Otho Visconti, Op.7 (Gleason, Frederic Grant)
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(10.) Evening Song. "Lovely Morn enthroned in azure." (Soprano.)
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New York: Wm. A. Pond & Co., 1877, 1878, 1878. Plates 9402, ?, 9541.
Edited using Scantailor and Graphicsmagick. From a collection of 17 mostly vocal/chorus score excerpts published separately and together by William Pond, the first of which is the Prelude (probably in the Eddy arrangement).
Arrangements and Transcriptions
For Organ (Eddy)
|Work Title||Otho Visconti|
|Alternative Title||A Grand Opera (Romantic Opera) in Three Acts|
|Composer||Gleason, Frederic Grant|
|Year/Date of Composition||1876–1877?|
|First Performance||1907 June 4, Chicago|
|First Publication||1877–1880 (selections)|
1907 (libretto) or earlier
|Instrumentation||Voices, chorus, orchestra|
Opera may not have been published in full during the composer's lifetime, though selections were. Prelude was performed 1892 March 19, Dresden, Gewerbehaus, Trenkler Orchestra (Arens). (Source: E. Douglas Bomberger. "A Tidal Wave of Encouragement": American Composers' Concerts in the Gilded Age. Westport,. CT: Praeger, 2002., p.196.)
Godey’s magazine, recording that a performance of orchestral selections from this opera at the 1897 World's Fair, gives the librettist as the composer. Selections also say "Music and Text composed by Frederic Grant Gleason", confirming...
Libretto possibly based on J.H. Ingraham's 1841 novel (expanded from an article in Godey's Lady's Book, vXXIII (December, 1841)) of the same name, published by Godey. ("Otho Visconti; or, The bridal present. A tale of Florence")
According to Elise Kuhl Kirk, American Opera (2005, U. Illinois Press), p.411 (notes to pages 123–33, note 15), the autograph vocal score to this opera is at the Frederic Grant Gleason collection of the Newberry Library, Chicago. (No mention of a full score of any kind, though. Other works she covers include Pratt's Zenobia, etc.) Also according to Kirk, Theodore Thomas conducted the prelude at the 1893 Chicago World's Columbian Exposition. (She writes that the orchestration is skillfully executed and has considerable contrapuntal interplay; whether the orchestral score of some of the work survives, or it doesn't and this is the opinion of someone who heard the work before it disappeared, is not clear, as she only specifically mentions a vocal score as being among the ms, though will check the Newberry Library catalog to see if this brings any sort of clarification. Ah. The ms full score etc. might be in the oversized bound volume "Box 13" in the Newberry collection. (Box 14 is "Old score, since revised and rewritten", also the vocal score in ms, and ballets for the opera. Box 15-16 have the 1885 opera Montezuma and its various ms., and an ode. There's also material relevant to Otho Visconti in other boxes, including the vocal score of the Serenade, Benedictine nuptiale (vocal or perhaps full score), vocal score of the introduction to Act 3, Vocal?/Instrumental? parts in box 21... etc..., Vorspiel (prelude), sketches for the opera, press material.