The King's Henchman: A Play in Three Acts -
Edna St. Vincent Millay
1927 - Harper & Brothers, New York - First Edition
A fine first edition of Millay’s three part libretto which was commissioned for Opera by the composer Deems Taylor and was performed at the Metropolitan Opera in New York the same year of publication.
The libretto is based on both legend and historical figures documented in the Anglo-Saxon Chronicle including Edgar the Peaceful, Elfrida of Devon, and Dunstan. It tells the story of a love triangle between King Eadgar, his henchman Aethelwold, and Aelfrida, daughter of the Thane of Devon.
Housed in bespoke morocco slipcase and chemise. From the abstract to aurora Deeds, 191 doctoral thesis (Univeristy of Iowa): “During the 1920’s, the United States was in a state of cultural transition. This was reflected in multiple art genres, and music was no exception. In 1926, Giulio Gatti-Casazza and Otto Kahn, the General Manager and General Director of the Metropolitan Opera respectively, commissioned composer Deems Taylor to write a new American opera. Taylor (1885-1966) was an American-born composer who also worked as a music critic, writer, and radio personality. At the time of this commission, Taylor was given free reign in the opera’s subject matter, and more importantly, over whom to select as librettist. For this project, he chose American poet and Pulitzer Prize winner Edna St. Vincent Millay (1892–1950).
After accepting this commission, Millay worked to find a suitable libretto topic. She soon selected a story based in tenth-century England that was found in the Gesta Regum Anglorum, written by William of Malmesbury. This story served as the foundation for the opera that would eventually be titled The King’s Henchman. Due to Millay’s poor health, collaboration between took place via mail correspondence, with Millay and Taylor only meeting a total of four times during the opera’s genesis. The score for The King’s Henchman was completed in 1926, and the rehearsal process began in January 1927. The Metropolitan leaked information about the upcoming opera and a great deal of publicity was built up surrounding The King’s Henchman and its premiere. The opera premiered on February 17, 1927. The majority of reviews were positive, and The King’s Henchman was considered a triumph for American opera.”
Small octavo (binding size 19.8x14cm), p. [10] 132 [2]. In publisher’s black cloth spine and blue paper boards, spine with paper label lettered and decorated in black, top edge tinted yellow, others untrimmed. Dust jacket with publisher’s decorative trim. Housed in half blue morocco clamshell case, spine with raised bands lettered and decorated in gilt, with matching cloth chemise and silk tie. Condition: Fine in near fine dust jacket with some wear to folds, and near fine slipcase, some toning to spine and spotting to cloth of case and chemise. Ref: 112663 Price: HK$ 1,500
The libretto is based on both legend and historical figures documented in the Anglo-Saxon Chronicle including Edgar the Peaceful, Elfrida of Devon, and Dunstan. It tells the story of a love triangle between King Eadgar, his henchman Aethelwold, and Aelfrida, daughter of the Thane of Devon.
Housed in bespoke morocco slipcase and chemise. From the abstract to aurora Deeds, 191 doctoral thesis (Univeristy of Iowa): “During the 1920’s, the United States was in a state of cultural transition. This was reflected in multiple art genres, and music was no exception. In 1926, Giulio Gatti-Casazza and Otto Kahn, the General Manager and General Director of the Metropolitan Opera respectively, commissioned composer Deems Taylor to write a new American opera. Taylor (1885-1966) was an American-born composer who also worked as a music critic, writer, and radio personality. At the time of this commission, Taylor was given free reign in the opera’s subject matter, and more importantly, over whom to select as librettist. For this project, he chose American poet and Pulitzer Prize winner Edna St. Vincent Millay (1892–1950).
After accepting this commission, Millay worked to find a suitable libretto topic. She soon selected a story based in tenth-century England that was found in the Gesta Regum Anglorum, written by William of Malmesbury. This story served as the foundation for the opera that would eventually be titled The King’s Henchman. Due to Millay’s poor health, collaboration between took place via mail correspondence, with Millay and Taylor only meeting a total of four times during the opera’s genesis. The score for The King’s Henchman was completed in 1926, and the rehearsal process began in January 1927. The Metropolitan leaked information about the upcoming opera and a great deal of publicity was built up surrounding The King’s Henchman and its premiere. The opera premiered on February 17, 1927. The majority of reviews were positive, and The King’s Henchman was considered a triumph for American opera.”
Small octavo (binding size 19.8x14cm), p. [10] 132 [2]. In publisher’s black cloth spine and blue paper boards, spine with paper label lettered and decorated in black, top edge tinted yellow, others untrimmed. Dust jacket with publisher’s decorative trim. Housed in half blue morocco clamshell case, spine with raised bands lettered and decorated in gilt, with matching cloth chemise and silk tie. Condition: Fine in near fine dust jacket with some wear to folds, and near fine slipcase, some toning to spine and spotting to cloth of case and chemise. Ref: 112663 Price: HK$ 1,500