Ireland

The most popular Parlando Project piece for spring 2022

~ Frank Hudson ~ Leave a comment

One unusual thing I did this spring to celebrate National Poetry Month was to re-release 31 pieces from the early years of this project. This was a way, despite reduced time and opportunities to create new pieces, to still celebrate and demonstrate the various poems and music combinations of the Parlando Project.

That April batch does show something of the range of words I’ve used. Famous poets? Shakespeare, Dickinson, Yeats, H.D., William Carlos Williams, Marianne Moore, Frost, Pound, Millay, Cummings, Eliot, Sandburg. Foreign poets less known in America than in their native countries? Edward Thomas, Tristan Tzara, Du Fu. Afro-Americans less-known to their fellow Americans: Fenton Johnson, Raymond Dandridge, Jean Toomer, Anne Spencer.

As part of this April celebration, I spent more time that I thought I would creating “lyric videos.” I figured I would just put in a couple of pictures in a video file and place the words to the poems on the screen in time with their appearance in the music, but they got a little more elaborate.

How popular were they? It doesn’t look like YouTube counts as views any plays of those videos from the inside-the-blog-posts thumbnail images, but it does count those who found them on YouTube itself. Given that sub-set it does count, the most popular of the April Poetry Month videos was our Parlando version of Yeats’ “He Wishes for the Cloths of Heaven.”   No surprise there: William Butler Yeats’ poetry is welcome to so many ears around the English-speaking world. If I was to look at most viewed posts (a metric I don’t use in these Top Ten lists) four out of the top ten most viewed posts so far this year are concerning Yeats’ poems. Yeats is a Poetry’s Greatest Hits poet.

The most listened to and liked piece this past spring was an Irish poem, but it wasn’t by Yeats. It was one of the April Poetry Month re-releases though, “Night, and I Traveling”  by too-little-known Belfast-born poet Joseph Campbell (who also published under the name Seosamh MacCathmhaoil).

I’m partway through a biography of Campbell that was an Anniversary gift from my wife. From it I’m getting more of a sense of the young man who wrote this poem — a poem which is remarkable not just for its tightly compressed and effecting scene, but for being published in 1909 so that it might be counted not just as the work of the first Irish poet to use free verse, but also as one of the earliest published examples of Imagism. It wasn’t until 1913 that F. S. Flint and Ezra Pound published their “A few Don’ts by an Imagiste”  and laid out the three famous Imagist suggestions/rules, but before that in London Flint, Pound, and T. E. Hulme had been working out how to radically strip back poetry to a fresh, precise, and direct essence in the months before Campbell published “Night, and I Traveling.”

Night and I Traveling

The chord voicings I used for the 12-string guitar part here are bit unusual.

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I now know that Campbell was in London and meeting with those incipit Imagists in that first decade of the 20th century. Alas I don’t know how junior a partner he was in their meetings, but “Night, And I Traveling”  is to my judgement as fine an early Imagist poem as the more famous and anthologized ones, arguably a more worthy example because of its empathetic attention to the isolated rural woman in a still-colonialized Irish hut in place of Pound’s  damp impressionistic leaf-faced Paris Metro riders published four years later.*   The biography, Joseph Cambell Poet & Nationalist   by Norah Saunders and A. A. Kelly, reminds us that Campbell liked country walks at night. Campbell wrote: “Night walking — all my best thoughts, I find, come to me that way. Poetry, like devilry, loves darkness.” Devilry? Campbell did write some of the supernatural, and would mix Christian and pagan mythologies —but in this one, this night, he stays in our earthly plane. Am I reading too much into the poem to note the poem’s only simile has the lone woman crooning “as if to child” when there is no child depicted? Is that child dead? Or perhaps emigrated to America?


Not as popular as Yeats on YouTube, but here’s the “lyric video” I did for this piece

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You can hear my performance three ways. The “lyric video” is above, an audio player gadget should be below, and this highlighted link is a backup for those ways of viewing this blog that won’t show the player. Thanks again for reading about these encounters and listening to our combinations of music and words.

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*Make of this connection what you will: Pound and Campbell would both eventually be imprisoned by their own countrymen for acts during wartime.

Sail-Moon-Sheep

~ Frank Hudson ~ 2 Comments

Here’s a piece celebrating our Spring springing forward that’s also appropriate for America’s celebration of Irish heritage on St. Patrick’s Day. It consists of three short poems by the Irish poet Joseph Campbell.* I put them together as I think they somehow increase their individual power presented that way. I call the combination “Sail-Moon-Sheep.”

Sail Moon Sheep art by Joseph Campbell

Campbell was also an artist. Here are his own illustrations for the three poems I used today: “Sail Answers Sail,” “The Moon,” and “Sheep.”

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Campbell is one of the more fascinating discoveries I’ve made while doing this project. As far as I can tell he’s largely unknown in the United States, even though he spent some time here between the World Wars. And while it’s harder for me to assay his position in Irish arts and culture, he doesn’t seem to be highly esteemed and remembered there either.

What draws me to present him then? First, he seems to be an early Modernist poet, who writes in a mode those pioneers used — one that I think bares reconsidering today: short poems that present charged emotional states by physical description while eschewing both tired conventional metaphors or overly elaborate original imagery. A hundred years ago there was a name for this kind of writing. It was called Imagism. It rose as a force in opposition to established literary styles, flourished briefly attracting both writers we still celebrate and even some not-inconsiderable popular interest, and then was largely discarded for further evolutions of Modernism.

Campbell didn’t always write in this style, but he did so often enough for me to have work to present here. I’m not sure exactly where or when he picked up this mode of poetic expression. Today’s pieces are from a 1917 poetry collection of his called Earth of Cualann,  a year when Imagism would have been in more common currency as a poetic style, but he seems to have used it occasionally before 1910 when he might well have been independently inventing it — or he could have had some as yet undiscovered connection to the small pre-WWI Anglo-American group in London that would give the Imagist style a name.

Boat Moon Sheep in Chinese Ideograms

Chinese ideograms for sail (or rather, boat), moon, and sheep (though more at goat I gather). Some of Campbell’s poems seem to me to work very much like classical Chinese poetry too.

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Secondly, he is like Yeats, intimately involved in the Irish cultural renaissance** that was an engine driving to Irish political independence. Indeed, in that second event he seems even more involved, perhaps to the detriment of his poetic career.***   My 20th century brought forward many anti-colonialist artists, but America has it’s own colonialism (both internal and external) and English language eloquence on these matters may be useful to us. Often when reading Campbell I think that aside from some simple translations of particulars I could be reading a poem by someone of American-Indigenous heritage and culture. Campbell’s connection to nature and his native landscape is deep and inescapable.

If one reads a book of Campbell’s poems, this repeated connection to the landscape and its history is so deep that it’s impossible to not think of it as an Imagist expression of a spiritual or religious feeling**** in the poems, even where that is not overtly mentioned. I know next-to-nothing of Campbell’s religious beliefs. Catholic Christianity is sometimes invoked, and at other times a Neo-Pagan-like stance seems to be displayed.

Well, it’s so like this project to say a whole lot about three very short poems from Campbell’s Earth of Cualann  that I present in the expectation that they hang together as a portrait of Spring, and then a Spring in a nation in need of renewal. It’s an Irish man’s depiction, and let us celebrate that too, but perhaps I’ve opened you to some further ways to consider that.

A player gadget should appear below to hear my performance of these three Campbell poems if you’re reading this in most full-fledged browsers — but some blog readers and reading views will not show the player. Then, this highlighted hyperlink will also allow you to hear the performance. I also normally provide a link for those of you that want to read the text along with or instead of the audio performance, but Campbell is so obscure that most of his poems are not available on the Internet so that I can link them. In place of that, here is a link to several book-length collections of Campbell’s work available at the invaluable Internet Archive. May Spring renew us all!

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*As I must always say when mentioning his name — no, not that  Joseph Campbell — this is another man who also used a Gaelic name Seosamh MacCathmhaoil.

**It would not surprise me if the instigators of the Afro-American Harlem Renaissance featured here last month were not aware of the power of Irish elevation of Irish art, history, artists, and culture as a pre-requisite to self-determination as well as a significant argument for their value as citizens. And in other anti-colonialist cross-pollination: consider the mutual admiration of Rabindranath Tagore and William Butler Yeats, or Gandhi’s example to Martin Luther King.

***Imprisonment and exile, for two examples, were involved. Knowing a little now of some of the impassioned factions even among and between the Irish Nationalists, I fear finding out more of Campbell’s actual political beliefs, alliances, and possible revolutionary actions. It’s also plausible that it may have reduced his stature in Irish literature, as political opponents divided by violence often are unconcerned with merely literary merits.

****Remember, Imagism expects there to be few, if any, overt use of words naming emotions or reactions to what it is depicting. It expects — and when it works, it may even compel — the reader or listener to supply their own internal emotional reaction and impact from the poem’s description of a charged moment.

The Poetry of a Root Crop

~ Frank Hudson ~ Leave a comment

I’ll often choose a piece to present here from an instant impression. I’ll be reading another blog, looking at a writer connected with something else I’m looking for, or paging through an anthology and there’ll be this poem that strikes me as more interesting than the one before or the next one after.

Somewhere last month that happened with this piece. You can find the full text of Charles Kingsley’s “The Poetry of a Root Crop” here. It starts off as a garden poem (I may have been looking for one of those) but it soon gets a bit strange. “Swede” is the British term for what I (and Swedish-American Carl Sandburg) would call a rutabaga. “Golden globe” is a turnip. The “Feathered carrot” is a nice image, I see the root tendrils—but by the second stanza we’re getting weirder: “angel’s alchemy” is somehow involved and “blood and bone.” I think of the orthopedic snap of crisp root vegetables and what, beet juice? Sure, it is rhymed couplets, but this is very modern imagery. I knew nothing of its author: I thought late Victorian or maybe one of the “Georgian poets” from around the time of WWI who often use modern imagery inside of traditional forms.

And then the poem starts to take on visionary or prophetic imagery. There are also elements in here, pace the “angels’ alchemy” phrase that call to mind esoteric terms of alchemy.*  Where is this going? As the poem closes it becomes clear. This is a graveyard—and/or a garden. Which is it? I think it’s to be both.

By the time I’d finished reading the poem for the first time I’d decided I wanted to write some music and perform this. Those who consume the Parlando Project as a podcast hear only the short audio pieces, and I already knew this would be arresting there if my music worked out. But here, for my blog readers, I’d need to find out something about the author. Who was Charles Kingsley? I’d never heard of him, and it’s likely you haven’t either.

Charles_Kingsley._Photograph_by_Charles_Watkins

Charles Kingsley. If the British royal family is related to Odin, is there a part for Queen Elizabeth in the Marvel Cinematic Universe?

The weirdness didn’t end. First off, this poem was older than I figured it was. It was written in 1845. On first reading I would have guessed a contemporary of Yeats, but instead William Wordsworth was still alive. And Kingsley was strange. He was an ordained minister of the Church of England. He knew the British royal family and Charles Darwin and Thomas Huxley. He was an early proponent of Christian Socialism, and he was an advocate for increased worker’s rights.

But he believed in a historic basis for the old Norse gods, and thought the British monarchy was descended from them. He attacked Catholicism and thought Emerson and the American Transcendentalists were poppycock. He was a defender of the brutal suppression of the Morant Bay Rebellion in Jamaica.**  If one wonders if that last was some technical or procedural objection, Kingsley’s Wikipedia page quotes what has to be the trifecta of a racist statement written in a letter to his wife after a visit to the County Sligo*** in 1860: “I am haunted by the human chimpanzees I saw along that hundred miles of horrible country [Ireland] … to see white chimpanzees is dreadful; if they were black one would not see it so much, but their skins, except where tanned by exposure, are as white as ours.”

So there you go: if you are a person of color, Irish, anti-colonialist, anti-racist, Catholic, an atheist libertarian, or I would suppose, a sentient chimpanzee, Kingsley is despicable.

Yes, these ideas caused, and cause, suffering and death, but his little-known poem brought me some pleasurable surprise. Big and little things.

Maybe I’m a bit glad that this poem is older than I thought. The vegetative minerals of Charles Kingsley are long absorbed into the earth, and I’ve performed Ezra Pound poems, so I guess you can put me down in the group that says the art can exist—at least eventually—separate from the artist.

Is the opposite so? The better, the more evolved, just, and righteous that a reader is, the smaller the number of poets they will be able to read?

The player gadget to hear a performance of “The Poetry of a Root Crop”  is below. My music for this is acoustic guitar and electric bass today.  If you don’t see the player gadget, this highlighted hyperlink will also play the piece.

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*If you’d like to go off on a strange tangent into esoterica, consider Isaac Newton’s alchemical and occult studies.

**Wikipedia says Thomas Carlyle, John Ruskin, Charles Dickens and Alfred Tennyson also served on a committee with Kingsley defending the actions of the British colonial governor of Jamaica.

***I’m moved to mention that within a decade, a certain young boy named William Butler Yeats was in that same County Sligo a lot during his childhood. Some chimpanzee, Kingsley. See Yeats moving poem in his primitive tongue: “Me Tarzan, You Maude Gonne.”

Winter 2020 Parlando Top Ten, numbers 4-2

~ Frank Hudson ~ Leave a comment

As we continue our countdown toward the most popular piece of this ending winter, we come to a section coincidentally that’s all poets known by three names. You can’t plan something like that, but your listens and likes counted up that way.

4. “The Stare’s Nest at My Window”  by William Butler Yeats. This poem grew on me after I selected it from a short collection of poems Yeats wrote on the Irish Civil War that followed Irish independence. Just after I read the series for the first time this winter, I mentioned to my wife that Yeats seemed to be too far into his mystical side for me to find something I could attach to in them. “The Stare’s Nest”  seemed only the least bad for my use after that first reading, largely because I could grasp its word-music as promising.

I often work on the music and performance before I work on the research about the text and its background. I did so here, though one may think it perverse to do that—my setting and performance will then come from me working without a context, and without the best information about an author’s intent. Still, the setting I came up with accumulated considerable power for me, and even though it’s me playing all the parts I composed and reading Yeats’ words, my impression of “The Stare’s Nest”  was transformed as I experienced what came from that combination. Though I made these components, the whole presented something I was unaware of.

What did I become aware of in the process of creating the piece? This poem I feel is perched somewhere between a prayer and a magical spell for his country.

 

 

 

3. “The Times are Nightfall”  by Gerard Manley Hopkins. Speaking of word-music that pulls me into places I might not otherwise choose to go, Hopkins is an example. He seems to be a full-on Christian mystic with more than a touch of hair-shirt depressive in his soul that he doesn’t fight so much a seek to feel more fully.

But his metrical conception, his use of repeated sounds, I’ve liked from the first time I read him. He believed his ideas there (borrowed from the more Saxon ancestral branches of English poetry) worked better than the musical structures adopted from the Romance languages or from poetry in Latin.

One can test his theories by seeing how his hymn to dark winter works with music as I do here.

Yeat and Hopkins

Yeats the great Irish poet and nationalist spent a good deal of time in England. Hopkins, the English poet with a distinctly English prosody was a priest unhappily sent to a post in the still colonized Ireland. Despite our world-wide virus crisis, St. Patrick’s Day will be celebrated by an Irish diaspora here in the United States this week.

 

2. from “Dirge”  by Ralph Waldo Emerson. Emerson is better known as an inspirational force via his essays and influence on Transcendentalism than as a poet, but his influence was felt by poets and in poetry. The distinctly American poetry that emerged in the 19th century is almost completely made up of poets touched by him.

When I have dipped into Emerson’s own poetry it’s produced some of the most popular pieces during the run of this project, but I wasn’t looking to find another Emerson poem this winter. “Dirge”  came forward in a round-about way from watching the Apple TV+ Dickinson,  a streaming series presenting a youthful, passionate Emily Dickinson. That series fully intends to use our present culture as a lens and overlay to espie into Dickinson’s times, something that I think worked for its released first season, though it works most completely if one looks also with a more sober eye at this genius. The creators seem to have done their homework. Lot’s of little details and obscure Dickinson trivia are referred to. And speaking of Transcendentalists, they manage to have some wicked fun with those other three-names Henry David Thoreau and Louisa May Alcott—who are both skewered with lesser-known biographic facts that aren’t full pictures of those two by far, but make for some good scenes.

In one scene, Dickinson and a young man Dickinson is crushing on bond over their mutual love of Emerson’s “Dirge”  for its gothic lines about a field of ghosts. I had to check out the poem. I worried that is might be a too long and how well the 19th century sentimentalism in the text would work for modern audiences, but trimmed a bit for length, the listeners here sure liked it this winter.

 

 

So, what’ll be the most popular piece here from the past few months? Will the author go by three names? Obscure author or well-known? American? British Isles? Translation from another language? Stay tuned.

The Lake Isle of Innisfree

~ Frank Hudson ~ Leave a comment

Last time we had a young man, an American walking in Paris in 1913 who came upon his poem leaving the Metro. Today, another young man, an Irishman in London in 1890, is walking too. He comes to a shop window, drawn by the sound there of water splashing. Looking in, he saw a fountain on display, its upward spray buoying up a ball.

The sound of water instantly brought memories of his childhood home on the coast of Ireland—and as he had been reading Thoreau’s account of his stay at Walden Pond, a small personal fantasy occurred to him of building and living in a self-sufficient cabin on a tiny island back home. Because that Irishman was William Butler Yeats, a poem came from that shop-street window, “The Lake Isle of Innisfree.”

william-butler-yeats-irish-poet-and-dramatist-in-his-study-at-woburn-buildings-london

If one can’t have a solitary wattled cabin, at least one can have books

 
That poem is now one of those beloved “Poetry’s Greatest Hits.” A few years back it topped a survey by an Irish newspaper as its readers’ favorite poem, and though I can’t find a picture of this, I’ve read that it’s been printed on a page of Ireland’s passports since 2013.

Lake Isle of Innisfree

Ireland’s favorite Irish poem was written in a foreign country

 

Of course, like most any Yeats poem it sounds lovely. Its language is straightforward, and there’s not much that needs explication. For a sound medium, it’s not always that a poem’s strongest images are sounds, but here the sounds of lapping water, bees’ hum-resonance, crickets, and a bird’s wings in flight carry the story.

Pound too, with his “In a Station of the Metro”  chose to use nature images in his Paris subway poem; but Yeats makes it plain that he’s stuck in the city, walking the grey pavement, not some country path. Thoreau had presented himself as the practical man in his book, making empirical living experiments. Yeats presents himself as the Romantic, helping imagine an Ireland—then viewed conventionally as a poverty-blighted colony—as an Eden, another locus amoenus. Another unusual choice Yeats makes is switching around the way we might describe night and day: night “a glimmer” and noon “purple glow.” Even though this was written before the dawn of urban lights dimming the night starfield, that’s the glimmering I sense, and if Irish coasts are foggy, noon could have a diffused glow. 1890 London might have fog and coal-fired air pollution too, maybe London fog didn’t glow, and maybe something beyond “light pollution” dimmed the stars.

This weekend’s St. Patrick’s day has become an occasion for the Irish diaspora to look toward its former homeland; and this poem, which speaks with Yeats’ humble yet beautiful specifics, invokes generally the homesickness of travelers, exiles, and immigrants. The specific in poetry often does that, the personal history that’s included standing for us all. This morning, as I filled my mouth with the word “peace” that Yeats wrote down twice in his poem, I could think of the island of New Zealand, and other travelers, exiles, and immigrants.

To hear my performance of Yeats’ “The Lake Isle of Innisfree”  use the player gadget below. If you don’t see the player (some blog readers won’t show it) then this highlighted hyperlink will also play it.

 

To A Friend Whose Work Has Come To Nothing

~ Frank Hudson ~ Leave a comment

Given that poetry contributes the great majority of the words to the half of the  Parlando Project “Where Music and Words Meet,” it’s reasonable to suspect, if you are reading this, that you like poetry. That’s too bad. Even during the National Poetry Month and #npm17 that were are talking about this April.

You see, poetry is often a frustrating thing. That high-flown language may be artful, but it’s an earful too. If you were seeking directions to escape some emergency, would you want your rescuer to choose the most precise and beautiful words, words that say more about what a clever speaker your rescuer is than about which way you must turn and where the dangers are?

Do you love the dense allusions and surprising metaphors of poetry? Do you admire the narrative fracturing and careful examination of the shattered facets that expose the common lie of ordered stories? The next time you are searching for how to work some complex gadget or system, do you want your tutorial or manual to scatter its tale in novel ways?

Speaking of too simple statements, here’s one: that there are people who simply like poetry. No, most people who like poetry sometimes, hate poetry sometimes; just as most people who like music, hate music sometimes. The intensity of the like times does not decrease the intensity of the hate times. I think it’s important that poetry tries to capture the allusiveness of things. I continue to admire some poems I don’t really understand—that’s what the music is for, both the poem’s own music and the external music we apply to the words here at the Parlando Project. But there are times when you just want a poet to come out and say what they’re getting at.

The words to today’s episode, by William Butler Yeats, are clear in their meaning. “To A Friend Whose Work Has Come To Nothing”  is an example of “occasional verse,” a poem written in response to an event. In this case, almost everyone has forgotten the event, but the sentiments of the poem apply broadly anyway. Yeats has such a musical way of expressing himself, he could have flown off on some obscure path and we might have followed him anyway. As it turns out, the things he leaves out here, the particulars of the dispute, probably help the poem survive as a general piece of council.

Still, I’m a curious and literal sort. Who was the “Friend Whose Work Has Come To Nothing,” and what was the work? It was written about and perhaps to a man named Hugh Lane who wanted to donate his substantial modern art collection to a museum he proposed that Ireland should fund. And the man who would lie unashamed to oppose this? A newspaper publisher who opposed the gallery.

Hugh Lane

Yeats gave him good advice, but he didn’t tell him to not get on that boat.

What happened to Hugh Lane, whose work had come to nothing? About a year after Yeats wrote this poem, Lane went down when the Lusitania  was torpedoed during WWI. And his art collection? His will seemed to leave it to the British National Gallery after his proposal to fund the Irish museum failed, but Ireland disputed this will, and later in the 20th Century, after Lane’s and Yeats’ deaths, Lane’s collection was again on display in Dublin Ireland. So eventually, in prosaic history and after the work of some lean solicitors, Lane’s work succeeded.

Dublin City Gallery

The Dublin City Gallery where most of Hugh Lane’s collection ended up

Today’s audio piece is brief, so take a listen to the LYL Band performing “To A Friend Whose Work Has Come To Nothing” by clicking on the player below or with this highlighted hyperlink.

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Song of the Wondering Aengus

~ Frank Hudson ~ 5 Comments

William Butler Yeats, when he spoke admiringly about the ubiquity that songwriters like Rabindranath Tagore could achieve, had already made his forays into setting his poems to music. As a sometime playwright, and a founder of the Abbey Theater in Ireland, he was already familiar with the dimensions performers can bring to words. Around the turn to the 20th Century he began to forthrightly seek to combine his poetry with music. Working in collaboration with musicologist and luthier Arnold Dolmetsch and performer Florence Farr he had a psaltery (a stringed instrument like a lyre or small harp) constructed, and Farr (a fascinating figure in her own right) then performed Yeats poems with it.

FarrPsaltry

Farr with the psaltery showing Joanna Newsom how to rock it

Yeats and Farr’s performance style was not a conventional art song setting of the poet’s words sung to a melody. Yeats explicitly rejected that (even though his words have often been set to melodies in the years since). Rather he thought the words were best chanted or intoned in a rhythmic and somewhat elongated speech.  Such performances are controversial then, and I would suppose they would be controversial now as well. George Bernard Shaw called Farr’s chanting “A nerve-destroying crooning,” but Ezra Pound and other early 20th century modernists took note, and they were influenced by these performances to add a more incantatory and musical element to their poetry.

Now let us break in our story for about half a century.

In the late 1950s an actor and folk singer Burl Ives recorded an album of Irish songs, and one of them was “The Wondering of Old Angus”, a Yeats poem sung to melody that Ives claimed he learned from Sara Allgood, another actor who had performed with the Abbey Theater group and would have likely known of the Farr performances. Around the same time, another folk singer, Will Holt began singing the Yeats poem to a very similar melody, using Yeats’ title “The Song of the Wandering Aengus.”  Then in 1962, Judy Collins, having learned the song from Holt, made it the title song of her album “Golden Apples of the Sun,”  which is where I first heard it.

No one seemed to know where the tune Ives, Holt, and Collins used came from. Those knowledgeable in traditional Irish tunes do not recognize it. Some credited Holt for it. However, early in the 21st Century a man named Bill Kennedy writing in the folk-song forum mudcat.org linked the tune to a transcription made by Dolmetsch accompanying a Yeats essay “Speaking to the Psaltery”  re-published in the Saturday Evening Post in 1907. The tune there of course was not meant to be sung, as Yeats discussed in this essay, but it is recognizably the one used by Ives, Holt, and Collins in their singing renditions.

So the tune may well be Yeats’ own, or perhaps it was composed by Farr or even Dolmetsch. Since the words are Yeats’, I’m going to call it, and make him the composer; and if so, that makes Yeats yet another singer-songwriter (along with Tagore and Dylan) to have won the Nobel prize.

But he didn’t sing it, nor did he intend the words to be sung. Since we at the Parlando project are working in something like the same vein, here’s a version, using more or less that tune, but chanted not sung as Yeats suggested. Instead of the psaltery, I used fretless electric bass, some bowed strings and Mellotron to elaborate the tune. To hear it, use the player below, though neither Bernard Shaw nor I will be responsible for any nerve destruction.

 

NOTE: I just noticed that I miss-typed “The Song of the Wandering Aengus” into “The Song of the Wondering Aengus” here. Oh my. This could be nerve destruction, or my hurry to get ready for a recording session this afternoon. Well, he is wondering after all!