PN Review Print and Online Poetry Magazine
News and Notes
PN Review Prize winners announced
Carcanet Press and PN Review are delighted to announce the winners of the first ever PN Review Prize. read more
Most Read... Drew MilneTom Raworth’s Writing
‘present past improved’: Tom Raworth’s Writing

(PN Review 236)
Vahni CapildeoOn Judging Prizes, & Reading More than Six Really Good Books
(PN Review 237)
Alejandro Fernandez-OsorioPomace (trans. James Womack)
(PN Review 236)
Kei MillerIn the Shadow of Derek Walcott
1930–2017

(PN Review 235)
Kate BinghamPuddle
(PN Review 236)
Eavan BolandA Lyric Voice at Bay
(PN Review 121)
Poems Articles Interviews Reports Reviews Contributors
Gratis Ad 1
Gratis Ad 2
Next Issue CELEBRATING JOHN ASHBERY Contributors include Mark Ford, Marina Warner, Jeremy Over, Theophilus Kwek, Sam Riviere, Luke Kennard, Philip Terry,Agnes Lehoczky, Emily Critchley, Oli Hazard and others Miles Champion The Gold Standard Rebecca Watts The Cult of the Noble Amateur Marina Tsvetaeva ‘My desire has the features of a woman’: Two Letters translated by Christopher Whyte Iain Bamforth Black and White
Readers are asked to send a note of any misprints or mistakes that they spot in this item to editor@pnreview.co.uk

This item is taken from PN Review 238, Volume 44 Number 2, November - December 2017.

Letters
GRAHAM ROE WRITES:

I find Iain Bamforth’s article ‘Tarantara!’ (PNR 236, p. 41) very interesting, although he seems rather unenthusiastic about some composers whose music I greatly enjoy. However, it is spoiled by several small errors.

Section 4: It says: ‘he [i.e., George Gershwin] was actually a great admirer of Alban Berg’s short opera Lulu.’ Why ‘short’? Was Gershwin an admirer of Lulu? He never saw a performance: the first performance was on 2 June 1937 in Switzerland, by which time Gershwin in America was beginning to notice the effects of the brain tumour from which he died on 11 July. Gershwin certainly did admire the music of Berg (whom he once met) in general: he was at the American premiere of Wozzeck in 1931 (sitting next to Elliot Carter, as he recalled some seventy-five years later).

Section 5: Grainger’s masterpiece is The Warriors, not The Warrior. The instruments listed are confused: the dulcitone is an alternative to the bass glockenspiel as an ad-lib possibility, the heckelphone is also ad-lib, while there is no trace of the sarrusophone. And the two extra conductors are not absolutely essential (although three pianos are).

Section 11: What the theological position of an ‘honorary Arian’ would be I do not know, but Lehár’s wife was an ‘honorary Aryan’.

Section 13: Luigi Russolo (not Roussolo) was the organiser of Futurist noise concerts. And the early electrophonic instrument is an ‘ondes Martenot’ (not martinot).

This item is taken from PN Review 238, Volume 44 Number 2, November - December 2017.



Readers are asked to send a note of any misprints or mistakes that they spot in this item to editor@pnreview.co.uk
Searching, please wait... animated waiting image