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Overton, Hall. (1920–1972). The Enchanted Pear Tree - Proof Copy with Autograph Corrections. Proof copy (blueline) of the piano-vocal score of the opera by the very versatile American composer. Dated "1949" to head of first page. 79 pp. Facsimile from 12-staff "Albanene 195L" transparent music paper by Arnold Arnstein, New York. Printed on one side only and accordion-folded (blank pages remain hidden if connected leaves turned on right side). The format of the first two sets, which were originally connected, is slightly larger (13.5 x 9.5 inches / 34.5 x 24.4 cm) than that of the third set (13 x 9.5 inches / 32.5 x 24.2 cm). The first set contains the prelude, scene I (paginated consecutively from [1] to 25) and, on its final page, the beginning of scene 2. The second set contains the remainder of scene II (paginated from 2 to [12]). The third set contains scene III (paginated [1] to 16) and IV (paginated [1] to 25).  There are numerous corrections in pencil and occasional ones in blue ink. Several leaves torn and frayed (especially outer leaves of the three sets), some browning, ink stain to p. 17 of scene 3, occasional brown stains, e.g. to top right corner of first page.

The printed score is written very clearly, either by the composer or by a copyist, and the corrections are almost certainly in the hand of composer. The score was published, presumably after the corrections, with the same characteristic pagination of 25+12+13+25, by the American Composers Alliance in the "Composers Facsimile Edition" series in either 1949 or 1950 (library catalogs differ).

Overton studied classical composition at various schools before and after the Second World War. During his military service in the war, he became acquainted with jazz and returned as an accomplished jazz musician, who would later perform with the greats of jazz and make orchestral arrangements for Thelonious Monk. After taking his final degree at Juilliard in 1951, he joined the faculty there. The Enchanted Pear Tree, on a Libretto by J. Thompson after Bocaccio's Decameron, was Overton's first opera. According to the composer's obituary in The New York Times, "Mr. Overton's opera buffa, 'The Enchanted Pear Tree,' ... was first produced in 1950 for the Juilliard Composers Forum." The style is highly dissonant, with polytonal effects, and clearly influenced by jazz, although it is not atonal.

Overton, Hall. (1920–1972) The Enchanted Pear Tree - Proof Copy with Autograph Corrections

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Overton, Hall. (1920–1972). The Enchanted Pear Tree - Proof Copy with Autograph Corrections. Proof copy (blueline) of the piano-vocal score of the opera by the very versatile American composer. Dated "1949" to head of first page. 79 pp. Facsimile from 12-staff "Albanene 195L" transparent music paper by Arnold Arnstein, New York. Printed on one side only and accordion-folded (blank pages remain hidden if connected leaves turned on right side). The format of the first two sets, which were originally connected, is slightly larger (13.5 x 9.5 inches / 34.5 x 24.4 cm) than that of the third set (13 x 9.5 inches / 32.5 x 24.2 cm). The first set contains the prelude, scene I (paginated consecutively from [1] to 25) and, on its final page, the beginning of scene 2. The second set contains the remainder of scene II (paginated from 2 to [12]). The third set contains scene III (paginated [1] to 16) and IV (paginated [1] to 25).  There are numerous corrections in pencil and occasional ones in blue ink. Several leaves torn and frayed (especially outer leaves of the three sets), some browning, ink stain to p. 17 of scene 3, occasional brown stains, e.g. to top right corner of first page.

The printed score is written very clearly, either by the composer or by a copyist, and the corrections are almost certainly in the hand of composer. The score was published, presumably after the corrections, with the same characteristic pagination of 25+12+13+25, by the American Composers Alliance in the "Composers Facsimile Edition" series in either 1949 or 1950 (library catalogs differ).

Overton studied classical composition at various schools before and after the Second World War. During his military service in the war, he became acquainted with jazz and returned as an accomplished jazz musician, who would later perform with the greats of jazz and make orchestral arrangements for Thelonious Monk. After taking his final degree at Juilliard in 1951, he joined the faculty there. The Enchanted Pear Tree, on a Libretto by J. Thompson after Bocaccio's Decameron, was Overton's first opera. According to the composer's obituary in The New York Times, "Mr. Overton's opera buffa, 'The Enchanted Pear Tree,' ... was first produced in 1950 for the Juilliard Composers Forum." The style is highly dissonant, with polytonal effects, and clearly influenced by jazz, although it is not atonal.