What I find particularly extraordinary is the scottish roll to the "r"s in
Pound's reading of Canto I (which I tracked down on the internet thanks to a
recent "lead" posted to this list: see
http://www.poets.org/LIT/poem/epound06.htm). I'd like to know how this
strikes a native speaker of American English - is it idiosyncratic or does
it come up from Pound's roots, in Idaho for instance?
 
Richard Edwards
 
>From: Richard Caddel <[log in to unmask]>
>Reply-To: Ezra Pound discussion list of the University of Maine
>  <[log in to unmask]>
>To: [log in to unmask]
>Subject: recordings of Ezra
>Date: Mon, 22 Nov 1999 22:41:44 GMT
>
>I've just been re-listening to tapes of EP reading - Hugh Selwyn
>Mauberley and Canto 1 from Washington 1958; and a range of Cantos from
>Spoleto, 1967. A couple of things strike me:
>
>1. anyone noticed the progression from 58 to 67? The strong yeatsian
>tone of the earlier has modulated somewhat in the later one: ok, he's
>older, the voice more tremulous and less consistent, but in the later
>recording there's a greater range of tone and pitch - it seems to me.
>
>2. At Spoleto, in Canto XVI, the names of those gone to the war are
>different to those in the present printed ed of the Cantos: I'm
>working from home at present, without a full range of sources to hand
>- can anyone tell me when these names changed?
>
>Anyone any other thots on Pound as Reader? It strikes me that he's at
>his best when the highly stylised tones (derived from Yeats) drop away
>and the greater range / variety shows through, even tho that seems to
>be at a point when his voice is going.
>
>RC
 
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