2013 Sop'o muerte se cande, a threnody
by Robert Hughes, for voice & orchestra
1982/2013 Uutiqtut (Caccia)
by Robert Hughes for orchestra
also available in a 2-piano version
2013 The Transparency of Era Pound's
Great Bass by Margaret Fisher
Second Evening Art Publishing / BMI
Art + Research at the Villa of Broken Spines
1420 45th Street #16
Emeryville CA 94608-2903
The Transparency of Ezra Pound's Great Bass (Vol. II of the series Duration Rhyme and Great Bass)
$9.99 (2013 e-book available from Amazon Kindle)
The Echo of Villon in Ezra Pound's Music and Poetry (Vol. I of the series Duration Rhyme and Great Bass)
$5.00 (2013 e-book available from Amazon Kindle)
Radia, A Gloss to the 1933 Futurist Radio Manifesto (2012) or how a Futurist radio turned to nuclear physics to define a new art of the ether. By Pino Masnata. Never before published/posthumous first edition. Translation & Introduction by Margaret Fisher
Whistling Tune, from 3 Cowboy Songs (2012) by Robert Hughes, for wind quintet (purchase). Listen to the recording by the Bellavente Wind Quintet..
Sop'o muerte se cande . . . , (2013) a threnody for Calvin Simmons by Robert Hughes, for solo voice and orchestra (rental music)
Uutiqtut (Caccia) (composed 1982, pub. 2013) by Robert Hughes, for full orchestra (rental music). A two-piano version is available for purchase. The title is an Inuit word for movement, as in the movement of the great caribou herds in the Arctic.
Experiments in opera, dance and radio at academia.edu
Papers by Margaret Fisher on the music of Ezra Pound, in English and Italian
Libretto for the 1923 Le Testament opera
Finding Aids for the music of Ezra Pound .pdf format
ABOUT OUR PUBLISHED TITLES:
1. Cavalcanti: a perspective on the music of Ezra Pound Ezra Pound and Robert Hughes, edition of 200, 442 pp, pb, 2003
ISBN 978-0-9728859-0-4 list $111.00
Double volume: essays regarding Pound as a composer, and complete, engraved music score
The three-act one hour opera is a dramatization of the life of the Florentine poet Guido Cavalcanti (1250-1300), friend of Dante, through eleven of his canzone and ballate. Two additional numbers are settings of poems in Provençal by Sordello.
Part I. A systematic analysis of Pound's music training, the application of his musico-poetic theories, methods of composition, and a music analysis of the opera; the genesis and sources of Pound's Great Bass theory.
Part II. The definitive performance edition of Pound's "Cavalcanti," drawn from the uncatalogued and dispersed music manuscripts in the Beinecke Manuscript and Rare Book Library (Yale University). This is the full music score with piano reduction and stage instructions. All music is composed by Ezra Pound. Additional narrator's script, dialogue, and stage instructions are by Pound; editorial notes by Robert Hughes.
2. Complete Violin Works of Ezra Pound, 1923–1933 by Ezra Pound, Robert Hughes, ed., edition of 300, 160 pp, pb, 2004
ISBN 978-0-9728859-2-8; list $33.00
Part I. A literary and technical study of Ezra Pound's solo violin works, many of which were composed for the American specialist in new music, violinist Olga Rudge.
Part II. Thirteen engraved performance scores and seven facsimile reproductions of Pound's holograph scores. Among the eight original compositions is Sestina: Altaforte, the only instance of a musical setting of his own poetry. The volume also includes Pound's settings of poems by Froissart, Dante, and Cavalcanti as well as arrangements of 12th- and 15th-century vocal works for violin.
3. The Recovery of Ezra Pound's Third Opera: Collis O Heliconii (poems by Catullus and Sappho)
Ezra Pound and Margaret Fisher, edition of 200, 180 pp, pb, 2005, ISBN 978-0-9728859-3-5 list $47.00
Part I. Analysis of Pound's musical treatment of his favored poems of antiquity: Catullus carmen LXI ("Collis O Heliconii") and Sappho, fragment 1 ("Poikilothron' athanat' Aphrodita").
Part II. The engraved performance edition for violin and voice includes excerpts from the 2 principal arias, 3 incidental numbers, a transcription of Pound's unfinished translation of carmen LXI and Pound's scenario for his dramatic setting of the Catullan poem.
4. Le Testament: Paroles de Villon, 1926 and 1933 performance editions by Ezra Pound, Robert Hughes and Margaret Fisher, eds., edition of 200, 270 pp, pb, 2008 ISBN 978-0-9728859-4-2 list $85.00 Click here for full description
Double volume: essays, facsimile pages, 2 engraved opera scores
Part I. The Paris, 1926 Salle Pleyel chamber concert of excerpts from the opera.
Part II. Pound's 1933 final revisions for a complete opera.
5. Le Testament: 1923 facsimile edition w/audio CD by Ezra Pound, George Antheil, ed., essays by Stephen J. Adams, Margaret Fisher, Robert Hughes, annotations by Robert Hughes, edition of 100, 270 pp, pb, 2011 ISBN 978-0-9728859-9-0
110 color plates Click here for full description
6. Studies in Ezra Pound's Music and Poetry: Duration Rhyme and Great Bass
Vol I. The Echo of Villon in Ezra Pound's Music and Poetry, Toward a Theory of Duration Rhyme
a Kindle e-book, by Margaret Fisher,
The Echo of Villon, first of two volumes on the relationship of music and great bass to the poetry of Ezra Pound, brings together essays written for diverse publications. An Introduction and Brief History provide background to Ezra Pound as a composer. The principal essay, drawn from the facsimile edition of the 1923 Le Testament score (Pound’s opera to words by François Villon), traces the role of music and of Villon in Pound’s oeuvre. Using computer-assisted models, the author demonstrates how Pound applied the relative temporal durations of elements in his poems—vowels, syllables, words, phrases and verse lines—and the precise proportions that result from those relations to arrive at the great bass of a new poetic based on time durations and informed by music.
Vol II. The Transparency of Ezra Pound's Great Bass
a Kindle e-book by Margaret Fisher,
Volume II on the relationship of music and great bass to the poetry of Ezra Pound examines great bass as a theory of rhythm and rhythmic influence against the backdrop of seminal works on harmony from medieval times to the twentieth century: Dante, Franco of Cologne, Thomas Campion, Jean-Phillipe Rameau, Hermann von Helmholtz, Arnold Schoenberg and Henry Cowell, among others. In this setting, Pound's great bass joins the long-standing practical and theoretical inquiry concerning the bass part and bass function in music, itself part of a larger ongoing investigation of human perception informed by musical cognition.
Pound's first opera is "a modernist triumph ...[the poet's] claim to musical immortality" (Richard Taruskin, read this review in the New York Times, 27 July 2003).
"The performances have a strange intensity, like a cross between Carmina Burana and Diamanda Galas....There's a passion in this music which is compelling" (Ivan Hewett, BBC Music Magazine, August 2003).
"This idiosyncratic body of work proves to be full of rare pleasures and well worth hearing" (Joshua Rosenblum, read this review in Opera News, August 2003).
Image above of Ezra Pound: Ezra Pound II, screenprint by R. B. Kitaj
Courtesy Marlborough Gallery, New York