-- Now that is very interesting.I was aware that Stravinsky and Thomas were
to do an opera of 3 of Thomas' later poems. But I was not aware that
Stravinsky had done this piece. The work of Thomas and S. were to have done
together was thwarted by the former's premature death. I was thinking about
the interview with Burgess and I believe in can be found in the New York
Times the year before Burgess died. There is also an electronic digital
creation of D.T.'s voice done by a composer. Again, give me time and I shall
send that information along. The atmosphere created by the composer is
uncanny and builds up very gradually and near the middle one hears the
digital morsels come together to assemble the voice of the Welsh poet. It is
very spooky and is there for one phrase and then thunders away and fades
eventually back into the digital sea from whence it arose
>From: "david.bircumshaw" <[log in to unmask]>
>Reply-To: Poetryetc provides a venue for a dialogue relating to poetry and
> poetics <[log in to unmask]>
>To: [log in to unmask]
>Subject: Re: syllabics/Hopkins Browning
>Date: Thu, 26 Jul 2001 07:59:03 +0100
>
>That's a thought, Candice, it's years since I heard the James, and I missed
>out on Wingrave, perhaps they'd work for me now, must give them a visit
>when
>insomnias depart.
>
>Perhaps one the most memorable settings of any English language poet I have
>heard though is Stravinsky's In Memoriam Dylan Thomas (think that's the
>correct title) which deploys Do No Go Gentle into that Good Night in a
>manner which supercharges the poem
>
>Best
>
>Dave
>
>
>----- Original Message -----
>From: "Candice Ward" <[log in to unmask]>
>To: <[log in to unmask]>
>Sent: Thursday, July 26, 2001 7:49 AM
>Subject: Re: syllabics/Hopkins Browning
>
>
> > Don't you like the James a la Britten, David? The way he uses "Tom, Tom,
>the
> > Piper's Son" in Turn of the Screw to reinforce the focus on the
>children?
> > And the spooky Owen Wingrave is my favorite. I saw a film of the Britten
> > Owen years and years ago that was shot in Norfolk in a wonderfully
> > atmospheric house--maybe it was Britten's house, don't remember--but it
>had
> > windows of a size and shape that let in very little light, all of which
> > looked gray all the time from inside the house, and it looked to me as
>if
> > the film's lighting was tinted along the same spectrum so that
> > everything--mobile and stationary--not only had its own shadow but an
> > unchanging one, always the same length, depth, darkness, etc. One of the
> > creepiest effects I've ever seen--Candice
> >
> >
> > on 7/26/01 2:24 AM, david.bircumshaw at [log in to unmask]
>wrote:
> >
> > > I think, if memory serves me, that Britten set Hopkins too, I know he
> > > definitely set Blake and Donne, (and unlike much his work, I do like
>his
> > > settings of poets).
> > >
> > > db
> > >
> > >
> > > ----- Original Message -----
> > > From: "genet son of genet" <[log in to unmask]>
> > > To: <[log in to unmask]>
> > > Sent: Thursday, July 26, 2001 7:19 AM
> > > Subject: Re: syllabics/Hopkins Browning
> > >
> > >
> > >> Theres an interview somewhere with Anthony Burgess. In it he speaks
>of
> > >> setting various pieces of H's poems to music, and also of finishing a
>play
> > >> of H's. I am sure many people have done things with Browning, and
>there
> > > are
> > >> some French musicans who have sets lots of H's work to music.
> > >>
> > >>
> > >>> From: Roger Collett <[log in to unmask]>
> > >>> Reply-To: Poetryetc provides a venue for a dialogue relating to
>poetry
> > > and
> > >>> poetics <[log in to unmask]>
> > >>> To: [log in to unmask]
> > >>> Subject: Re: syllabics
> > >>> Date: Wed, 25 Jul 2001 22:37:48 +0100
> > >>>
> > >>> My wife, for whom the research is, wrote:
> > >>>>>>>>
> > >>> Of course, Bridges. I should have known. Tried to set one of his
>poems
>to
> > >>> music (about 40+ years ago; problem was not being a good enough
>pianist
> > > to
> > >>> write an adequate piano part), and thinking back over the melody,
>it's
> > >>> clear
> > >>> I was aware of the rhythmic requirements. I think he had a lot more
> > >>> influence in his day than his readership these days might suggest. I
> > > wonder
> > >>> now if he himself deliberately set this syllabic hare running, being
>as
> > > he
> > >>> was in close correspondence with Hopkins and his so different
>prosodic
> > >>> developments.
> > >>>
> > >>> Do thank Robin for me, I'd be most interested in the article. Am
>sure
> > > he's
> > >>> right about the classical slosh-over, remembering how I tried to
>write
> > >>> Virgilian hexameters in the sixth-form, fully expecting to end up
>with
> > >>> something vaguely Miltonic, and instead got something like
>rudimentary
> > >>> sprung rhythm <<<<<
> >
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