eton college collections

25 Features Michael Meredith Michael Meredith Curator Modern Collection Curator he The Tempest vision of the by inspired them, of two The interpret. to asked was good made a Whelen, Christopher by aided the each ideas from man sparking team, scores manuscript surviving The others. were there rehearsal throughout that show Arnold and that and modifications changes night the into late composing often was for ready accompaniments fresh to get day. the next Arnold’s is much to learn from There are which scores, manuscript fascinating of the Eton to members available freely and to the Library in College community It is also Library. in College public general the end of the hoped that some time before joint (a three-year, Arnold Project Malcolm Department Music Eton the and by venture in December 2018 some of Library) College Eton, at be played may The Tempest music some get so that a modern audience may at audience the excited what of idea small back in 1954. way Vic the Old In Helpmann’s production they were were they production In Helpmann’s who generation as the new proclaimed Richard Burton, Michael Hordern and Claire Bloom in The Tempest and Claire Michael Hordern Burton, Richard would repudiate the sins and neglect of and neglect the sins repudiate would prosperity and order restoring in fathers their Bloom and John Claire to Milan and Naples. made the most of this opportunityNeville performances. memorable and both gave with Helpmann to work it easy Arnold found clearly was and tricky) found others (whom

the left arch, as the rightful Duke of Milan, Milan, of Duke rightful the as arch, left the his instructed Michael Hordern, by played Malcolm Arnold’s music, therefore, therefore, music, Arnold’s Malcolm functions number of different fulfilled a it set the mood of a scene; in the play: a it gave character; it helped to create But songs. beauty to Shakespeare’s new an in providing use was its most original in a number accompaniment to the dialogue of the at the appearance Thus, of scenes. the 3, Act banquet at the end of magical in tandem with villainous men of sin spoke Likewise, music. discordant bold, Arnold’s scenes and Ferdinand’s almost all Miranda particularly music, accompanied by were moving was Ferdinand where effective discovered were the lovers and where logs required of course, This, chess. playing blend the sure make to rehearsal careful but perfect, was instruments and of voice and Miranda that well so succeeded it young dull rather merely often Ferdinand, prominence. greater given were lovers, daughter Miranda about their past history. history. past their about Miranda daughter echoes of by accompanied was too, This, restored. was harmony and peace as music, The stole the show. Ariel critics, many For painted sulphur- was Hardy Robert young apart a small decorated from naked yellow, He moved back. blown his hair stiffly thong , and sang with and spoke with balletic grace the airy spirit like charm, an other-worldly much made Hardy be. intended to he was songs. his four of the music for Arnold wrote each through went composer carefully The that making sure one with him at the piano, had the Sands’ Yellow unto these ‘Come tingling a Five’ Fathom ‘Full and lure right than set Arnold did more But melancholy. musical to his own songs Shakespeare’s to cover of music bars He also wrote ideas. of the of many and exits the entrances was to entrance first Ariel’s Thus characters. and Caliban lumbered the plucking harp, of a with bass tune on the trombone in to a slow probably Caliban was accompaniment. drum a disappointment of the production, the only comic broadly a as played moon-calf, lovable Burton. Richard by character aided by wind-machines and thunder- aided by musicians eight by created was sheets, trombone, trumpet, clarinet, oboe, playing percussion different celesta and many harp, choreographed superbly was It instruments. Helpmann and subsided into a quiet by of in front cell, in Prospero’s conversation this, and so started the play with Prospero Prospero with and so started the play this, dress to monsters strange-shaped ordering of tropical strands the set and arrange transforming the pillars, round vegetation and beautiful a mysterious into the stage therefore, music, Arnold’s Malcolm island. by to this transformation contributed alluring sound picture, a magical creating was a word before sinister, but strangely the in place, Once the set was spoken. and an enormous disappeared monsters doomeda with theatre the over burst storm by lit the middle arch, through ship viewed passengers As the frightened a single spot. struggled to keep out and the mariners cried and sank in it split in two the boat afloat, storm, Arnold’s of the audience. full view Tempest magic of Prospero’s island. Helpmann and Helpmann and island. of Prospero’s magic had to disguise his designer Leslie Hurry Compton, Claire Bloom, Robert Hardy and, and, Hardy Robert Bloom, Claire Compton, then was who Burton, Richard course, of The actor. stage a as name his establishing plays the last of the season’s Tempest was 1954. April night on 13th and had its first Robert Helpmann facing problem first The the for erected set permanent the was Palladian façade of three a plan: five-year which pillars, sturdy four held up by arches, and most of the tragedies ideal for was the unsuitable for but completely histories, Theatre that the Theatre it was why and explain music. Arnold’s by entranced so World was saw Vic Old The at 1953-54 season The to plan of an ambitious beginning the in the First plays all Shakespeare’s perform with Richard starting with Hamlet, Folio, five and taking Burton as the Prince, was company A strong to complete. years Fay Michael including Hordern, assembled, critic described the the described Theatre World critic as ‘entrancing’, a perfect a perfect ‘entrancing’, The Tempest as at Sadler’s Wells. Wells. Sadler’s Homage to the Queen at on loan a complete orchestral score of The score on loan a complete orchestral copied out Tempest’s incidental music, the opening before days Arnold five by documents enable us to two These night. history performance the play’s reconstruct College Library has recently bought all bought all recently has Library College score of the manuscript that survives to the piece, piece by Arnold handed over, Christopher director conductor and musical also have We rehearsals. during Whelan shared by most of those who saw the the saw most of those who by shared the of work to the a tribute was play, who Arnold, Malcolm composer young had been commissioned to undertake Helpmann Robert director the by task the ballet music Arnold’s after he had heard to The production Vic in the 1954 Old music of play, accompaniment to Shakespeare’s with delight, audience away carrying the Such high praise, and rapture. wonder The Isle is full of Noises: Noises: full of is Isle The Arnold’s Malcolm

eton college collections

24 Features