Stage — Incidental

Janet and Felix, or ‘Singing Sickness’: 
A Musical Satire for the Radio

Scene I – the drawing-room of Janet Suckling’s flat
Scene II – Dr Kurtz’s consulting room
Scene III – Signor Pindello’s Operatic Academy – the practice room
Scene IV – Pindello’s Academy – the garden
Scene V – The wishing seat in a cave on the Yorkshire moors
Scene VI – Pindello’s Academy – the practice room

  • composed 1931
  • unpublished (lost)
  • Note:  First broadcast on November 27, 1931.  Adapted and produced by Gordon McConnel.  Alan Paul at the piano.  The Wireless
  • Chorus and the B.B.C. Theatre Orchestra (cond. Leslie Woodgate).  Cast included Tessa Dean (Janet Suckling), John Armstrong (Felix Fairchild), Ann Stephenson (Mrs. Fairchild, his mother), J. Hubert Leslie (Dr. Kurtz and John McKay), and Bertram Binyon (Signor Pindello).  Notices in the Radio Times call it an operetta.

Nephew Into Aunt:  A Boccaccio Touch!  -  A Light Comedy.  

  • In Three Acts, with Incidental Music. 
  • Adapted from the Italian of Leonardo Sighieri by Cyril Scott
  • composed pre-1944    
  • unpublished        
  • Full script and ten musical numbers extant.  Unperformed.
  • MS:  script and music with estate.  On the title page to Act I, “Into” is crossed out, and the title changed to Nephew cum Aunt.
  • Cast:  Fedora, 37, a well-to-do widow / Guido, 45, her brother / Cecilia di Vinciolo, 21, an orphan, and Guido’s ward / Enrico di Parma, 26, a young man / Rinaldo del Tesco, uncle to Enrico / Angelina del Tesco, aunt to Enrico / A magician / Pizzetti, his apprentice / Maria, a sort of baby farmer / Alberta, a maid / Giorgio, a man-servant / Karlukarlu, an invisible voice.   
  • Era:  Any attractive period between 1350 and 1750.  Italy.

Act I  

#1, ‘While ’neath my parents’ roof I dwelt, I fared on good macaroni’    Gently flowing    [Cecilia, with minstrels]        [5p / 63b]
#2, ‘O lusty lavish lady mine, so hale and full of ardour’            Allegro [Enrico]    [4p / 90b]
#3, ‘O juice of jovial Bacchus’                        [music not extant] [servants]
#4, Love potion chant, ‘O precious, most expensive love-potion.  Infallible in cases of unrequited devotion’ [Enrico]        [4p / 30b]                Recitative / Slow
#5, ‘How shall I bid my heart to cease from fluut’ring in my breast’    Andante / Allegro moderato [Enrico]        [5p / 102b]
#6, ‘I’ve dreamed of princely enchanters’                Langourous (andante) [Cecilia]        [5p / 77b]
#7, reprise, ‘O lusty lavish lady mine’ [Enrico]

Act II

Scene 1
#8, Maria’s song, ‘Everyone loves Maria’                  Andante sostenuto  [Maria]        [4p / 71b]
Scene II
#9, ‘When a wizard of some reputation goes forth to pursue his vocation’    Allegretto  [Apprentice and maidens]    [4p / 89b]
#10, reprise, ‘I’ve dreamed of princely enchanters’ [Cecilia]

Scene III
#11, Lullaby    [Cecilia]                        [no music provided]
#12, ‘Who would be a maid?  Always circumspect and staid’        Time of slow waltz [Maid’s song]    [5p / 83b]    
#13, ‘Oh, were my soul a butterfly I’d wing the wide world over’        Allegretto [Cecilia]    [3p / 46b]

Act III
Scene 1(The Priest of Napoli)
#14, ‘Now ‘tis only in dream, beloved’ (reprise of end of ‘I’ve dreamed of princely enchanters’ [Cecilia]
#15, ‘To shrive myself one morning I hasten’d to a priest of Napoli’    Moderato [Guido, with minstrels]        [10p / 91b]

Othello

  • music for stage production
  • unpublished/lost
  • performed February 11 through May 19, 1920 at New Theatre, London

Return to Nature

  • music for stage production
  • unpublished/lost
  • produced March 14 1920 at Lyric Theatre, Hammersmith

Smetse Smee
Subtitle: A Bizarre Comedy in Three Acts

for Orchestra

Act I –         [57p / 490b]

  1. Moderato – Tempo poco scherzando – Molto cantabile e dolce – Tempo I   [18p / 124b]
  2. Lento e triste   [10p / 108b]
  3. Allegro moderato – Poco meno mosso – Andante espressivo – Energico – Meno mosso[8p / 71b]
  4. Lento e misterioso – Tranquillo – Allegro ma non troppo – Poco meno mosso - Energico[19p / 187b]

Act II -         [61p / 618b]

  1. Andante religioso - Pi mosso – Moderato – Vivace[13p / 120b]
  2. Moderato – Lento[7p / 64b]
  3. Andantino – Allegro non troppo – Allegro con spirit – Poco meno mosso[13p / 179b]
  4. Allegro – Con anima – Andante sostenuto – Energico   [28p / 255b]

Act III -        [35p / 359b] 

  1. Adagio religioso – L’istesso tempo[6p / 68b]
  2. Andantino – Adagio – Tristamente – Allegro moderato – Poco meno mosso – Andante   [29p / 291b]
  • composed ca. 1925-26
  • incidental music: play based on Charles de Coster's old Flemish legend
  • ms of full score & typescript of text on hire from Schott
  • The script by the composer, a theatrical adaptation in three acts of Charles de Coster's short story, is a self-standing literary work, the typescript (29+31+33 = 93p) duplicated in facsimile by Ethel Christian (London, n.d.). 
  • Unperformed.   
  • Orch:    1.0.2(=bcl).1 / 0.2.1.0 / perc / hpd / pf / strs (4.4.2.2.2) 
  • The orchestral score on hire from Schott appears to be a scribal fair copy.  
  • A ***–page orchestral autograph score, titled “Prelude to Act I”, and residing with the estate, is almost certainly meant for Smetse Smee.  It is perhaps an unfinished draft, as the scoring is very light.

Susannah and the Elders

  • Music for stage production
  • First Performance run:  Oct.31 – Nov.14, 1937, London, Duke of York's Theatre
  • Unpublished/lost