Thesis--University of Michigan. / "Chronological list of works" : leaves 188-198. Photocopy of microfilm of typescript. Ann Arbor, Mich. : University Microfilms, 1969.--22 cm. Includes bibliographical references (leaves 201-207).

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This dissertation centers on creating a new critical edition of the Rip Van Winkle overture. One of America's earliest opera composers, George Frederick Bristow (1825-1898), completed the opera Rip Van Winkle in 1855. When he revised it twenty-five years later in 1880, the composer omitted the original overture which was then thought to be lost. A concert version of this overture exists today only in manuscript form, located at the New York Public Library. Rip Van Winkle is significant to the history of American Music because it is one of the earliest operas composed by an American, and the first to be written on American subject matter (in this case, Washington Irving's story of the same name). Adding to the work's considerable historical significance is that the overture was one of the first American pieces performed by the New York Philharmonic Society, in which Bristow was a violinist. There is currently no scholarly edition of the overture, and thus this edition will fill a significant gap in the understanding of nineteenth-century American music. This critical edition of the overture to George Frederick Bristow's Rip Van Winkle was created in order to be published and available for performance and study, shedding light on the often under-represented American opera in the United States.

William Henry Fry (1813-1864) and George Frederick Bristow (1825-1898) were the first important composers of grand opera in the United States. They were both avid promoters of American music and American composers during a most unstable time in American history--the mid-nineteenth century just prior to the American Civil War.The present study includes in Chapter I a survey of American culture in the mid-nineteenth century, and in Chapters II and III, brief biographical sketches of W. H. Fry and G. F. Bristow. The main aim of the study has been to explore American culture during the period of approximately 1845 to 1855, and then to show that W. H. Fry's opera Leonora and G. F. Bristow's opera Rip Van Winkle are products of that culture. A general musical analysis of the two operas under consideration is given as evidence of their relationship to the Italian operatic style of the mid nineteenth century. An attempt has been made to find specific examples in both Leonora and Rip Van Winkle that canbe shown to be reflections of the musical culture of Europe with which Fry and Bristow were familiar. The main characteristics of Italian opera, such as: melodramatic plots, popular-type melodies, expressive solo voice, orchestral coloratura sections (particularly for the prima donna), and colorful folk-like songs in this work.Fry was one of the leaders of his time in asserting the thesis that Americans, if they were ever going to develop a native art, must escape their subservience to foreign influence. The irony of the situation is that Fry himself was not able to break away from the European influence in his opera Leonora, except in his use of the English language.George Frederick Bristow, whose life spanned almost the entire nineteenth and the beginnings of American culture.Bristow's opera Rip Van Winkle is written in a style one would expect from a nineteenth-century musician. He tended to write music that was basically diatonic with a spice of chromaticism. Many of the arias, and most of the choruses, are presented in a simple, straightforward style which tends to give the opera a folk-like quality, while some other arias are in an ABA structure, and fit the style of Italian operatic arias of the time. A few of Bristow's melodies are in the French style of the period--that is, they are dance-like in character--and therefore are significant reminders that he was also familiar with nineteenth century French opera.What interest there was in opera in the United States in the mid-nineteenth century was focused primarily on Italian opera, and William Henry Fry and George Frederick Bristow wrote operas in that style.