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From: "Colin Johnson"
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Subject: Not another Thespis!
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From: "Colin Johnson"
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Subject: Not another Thespis!
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Dear friends,
I have been very busy during the past few weeks creating my own humble website in which to display some of my Savoy-related MIDI contributions, especially those that haven't yet found their way onto the more popular sites.
One piece I am reasonably proud of is my "Navillus" overture which I like to think has a similar flavour to some of Sir Arthur's orchestral pieces.
My own stab at some new original Thespis music is also sitting there.
I am extremely conscience of not infringing any copyright laws, so I have avoided anything by Edward German or Sidney Jones whose works are apparently no longer in the public domain.
However, I trust I'm safe in making my own compositions freely available, and also several of Alfred Cellier's shows that once gave healthy competition to the gallant gentlemen at the Savoy.
Meanwhile I have dozens more MIDI and KAR operas, waiting in the wings until I see a clear green light to proceed.
I presume that later this year I shall be free to add some of the lesser known works of Lionel Monckton and Howard Talbot, as the 75th. anniversary of the latter's death will occur in September.
Should anyone wish to "dip in," these files are to be found at /halhkmusic although I gather that uses of Netscape are having some difficulty, which I hope to unravel soon.
Technical advice is always welcome, as are suggestions for other obscure musical shows that may legitimately be included.
Of course, any MIDI file can only be as good as the hardware on which it is played - but we live in hope.
If it doesn't sound exactly right, we hope you won't upbraid.
Read some of my novels instead!
Best wishes to all,
Colin Johnson
Lympne, UK
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Hello, Mr. Johnson.
I am a member of the MIT G&S Players, and we are studying various
versions of Thespis with a mind to performing one of them next year.
Would you be interested in having us consider your compositions?
If you are, we would like to know if you have plans to orchestrate the
music, and in what time frame.
Also, would you be looking for royalty
payments in exchange for the performance permission?
Thank you.
-Dave Jedlinsky
opus@mit.edu
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From: "Colin Johnson"
To: "David C. Jedlinsky"
References:
Subject: Re: Not another Thespis!
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From: "Colin Johnson"
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Subject: Re: Not another Thespis!
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Dear Mr. Dave,
I have no objections whatever to allowing some or all of my "Thespis" =
music to be used in a stage production, and I would not expect any =
royalty fee either.
Two of the numbers are already orchestrated, as you may hear.
The rest =
could soon be treated in the same way, given a few words of =
encouragement.
Thank you for your other very important tip about the need to alter "\" =
to "/" in the HTML coding, part of which I have already revised and =
As I pointed out, I am relatively new to websites and still =
have quite a lot to learn!
Sincerely,
Colin Johnson
----- Original Message -----=20
From: David C. Jedlinsky
Sent: Monday, March 10,
Subject: Re: Not another Thespis!
> Hello, Mr. Johnson.
> I am a member of the MIT G&S Players, and we are studying various
> versions of Thespis with a mind to performing one of them next year.
> Would you be interested in having us consider your compositions?
> If you are, we would like to know if you have plans to orchestrate the
> music, and in what time frame.
Also, would you be looking for royalty
> payments in exchange for the performance permission?
> Thank you.
> -Dave Jedlinsky
> opus@mit.edu
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Thanks for your quick response.
I have forwarded your music on to the
others involved in choosing a version of Thespis for performance.
Let me be one of the first to offer you words of encouragement - "Well
done!", "Hurrah!".
I played all the songs for my wife last night
several times, and she accused me of "stacking the deck" against the
other Thespis contenders because she couldn't get the music out of her
On the other hand, I do not want to prematurely encourage you
to orchestrate the rest of the music, as it would be unfair to you
should the group decide on another composer's setting.
I notice from the MIDI files that you use NoteWorthy Composer.
have this software, and I'm wondering if you have found a way to do
part extraction for the individual instruments?
Our music director
will be very interested in learning what will be involved in getting
the music to a "performance state".
Ideally, he will want to have a
full score for himself, individual parts for each member of the
orchestra, and a piano-vocal score for the cast.
>From: "Colin Johnson"
>Date: Tue, 11 Mar :23 -0000
>Dear Mr. Dave,
>I have no objections whatever to allowing some or all of my "Thespis" =
>music to be used in a stage production, and I would not expect any =
>royalty fee either.
>Two of the numbers are already orchestrated, as you may hear.
The rest =
>could soon be treated in the same way, given a few words of =
>encouragement.
>Thank you for your other very important tip about the need to alter "\" =
>to "/" in the HTML coding, part of which I have already revised and =
>uploaded.
As I pointed out, I am relatively new to websites and still =
>have quite a lot to learn!
>Sincerely,
>Colin Johnson
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A fellow savoynetter, Colin Johnson, just posted MIDI files of his
composition of "Thespis" on the Web.
I like the way they sound after
a few listens, and thought you might want to consider it as another
alternative.
I exchanged a
he doesn't want
royalties, and he's planning to finish the orchestration soon "given a
few words of encouragement". :-)
If you want to take a listen, his website is
I recommend downloading the
vanBasco's Karaoke Player listed on his website, so you can see the
lyrics as they play.
Missing from the page are "Climbing Over Rocky
Mountain" and "Little Maid of Arcadee", which are Sullivan originals
of course.
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Hello Colin.
I have some news, good or ill, it is for thee to say.
Oops, wrong
The Thespis exploratory committee of the MIT G&S Players find your
setting of Thespis one of the best ones we've examined, and would like
to consider it for performance, possibly as soon as April, 2004.
do have a few questions which we would like to discuss, however.
First is the orchestration, as you are aware.
We realize what a
monumental task doing an orchestration can be, and would like to know
your feelings about what sort of timetable could be expected.
personally have some experience with NoteWorthy Composer, and would
like to help you with any cleanup issues (i.e. getting the score into
performance shape), but I do not have any orchestrating experience.
My skills pretty much end at "copyist".
Our music director obviously
has more skills in that area, and would like to know if you would want
or need his help, or if you'd like to handle the entire orchestration
on your own.
Second issue is an overture.
Are you planning on writing one, or do
you intend to begin the show exactly as "Throughout the night" is
If you would like an overture, do you want or need help with
writing it (see the previous paragraph)?
Third is a libretto.
Do you envision using the original one published
in many various places over the years, or the "scholarly" one by
Terence Rees?
If you'd like to use the Rees version, we would have to
investigate getting permission, so we'd like to start on that.
Finally is the extant Sullivan Thespis music.
I have an NWC file with
an orchestration of "Little Maid of Arcadee", and I will soon have one
for "Climbing Over Rocky Mountain".
Can I assume that using these
would be fine with you?
Do you have any preferences for voices and
genders of the soloists in CORM, since they aren't specified for
If I can locate the Thespis Ballet music, I'd like to add
that to the show as well.
Thank you giving us such an exciting prospect!
-Dave Jedlinsky
opus@mit.edu
Potential "Thespis" director
>From: "Colin Johnson"
>Date: Tue, 11 Mar :23 -0000
>Dear Mr. Dave,
>I have no objections whatever to allowing some or all of my "Thespis"
>music to be used in a stage production, and I would not expect any
>royalty fee either.
>Two of the numbers are already orchestrated, as you may hear.
>could soon be treated in the same way, given a few words of
>encouragement.
>Thank you for your other very important tip about the need to alter "\"
>to "/" in the HTML coding, part of which I have already revised and
>uploaded.
As I pointed out, I am relatively new to websites and still
>have quite a lot to learn!
>Sincerely,
>Colin Johnson
1, answered, forwarded,,
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Message-ID:
From: "Colin Johnson"
To: "David C. Jedlinsky"
References:
Subject: Thespis - an off the cuff response
Date: Fri, 4 Apr :56 +0100
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From: "Colin Johnson"
To: "David C. Jedlinsky"
Subject: Thespis - an off the cuff response
Date: Fri, 4 Apr :56 +0100
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As you may have gathered, once motivated I tend to move fast - at least =
in the world of cyber-space, though not physically, as I am built as a =
veritable Shadbolt.
I will attend without undue delay to the task of orchestrating, though =
the question I always have to ask is - for how many players and spread =
over what range of instruments?
Normally I like to use the basic five =
strings, plus assorted woodwind and a few of the more popular brass.
also find a piano tends to hold a small orchestra together. =20
We have quite a few months in hand, so I will start by sending you a few =
sample MIDI's to listen to as I progress.
If you have NoteWorthy Composer on your PC, I could also send you band =
parts for the opening number.
Re the libretto - we know that Gilbert's published libretto is by no =
means accurate, but it was from this edition that I originally worked, =
the only exception being the obvious insertion of the missing word =
"arrows" in Mercury's Act II song, which even Terence Rees failed to =
I feel that whichever version you choose to perform will have =
little bearing on the music.
Sullivan appears not to have written an original overture, which is why =
I left it well alone.
Maybe I should follow the master's bad example =
and leave this task to the very end?
As for the recently unearthed =
ballet music, to my mind it is still debatable as to precisely where =
this fitted in.
Perhaps it should be played separately from any of the =
set numbers, unless you have other clear ideas on this.
Personally I =
believe that the two "known" numbers should remain as they originally =
were, although a local friend of mine who wrote his own Thespis chose to =
reset CORM on the grounds that it had now become too familiar in its =
other context.
Rest assured. the matter shall have my very careful consideration.
Sincerely,
----- Original Message -----=20
From: David C. Jedlinsky
Sent: Friday, April 04,
Subject: Re: Not another Thespis!
> Hello Colin.
> I have some news, good or ill, it is for thee to say.
Oops, wrong
> The Thespis exploratory committee of the MIT G&S Players find your
> setting of Thespis one of the best ones we've examined, and would like
> to consider it for performance, possibly as soon as April, 2004.
> do have a few questions which we would like to discuss, however.
> First is the orchestration, as you are aware.
We realize what a
> monumental task doing an orchestration can be, and would like to know
> your feelings about what sort of timetable could be expected.
> personally have some experience with NoteWorthy Composer, and would
> like to help you with any cleanup issues (i.e. getting the score into
> performance shape), but I do not have any orchestrating experience.
> My skills pretty much end at "copyist".
Our music director obviously
> has more skills in that area, and would like to know if you would want
> or need his help, or if you'd like to handle the entire orchestration
> on your own.
> Second issue is an overture.
Are you planning on writing one, or do
> you intend to begin the show exactly as "Throughout the night" is
> written?
If you would like an overture, do you want or need help with
> writing it (see the previous paragraph)?
> Third is a libretto.
Do you envision using the original one published
> in many various places over the years, or the "scholarly" one by
> Terence Rees?
If you'd like to use the Rees version, we would have to
> investigate getting permission, so we'd like to start on that.
> Finally is the extant Sullivan Thespis music.
I have an NWC file with
> an orchestration of "Little Maid of Arcadee", and I will soon have one
> for "Climbing Over Rocky Mountain".
Can I assume that using these
> would be fine with you?
Do you have any preferences for voices and
> genders of the soloists in CORM, since they aren't specified for
> Thespis?
If I can locate the Thespis Ballet music, I'd like to add
> that to the show as well.
> Thank you giving us such an exciting prospect!
> -Dave Jedlinsky
> opus@mit.edu
> Potential "Thespis" director
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From: "David C. Jedlinsky"
To: cmj@halhk.freeserve.co.uk
Cc: opus@MIT.EDU
In-reply-to:
(cmj@halhk.freeserve.co.uk)
Subject: Re: Thespis - an off the cuff response
References:
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From: "David C. Jedlinsky"
To: cmj@halhk.freeserve.co.uk
Cc: opus@MIT.EDU
In-reply-to:
(cmj@halhk.freeserve.co.uk)
Subject: Re: Thespis - an off the cuff response
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Hello Colin.
There is one other version of Thespis in addition to yours still being
championed by one of the members of our committee.
I think the main
reason it is still being suggested was due to some of the questions
which we sent you earlier regarding the orchestration and overture.
have forwarded your response to the others, and hope that the matter
will be settled this week.
Regarding our orchestra, I am informed by the music director that we
are often faced with a lack of bassoonists and trumpeters.
Otherwise,
we usually have an orchestra of 20-25 members, covering strings,
woodwinds, trombone, french horn, and percussion.
We have occasionally
found ourselves fairly trombone-heavy, and used one of them to fill in
for a missing bassoon.
Due to space considerations, we rarely use a
If there are missing instruments, we would try the trombone
substitution, or else use an electronic keyboard.
Our current performance of Utopia, Limited is using a keyboard in
place of a bassoon.
We have a trumpet this time.
I can get you an account on the MIT computer network, so we could
transfer files back and forth - you wouldn't have to worry about disk
space issues like on your web site, and we can restrict access from
world-wide prying eyes.
If you'd like me to do that, let me know and
I'll get it set up.
We would then have to go over some technical
details of how you would connect and copy items to and fro - I'm not
sure what sort of procedure you currently follow to get items put on
your website.
I do have NoteWorthy Composer, and would like to get a copy of your
setting of the opening number.
Regarding the original Sullivan music, we'd better leave it intact.
Our group's bylaws require us to perform "Gilbert and Sullivan" shows.
We've interpreted that to include "Gilbert and Sullivan and Johnson",
but that implies that there is some Sullivan included.
worried about how familiar CORM will sound.
You mentioned earlier that you do not have a royalty fee.
extend to a video recording of the stage production as well?
our custom to record a performance and sell copies to cast and other
interested parties.
We would like to make you aware of this policy,
so that any issues can be resolved well in advance.
Thank you.
-Dave Jedlinsky
>From: "Colin Johnson"
>Date: Fri, 4 Apr :56 +0100
>Hi David,
>As you may have gathered, once motivated I tend to move fast - at least =
>in the world of cyber-space, though not physically, as I am built as a =
>veritable Shadbolt.
>I will attend without undue delay to the task of orchestrating, though =
>the question I always have to ask is - for how many players and spread =
>over what range of instruments?
Normally I like to use the basic five =
>strings, plus assorted woodwind and a few of the more popular brass.
>also find a piano tends to hold a small orchestra together. =20
>We have quite a few months in hand, so I will start by sending you a few =
>sample MIDI's to listen to as I progress.
>If you have NoteWorthy Composer on your PC, I could also send you band =
>parts for the opening number.
>Re the libretto - we know that Gilbert's published libretto is by no =
>means accurate, but it was from this edition that I originally worked, =
>the only exception being the obvious insertion of the missing word =
>"arrows" in Mercury's Act II song, which even Terence Rees failed to =
I feel that whichever version you choose to perform will have =
>little bearing on the music.
>Sullivan appears not to have written an original overture, which is why =
>I left it well alone.
Maybe I should follow the master's bad example =
>and leave this task to the very end?
As for the recently unearthed =
>ballet music, to my mind it is still debatable as to precisely where =
>this fitted in.
Perhaps it should be played separately from any of the =
>set numbers, unless you have other clear ideas on this.
Personally I =
>believe that the two "known" numbers should remain as they originally =
>were, although a local friend of mine who wrote his own Thespis chose to =
>reset CORM on the grounds that it had now become too familiar in its =
>other context.
>Rest assured. the matter shall have my very careful consideration.
>Sincerely,
1, forwarded,,
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Message-ID:
From: "Colin Johnson"
To: "David C. Jedlinsky"
References:
Subject: Re: Thespis
Date: Sun, 6 Apr :44 +0100
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From: "Colin Johnson"
To: "David C. Jedlinsky"
Subject: Re: Thespis
Date: Sun, 6 Apr :44 +0100
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charset="iso-8859-1"
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Dear David,
I attach two of the orchestrated songs from "Thespis" in Noteworthy =
format for you to examine in detail.
I note your shortage of Bassoon players, and will now begin to address =
that issue.
However, although the range of the trombone is similiar, =
the most notable difference is that the latter slides from note to note, =
and this would make the "twiddly bits" in the bass of the Diddlesex song =
(ideal material for a bassoon sound) perhaps more suited to a clarinet =
than a trombone.
Certainly the easiest solution would be to use an =
electronic keyboard here - it could become very tiring for a wind player =
who would also need to breathe!
My initial thoughts regarding any overture were that anything too jolly =
might spoil the opening mood - gloom, darkness and near silence into =
which the dawn light and movement gradually intrude.
I imagine the =
curtain would rise around bar 30.
Many shows of that period did not =
have overtures, and others may have done so merely to satisfy audience =
expectation.
It's a boundless field of speculation as to why they are =
considered necessary, especially nowadays when ill-mannered audiences =
tend to continue chattering until something interesting happens.
I've attached also the vocal score version of No. 2 as well as a newly =
orchestrated version.
In this I've included both the Oboe and Clarinet =
to follow the vocal line - merely in an either/or situation, or to be =
left out altogether if preferred.
In all the other shows I have distributed to various societies, I have =
never asked for royalties.
It is, after all, my hobby as well as =
A few were kind enough to send me a video or a tape recording, =
which I felt was reward enough, and I certainly have no objection to my =
stuff being recorded.
I only wish that the 1871 Thespis production had =
been recorded for posterity, instead of us having to rely on artists' =
engravings and press reports. =20
Sincerely,
Colin Johnson
----- Original Message ----- ,=20
From: David C. Jedlinsky
Sent: Saturday, April 05,
Subject: Re: Thespis - an off the cuff response
> Hello Colin.
> There is one other version of Thespis in addition to yours still being
> championed by one of the members of our committee.
I think the main
> reason it is still being suggested was due to some of the questions
> which we sent you earlier regarding the orchestration and overture.
> have forwarded your response to the others, and hope that the matter
> will be settled this week.
> Regarding our orchestra, I am informed by the music director that we
> are often faced with a lack of bassoonists and trumpeters.
Otherwise,
> we usually have an orchestra of 20-25 members, covering strings,
> woodwinds, trombone, french horn, and percussion.
occasionally
> found ourselves fairly trombone-heavy, and used one of them to fill in
> for a missing bassoon.
Due to space considerations, we rarely use a
If there are missing instruments, we would try the trombone
> substitution, or else use an electronic keyboard.
> Our current performance of Utopia, Limited is using a keyboard in
> place of a bassoon.
We have a trumpet this time.
> I can get you an account on the MIT computer network, so we could
> transfer files back and forth - you wouldn't have to worry about disk
> space issues like on your web site, and we can restrict access from
> world-wide prying eyes.
If you'd like me to do that, let me know and
> I'll get it set up.
We would then have to go over some technical
> details of how you would connect and copy items to and fro - I'm not
> sure what sort of procedure you currently follow to get items put on
> your website.
> I do have NoteWorthy Composer, and would like to get a copy of your
> setting of the opening number.
> Regarding the original Sullivan music, we'd better leave it intact.
> Our group's bylaws require us to perform "Gilbert and Sullivan" shows.
> We've interpreted that to include "Gilbert and Sullivan and Johnson",
> but that implies that there is some Sullivan included.
> worried about how familiar CORM will sound.
> You mentioned earlier that you do not have a royalty fee.
> extend to a video recording of the stage production as well?
> our custom to record a performance and sell copies to cast and other
> interested parties.
We would like to make you aware of this policy,
> so that any issues can be resolved well in advance.
> Thank you.
> -Dave Jedlinsky
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Message-ID:
From: "Colin Johnson"
To: "David C. Jedlinsky"
References:
Subject: Travel plans
Date: Mon, 7 Apr :49 +0100
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*** EOOH ***
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From: "Colin Johnson"
To: "David C. Jedlinsky"
Subject: Travel plans
Date: Mon, 7 Apr :49 +0100
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Firstly, my wife and I are booked to "cross the pond" next Monday to =
spent a few weeks with our daughter and her family in New Jersey.
should be back in the UK by May 9th.
Meanwhile, it seems a good idea to send you the remaining NWC files of =
"Thespis" for visual inspection, including two other orchestrated =
numbers, nos. 8 and 10.
Excuse haste - much to do before Monday.
I will keep in touch by email =
from across the pond.
Sincerely,
------=_NextPart_000_FD33.
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------=_NextPart_000_FD33.
Content-Type: application/octet-
name="TSP04 - Duet - Here

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