Yeah, think it was actually a new one, and the house was probably too large
to have been Britten's, whatever his success!
Best
Dave
----- Original Message -----
From: "Candice Ward" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Saturday, July 28, 2001 11:34 PM
Subject: Re: syllabics/Hopkins Browning
> 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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