Hostname: page-component-745bb68f8f-mzp66 Total loading time: 0 Render date: 2025-01-30T05:29:01.438Z Has data issue: false hasContentIssue false
  • English
  • Français

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

Heather Wiebe
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
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 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

*

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.