Actually, I'm pretty sure the production I saw on PBS all those years ago
did originate with the Beeb, so it could well be the same one. (I thought
Martin and Matthew were talking about a new one airing this weekend--?)
In any case, I'm delighted by your "cor, lumme" take on _Wingrave_. Would
love to see a production (live or cinematic) of _Turn of the Screw_ myself
some day.
Candice
on 7/28/01 4:00 PM, david.bircumshaw at [log in to unmask] wrote:
> And, going back a bit here, Candice -
>
> I've just been watching Owen Wingrave on BBC2. It might be the very same you
> saw, certainly fits your description, I haven't checked the background out,
> but:
>
> Cor, lumme. Brilliant.
>
> 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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