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Fade to Black Britten, ‘O Waly, Waly’ (1947), in Terence Davies’s Distant Voices, Still Lives
Published online by Cambridge University Press: 28 September 2016
Abstract
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- Type
- Research Article
- Information
- Cambridge Opera Journal , Volume 28 , Special Issue 2: Special Issue: Remaking the Aria , July 2016 , pp. 263 - 266
- Copyright
- © Cambridge University Press 2016
Footnotes
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Heather Wiebe, King’s College London; heather.wiebe@kcl.ac.uk.
References
1 Hoeckner, Berthold, ‘Transport and Transportation in Audio-Visual Memory’, in Beyond the Soundtrack: Representing Music in Cinema, ed. Daniel Goldmark, Lawrence Kramer and Richard Leppert (Berkeley, 2007), 176 Google Scholar.
2 Davies, Terence, A Modest Pageant: Children, Madonna and Child, Death and Transfiguration, Distant Voices, Still Lives and The Long Day Closes (London, 1992), xi Google Scholar. The songs, too, might be called second-hand, in that Davies had his family sing them on tapes and selected those he remembered ( Farley, Paul, Distant Voices, Still Lives (London, 2006), 76 Google Scholar).
3 Folk Songs: Peter Pears, Benjamin Britten, Decca SXL 6007 (London, 1962); Britten, Benjamin, Folksong Arrangements. Vol. 3: British Isles (London, 1947)Google Scholar; Everett, Wendy, Terence Davies (Manchester, 2004), 201–202 Google Scholar.
4 Davies, A Modest Pageant, 132–4.
5 Davies, A Modest Pageant, 133–4.
6 Davies, A Modest Pageant, 133–4.
7 Davies, A Modest Pageant, 131–4.
8 Davies, A Modest Pageant, 132.
9 This would not be the first time Pears has been associated with the mother’s voice: see Letters From a Life: Selected Letters and Diaries of Benjamin Britten. Vol. 1, 1923–1938, ed. Donald Mitchell and Philip Reed (London, 1991), 16.
10 Dolar, Mladen, A Voice and Nothing More (Cambridge, MA, 2006), 70 Google Scholar.