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2 results

  • Chapter 2 - Early Medieval Philosophy and Textuality

  • from Part I - Pound’s Texts
  • Edited by Mark Byron, University of Sydney
  • Book:
    The New Ezra Pound Studies
    Published online:
    17 October 2019
    Print publication:
    07 November 2019, pp 26-39

  • Summary

    Pound’s inclusion of a musical score in Canto LXXV (C 470–71) asserts a paradox of temporality: the Canto is the shortest by line number in all of The Cantos, yet as words give way to music, the time of reading and of hearing becomes undefined and dilatory. The music is Gerhard Münch’s scoring of the violin part of Clément Janequin’s Chant des Oiseaux of 1537, commissioned by Pound for Olga Rudge to perform at the first of the Tigullian concerts in Rapallo in 1933. Janequin’s score derives from Francesco Canova da Milano’s Canzoni degli Uccelli (c. 1528) – a genealogy all perfectly clear and unambiguous – but this is not what attracts Pound’s attention.