3 trombones, tuba, harp, kettledrum, bass drum, cymbals, gong, side drum and triangle.
The score consists of 176 score paper pages, all but six occupied. One blank endpage. Pagination occurs sporadically throughout but is not useful for general identification. The last occupied page of the score paper area is footnoted: ‘Finished in the tail of Halley’s Comet. May 12. 1910. 1.30 am. G.W.L. Marshall-Hall..’ This is in M-H’s hand.
30-stave score paper employed. No imprint. Black inked. Scene identification occurs at: Scene 1 at Cue 1—a room in the house of Mrs Chase; Scene 2 at Cue 7 after 6 bars; Scene 3 at Cue 22; Scene 4 at cue 35; Scene 5 at Cue 40b; Scene 6 at cue 49—a garden of Dr Kirke’s house; Scene 7 at cue 72, bar 16, at the Sostenuto marking—a verandah of Mrs Chase’s house; Scene 8 at cue 92 at ‘The ill you cause is worse than that you cure’; Scene 9 at cue 117 at ‘How can I live so wounded in his thoughts.’ No Scene 10 occurs in this score. The contradiction of the forepage specification of only three scenes is apparent on examination of the score paper pages.
- M-H 1/6-2—A second full score
A full score of the opera Stella. Calf bound. Possibly a performance score. 27.2cm x 35.3cm x 3cm. Black inked score. Inscribed in black on the spine: ‘Stella. Full Score.’ First recto inscribed ‘Stella. Opera in One Act by G.W.L. Marshall-Hall.’ In black ink. At the foot of the page is pencilled ‘Copyright.’ Second recto inscribed ‘Prof. Marshall-Hall Melbourne Victoria Australia. London address: c/o Messrs SCHULZ-CURTIS and POWELL. 44 Regent St. London. W. England.’ Eighth recto inscribed with case and scene list. 355 paginations of occupied score paper and three blank pages. 24-stave paper imprinted ‘B & H. Nr 14. C.’ with the Breitkopf & Härtel emblem. Running time is indicated as non-cumulative, sectionalised minutes in M-H’s hand throughout.
- M-H 1/6-3—A piano and vocal score
A piano and vocal score of Stella. Calf binding. Pages measure 30.5cm x 24cm. 265 paginations. Black inked score. First recto inscribed ‘Elkins’ (in pencil) then ‘‘Stella.’ Opera in One Act written and composed by G.W.L. Marshall-Hall. Melbourne, Feb. 1910. (1909: Dec. 23–Feb. 4: 1910)’ inked. The end pagination, p.265, gives an Index of ten scenes:
1—Mrs Chase and Noel. Noel alone
2—Noel and Stella.
3—Stella and Chamley
4—Chamley alone. Chamley and Rector
5—Mrs Chase, Rector, and Chamley (Trio)
6—Entr’ Acte. Stella and Noel
7—Picknickers. Stella alone.
8—Rector, Chamley, and Noel. Afterwards Mrs Chase and Stella (Quintett)
9—Stella and Chamley. Stella alone.
10—Noel and Stella. Ensemble.
A list of the cast follows together with a description of the place of action. This includes the following relationship key between the original three scenes and sets and the larger number of interior vocal and instrumental scenes:
‘Scenes 1-5—A room in the house of Mrs Chase.
Scene 6—A garden attached to Dr Kirke’s house.
Scenes 7-10—Before Mrs Chase’s house.’
These scenes occur within this score at:
Scene 2—p.14 at ‘Good Morning nurse’ (Noel)
Scene 3—p.41 at ‘Excuse me, is Mrs Chase in?’ (Chamley)
Scene 4—p.54 at the interlude and ‘I thought the past being past’ (Chamley
Scene 5—p.63 at ‘I fear I’m late, a strange experience’ (Rector)
Scene 6—p.76 at introduction and ‘I’m glad to see you’ (Mrs Chase). A red inked 6 is superimposed here over a black inked 5 for the scene number, thus confusing the divisions. However Scene 7 holds the roman numerals VI plus VII at p.97 at the actual set change: ‘A garden attached to Dr Kirke’s house’ and the entry ‘I saw you from my window’ (Noel) thus establishing the validity of Scene 6 commencing as the Index of the scenes at p.265 states.
Scene 7 (VII used) is left unchanged at p.133 and is marked clearly at the set change: ‘The verandah of Mrs Chase’s house.’
Scene 8—p.157 at ‘The ill you cause is worse than that you cure’ (Chamley).
Scene 9—p.208 at the introduction to Stella’s entry at the direction: ‘Stella rushes up to Chamley and plucks him agitatedly by the sleeve.’
Scene 10—p.230 at the key change (to D-flat) and time change (to 9/8), and the entry: ‘Stella! You are suffering, you are ill’ (Noel).
12-stave score paper imprinted ‘Musette No.1. Manuscript Music Paper.’ The inked words of the libretto in the vocal parts is paralleled in German. Directions are in English and German, in pencil.
- M-H 1/6-4—A second piano and vocal score
A piano and vocal score of Stella. Bound in off-white thick linen. Pages measure 25cm x 27cm Black inked score. 196 paginations with two blank pages of score paper. Seven front endpages. Front cover has printed lettering: ‘STELLA.’ First recto inscribed ‘Miss Buckman’ pencilled over another name. There is also a barely visible address: ‘Her Majesty’s Theatre Sydney.’ In pencil: ‘Mr A. Levey. 406 Humboldt Bank building. Frisco. Cal. U.S.A.’
Second recto inscribed’ ‘Stella Opera in one Act by G.W.L. Marshall-Hall.’ (Black ink). At the base of the page: ‘G.W.L. Marshall-Hall, 1 Creswick St Hawthorn, Melbourne.’ The third recto holds a pencilled diagram of ‘Mrs Chase’s room’ under the heading ‘Scene I, II, III, IV, V’ in pencil. The fourth recto holds a diagram for Scene VI. The sixth recto is inscribed with cast and scene lists but divides the three set-scenes into ten interior scenes, not nine as is generally the case in associated scores and parts for Stella. This page is in a hand differing from the preceding pages. The sixth verso is inscribed ‘N.B. The stage action is all changed. Take no notice of pencillings.’ In M-H’s hand. The frontpage and sixth recto and verso therefore differ but the remaining front endpages appear to be all in M-H’s hand. The markings on the score itself also appear to be in the composer’s hand.
12-stave score paper imprinted ‘B & H. Nr l. C.6.09’ with emblem as before. Purple and red pencil markings (for tempo and other conductor’s markings) occur throughout. Some overscoring. Cuts indicated at pp.38-42, 49-61, 75-79, 100-112, 188-89. At p.23 the cut is marked: ‘Cut in British Countries to $.’ Though the sixth recto indicates a Scene 10, the score does not hold a Scene 10. The Scenes are marked:
Scene III—p.32, corresponds to those of M‑H l/6‑3.
However Scene V—p.59, begins at Mrs Chase’s entry: ‘I’m glad to see you’ and the reply ‘Dear Mrs Chase, the Social Purity Society, you know’ (Rector).
Scene VI—p.76, begins at the change of scenery—A garden attached to Dr Kirke’s house. A long introduction leads to Noel’s entry: ‘I saw you from my window’ and the reply ‘How kind you are’ (Stella).
Scene VII—p.110, begins at the change of scenery: The Verandah of Mrs Chase’s house and entry of children’s chorus followed by Stella’s entry: ‘Tired nature sleeps.’
Scene VIII—p.121, corresponds with M-H 1/6-3.
Scene IX—p.164, begins at Stella’s entry: ‘How can I live so wounded in his thoughts.’
- M-H 1/6-5—Sections of a piano and vocal score
Sections of a piano and vocal score of Stella. All identification is taken from M-H 1/6-2.
M-H 1/6-5: 1-1. Scene 4 of Stella. 20 paginations of score paper. 12 staves imprinted ‘Musette No.1 Manuscript Music Paper.’ Pasted together at the left edge.
M-H 1/6-5: 1-2. Scene 4 of Stella. Fragment. Once the end page of M-H 1/6-5: 1-1. An alternative ending of the vocal trio and the following orchestral interlude’s opening from Scene 4, p.126, cue 48 of M-H 1/6-2.
M-H 1/6-5: 2. Scene 6 of Stella. 4 pages of 12-stave score paper. No imprint. Marked: ‘Noel’s Cavatina in Stella. Scene 6, before the last pause of the introduction’ in M-H’s hand.
M-H 1/6-5: 3. Scene 7 of Stella. 4 pages of 12-stave score paper imprinted ‘Bell Brand No.2a’ with bell emblem. Corresponds to M-H 1/6-2 Scene 7. Chorus of children, youths and girls, from the 4th bar of p.223 to the end of p 229. with an unidentified 4 lines headed: ‘No 2 (di.’
M-H 1/6-5: 4. Scene 7 of Stella. 20 pages (i.e. 10 leaves) of score paper of 12 staves. No imprint. Corresponds to M-H 1/6-2 pp.189-231.
M-H 1/6-5: 5. Parts for 2 bassoons. Physically part of the artifact, not a misplaced article. Corresponds with M-H 1/6-2 Scene 6 (cues 70, 71, 72), Scene 7 (from before cue 75 to 91), Scene 8 (cues 92 to 148). 20 irregular paginations 12-stave score paper imprinted ‘B & H. Nr1.C.6.09’ with emblem.
M-H 1/6-5: 6. Scene 8 of Stella. The vocal quintet corresponding to M-H 1/6-2, pp.246 (from the change of key and Stella’s entry) to p.265. 16 pages paginated in pencil 27 to 42. 12-stave score paper imprinted ‘Musette No.1 Score paper.’
M-H 1/6-5: 7. Scene 8 of Stella. Corresponds to M-H 1/6-2 pp 233-355 (i.e. the end of the opera). 66 pages (33 leaves) of 12-stave score paper without imprint. The pencilled markings at I (Score 9) and M (Scene 10), and again at Mm, are not consistent with the full score which does not have a Scene 9 or 10 marked. These markings of the section are in blue pencil and in M-H’s hand.
M-H 1/6-5: 8. Fragment of Stella. Corresponds to M-H 1/6-2, the last bar of p.211 and from bars of p.212. A single leaf of 12-stave score paper. No imprint. Contains 5 bars of a vocal and piano section with the words: ‘other Happy, Happy, radiant worlds!’
M-H 1/6-5: 9-1. Scene 9 of Stella. So marked. Corresponds to M-H 1/6-2, p.289 at cue 117 to bar one of p.296. Vocal part: Stella. 4 pages of 12-stave score paper imprinted ‘Bell Brand No.3a’ with bell emblem.
M-H 1/6-5: 9-2. Fragment of a vocal and piano section of Stella, continuing M-H 1/6-5:9-1. Corresponds to M-H 1/6-2, p.296 (bar 2-3) to p.301 (bar 3), i.e. part of the final scene from midway in cue 121 to the end of cue 124. Vocal parts for Stella and Noel in the poison scene.
M-H 1/6-5: 9-3. Scene 10 of Stella. First verso headed in pencil: ‘Part of Last Act.’ In another hand: ‘Scene 10.’ Corresponds to M-H 1/6-2, third last bar p.301 to bar 2, p.337, from cue 125 to cue 142, i.e. the end of the section to the Furioso and change of key. 24 pages (12 leaves) of 12-stave score paper imprinted ‘Musette No.1. Manuscript Music Paper.’ This takes up M-H 1/6-5:9-2 after a lapse of 6 bars.
M-H 1/6-5: 10. Fragments of a vocal and piano score of Stella. Originally one artifact. There are 32 leaves (64 pages) of score paper of halved paper originally of 30 staves but roughly cut to 15 staves of compressed full score paper 38cm x 13.75cm. This score has been, at one time, edge-taped into sections with white masking tape. Much of this is still intact. The group of fragments thus separated do not appear to have ever been bound as a single entity. There is some pagination running 1 to 48 at which point in the 64 pages the pencilled numbers cease. Thus M-H 1/6-5:10 denotes the group of fragments. Individual parts are given the suffix -1 to -6.
M-H 1/6-5: 10-1. pp.1-7 of M-H 1/6-5:10. Corresponds to Scene 1 of Stella of M-H 1/6-2 from p.1 to the end of the score at p.18 bar 2.
M-H 1/6-5: 10-2. pp.9–17 of M-H 1/6-5:10. Together with 3 pages not numbered. Corresponds to M-H 1/6-2 at Scene 5 of Stella from cue 40 (b) where the scene commences to its end at p.129, cue 48. These pages are folded together, not bound.
M-H 1/6-5: 10-3. pp.19-29 of M-H 1/6-5:10. These pages are not numbered on the recto. Headed in pencil: ‘Scene 8. Quintetto.’ Corresponds to M-H 1/6-2 Scene 8 of Stella, cue 97, bar 4, p.243 to the end of bar 2, p.271. This occupies up to p.28 (implied recto) of this fragment. Pages 29-30 hold music headed: ‘Scene 9 (Finale)’ blue pencilled. Corresponds to all but one bar of p.348 from the 2nd bar of cue 146 at the Molto lento to the end of the opera at p.355 of M-H 1/6-2. This scene is in an altered form from that of the full score. Signed at the verso of p.29 with Marshall-Hall’s initials: ‘G.W.L. M-H.’
M-H 1/6-5: 10-4. pp.21-26 and pp 43-48 of M-H 1/6-5: 10. Paginated in pencil. Headed: ‘Scene 8’ in blue pencil. Corresponds to Scene 8 of Stella in M-H 1/6-2, p.232 cue 92 to p.245, 2nd last bar of cue 98. A gap then occurs. Page 43 of the fragment picks up the scene at the third bar of p.271 of the full score and runs to the end of bar one, p.292, cue 119, at the stretto marking within the scene.
M-H 1/6-5: 10-5. 21 pages (11 leaves), unnumbered. Headed: ‘Scene 9–10.’ Continues M-H 1/6-5:10-4. Corresponds to M-H 1/6-2 bar 2, p.292 at cue 119 to the end of bar one, p.348 cue 146 at the Molto lento marking where the fragment breaks off within the scene.
M-H 1/6-5: 10-6. The back page of M-H 1/6-5:10-6. Detached. Blank. Holds the words: ‘Mrs Chase’ in blue pencil. The full score M-H 1/6-2 contains only eight scenes. Thus this vocal and piano fragment falls within Scene 8. However, it corresponds more accurately for the additional scene marks with M-H 1/6-3 at p.107 (Scene 9) and p.230 (Scene 10).
- M-H 1/6-6—Orchestral parts
M-H 1/6-6: 1-34. Orchestral parts of Stella. Present are: 3 first violin parts, 4 second violin, 2 viola, 3 violoncello, 2 double bass, 1 first and second flute, 1 third flute and piccolo, 1 first and second oboe, 1 English horn, 1 first and second clarinet, 1 bass clarinet, 1 first and second bassoon, 1 first and second horn, 1 third and fourth horn, 1 first and second trumpet, 1 first and second trombone, 1 third trombone and tuba, 1 harp, 1 kettledrum, 1 bass drum, cymbals, gong, side drum and triangle. 1 abridged version of first and second horn, 2 abridged versions of first and second trumpets, 1 abridged version of tuba, 1 abridged version of percussion.
- M-H 1/6-7—Libretti
M-H 1/6-7: 1
Libretto of Stella. Typed copy in purple. 25 paginations. White paper sewn heavily 20cm x 32.75cm. Front cover pencilled over with London addresses and a timetable. Text shows many deletions in pencil. Pp.22-24 pinned together. Cuts indicate concern to reduce running time. Possibly a copy used for the London production.
M-H 1/6-7: 2
Light Plot Stella. Last Act. So designated on first page. 7 leaves of exercise paper blue rules on one side only and in red and black inks in capitals. Describes additional stage business for the Last Act of Stella. Last page inscribed. ‘Please return to Mr Harry Hill 406 Collins St. Melbourne.’
M-H 1/6-7: 3
A hand written libretto of Stella in a black covered exercise book with red edged pages 18.5cm x 24.25m x 0.75cm. Unpaginated. 41 leaves out of 64 occupied. Black ink and blue pencil with numbers and additions consisting of stage directions in plain pencil. Only the additions appear to be in the composer’s hand.