List members, Since its release, I've been using every spare moment (which admittedly isn't saying very much) to study Ezra Pound, /Le Testament, "Paroles de Villon"/, 1926 'Salle Pleyel' concert excerpts & 1933 Final Version, complete opera, Margaret Fisher, Robert Hughes Editors. Not that I've made much progress, being dense of mind and short of time, but the work is illuminating and rewarding. This is one of the most important pieces of Pound scholarship (and original texts by Pound) to become available in many years. It deserves all the attention it can be given. I'm wondering whether there's anyone else on this list who has looked into Pound's music and in particular the work of Fisher and Hughes (especially /Villon/, /Cavalcanti/ and /Collis O Heliconii/) sufficiently to carry on a discussion about this with me (this is not some veiled claim that I'm an "expert" -- I most certainly am not). Pound's music is a large subject, and I would appreciate some interaction around it by the brilliant members of this list. In particular, I'm interested how his settings of poems by Villon, Cavalcanti, Catullus, and Sappho reflect and illuminate Pound's own ideas about and practices of melopoeia in the his critical writings, the /Cantos/, and elsewhere. Fisher and Hughes have done a lot of work in this area, and I have a lot of respect for their accomplishment and their views. But it would be enlightening to know what others, especially those belonging to this list, think of the uncovering of Ezra Pound's music and it's relationship to Pound's verse. If no one expresses interest in the subject, I suppose I'll just begin to throw out my thoughts and see what kinds of attacks it provokes from the usually silent, though dangerous, denizens of the deep. I feel fortunate to have acquired a copy of /Le Testament/, not only because of the quality of the work itself (both Pound's and the Editors'), but because it was released in a limited printing which appears to be nearly sold out. I've kicked myself in the past (pretty hard at times) for not buying Poundiana when it was readily available and reasonably priced. To me, this is like getting a first edition of/ The Pisan Cantos/ or some other important printing -- who would have thought it possible to get a newly printed first edition of a major work by Ezra Pound in 2008? Dirk Johnson [log in to unmask]