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Subject:
From:
Christinna Dye <[log in to unmask]>
Reply To:
- Ezra Pound discussion list of the University of Maine <[log in to unmask]>
Date:
Mon, 18 Mar 2002 10:38:52 -0800
Content-Type:
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Thank you for the recommendation. Will take it
strongly to heart and will look up that book.
  Christinna


--- Tim Redman <[log in to unmask]> wrote:
> Having just read Margaret Fisher's book "Ezra
> Pound's Radio Operas" in
> galley form, I recommend it strongly to this group.
>
> Cheers,
>
> Tim Redman
>
> -----Original Message-----
> From: - Ezra Pound discussion list of the University
> of Maine
> [mailto:[log in to unmask]]On Behalf Of Fisher
> Hughes
> Sent: Friday, March 15, 2002 7:50 PM
> To: [log in to unmask]
> Subject: Pound, atonality, 20th C. music
>
>
> Jesse / Nikolay - As far as I know Pound never
> expressed any knowledge
> of or interest in Webern, Harry (not Henry) Partch
> or John Cage.
> Regarding atonality, we have no evidence that he
> heard any of
> Schonberg's music though he had opinions on the
> character and theory of
> it, to some degree shaped by Antheil's opinions and
> influence. Agnes
> Bedford, Pound's musical amanuensis, saw Berg's
> *Wozzeck* at Queens
> Hall, London, in the spring of 1928 and drew his
> attention to it, but
> apparently the only Berg he heard was the *Lyric
> Suite* at the Venice
> Biennale in 1936. He attended a social event in the
> Venetian home of the
> Princesse de Polignac in the fall of 1934 at which
> Berg was present but
> there is no record of an interchange between them.
>
> Allowing for strong interest in specific works by
> Bartok and Hindemith,
> Pound's lasting affinities from the mid-1920s onward
> were definitely
> with Stravinsky - both men expressing a desire to
> meet during the late
> '50s. Following Pound's release from St. Elizabeths,
> James Laughlin
> tried to bring about a meeting, with a possible
> collaboration in mind,
> but time and circumstances intervened. Margaret
> Fisher's new book *Ezra
> Pound's Radio Operas* (spring 2002, MIT) discusses
> Stravinsky and one of
> his key melodies which Pound employed for structural
> focus in his second
> opera, *Cavalcanti.* For more information on Pound's
> attitude toward
> Berg, Schonberg and Stravinsky check the index in
> Murray Schafer's *Ezra
> Pound and Music.*
>
> Bob Hughes


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