Dowland – 1 – Weep You No More Sad Fountains

AG: So. Now then with some other music of Dowland  We have a couple of  (John) Dowland songs (on the tape) which are in our texts.  So, to begin with, the, the one that was set to music, the “Weep You No More, Sad Fountains“,  (that’s on)..page 113)     [From approximately fifty-six-and-a-quarter to fifty-seven-and-a-quarter minutes in, there is ambient conversation among  the students, as AG goes to set up the record –   AG: “..this is the end of the last song – Student: Turn it down a bit – AG- Turn it down?”]  [From approximately fifty-seven-and-three-quarter minutes in (to … Read More

Rose-Cheek’d Laura’s Centrality

[Ezra Pound, Basil Bunting, Louis Zukofsky, Robert Duncan, Robert Creeley, William Carlos Williams and Marianne Moore]

AG: So you’ll find in the twentieth-century,  (Ezra) Pound, (Basil) Bunting, (Louis) ZukofskyRobert Duncan, some of (Robert) Creeley, all derive from this poem or from the practice of this poem. It’s sort of like the secret inner measure of their work, the kind of attempt that Campion is getting into here or the territory he’s getting into. And that was related to the idea of William Carlos Williams of finding a measure that would be an American … Read More

More Rose-Cheek’d Laura

[“Only beauty purely loving/Knows no discord” (Thomas Campion)]

Continuing with classroom discussion of Campion’s “Rose-cheek’d Laura..” Rose-cheek’d Laura, come Sing thou smoothly with thy beauty’s Silent music, either other Sweetly gracing Lovely forms do flow From concent divinely framed; Heav’n is music and thy beauty’s Birth is heavenly. These dull notes we sing Discords need for helps to grace them; Only beauty purely loving Knows no discord, But still moves delight Like clear springs renew’d by flowing, Ever perfect, ever in them- Selves eternal.

AG: I guess it’s (it’s metrics are) pretty natural  – [to Student (Pat)] – Have … Read More

1990 – Matters of General Importance

 

Edvard Munch – The Scream  (1893)- National Gallery, Oslo, Norway

Allen and Philip Glass‘s 1990 interview with Studs Terkel (see here and here) concludes with Terkel offering Allen an open platform to “go off” on “anything of his choice”. Allen takes full advantage, listing the dangerous turn to censorship and repression in contemporary America circa 1990 (his “cautionary footnote”, as Terkel describes it, is a snapshot of a moment, but still reads chillingly, and regrettably, continuingly, pertinent in the light of present times.)   

ST: Al, I thought we’d go off open-endedly, as they used to say in the … Read More

Studs Terkel Interviews Allen Ginsberg and Philip Glass on WFMT, Chicago 1990 – part 2

 
Philip Glass – Photograph by Allen Ginsberg – Kiev Restaurant, NYC, 1993 – Photo  c. Allen Ginsberg Estate

continuing from yesterday

ST: Resuming with Allen Ginsberg and Philip Glass, poet (and) composer working together. We heard just a piece of the very haunting “Satyagraha – the Evening Song“, earlier, that opened the Lyric Opera season. It was a pip of an opening. Critics and audience both (raved). That was three years ago… Liquid Days?  (Songs from) Liquid Days) is what?

PG: Well, it’s a collection of songs I did. In a way, it’s kind of … Read More

Studs Terkel Interviews Allen Ginsberg and Philip Glass on WFMT, Chicago, 1990 – part 1

 

Studs Terkel

Jewel Heart Center, Ann Arbor, Michigan, Philip GlassGelek Rinpoche & Allen Ginsberg, November 17, 1989

 

Philip Glass
Allen Ginsberg

Studs Terkel Interviews Allen Ginsberg and Philip Glass, 1990 We featured, a week or so back, Studs Terkel’s hilarious 1959 radio interview with Allen, Gregory Corso, and a mostly-silent Peter Orlovsky. Here’s another Terkel interview with Allen (alongside composer-collaborator, Philip Glass), this one recorded over three decades later. Ginsberg and Glass are in town (Chicago) for a benefit performance for Gelek Rinpoche‘s Jewel Heart organization (as Terkel periodically reminds his listeners), an … Read More

Friday’s Weekly Round-Up – 286

 

     
Allen Ginsberg and his life-long partner, Peter Orlovsky, New York City, 1977 – Photograph by Gordon Ball

 

The Beat Generation exhibit at the Pompidou Center draws to a close with a number of specially-scheduled events – a colloquium and a series of films. Last chance to catch this extraordinary exhibit in its Parisian manifestation.

Here‘s Joseph Nechvatal‘s review in Hyperallergic

.

Peter Orlovsky, Gregory Corso, Allen Ginsberg

et aussi à Paris Next week sees the publication of Shakespeare and Company, Paris: A History of the Rag and Bone Shop of the Heart, edited by … Read More

Campion’s Rose-Cheek’d Laura – 2

“Rose-cheek’d Laura, come/Sing thou smoothly with thy beauty’s/Silent music..” (Thomas Campion)

AG: (Basil) Bunting would probably do it [Campion’s “Rose-Cheek’d Laura“] much slower – “These dull notes we sing..” Discords need for helps to grace them” – The form here is.. what? Sapphic?  Anacrenotic? – or something like that, some Greek form

Student (Pat): No this is what he calls the English iambic (curiously enough, since it’s trochaic)

AG: ….da-data-data-data – counted by four, counted by accent..

Student (Pat): (These are) experimental.pieces from the Observations in the Art (of  English Poesie)

AG: Okay, now.  So this … Read More

Campion’s Rose-Cheek’d Laura – 1

AG: Let’s see what else there is? The really great one for that I always thought was.. on (page) two-two-seven..Rose-cheek’d Laura – two-two-seven      Student; All the other books spell Laura with a “w” and not a “u” AG: L-A-W-R-A? – Yeah, “Lawra” ..because that makes the vowel longer – “Lawra” –  What I… [to Student]  Do you know the music to that one? Student: It’s not in there. AG: It’s not in there. But, anyway.. Dig the way it goes . “Rose-cheek’d Laura, come”. It’s not  “Rose-cheek’d Laura come” – “Rose-cheek’d Laura, come” – Rose-cheek’d – breath – Laura, … Read More

Bunting & Campion – Follow Thy Sun..

AG: …But anyway, getting back to (Thomas) Campion (and) (Basil) Bunting‘s vocalization of “Follow Thy Sun…. ”  – What page is that (in the (Norton) anthology)? Two-twenty-five again?

[Allen, turning on and off the tape of the Bunting’s lecture recording, searches on the tape-recorder] – “Well, let’s see what he says about it – He was using records too – It’ll be clear in a minute..”

[At approximately thirty-two-and a quarter minutes in (and concluding at approximately thirty-four-and-a-quarter minutes in), Allen plays a recording of Bunting reading Campion’s  “Follow Thy Sun…” – “Follow thy fair sun, unhappy shadow/Tough … Read More