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Eliot, Ezra Pound, and James Joyce. The aim is thereby to elucidate the specificity of a poetics which, confronted with the crisis of the historiographical discourse of Modernity essentially, of the ideology of progress and historicism , and by contrast with other avant-garde movements contemporary to it, sought not a simplistic break with the past but rather its critical reabsorption through literary strategies of resistance and insemination, disjunction and superposition.

Outline I. The transcendental synthesis of poetic forms: historical configuration of temporal dispersion. Schlegel: fragments on Irony; J. Subjective irony: Prufrock and Other Observations T. Eliot, Eliot: Prufrock and Other Observations; E. Joyce, Irony as translation: Homage to Sextus Propertius E.

Pound, Pound: Homage to Sextus Propertius; Propertius: elegies 2. Cathay: the invention of China as re-invention of Western poetics. Benjamin: fragments about historical understanding as montage. The Waste Land Eliot: The Waste Land. Ulysses Burnt Norton and Finnegans Wake -T. Eliot: Burnt Norton; J. Methodology The course sessions will consist of lectures followed by discussion.

Optional tutorials for discussing personal research are available during office hours: Friday 3. Available editions of the same are given below for reference. Narration and Knowledge. New York: Columbia University Press, Time and Narrative. Chicago: The University of Chicago Press, Continuum Books, London: Faber and Faber, Valerie Eliot, ed. New York: Farrar, Straus and Cudahy, Houghton, New York: New Directions, Peter Owen, Norfolk, CT: New Directions, London: Peter Owen, Contributions to Periodicals.

Edited by Lea Baecheler, A. Walton Litz, and James Longenbach. New York: The Viking Press, London: The Bodley Head, London: Penguin Books, Austin: University of Texas Press, Irony and the Discourse of Modernity. Seattle: The University of Washington Press, In Selected Writings I: In Illuminations. New York: Schocken, In Poems of Jules Laforgue. Translated and Introduced by Peter Dale.

London: Anvil, In Ph. Nancy eds. The Literary Absolute. Albany: SUNY, Elegies 2. Cambridge Mass. New York: Fordham University Press, The Literary Mind and the Carving of the Dragons. In Film Form. Harcourt, In Arcades Project. Representation of Reality in Western Literature.

Princeton University Press, Time, Narrative, History. Bloomingdon: Indiana University Press, Analytical Philosophy of History. Cambridge University Press, Paris: Gallimard, The Sense of an Ending. Studies in the Theory of Fiction. Oxford University Press, Philosophy and the Historical Understanding. Schoken Books: New York, Temps et roman. In Les histoiriens et le temps. Paris: Seuil, The Anatomy of Historical Knowledge.

Narratology: The Form and Function of Narrative. La Haye: Mouton, Narrative Fiction: Contemporary Poetics. York: Methuen, Seuil, Clio I : The Content of Form. Narrative Discourse and Historical Representation. A Rhetoric of Irony. The University of Chicago Press, The Critical Mythology of Irony. Athens and London: University of Georgia Press, Paris: Hachette, Paris: Flammarion, Baltimore: John Hopkins University Press, Translation and the Nature of Philosophy. London: Routledge, After Babel.

Aspects of Language and Translation. Ideogram: History of a Poetic Method. Modernist Montage. In Masks and Mirror: Essays in Criticism. New York: Athenaum, Conceptions of Reality in Modern American Poetry. Berkeley: University of California Press. The Modern Tradition. Oxford: Oxford University Press, The Poetics of Impersonality: T.

Eliot and Ezra Pound. The Contrived Corridor. History and Fatality in Modern Literature. The Pound Era. American Poetics of History. A Genealogy of Modernism. Cambridge: Cambridge University Press, Modernist Poetics of History. Pound, Eliot and the Sense of the Past. New Jersey: Princeton University Press, Modernisms: A Literary Guide. London: Macmillan, Princeton: Princeton University Press, Translation and the Languages of Modernism.

New York: Palgrave, Eliot you can consult: -Bush, Ronald. A Study in Character and Style. New York: Oxford University Press, The Modernist in History. New York: Cambridge University Press, The Savage and the City in the Work of T. Oxford: Clarendon Press, Criticism and Ideology. London: Humanities Press, The Art of T. London: Creset, Sussex: The Harvester Press, Eliot: An Imperfect Life. London: Vintage, The Early T.

Eliot and Western Philosophy. The Invisible Poet: T. Eliot and the Poetics of Literary History. Eliot in His Time. The Cambridge Companion to T. Eliot and the Philosophy of Criticism. On Prufrock and other observations you can also consult: -Casey, John. PMLA 90 Critical Quarterly Jules Laforgue and the Ironic Inheritance.

Athens: Ohio University Press, Massachusetts University Press, London: Longman, New Haven: Yale University Press, New Haven: Yale University Press. The Waste Land. Literature and History : Eliot and the Ideology of Four Quartets. Ann Arbor: University of Michigan Press, The Poetic Achievement of Ezra Pound.

Edinburgh: Edinburgh University Press, rev. New York: Methuen, Ezra Pound: Poet as Sculptor. Studies in Ezra Pound. Manchester: Carcanet, Ezra Pound and History. Orono: University of Maine, The Cambridge Companion to Ezra Pound. Berkeley: University of California Press, Berkeley and London: University of California Press, American Literature, 59 : Paideuma, 17 : Contemporary Literature, 16 : The Latin Masks of Ezra Pound. Epping: Bowker, On Cathay you can also consult: -Chang, Yao-Xin.

Harvard Journal of Asian Studies, 20 : Orientalism, Modernism, and the American Poem. Annual Report of Studies 28 : Durham and London: Duke University Press, Digging for the Treasure: Translation After Pound. New York: Paragon House, Oxford University, The Cantos. University of Michigan Press, A Companion to the Cantos of Ezra Pound. The Cambridge Companion to James Joyce.

Joyce Effects on Language, Theory, and History. New World Library, The Exile of James Joyce. New York: Davis Lewis, James Joyce. James Joyce and the Question of History. Urbana and Chicago: University of Illinois Press, University of California Press, The Art of James Joyce.

James Joyce and the Revolution of the Word. Paperspace: Style and Ideology in Joyce. Lincoln and London: University of Nebraska Press, In Robert Young ed. Joyce Annotated. On Ulysses you can consult: -Adams, Robert M. London: Allen and Unwin, The Implied Reader. In Bernard Benstock ed. James Joyce: The Augmented Ninth. Syracuse: Syracuse University Press, University of Wisconsin Press, Ulysse Gramophone. Those interested in extensive annotated bibliographies on the Poetics of Modernism in general or in Pound, Eliot or Joyce in particular, please request them from the professor.

Requirements A-enrolled students must submit a research essay c. B-enrolled students are not required to hand in an essay; only to attend the sessions and comply with the reading requirements. ADORNO It is the anomalous nature of modernist events — their resistance to inherited categories and conceptions for assigning meanings to events — that undermine not only the status of facts in relation to events but also the status of the event in general. WHITE i. Why should we look back, when what we want is to break down the mysterious doors of the Impossible?

Time and Space died yesterday. Identical, surely, in the sinister promiscuity of so many bodies unknown to one another. But we want no part of it, the past, we the young and strong Futurists! Here they are! Come on! Turn aside the canals to flood the museums! Oh, the joy of seeing the glorious old canvases bobbing adrift on those waters, discolored and shredded!

Take up your pickaxes, your axes and hammers and wreck, wreck the venerable cities, pitilessly! Marinetti in Bechstein Hall, London, We do not desire to cut ourselves from great art of any period. I; Litterary Essays, Logic is a complication. Logic is always wrong. It draws the threads of notions, words, in their formal exterior, toward illusory ends and centers. Avant Dada, Life appears as a simultaneous muddle of noises, colors and spiritual rhythms, which is taken unmodified into Dadaist art, with all the sensational screams and fevers of its reckless everyday psyche and with all its brutal reality.

This is the sharp dividing line separating Dadaism from the artistic directions up until now and particularly from futurism which not long ago some puddingheads took to be a new version of impressionist realization.

At the moment, I have more faith in my own thoughts than in all those meanings which one presumes to attribute to a finished work, to an extinguished life. In the end there is nothing more sterile than that perpetual interrogation of the dead Breton, Surrealism is not a means of expression, or an easier one, nor even a metaphysic of poetry Surrealism is not a poetic form.

There is a secret agreement between past generations and the present one Like every generation that preceded us, we have been endowed with a weak That claim cannot be settled cheaply. The true picture of the past flits by.

The past can be seized only as an image which flashes up at the instant when it can be recognized and is never seen again For every image of the past that is not recognized by the present as one of its own concerns threatens to disappear irretrievably. He takes cognizance of it in order to blast a specific era out of the homogenous course of history—blasting a specific life out of the era or a specific work out of the lifework.

As a result of this method the lifework is preserved in this work and at the same time cancelled; in the lifework, the era; and in the era, the entire course of history. He cannot do without the notion of a present which is not a transition, but in which time stands still and has come to a stop He remains in control of his powers, man enough to blast open the continuum of history. In these aspects or parts of his work we pretend to find what is individual, what is the peculiar essence of the man.

Whereas if we approach a poet without this prejudice we shall often find that not only the best, but the most individual parts of his work may be those in which the dead poets, his ancestors, assert their immortality most vigorously. This historical sense, which is a sense of the timeless as well as of the temporal and of the timeless and of the temporal together, is what makes a writer traditional.

The Spirit of Romance. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead. The existing monuments form an ideal order among themselves, which is modified by the introduction of the new the really new work of art among them. Not judged to be as good as, or worse or better than, the dead; and certainly not judged by the canons of dead critics.

In it, truth is charged to the bursting point with time. This point of explosion, and nothing else, is the death of the intention, which thus coincides with the birth of authentic historical time, the time of truth. It is in this depersonalization that art may be said to approach the condition of science.

When the two gases previously mentioned are mixed in the presence of a filament of platinum, they form sulphurous acid. This combination takes place only if the platinum is present; nevertheless the newly formed acid contains no trace of platinum, and the platinum itself is apparently unaffected: has remained inert, neutral, and unchanged. Or great poetry may be made without the direct use of any emotion whatever: composed out of feelings solely For it [poetry] is neither emotion, nor recollection, nor, without distortion of meaning, tranquility.

It is a concentration, and a new thing resulting from the concentration, of a very great number of experiences which to the practical and active person would not seem to be experiences at all; it is a concentration which does not happen consciously or of deliberation. There is a great deal, in the writing of poetry, which must be conscious and deliberate.

In fact, the bad poet is usually unconscious where he ought to be conscious, and conscious where he ought to be unconscious. There are many people who appreciate the expression of sincere emotion in verse, and there is a smaller number of people who can appreciate technical excellence. Letter to Pound, He should not be primarily concerned with sociology, or with politics, or with theology, or with any other ology; he should be primarily concerned with the word and its incantation; with the question whether the poet has used the right word in the right place, the rightness depending upon both the implicit intention and an indefinite radiation of sound and sense.

He should differ from the practitioners of other sciences, not so much by what he needs to know and what he does not need to know —for indeed he needs to know everything— as by his centre of values; in the beginning was the word. Origin, although an entirely historical category, has, nevertheless, nothing to do with genesis. The term origin is not intended to describe the process by which the existent came into being, but rather to describe that which emerges from the process of becoming and disappearance.

Origin is an eddy in the stream of becoming, and in its current it swallows the material involved in the process of genesis. That which is original is never revealed in the naked and manifest existence of the factual; its rhythm is apparent only to a dual insight. On the one hand it needs to be recognized as a process of restoration and re-establishment, but, on the other hand, and precisely because of this, as something imperfect and incomplete Origin is not, therefore, discovered in the examination of actual findings, but it is related to their history and their subsequent history This dialectic shows singularity and repetition to be conditioned by one another.

The ocean flowing backward, came we then to the place Aforesaid by Circe. Dark blood flowed in the fosse, Souls out of Erebus, cadaverous dead, of brides Of youths and of the old who had borne much; 30 Souls stained with recent tears, girls tender, Men many, mauled with bronze lance heads, Battle spoil, bearing yet dreory arms, These many crowded about me; with shouting, Pallor upon me, cried to my men for more beasts; 35 Slaughtered the herds, sheep slain of bronze; Poured ointment, cried to the gods, To Pluto the strong, and praised Proserpine; Unsheathed the narrow sword, I sat to keep off the impetuous impotent dead, 40 Till I should hear Tiresias.

But first Elpenor came, our friend Elpenor, Unburied, cast on the wide earth, Limbs that we left in the house of Circe, Unwept, unwrapped in the sepulchre, since toils urged other. Lie quiet Divus. Venerandam, In the Cretan's phrase, with the golden crown, Aphrodite, Cypri munimenta sortita est, mirthful, oricalchi, with golden 75 Girdle and breat bands, thou with dark eyelids Bearing the golden bough of Argicidia.

So that: E. Perhaps you could read book XI. Letter to Iris Barry, ; my emphasis. But they have no method for closing in upon it. As the present is no more than the present existence, the present significance of the entire past, Mr.

Pound proceeds by acquiring the entire past; and when the entire past is acquired, the constituents fall into place and the present is revealed. Pound has a unique gift for expression through some phase of past life. If the reader is fond of analogy, aesthetics can be understood in a Kantian sense— reexamined perhaps by Foucault—as the system of a priori forms determining what presents itself to sense experience. It is a delimitation of spaces and times, of the visible and the invisible.

Critique of Pure Reason. Edition Flitner-Giel. On the diversity of human language Escritos sobre lenguaje. Language, Thought and Reality. Thus, a language consists not only of the elements already formed, but also, and most particularly, of methods for pursuing the work of the mind, which the language channels and molds.

It is true that the elements already formed constitute a kind of inert mass, but this carries within it the germ of an unending determinability. If no one asks me, I know what it is. Tropics of Discourse. To give and defend a causal explanation in history is scarcely ever to bring what is explained under a law, and almost always involves a descriptive account, a narrative, of the actual course of events, in order to justify the judgment that the condition indicated was indeed the cause.

These are plot, character, diction, thought, spectacle, and song It is not conceivable that the narrative should have moved beyond all configurations. The time of a novel might break away from real time. In fact, this is the law for the beginning of any fiction. But it cannot help but be configured in terms of new norms of temporal organization that are still perceived as temporal by the reader To believe that we are done with the time of fiction because we have overturned, disarticulated, reversed, telescoped, or reduplicated the temporal modalities the conventional paradigms of the novel have made familiar to us, is to believe that the only time conceivable is precisely chronological time.

It is to doubt that fiction has its own resources for inventing temporal measurements proper to it. By means of the plot, goals, causes, and change are brought together within the temporal unity of a whole and complete action. My italics. The figures, in turn, must be conceived to be classifiable as distinctive orders, classes, genera, and species of phenomena. Their most general characteristic is that they refer to at least two time-separated events though they only describe are only about the earliest event to which they refer The fact that these sentences may constitute in some measure a differentiating stylistic feature of narrative writing is of less interest to me than the fact that use of them suggests a differentiating feature of historical knowledge.

But even this is less interesting to me than the fact that narrative sentences offer an occasion of discussing, in a systematic way, a great many of the philosophical problems which history raises and which it is the task of the philosophy of history to try to solve Every event is equally significant to him, or equally insignificant; which is to say that the category of significance fails to apply The whole truth concerning an event can only be known after, In principle, any belief about the past is liable to revision, just in the same way perhaps as any beliefs about the future.

Any novel philosophical insight, for instance, may force a fresh restructuring of the whole history of philosophy; one begins to see earlier philosophers as predecessors —which, ironically, can lead men to understress the originality of him whose novel insight brought to historical attention otherwise unremarked traits of antecedent philosophical utterances. The mystery of time is not equivalent to a prohibition directed against language. Rather it gives rise to the exigency to think more and to speak differently Is it not the least figurative style of painting that has the greatest chance of changing our vision of the world?

Philosophy of history. Modernism and the Ideology of History. What is the fate of western civilization? Where has the historical process situated Europe in the twentieth century? How has the process destroyed or negated the inherited past? To what extent has knowledge of the past contributed to the bleakness of the present moment? The contrived corridor. It is the dream of an intoxicated God who has stolen away surreptitiously from the carousing assembly of the Gods and lain down to sleep on a lonely star and does not know himself that he also creates everything he dreams, and dream images take shape, often madly lurid, but harmoniously sensible — the Iliad, Plato, the battle of Marathon, Moses, the Mediecean Venus, the Strassburg cathedral, the French Revolution, Hegel, steamships, etc.

Guard yourself, Engineer, from the sort of irony that thrives up there: Guard yourself altogether from taking on this mental attitude! Where irony is not a direct and classical device of oratory, not for a moment equivocal to a healthy mind, it makes for depravity, it becomes a drawback to civilization, an unclean traffic with the forces of reaction, a vice. The Magic Mountain. It has a particular predilection for toying with antinomies and self-contradictions imposed upon us by our being inscribed in language, by the subterranean determination imposed upon us through language.

III, 3, The trope is franker in its meaning and despite the fact that it implies something other than it says, makes no pretense about it. For the context as a rule is perfectly clear The Birth of Tragedy. Unstable irony in modern esthetics: the irresolvable tension between enthusiasm and skepticism, sublation and critical negation Reflection is the beginning of a true self-penetration of the spirit, that never ends.

Of course, there is also a rhetorical irony which, sparingly used, has an excellent effect, especially in polemics; however, compared to the sublime urbanity of the Socratic muse it is as the spark of the brightest piece of oratory compared to an ancient tragedy of high style. Only poetry can still rise to the level of philosophy; unlike rhetoric, it is not sustained by simple ironic passages.

There are ancient and modern poems that are pervaded by the divine breath of irony throughout and informed by a truly transcendental buffoonery. Fragment 42, Lyceum. Appearance is not nothing, however untrue it may be, and it is this that makes it perfidious… Disagreement between thought and language, disagreement between thought and action, and finally, disagreement of thought with itself!

This is subjectivist irony. The Concept of Criticism in German Romanticism. The most necessary, for wherever one does not limit oneself, the world does the limiting, and one becomes a slave. The highest, for one can only limit oneself on those points and in those aspects where one is the master of an unlimited force; self-creation and self-destruction… A writer… who can and wishes merely to unburden himself… is a very lamentable thing.

Fragment 37, Lyceum. But the fact that Hegel has become infuriated with the form of irony nearest to his own position has naturally distorted his concept of the concept. The Symbolist Movement in France. When I prepare for a descent in Me I convene them, finding there at table sat, A society a trifle mixed at that, Which my rate officers have yet not see.

The loser wins! We now have a more accurate feeling for Life in us and outside of us. Every man is, depending on his moment in time, his environment of race and social condition, his stage in his individual development, a particular keyboard on which the outside world plays in a particular way. My keyboard is perpetually changing and no other is exactly the same as mine.

For an authentic heart, I would wound myself And my Literature Would shut up shop. Yes, like art, too! Calm down, illusory riches Of Ideal the Capitalist. Letter to G. Que dira-t-elle? Eh bien? Since I lost their incandescence Flat calm engulphs my jibs, The shudder of Vae soli gurgles beneath my ribs. You should have seen me after the affray, I rushed about in the most agitated way Crying: My God, my God, what will she say?! Your eyes put me up to it.

I thought: Yes, divine, these eyes, but what exists Behind them? And I am sliced with loyal aesthetics. Hate tremolos and national frenetics. In brief, violet is the ground tone of my phonetics. Yes, I have rubbed shoulders and knocked off my chips Outside your set but, having kept faith in your eyes, You might pardon such slips.

Eh, make it up? Soothings, confessions; These new concessions Hurl me into such a mass of divergent impressions. Essai sur le clown. Letter to M. But there is good verbalism, distinct from lyricism and imagism, and in this Laforgue is a master. It holds the aesthetic content which is peculiarly the domain of verbal manifestation, and cannot possibly be contained in plastic or in music. Eliot on Laforgue, He laughed out the errors of Flaubert, i.

Subjective Irony: Prufrock and Other Observations the indissoluble tension between the enthusiasm of the Romantic sensibility and the skepticism of the classical intellect There are occurrences of such a delicate nature that one does well to bury them under some rudeness to render them unrecognizable; there are acts of love and extravagant generosity confronted with which one can do no better than pick up a cane and give any eyewitness a sound thrashing: that would jumble his memory Prudery is inventive.

Whiter the flowers, Love, you hold, Than the white mist on the sea; Have you no brighter tropic flowers With Scarlet life, for me? And it was several years later before I came across anyone who had read him or could be persuaded to read him. Letter to Robert Nichols, August 8, The letters of T. Admiration leads most often to imitation If we stand toward a writer in this other relation of which I speak we do not imitate him, and though we are quite as likely to be accused of it, we are quite unperturbed by the charge.

This relation is a feeling of profound kinship, or rather of a peculiar personal intimacy, with another, probably a dead author. It may overcome us suddenly, on first or after long acquaintance; it is certainly a crisis; and when a young writer is seized with his first passion of this sort he may be changed, metamorphosed almost, within a few weeks even, from a bundle of second hand sentiments into a person.

The imperative intimacy arouses for the first time a real, an unshakable confidence. That you possess this secret knowledge, this intimacy, with the dead man, that after a few or many years or centuries you have appeared, with this indubitable claim to distinction It is a cause of development, like personal relations in life.

Like personal intimacies in life, it may and probably will pass, but it will be ineffaceable. The usefulness of such passion is various. For one thing it secures us against forced admiration, from attending to writers simply because they are great. We are never at ease with people who, to us, are merely great. We are not ourselves great enough for that; probably not one man in each generation is great enough to be intimate with Shakespeare.

Admiration for the great is only a sort of discipline to keep us in order, a necessary snobbism to make us mind our places. We may not be great lovers; but if we had a genuine affair with a real poet of any degree we have acquired a monitor to avert us when we are not in love.

Indirectly, there are other acquisitions: our friendship gives us an introduction to the society in which our friend moved; we learn its origins and its endings; we are broadened. The Egoist, The Anxiety of Influence. I cannot remember the name of a single poet of that period whose work I read: it was only in , after I came to England, that I heard the name of Robert Frost.

Certainly I cannot remember any English poet then alive who contributed to my own education I do not think it too sweeping to say, that there was no poet, in either country, who could have been of use to a beginner in The serious writer of verse must be prepared to cross himself with the best verse of other languages and the best prose of all languages. In Georgian poetry there is almost no crossing visible; it is inbred.

This is the bitterest jibe in his vocabulary. Literary Essays, From him, as from Laforgue, I learned that the sort of material that I had, the sort of experience that an adolescent had had, in an industrial city in America, could be the material for poetry; and that the source of new poetry might be found in what had been regarded hitherto as the impossible, the sterile, the intractably unpoetic I knew what that meant because I had lived it before I knew that I wanted to turn it into verse on my own account.

Of Jules Laforgue, for instance, I can say that he was the first to teach me how to speak, to teach me the poetic possibilities of my own idiom of speech. We have been, let us say, to hear the latest Pole Transmit the Preludes, through his hair and finger-tips. How keen you are! To find a friend who has these qualities, Who has, and gives Those qualities upon which friendship lives. Then sit for half an hour and drink our bocks. Now when she died there was silence in heaven And silence at her end of the street.

The shutters were drawn and the undertaker wiped his feet— He was aware that this sort of thing had occurred before. It is, however, extremely dangerous to point out such devices. The method is Mr. Eliot, someone else wholly lacking his aptitudes, will at once try to make poetry by mimicking his external procedure. Inferno, A time to get, and a time to lose; a time to keep, and a time to cast away; A time to rend, and a time to sew; a time to keep silence, and a time to speak; A time to love, and a time to hate; a time of war, and a time of peace.

Ecclesiastes 3: So how should I presume? Is it perfume from a dress 65 That makes me so digress? Arms that lie along a table, or wrap about a shawl. And should I then presume? And how should I begin? I should have been a pair of ragged claws Scuttling across the floors of silent seas.

Should I, after tea and cakes and ices, Have the strength to force the moment to its crisis? That is not it, at all. I am not Prince Hamlet, nor was meant to be; Am an attendant lord, one that will do To swell a progress, start a scene or two, Advise the prince; no doubt, an easy tool, Deferential, glad to be of use, Politic, cautious, and meticulous; Full of high sentence, but a bit obtuse; At times, indeed, almost ridiculous— Almost, at times, the Fool.

One dies without knowing it, as every night, one enters into sleep. It is thus a feeling which he cannot understand; he cannot objectify it, and it therefore remains to poison life and obstruct action. None of the possible actions can satisfy it; and nothing that Shakespeare can do with the plot can express Hamlet for him.

Selected Essays. It often occurs in adolescence: the ordinary person puts these feelings to sleep Do I dare to eat a peach? I shall wear white flannel trousers, and walk upon the beach. I have heard the mermaids singing, each to each. The unending reflection in modern art: from the multiplying tensions in the subject to the impasse between enthusiasm and skepticism as a symptom of the age In appearance, this locus is a simple one; a matter of pure reciprocity: we are looking at a picture in which the painter is in turn looking out at us.

And yet this slender line of reciprocal visibility embraces a whole complex network of uncertainties, exchanges, and feints. The Painter is turning his eyes towards us only in so far as we happen to occupy the same position as its subject No gaze is stable, or rather, in the neutral furrow of the gaze piercing at right angle trough the canvas, subject and object, the spectator and the model, reverse their roles to infinity.

And here the great canvas with its back to us on the extreme left of the picture exercises its second function: stubbornly invisible, it prevents the relation of these gazes from ever being discoverable or definitively established We are observing ourselves being observed by the painter, and made visible to his eyes by the same light that enables us to see him The entire picture is looking out at a scene for which it is itself a scene.

A condition of pure reciprocity manifested by the observing and observed mirror It might be that, in this picture, as in all the representations of which it is, as it were, the manifest essence, the profound invisibility of what one sees is inseparable from the invisibility of the person seeing — despite all mirrors, reflections, imitations, and portraits. Around the scene are arranged all the signs and successive forms of representation; but the double relation of the representation to its model and to its sovereign, to its author as well as to the person to whom it is being offered, this relation is necessarily interrupted.

That is shown as much by the work of men who have never heard of them —like D. The Varieties of Metaphysical Poetry. Since Browning there have been very few good poems of this sort. Eliot has made two notable additions to the list.

If it is permitted to make comparison with a different art, let me say that he has used contemporary detail much as Velasquez used contemporary detail in Las Meninas; the cold gray-green tones of the Spanish painter have, it seems to me, an emotional value not unlike the emotional value of Mr. The Order of Things. Inventions of the March Hare. De Gourmont. The Philosophy of Life, and Philosophy of Language. It splits up into two directions: escape from the world of fact, and devotion to brute fact.

Growing devotion of form, finding expression in new forms. Expression of the new political and religious attitudes in literature By the seduction of his style we come to believe that the Bergsonian world is the only world, and that we have been living among shadows.

It is not so. Annotations of c. This effect is all the more remarkable, because the philosophy is a pure philosophy: it borrows none of the persuasiveness of science, and none of the persuasiveness of literature All we can do is to accept these data and follow our argument to the end.

If it ends, as it may well end, in zero, well, we have at least the satisfaction of having pursued something to the end, and of having ascertained that certain questions which occur to men to ask, are unanswerable or are meaningless. Vanity Fair, Theory of the Novel. The soil is for the self alone. Be ownkind.

Be kithkinish. Be bloodysibby. Be irish. Be inish. Be offalia. Be hamlet. Be property of the plot. Be Yorick and Lankystare. Be cool. Since the days of Roamaloose and Rehmoose Finnegans Wake To translate is to serve two masters. Consequently, it cannot be done. Consequently, it is like everything else that, viewed ironically, cannot be done but in practice is the task of all.

Everyone must translate, and everyone does. Rosenzweig -The uncontrollable dead and past in an exhausted rhetoric 1 Perhaps she had not told him all the story One by one they were all becoming shades His soul had approached that region where dwell the vast host of the dead. He was conscious of, but could not apprehend, their wayward and flickering existence.

His own identity was fading down into a grey impalpable world: the solid world itself which these dead had one time reared and lived in was dissolving and dwindling. A few light taps upon the pane made him turn to the window. It had begun to snow again Snow was general all over Ireland. It was falling on every part of the dark central plain, on the treeless hills, falling softly upon the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves.

It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried. It lay thickly drifted on the crooked crosses and headstones, on the spears of the little gate, on the barren thorns.

His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead. It speaks of what seems fantastic and unreal to those who have lost the simple intuitions which are the test of reality; and as it is often found at war with its age, so it makes no account of history, which is fabled by the daughters of memory, but sets store by every time less than the pulsation of an artery No doubt they are only men of letters who insist on the succession of the ages, and history or the denial of reality, for they are two names for one thing, may be said to be that which deceives the whole world James Joyce and the Language of History.

In such a fabric, it is useless to look for a thread that may have remained pure and virgin without having undergone the influence of a neighboring thread. What race, or what language And no race has less right to utter such a boast than the race now living in Ireland. Nationality if it really is not a convenient fiction like so many others to which the scalpels of present-day scientists have given the coup de grace must find its reason for being rooted in something that surpasses and transcends and informs changing things like blood and the human word.

Do we not see that in Ireland the Danes, the Firbolgs, the Milesians from Spain, the Norman invaders, and the Anglo-Saxon settlers have united to form a new entity, one might say under the influence of a local deity? Traduction anglaise par Hermann Klein. Paris, A. Presented for the first time at Boston, December Serment d'amour.

Musique de Ed. Presented for the first time at Paris, February 19, Separate parts. Written on paper with the water mark: D. This is one of the earliest existing manuscripts of Bach. It was discovered by Manfred Gorke in and played for the first time after its discovery, May 25, , at the Kreuzkirche in Dresden by Rudolph Mauersberger. Gorke, Manfred. Autograph Johann Sebastian Bach. Kopfermann of the Royal Library, Berlin, in which this cantata is referred to as follows: ""The Royal Library possesses the autograph score of this, but of the autograph parts only those of the organ, 1st and 2nd violin and viola.

Your own bass air is therefore, as you will see, the one missing in our parts. Bonn, N. Simrock [ca. Bach's Magnificat is one of his most masterly creations. It was composed for performance at Christmas, , the first year of his cantorship at Leipzig. In its original form E-flat major it was interspersed, as was customary, with Christmas hymns; but the final form D major was without them cf.

Terry, J. Bach, , p. Prel and fugue, organ, S. Cambridge, Heffner, ] fascim. The Harrow replicas, no. Bach's Prelude and fugue in B minor, bv O. Deutsch [2] p. Berlin, Schlesinger, Bach's great St. Matthew Passion, published for subscribers only, was composed for Good Friday, , but remained in manuscript for a hundred years. It was eventually published as a result of the enthusiasm aroused by its performance under Mendelssohn in Hirsch, IV, ; Wotquenne, Meyer after L.

Bremner [] First edition. This is the first collection including three arias by Bach and five by Gluck. First edition of Bach's contributions and first English edition of Gluck's. Libretto by Bottarelli. Unknown to Wotquenne. From the Library of the Earl of Aylesford.

Although called the third edition, strictly speaking this is the fourth, as of the Chorales first appeared in and The second edition, which was the first to contain the appeared in in four volumes and the third in Hirsch, , MLM April 10, The first page has a discarded version of that Part of the score which appears on the second page.

A manuscript title-page in the composer's handwriting is pasted over this. This includes a dedication: ""A Monsieur Serge Trailine"" Between the fifth and eighth pages numbered in the manuscript ""5"" and ""6"" are two unnumbered pages on the first of which are six bars of music - a discarded version corresponding to a part of the score on the third page of the manuscript. The plate number Z is written in at the bottom of the second page.

A penciled note on the title indicates that the score was to be published by Zimmermann, St. From the collection of Michael D. Petersbourg, W. Bessel [] P1. Title-page in Russian. Second edition. Inscribed to Louis Albert Bourgault-Ducoudray by the composer. Written by Alfred Bunn, Esqre. Composed and dedicated to Val. Morris, Junr. London, Chappell [] P1. Presented for the first time at London, November 27, This opera, the first by a native British composer to acquire international fame, includes two songs that are familiar wherever English is spoken: ""I dreamt that I dwelt in marble halls"" and ""When other lips,"" better known as ""You'll remember me.

Frazer relating to this composition. Musique de M. Paris, Choudens [ca. Presented for the first time at Paris, July 15, The words are by Edward Fitzball. Inserted in Balfe's The Bohemian girl. Mon ami Pierrot. Paroles de Sacha Guitry. Musique de S. Paris, Choudens [c] P1. The manuscript, written with the greatest care and exactness, offers a very instructive example of the opera seria cultivated in Italy at the close of the 18th century.

Basily held two of the most important official positions of the Church in Italy: he was maestro di capella in Loreto and of St. Peter's in Rome. As director of the conservatory in Milan from till , he was a teacher of Glinka and refused Verdi admission to the conservatory.

Achille is a three-act opera following the pattern of the opera seria prior to Gluck. It contains twelve arias, three duettos and two quartettos with fourteen secco and eight accompagnato recitatives and two marches in between. The opera is scored for two flutes, oboes, clarinets, bassoons, horns, trumpets, and the customary strings. There are no chorus numbers and broad finales. A terzetto concludes the first act, a quartetto the second and a quintetto the short third act.

The calligraphic make-up and the layout of this manuscript are an astounding achievement in view of the small size of the music paper and the by no means small orchestral apparatus which often required nine staves.

Page-proofs with corrections and changes throughout in the composer's hand. Presented for the first time at London, March 4, , under the direction of Sir Henry Wood, to whom the symphony is dedicated. MLM 36T. Rossini's Il barbiere di Siviglia with libretto by Sterbini is founded on Beaumarchais' comedy: Le barbier de Seville.

An interesting letter in response to one sent to him in which he apparently had been asked to recall a composition he had played on some social occasion many years previously. He expresses his regret that he is unable to recall it. Inserted in first edition of Rossini's Il barbiere di Siviglia, Rome, ca. Principe Giuseppe di Lobkowitz Vienna, T. Mollo [] P1. The text is by Giuseppe Antonio Carpani Grove, Original manuscript of Beethoven's In questa tomba oscura.

Corrections in red pencil. First edition of in questa tomba oscura. Lehman's collection on deposit in the Morgan Library. Grove, ; Hirsch, IV, ; Nottebohm, p. Mis en partition par Henri Roubier Paris, S. Richault [ca. The instrumental parts were published in cf. Hirsch, IV, The concerto was composed and performed for the first time in Nottebohm, p. This was published in? Eitner, I, p. Musique de Ls. Farrenc [] P1. Beethoven worked on this, his only complete opera, for twelve years.

Begun in , the first version was performed in Vienna in under conditions which foredoomed it to failure. Revised and with a new overture, it was again produced in In Treitschke revised the libretto and Beethoven announced the approaching publication of the opera in its final form.

It was now an established success and triumphantly performed in all the capitals of Europe. This is the first edition of the complete orchestral score. It is so rare that its existence was unknown to such authorities as Nottebohm and Thayer. Only 57 copies were subscribed for. The Simrock edition of has often been accepted as the earliest. The first complete edition of the piano and vocal score was published in Hirsch, IV, , Nottebohm, p. An edition without the Overture and finales was published in Hirsch, II, 37 and 39; Nottebohm, p.

Opus Moguntiae, B. Schott filiorum, Hirsch, IV, ; Nottebohm, p. Kastner-Knapp, no. Translation: Here, my dear [friend] I make you a little gift, an English dictionary. With regard to the vocal pieces, I think we should let one of the singers, who is going to sing for us, first sing an air, then we would do two numbers of the Mass, but with German words. Look about you as to who could do this for us, it need not be exactly a masterpiece, if it only suits the music well.

Yours Beethoven. Inserted is the original manuscript of the first part of the pianoforte arrangement cf. Inserted in the first edition of the score. Kerpen zugeeignet von Ludwig v. Mainz, B. Lacks the second preliminary leaf: ""Subscribenten-Verzeichnis auf die Werke, Op.

The famous ninth choral symphony. This is a sketch 12 bars for a vocal composition with Italian text, beginning: ""Tu mi traffigi il cor. Heinrich Schenker, the great theoretician and Beethoven specialist, has expressed the opinion that this manuscript belongs to the studies which Beethoven wrote while studying with Antonio Salieri. Oeuvre 1re. A Vienne chez Artaria []. The three parts as issued.

Beethoven's Opus 1 is so rare that Nottebohm had never seen a copy and could describe only Cappi's reissue of This is one of the subscribers' copies and contains the list of subscribers following the title-page of the pianoforte part. Examples of the subscribers' issue are of extreme rarity. The trios were performed for the first time from manuscript by Schuppanzigh, Kraft, and Beethoven himself. Vienna, Giov. Traeg [] P1. An early composition of Beethoven, after a theme of Paisiello.

This did not retain its opus no. Manuscript signed: 10 leaves title-page, 18 pages 28 x 21 cm. This manuscript of Bellini's student years is a copy of No. The composition is largely based on the great fragmentary Missa in C-moll, composed in Vienna in La straniera. Milano, Gio. Ricordi [] Pl. Text by Felice Romani. Piano and vocal score by Luigi Truzzi. Presented for the first time at Milan, February 14, Musique de H. Baryton ou mezzo-sopo. Paris, Louis Gregh, Inscribed to Ch.

Morel by the composer. Le baiser de Suzon. Pierre Barbier. Hartmann [ca. Presented for the first time at Paris, June 4, Inscribed to Mrs. Weldon by the composer. Sims Reeves. Composed by Jules Benedict London, Cramer [ca. I know a song. London [Chappell, Ca. George Gifford. The words by Claribel. The music by J. London, Boosey [ca. Composed by J. London, Chappell [ca. See additions. White Christmas.

The lead sheet words and music written for the collection by the composer. Paroles et musique de Hector Berlioz Dufour [] First edition. Presented for the first time at Paris, August 9, Scope and Content Note Paris, n. An interesting letter to an unidentified poet who had sent him some poems with a request that he set them to music-a request which he had to refuse as his use is too capricious. To illustrate this he tells the story of the tune of the refrain, ""Pauvre soldat"" in the cantata Le cinq mai.

After seeking for two months a suitable melody, he gave up the search. Then one day, while walking along the Tiber, he stumbled into the river bed and found himself up to the knees in mud. Traduction allemande de M. Musique de Hector Berlioz. Oeuvre [23] Partition de piano.

Brunswick, Henry Litolff [] P1. Text in French and German. Presented for the first time at Paris, September 10, From the library of W. Turner, the well-known writer on Berlioz, with his signature. Paroles de Victor Hugo. Richault [] P1. Hector Berlioz. Traduction allemande par Mr. Presentation copy from Berlioz, inscribed ""A mon ami Reger, H. Dresden, April 14 [? Rosenhain, pianist and composer of the orthodox school, who is anxious to come out in London this spring, and will therefore be in grea.

Baumgartner's Buchhandlung, Leipzig. Traduction allemane par Mr. First edition, second issue. This is excessively rare. Paris, Richault [ca. An English translation of the text has been written in, parallel to the French and German texts. This and various notes, etc. Richault moved to 4 Boulevard des Italiens in , the address upon the title-page. Except for an added portrait frontispiece, and the change of address in the imprint, the collation for the above edition agrees with that in Hirsch, IV, Manuscript fragment signed.

For the album of H[einrich] Schlesinger. Berlin, June 19, Grande partition Paris, Richault [] Pl. Partition chant et piano Paris, Brandus [ca. At head of title: Hector Berlioz. Partition de piano par Th. Winterthour, J.

Rieter-Biedermann [] Pl. The French text is by Emile Deschamps. Presented for the first time at the Conservatoire de Paris under the direction of the composer, November 24, Leipzig, J. Rieter-Biedermann [ca. From his Les Troyens Act2,part2. Paris, Maurice Schlesinger [] At head of title: Episode de la vie d'un artiste. Performed for the first time at the Conservatoire, December 5, Dresden, May 1, Inserted in the first edition of Adolphe Jullien's Hector Berlioz, sa vie et ses oeuvres.

Paris, Brandus, Double choir with organ. Recto, five bars-""Tous chantons devant l'avenir immense. This meeting was the beginning of the ""Internationale. Paris, Choudens [] P1. The first published edition, of which very few copies are known, with two cuts. Paris, Choudens [Ca. First published edition of the former and first published edition, second issue of the latter, with three cuts and other alterations in the music.

Musique de Mlle. Louise Bertin avec accompagnement de piano par F. Listz [sic] Paris, E. Troupenas [] Pl. This is the only operatic work of which Liszt made a piano and vocal arrangement. Berlioz is thought to have had a large share in its composition.

Mis en musique par le Chevalier Berton Paris, C. Heu [] P1. Recitativo ed Aria, Lucca, Full score in manuscript. Composed, selected, and arranged by Henry R. The poetry by D. Terry, Esq. See My pretty Jane.

Lavenu [] First edition. In a preface, dated April 8, , Bishop explains that the night following the first production of the Circassian bride, the theatre was destroyed by fire and the original music destroyed. He says: ""The whole of the music, here published is revised solely from the power of recollection and I flatter myself if not exactly according to the original copy.

Composed by Henry R. London, Goulding, D'Almaine, Potter [ca. Inscribed to Mastr. Longhurst by the composer. John Howard Paine's famous and universally treasured ""Home Sweet Home"" was published here for the first time. He is not credited with the authorship. The complete score of the oratorio which, according to Grove, has never been performed. The manuscript has a printed title-page. Attwood and Henry R. The first operatic setting of a novel by Sir Walter Scott.

Bishop, April, Original manuscript, signed twice. London, n. Score for small orchestra and voice. Adair Fitzgerald, in his Stories of famous songs, gives a detailed and amusing account of the story behind this ""most profitable song ever issued.

With selections from Zingarelli, Boieldieu and Rossini. London, Goulding, D'Almaine [ca. L Presented for the first time at Paris, October 1, With changes in score. Meilhac et L. Musique de Georges Bizet. At foot of p. In the second edition the dialogue was replaced by twenty-six pages of recitatives composed by Ernest Guiraud. Bizet died within three months of the first performance. Presented for the first time at Paris, March 3, Partition chant et piano transcrite par l'auteur.

Paris, Choudens Fils [] P1. First edition with Italian and German text. Inscribed by the publishers to Mme. The ballet for the first act of Carmen was issued as a supplement to the first edition of the opera itself. Presented for the first time at Paris, May 22, Paris, Heugel [] P1. Inscribed to Marie Bronthe by the composer. Edition for mezzo-soprano or baritone. Charles Gounod's copy with his signature. Presented for the first time at Paris, September 30, Amphion Anglicus. John Blow.

London, Printed by William Pearson, for the author; and -are to be sold at his house and by Henry Playford, Inserted at front is a copy of the prospectus, dated , with a receipt at the foot filled in and signed by the composer. Inserted at end is an engraving of Blow's monument in Westminster Abbey. John Blow was one of the first choir boys of the Chapel Royal after the organ and choir were again admitted to the service of the Anglican C0hurch.

He became organist of Westminster Abbey at the age of twenty and five years later a Gentleman of the Chapel Royal eventually becoming one of the three organists for this group. Purcell took Blow's place as organist at Westminster Abbey in but Blow returned to this post after the death of his famous pupil in Paris, Janet et Cotelle [ca.

Presented for the first time at Paris, December 10, Fournier, n. Paris, May 3, Rappresentato a! Teatro Comunitativo di Bologna il 4 ottobre Canto e pianoforte. Riduzione di M. Milano, Ricordi [] P1. Inscribed by the composer and by Sir George Henschel, first conductor of the Boston Symphony Orchestra and at the time of the inscription, June 6, , conductor of the London Symphony Concerts.

Presented for the first time at Milan, March 5, Inserted is an autograph letter. Compos'd by Bononcini. Walsh and I. Hare [ca. A manuscript note on the title-page states that the words were written by Grazio Bracciola in , altered by Haym, and set to music by Bononcini. It was first performed at the Royal Academy of Music, April 18, , and had an uninterrupted run of nine nights. The score for the Italian version was by Johann David Heinichen. A suite of eight movements. Full score and parts for first and second violins and bass.

Original manuscript. With Musique pastorale pour le 23 novembre Compos'd by Mr. Text by Paolo Rolli after Zeno. Presented for the first time at London, February 22, With this is a photograph of the composer's portrait in the Royal College of Music. See also Scarlatti, Alessandro Thomyris. Smith, Bibliography of musical work published by John Walsh, no. The text is by Stampiglia.

This opera enjoyed an extraordinary popularity. In England it ran sixty-four nights in four years. Musique de Charles Bordes. Hamelle [] Cover-title. Inscribed to Emmanuel Chabrier by the composer. Traduction de Maurice Bouchor. Choeur mixte sans accompagnement. Mis en musique par Ch. Baudoux [] P1. Inscribed to Paul Soujoud by the composer. Chanson triste Op: 8. Paris, Bruneau [ca. Paris, Lissarrague [ca. September 9, This is a sketch for the tavern scene from Borodin's unpublished opera.

Paroles et -musique de A. Jules Ruelle, allemande de Mme. Leipzig, M. Belaieff, At head of title: title, etc. Bottesini autographs are very rare and this unpublished score of the duetto for violoncello and double bass reflects the technical capacities of two artists Bottesini and Piatti who had no rival. Englished by Gilbert Murray. Musicked by Rutland Boughton. Finished June 3, Boughton's works reflect an effort to extend the theories of Wagner and at the same time to simplify the operatic idiom to suit popular taste and understanding.

The queen of Cornwall. Set as a music-drama by Rutland Boughton. London, Joseph Williams [c] P1. Max Gate"" inside front-cover. Presentation copy from the publisher signed ""Florian Williams, Dec. Musique de Nadia Boulanger. Hamelle, c [caption-title] P1.

Inscribed to Mme. Musique de Nadia Boulanger Paris, J. Hamelle, c Caption title. Paris, Henry Lemoine [ca. Turquet by the composer. Musique de L. Inscribed to [Victor] Warot by the composer. Presented for the first time at Paris, December 28, The chaplet. Compos'd by Dr. The text is by Moses Mendez. As it is perform'd at the Theatre-Royal in Drury Lane. Inserted, at the front, is a photograph of the composer with his signature. Berlin, N.

Simrock, Geiringer, Brahms. His life and work, New York, Translation: Honored and dear young lady: Tendering you my best thanks for the friendliness with which you keep me in mind, I send you herewith the desired portrait. It has been rather long in coming because I was unwilling to send it without being able to enclose the second picture with which Joachim sends his best regards. I very much hope the summer will again bring you to the Rhine and I shall then have the pleasure of seeing you again.

With cordial greetings to you and Miss Leser, Your devoted Joh. Hirsch, IV, ; Wotquenne, This is the composer's greatest choral work. It occupied him at intervals for more than ten years. The second movement, originally intended as a part of the projected Symphony in D minor the later Pianoforte concerto, op. In the autumn of Brahms arranged this as a cantata in four movements.

The work remained in this preparatory stage for four years. In he took it up again and by August had completed movements one, two, three, four, six and seven. The fifth was composed in May Somerabend [words by] Hans Schmidt. Simrock [] Pl. Inscribed by the composer: ""Der besten Freundin Clara, Weihnacht, Translation: Dear Elise: Fortunately Mother and Christian have been kind enough to write about you-unfortunately not as favorably as I should wish.

I hope very much that the news will soon be better and that you will write me so yourself. The Hungarian Dances are proof of Brahms's versatility as a creative artist. They achieved an unparalleled success. Brahms contrived, while preserving the characteristic melody, harmony, and rhythm of gypsy music, to give it an artistic form which raised it to a higher level.

The text is by August, Count of Platen-Hallermund. Brahms probably found the model for this noble song in Schubert's works. It is reminiscent of certain songs for Winterreise such as ""Estarrung"" which expresses a similar mood. With its dramatic entry, its tremendous climax, and the wonderful interlocking of the voice and the almost symphonic accompaniment, it rivals the greatest songs of the later Schubert, by whom Brahms is here perceptibly influenced"" Geiringer, Brahms.

His life and work, Oxford, Inscription reads: ""An Frl. Marie Ruckert In Verehrung des honen Dichters gedenkend. The gift of Mrs. Inscribed to Archibald Martin Henderson by the composer. Page proofs. Harp or piano and vocal score. Words by Montagu Slater.

Music by Benjamin Britten. Vocal score by Erwin Stein. Heldenfeier, opus Score for organ and choir. Words by Margarete Bruch. Das Lied von der Glocke. Componirt von Max Bruch. Translated into English by Mrs. Natalia Macfarren. Sirnrock, Text in English and German. At upper right of p. Paris, Choudens, ca. Musique de Alfred Bruneau. Paris, Heugel, Proof sheets of first edition with composer's corrections throughout. Paris, Choudens, c Partition piano et choeur. Debuchy by the composer.

Musique de A. Girod [] P1. Inscribed to M. Lespette by the composer. Presented for the first time at Paris, October 22, Presented for the first time at Paris, May, Partition chant et piano. Inscribed to Marthe Chenal by the composer. Presented for the first time at Monte Carlo, Presented for the first time at Paris, Paris, Choudens Fils [ca. Warot by the composer. Presented for the first time at Paris, June 8, It introduced a novel note of realism and vigor into French opera.

Inscribed to Emile Archaimbaud by the composer. To Emile Archaimbaud. Paris, December 2, This refers to the first performance of Le roi Candaule and Archaimbaud's part in it. Signed by Liszt. Music and text. With a note in Burns's handwriting at the head of the manuscript: ""These words are inserted only to shew how the tune goes-they cannot be publ'd.

Buy braw troggin. Buy brooms besoms. Mounted in a volume made up of 16 blank leaves. Bookplates of W. Crabbe Angus and John A. This election song is the fourth and last of a series written by Robert Burns in connection with the parliamentary contest for the stewardry of Kirkandbright in It was written in when the dissolution of Parliament again threw Heron into the turmoil of election.

The poet was confined to a sickbed, but could not refrain from penning these lines in support of the recently successful candidates whose second triumph he did not live to enjoy. This copy has additional letters added to the proper names in the handwriting of Robert Burns, which have a special and pathetic interest as having been filled in within a few weeks of his death.

Taken from note on flyleaf. Words only. B This composition is based upon American Indian themes. Busoni visited America five times, Musique de Henri Busser. Presented for the first time at Paris, May 10, Inserted are two autograph letters signed. These relate to the production of Les noces Corinthiennes. According to the learned Neopolitan archivist and historian, Francesco Florio, manuscripts of Capotorti are extremely rare.

He was born in Malfetta, near Naples, studied at the Conservatorio S. Onofrio, and was chiefly an opera composer. This is reflected in the overture for Saint Anthony's Day. Scored for one flute, two oboes, clarinets, bassoons, horns, trumpets, and strings, it displays less religious spirit and more operatic traits instead.

Paroles et musique de Victor Capoul. Capoul, the famous French operatic tenor, appears here in an unfamiliar role as a composer. Scribe et Planard. Musique de Ml. Der Kerker von Edimburg. Musik von Ml. Anton, vollstaendiger Clavier-Auszug von Joseph Rummel. A finely written manuscript whose first page shows the appeal: ""Onorate 'l altissimo poeta.

This was performed for the first time by Joseph Szigeti and the Persymphans in Moscow, October 8, Casella's new tonal creed finds expression in this composition. Serenata Andalusa per violino e pianoforte d' Alfredo Catalani. Catalani, well known for his operas Loreley and La Wally, has provided a very effective composition for the violin virtuoso.

This is divided into four, melodically different, sections and contains measures. There is a facsimile of the first page of the score in Abbiati's Storia della musica, IV, p. Musique de Emmanuel Chabrier. Inscribed to Rostand by the composer. Paris, Enoch, c Partition d'orchestre.. Emmanuel Chabrier. Inscribed to Charles Lecocq by the composer.

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