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and beyond
Author(s): David Drew
Source: Tempo, New Series, No. 217 (Jul., 2001), pp. 7-21
Published by: Cambridge University Press
Stable URL: http://www.jstor.org/stable/946867
Accessed: 25-04-2016 17:14 UTC
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David Drew
social season in Roscoff had been 'magnificent' 70 beautiful, famous, and titled guests; and the
servants were 'perfect'. The Princess had worn
Pelleas et Melisande. Debussy, his near-contemporary, was irreplaceable. Stravinsky, his junior by
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back in February:
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author's dash for the diver's lamp. What connexion, asks Albright, might archangels and the
Cities of the Plain have with Cocteau's
Acrobats? An answer is found in Chabrier's and
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dingy room in the suburb of Arceuil-Cachan a room from which his 'artistic' friends were
Actress.
one of his doors is Artaud's. Cocteau's 'flimsy antetheatre', he writes, 'advertises an unseen theatre of
from Picasso's sorrowful or threatening Saltimbanques of the early 1900s than from the Cirque
Medrano to which Cocteau clearly refers at the start
of his memo to Satie. In March 1915 Cocteau
Florent Schmitt.
Great War'.
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mobile platforms.
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Lambert included Mercure in an all-Satie programme he conducted for the BBC. Yet it was
Reldche and its gender-poetics that related more
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The well-known photo of Pears as nightgowned Husband staring aghast at his transformed wife - Jennifer Vyvyan bearded like
Baba the Turk - is a worthy companion to the
Motomasa's Sumidagawa can no longer be mistaken for a detour, still less a flight from the
unexpected success of War Requiem. Irrespective
is the fact that the second work in the programme was Monteverdi's not inconsiderable I
in October 1938, of one of his Noh-play translations, with help from a female dancer and a
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of Reading, published in 1934 I've gone all Chaucerian [...] can't anything be done
about helping Pound - he's obviously a great man, &
we haven't so many that we can go around spilling
their blood?
one of the early triumphs of creative broadcasting in the UK. It was a classic example of the kind
Like the actual Treatise - a significant if eccentric document best read in the context of the
the emigre Left, and particularly the postExpressionist Ernst Toller. Auden's Paul Bunyan
was to turn its giant's back on most of that while
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until Jacques-Louis Monod conducted its professional premiere at a BBC Invitation Concert
in December 1965. Curlew River was composed
in the early weeks of 1964, and Sumigadawa had
been in Britten's mind since William Plomer
first discussed it with him in 1957.
remarks'.
strike you?
The sentence can only be the one in the paragraph preceding the paragraph from which
Schafer quotes. Referring to Schoenberg's concept
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might profitably have encountered DerJasagerin certain superficial respects, by far the cruellest
finally 'Assez connu'. Britten's visionary comprehension of 'tous les airs' is likewise - as
Knussen's 'Key' implies - an extension from
thematic-motivic demonstration and (pacific)
remonstration to a 'purely' musical experience
whose essence is a profound belief in the possibility of reanimating functional tonality rather
than merely disinterring the relics of its previous
incarnation. That belief is inconsistent with
ures whose Moderist credentials are impeccable, Poulenc earns his keep in the grace-andfavour homes of modernism by virtue of his
stubborn disregard for the kind of compositional
resources and continuities that were fundamental
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ago or as-you-like-it the other day, the opportunistic twaddle of modem-minded persons is
all of a piece, and mercifully buries itself until
In 1965 the English Opera Group commissioned from the 30-year-old Harrison Birtwistle
sur le toit). It's all too easy to forget that even the
finest critical and academic work is at best a
film era. Relevant enough. But why this particular Kaiser play rather than another and better
one? Why Kaiser at all?
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York 1946
SOURCE NOTES
Volta, pp.186-187
See Whiting pp.522-523, and Orledge, p.39 and p.339,
note 2, for accounts of Mercure in terms of the erotic tableaux
Chicago/London, 2000
Britten, Benjamin. On Receiving the First Aspen
Award, London 1964
Britten, Benjamin. Lettersfrom a Life - Selected Letters
8Volta, p.120
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and mandolin'.
4 Hell p.10
24 See Shafer, Ezra Pound and Music, p.244, for evidence that
extremely cordial.
7 ibid, p.12
25 Albright, p.88
ibid, p.13
ibid, p.1222
E: info@ump.co.uk W:
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