The difficulty in assessing some of the other pieces lies in the fact that the reader needs a "sonorous image" in order to grasp what the discussion aims to establish musical quotations are generally inadequate for most nonprofessional readers. The editor's "Words for Music, Perhaps" (on Humphrey Searle's scores of Words and Music and Cascando) and Catherine Laws's essay on Neither are outstanding, primarily because they attempt to come to grips with larger issues.
The essays are all interesting a number of them are stronger than others. There are two rubrics: Words, and Music, with diverse emphases on the verbal and the compositional aspects of Beckett's creations as viewed from the vantage point of music and its relation to words and (inevitably), given their point of reference-to words and silence and to music and silence. The present volume is a collection of interesting essays assembled by the editor, Mary Bryden, relating to some (but not all) of the above topics. It involves the problematic attitude and relationship of a literary author who is well versed in music, whose work generates its own kind of music, and whose works are strong temptations for composers. But the question of words and music is more enigmatic. Beckett's words, their quietly pulsing loneliness, their striving for the solace of silence, are among the most poetic-i.e., "musical"-expressions of contemporary literature. An observation of this kind amounts to no more than a convenient metaphor calling attention to the euphony or sonority, along with some sort of rhythmic profile, of an author's words. All of Beckett's readers are keenly aware of the musicality of the texts. In Happy Days, Lehár's "Merry Widow" is utilized as a theme. In two of his radio plays, Words and Music and Cascando, Beckett makes use of Music as a protagonist over Words, characters representing voice or speech. Many of his dramatic works make use of musical passages in a precise and detailed way: Schubert's string quartet "Death and the Maiden" in All That Fall the same composer's Lied "Nacht und Träume" in the television play of the same name Beethoven's "Ghost" Trio (op. He formed friendships with musicians: Marcel Mihalovici and his wife Monique Haas Morton Feldman, Heinz Holliger. Schubert, perhaps? Beckett was fiercely interested in music all his life he grew up with music, became an amateur pianist, married an accomplished pianist, and evidently broadened his musical horizons all the time. One wonders to what he might be listening.
" It shows an intent listener who is concentrating on his experience. The dust-jacket of Samuel Beckett and Music features a drawing by Beckett's friend Avigdor Arikha entitled "Samuel Beckett listening to music. Book Review Samuel Beckett and Musicīryden, Mary, ed. In lieu of an abstract, here is a brief excerpt of the content:
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