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Wagner and the ‘Paradise Garden’: An Inter–Operatic Reference in Delius
Published online by Cambridge University Press: 22 January 2016
Extract
What kind of contribution can a person make to the study of music for which they have no intuitive sympathy? Music which doesn't ‘click’ with them, which fails to generate a compelling affective response? Many possibilities, surely, are ruled out. One would hardly expect that anything approaching meaningful analysis might emerge where the work in question was not being artistically understood; nor would reasonable criticism seem to be possible in such circumstances. On the other hand, at least a little may be ‘ruled in’. Were 1 myself, for example, not baffled by Delius, I might not have made the observation upon which the present article rests.
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References
1 Such considerations also rule out any suggestion that the allusion might be to the progression as it appears at the end of the final act (and the Overture) of the revised Der fliegende Holländer.
2 The 1973 Boosey and Hawkes study score reproduces the original full score published in 1910 by Verlag Harmonie; see Threlfall, Robert, ‘Introduction’, Frederick Delius, Complete Works, Vol. 4 (1985 Google Scholar).
3 Not so-cailed by Wagner, for whom the opera's Act I Prelude was the Liebestod and Isolde's concluding monologue the ‘Transfiguration’ (Värkldrung);see Bailey, Robert, ‘Coda: The Title Liebestod’, in Bailey, Robert, ed., Wagner: Prelude and Transfiguration from ‘Tristan and Isolde’ (New York & London, 1985 Google Scholar).
4 From the translation by H. and F. Corder in the Eulenburg score.
5 See, for example, Carley, Lionel (Ed.), Delius: A Life in Letters, 2 Vols. (London, 1983, 1988 Google Scholar).
6 Fenby, Eric, Delius As I Knew Him (London, rev. ed. 1966), p.227 Google Scholar.
7 Palmer, Christopher, Delius — Portrait of a Cosmopolitan (London, 1976), p.122 Google Scholar.
8 (Private communication).
9 See, for example, Keller, Hans, ‘Elgar – “The First of the New”’, Music and Musicians, 06 1957, 17 Google Scholar.
10 Fenby, Eric, Delius As I Knew Him (London, rev. ed. 1966), p. 196 Google Scholar. Incidentally, Fenby identifies the nineteen works whose full scores were the only ones which the composer possessed; the sole Wagner work on the list is Tristan und Isolde.
11 See, for example, Fenby, Eric, Delius As I Knew Him (London, rev. ed. 1966), pp.53–54 Google Scholar.
12 See his ‘Grieg, Delius, Grainger and a Norwegian Cuckoo’, Tempo 203 (January 1998), pp.11–19, in which he demonstrates the considerable extent to which one of Delius's most famous works rests upon Griegian foundations.