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Stravinsky, Igor. (1882–1971) [Auden, W.H. (1907–1973) & Kallman, Chester. (1921–1975)]. The Rake's Progress - SIGNED . New York: Boosey & Hawkes. 1951. The Rake's Progress an Opera in 3 Acts. A Fable by W.H. Auden and Chester Kallman. An intriguing copy of the first edition piano-vocal score, signed and inscribed by the composer in cyrillic in blue ink on the title page, "Opera / Igor Stravinsky / London / 1964" to the harpsichordist and fortepianist Colin Tilney (b. 1933), who played harpsichord on the 1964 recording of the opera conducted by Stravinsky. Upright folio. 240 pp. [PN] B&H 17088. Libretto in English & German. Publisher's full green-blue cloth. With Tilney's occasional markings in graphite and red ink throughout to the continuo part, title lightly foxed, else fine. New Grove, 18: 262; de Lerma R5.
Uncommon. We have traced no signed copies of this important score having appeared at auction or on the market in over 30 years.
Tilney spent several years as an opera coach and piano accompanist at Sadler's Wells Theatre and the New Opera Company and in 1964 he was the harpsichordist under the direction of Igor Stravinsky for the second Columbia recording of The Rake's Progress.
"There is no work by Stravinsky, or by anyone else, that embodies more conspicuously than the Rake's Progress the artistic self-consciousness - the consciousness of art in crisis - that is the nub and essence of 'neo-classicism'" (Grove Opera, 3: 1222).
The Rake's Progress is an opera in three acts and an epilogue by Igor Stravinsky. The libretto, written by W. H. Auden and Chester Kallman, is based loosely on the eight paintings and engravings A Rake's Progress (1733–1735) of William Hogarth, which Stravinsky had seen on 2 May 1947, in a Chicago exhibition. First performed at the Teatro La Fenice in Venice on 11 September 1951, the American premiere was on 14 February 1953, at the Metropolitan Opera in New York, conducted by Fritz Reiner and produced by George Balanchine. Often described as the final work of Stravinsky’s neoclassical period (in which the composer took inspiration from, quoted, and explored historical musical styles, particularly those of the baroque and classical eras), the impact of The Rake’s Progress comes from its collision of old-fashioned musical formality and anarchic contemporary harmony and dramaturgy.
No less an interpreter than Christopher Hogwood (1941 - 2014) had this to say about Stravinsky’s use of the harpsichord in The Rake’s Progress: "I once asked him whether he would write something more for the harpsichord. He just rolled his eyes! I think that he himself was not a great admirer of the harpsichord as an instrument with a future for him, but it was clearly an instrument with an enormous past and to include it in a neo-Mozartian score was clearly an obvious thing to do. I think that he managed its use very well so that the harpsichord has more of a connection with the Graveyard Scene and the diabolical side of the Rake, rather than just being an all-purpose accompaniment instrument. And it is also very well integrated with the rest of the small orchestra because you do get the harpsichord incorporated with comments from other instruments around it. It is not the isolated instrument quite as it is when it accompanies just the secco recitatives in a classical opera. There is a sense in which Stravinsky is welding it into his sound palette. But its biggest moments are alone (and in the most ominous scene), so clearly he has carved out a special character for it." (December 2008, Mark Wiggins Interview for the Teatro Real in Madrid, Spain)
Stravinsky, Igor. (1882–1971) [Auden, W.H. (1907–1973) & Kallman, Chester. (1921–1975)]. The Rake's Progress - SIGNED . New York: Boosey & Hawkes. 1951. The Rake's Progress an Opera in 3 Acts. A Fable by W.H. Auden and Chester Kallman. An intriguing copy of the first edition piano-vocal score, signed and inscribed by the composer in cyrillic in blue ink on the title page, "Opera / Igor Stravinsky / London / 1964" to the harpsichordist and fortepianist Colin Tilney (b. 1933), who played harpsichord on the 1964 recording of the opera conducted by Stravinsky. Upright folio. 240 pp. [PN] B&H 17088. Libretto in English & German. Publisher's full green-blue cloth. With Tilney's occasional markings in graphite and red ink throughout to the continuo part, title lightly foxed, else fine. New Grove, 18: 262; de Lerma R5.
Uncommon. We have traced no signed copies of this important score having appeared at auction or on the market in over 30 years.
Tilney spent several years as an opera coach and piano accompanist at Sadler's Wells Theatre and the New Opera Company and in 1964 he was the harpsichordist under the direction of Igor Stravinsky for the second Columbia recording of The Rake's Progress.
"There is no work by Stravinsky, or by anyone else, that embodies more conspicuously than the Rake's Progress the artistic self-consciousness - the consciousness of art in crisis - that is the nub and essence of 'neo-classicism'" (Grove Opera, 3: 1222).
The Rake's Progress is an opera in three acts and an epilogue by Igor Stravinsky. The libretto, written by W. H. Auden and Chester Kallman, is based loosely on the eight paintings and engravings A Rake's Progress (1733–1735) of William Hogarth, which Stravinsky had seen on 2 May 1947, in a Chicago exhibition. First performed at the Teatro La Fenice in Venice on 11 September 1951, the American premiere was on 14 February 1953, at the Metropolitan Opera in New York, conducted by Fritz Reiner and produced by George Balanchine. Often described as the final work of Stravinsky’s neoclassical period (in which the composer took inspiration from, quoted, and explored historical musical styles, particularly those of the baroque and classical eras), the impact of The Rake’s Progress comes from its collision of old-fashioned musical formality and anarchic contemporary harmony and dramaturgy.
No less an interpreter than Christopher Hogwood (1941 - 2014) had this to say about Stravinsky’s use of the harpsichord in The Rake’s Progress: "I once asked him whether he would write something more for the harpsichord. He just rolled his eyes! I think that he himself was not a great admirer of the harpsichord as an instrument with a future for him, but it was clearly an instrument with an enormous past and to include it in a neo-Mozartian score was clearly an obvious thing to do. I think that he managed its use very well so that the harpsichord has more of a connection with the Graveyard Scene and the diabolical side of the Rake, rather than just being an all-purpose accompaniment instrument. And it is also very well integrated with the rest of the small orchestra because you do get the harpsichord incorporated with comments from other instruments around it. It is not the isolated instrument quite as it is when it accompanies just the secco recitatives in a classical opera. There is a sense in which Stravinsky is welding it into his sound palette. But its biggest moments are alone (and in the most ominous scene), so clearly he has carved out a special character for it." (December 2008, Mark Wiggins Interview for the Teatro Real in Madrid, Spain)