THE BRITISH BROADCASTING CORPORATION

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Ezra Pound, Esq.,
Via Marsala, 12 int, 5
RAPALLO,
I t a l y.

27th January, 1932.

Dear Pound,

I am sending you two copies of the Villon script, as broadcast. There are a certain number of production notes on it which are probably not too intelligible to those who do not know the medium. The continual use of the word 'echo' refers to the artificial superimposition of various degrees of resonance on the sound being broadcast; by the use of this, one can get quite marked and dramatic differences in acoustic perspective.

I saw the notice in the 'New Review': quite good. What is the 'Current Convegno' - a paper ? And who's bringing out Cavalcanti ? I have begun to learn Italian, and would like to get a copy to practice on.

I think the spare parts of Villon were given to Agnes Bedford, but I will make certain, and, if not, have them sent to Miss Rudge. If A.B. has them, shall I tell her to send them along to Miss Rudge ?

There is nothing much doing here: an abortive revolution in Dartmoor, a typist murdered in the City, a submarine sunk off Portland, and the barometer standing higher than ever recorded before. In some ways, the atmosphere is better than before Christmas. People in this country are settling down to stewing in their own juice, and as prices have not yet risen appreciably - though Income Tax has - nobody worries much.

I am also sending you a copy of the programme I wrote for New Year's Eve. It might amuse you. It is only a framework for the presentation of various records we took last year of broadcast public events. The Stille system of recording on magnetised steel tape is, electrically, very good, but mechanically at present rather clumsy. We use it for recording rehearsals as well and then play back the record to the cast, showing them how bad they are in a way they can't but believe. You should have seen the faces of the Villon cast after hearing the record of the penultimate rehearsal. Its a great weapon in the hands of the producer.

I must begin some propaganda again for another Villon performance, either re-broadcast or on the stage over here, if only for the reason that it might induce you to come over.

Yours,
E. A. Munching

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WELBECK 4468

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ETHANUZE, LONDON

BROADCASTING HOUSE, LONDON
W.1

When replying please quote PR/EAFH.

13th September, 1932.

Dear Pound,

Please forgive me for not having acknowledged the "Cavalcanti" libretto before, but I have been very busy on a rather dumb but preoccupying production, and I have been waiting to get into touch with Agnes Bedford, who has been away. She is now back, and I am seeing her next Thursday to go through the music with her.

I like the libretto, but I think the action less viable over the radio than that of the Villon. In fact, the only way of making it dramatically intelligible will, I think, be to put into the mouth of the narrator a running commentary such as you originally suggested with the Villon. I am learning Italian at the moment, so by the time the question of production arises I shall be able to get inside the poetry. There is no chance of it being done before Christmas, and I think the Spring of next year will be the time to make for, if, indeed, by then it will be possible to persuade anybody to spend money on presenting a work of art, pur et simple. At the rate things are going politically now, it seems to me unlikely. I have been seeing a lot of [name], Cockburn lately, who has just got back from America. He feels that the struggle over here is at a far more intense stage even than in the U.S. One measure of it is that a hush is falling on the babble of the Liberal intelligentsia; in fact, there is really no more to say in No Man's Land. Anyway, even if these thoughts are only the emanation of a sultry afternoon, I shall have to go warily about planting the Cavalcanti on the money men. From that angle the Villon met with too mixed a reception for them to welcome your latest with open hands. I shall have to think up a yarn to woo them with, but that should not be hard, and I intend to put it on if I possibly can.

I will write to you again when I have heard the music.

E. Pound, Esq.,
Via Marsala 12/5,
Rapallo,
Italy.

Yours,

Telephone:-
WELBECK 4468

Telegrams:-
ETHANUZE LONDON
BROADCASTS, LONDON

Our reference PR/EAH

25th June, 1933.

Dear Pound,

I'm afraid I can't possibly reach Paris
till early on the 30th, when I shall retire for a
little after the journey, and suggest calling at
your hotel (The Périgord) between 11.30 and 12.0.
I shall be bringing along my travelling companion,
if you don't mind. She is anxious to meet you,
and we might have lunch together, and go into the
Cavalcanti then, and afterwards if you have time,
I shall not be doing anything all the afternoon, nor in
the evening if we decide to stay that night in Paris,
instead of going on to Spain about 9.0 p.m.

I have had a talk with Agnes Bedford about
the work, and I'm going to try to get it on in some
form at the end of August, but don't know whether
I shall be successful.

Unless I hear to the contrary, I will
call then at the Perigord on Tuesday.

Much looking forward to seeing you again,

Ezra Pound, Esq.,
Hotel du Périgord,
2, Rue de Grammont,
Paris 2E.

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TEMPLE BAR 8400

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ETHANUZE, LONDON

SAVOY HILL, LONDON W.C.2

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3rd November, 1931.

Dear Mrs. Pound,

You should by now have received the cheque for 'Villon'. If you haven't, please ring up my secretary, but I have spoken to them about it and gather that they have either sent it or are sending it at once.

I got two very nice letters from your husband, the first written after Monday's transmission, in which he was rather distressed about Ferrari's interpretation, which, as you know, horrified A.B. and myself as much as it did him; and the second on Tuesday, in which he seemed much better pleased. There have been a certain number of letters, some of approval, more of illiterate and stupid protest. At the best of times, our work gets very little publicity in the press, and the Election took up most of the space on Monday and Tuesday. There was, however, a very favourable criticism in the 'Manchester Guardian' of October 28th - I have sent the cutting to your husband - and also a couple of screams of rage in the 'Star' and the 'Sunday Referee'.

I was very glad that you were able to hear it in England - both performances - as I cannot help feeling that, owing to bad reception, Mr. Pound probably missed a good deal of the finer points of production, like resonance differentiation. I, too, hope that some time it will be put on the stage or sound-film. It needs visual performance. My film friend is taking the matter up, so one never knows.

I wonder if you could come and have luncheon with me tomorrow, Wednesday, or Thursday? I should like to have a look at some of the letters you got, and also have a

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