Harold
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.
Holdings
- 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.’
Contemporary Reviews
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.”