Virginia Woolf and Music. Adriana L. Varga

Virginia Woolf and Music - Adriana L. Varga


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to rhythm that makes it possible to quote the words she used when she assessed the style of Congreve: “The more slowly we read [her] and the more carefully, the more meaning we find, the more beauty we discover” (E6: 120).

      NOTES

      1. Spalding, Frances. Roger Fry: Art and Life (Norwich: Black Dog Books, 1999).

       Acknowledgments

      I WOULD LIKE TO THANK OUR EDITORS AT INDIANA UNIVERSITY Press, especially Raina Polivka, Darja Malcolm-Clarke, and Jill R. Hughes, for the wonderful, energetic support they have given this project, and for seeing it come to fruition. In addition, I would like to thank Paula Durbin-Westby for her superior skill and expertise in compiling the volume’s index. I am also most grateful to Cornelia and Aurel Varga for their unfailing and generous support throughout the entire editing process of this work. My thankful remembrance also goes to Matei Calinescu, without whom I would not have turned my eye to Virginia Woolf in the first place.

      Furthermore, I am indebted to two of the volume’s contributors in particular: I am grateful to Mihály Szegedy-Maszák for reading this volume, advising on its compilation, and, most of all, for his inspiring scholarship and lectures at Indiana University–Bloomington, in which he often spoke of modernism and the arts, of Virginia Woolf, Bloomsbury, and music. One result of these lectures, in the late 1990s, was the realization that a collection of essays on this topic was both possible and necessary. His own dissertation, “Virginia Woolf, The Novelist: An Attempt at Appreciation,” can be found today in the Special Collections of the University of Sussex Library, the Monks House Papers, where Leonard Woolf, who must have thought highly of it, placed it alongside his own and Mrs. Woolf’s personal letters, photographs, and manuscripts. I would also like to offer my special thanks to Trina Thompson, who offered her steadfast encouragement by reading and advising on parts of the manuscript at various stages of the editing process, and by discussing with me music theory and word-music issues as the volume took shape. Many thanks as well to Melody Eotvos, Trina Thompson, and Deborah Crisp for assembling the music examples used in the volume.

      I must also acknowledge the support I received from several scholars with whom I discussed aspects of the volume at different times. I am thankful to Susan Gubar for her strong encouragement of the project from the very beginning and throughout the editing process; to Mark Hussey for his most helpful editorial suggestions; to Robert Hatten for his enlightening lectures on Beethoven and music theory at the Jacobs School of Music; to Katherine Linehan and Michael Davis for their extremely helpful comments on the volume’s introduction; and to Susan Sellers and Laura Marcus for their illuminating questions and comments on Woolf and music at the Woolf contemporaine / A Contemporary Woolf Colloque de la Société d’Etudes Woolfiennes, Université d’Aix-Marseille I, Aix-en-Provence, September 2010. Finally, I am most thankful to Nazareth Pantaloni, Assistant Director for Copyright and Administration at the William and Gayle Cook Music Library at the Jacobs School of Music; to the Lilly Library librarians at Indiana University, particularly to Rebecca C. Cape, who made available the publications of the Hogarth Press and other Bloomsbury manuscripts; as well as to the Special Collections librarians at the University of Sussex, who kindly helped me research the Monks House Papers, especially Leonard Woolf’s “Card Index of Gramophone Recordings” (June 2005).

       Abbreviations

      Chapters follow the Harcourt Annotated Editions of Virginia Woolf’s works unless otherwise noted in each chapter’s Works Cited.

AROOVirginia Woolf, A Room of One’s Own
BALeonard Woolf, Beginning Again: An Autobiography of the Years 1911–1918
BPVirginia Woolf, Books and Portraits
BTAVirginia Woolf, Between the Acts
CR1Virginia Woolf, The Common Reader
CR2Virginia Woolf, The Common Reader, Second Series
CSFVirginia Woolf, The Complete Shorter Fiction of Virginia Woolf
D1–5Virginia Woolf, The Diary of Virginia Woolf
DAWLeonard Woolf, Downhill All the Way: An Autobiography of the Years 1919–1939
E1–6Virginia Woolf, The Essays of Virginia Woolf
HLHermione Lee, Virginia Woolf
JNAMLeonard Woolf, The Journey Not the Arrival Matters: An Autobiography of the Years 1939–1969
JRVirginia Woolf, Jacob’s Room
L1–6Virginia Woolf, The Letters of Virginia Woolf
LLWLeonard Woolf, The Letters of Leonard Woolf
LWA1,2Leonard Woolf, An Autobiography
MBVirginia Woolf, Moments of Being
MDVirginia Woolf, Mrs. Dalloway
MELYMVirginia Woolf, Melymbrosia: An Early Version of the Voyage Out
NDVirginia Woolf, Night and Day
OVirginia Woolf, Orlando
PAVirginia Woolf, A Passionate Apprentice: The Early Journals 1897–1909
PHVirginia Woolf, Pointz Hall: The Earlier and Later Typescripts of Between the Acts
QB1, 2Quentin Bell, Virginia Woolf: A Biography
RFVirginia Woolf, Roger Fry: A Biography
SLeonard Woolf, Sowing: An Autobiography of the Years, 1880–1904
TGVirginia Woolf, Three Guineas
TLVirginia Woolf, To the Lighthouse
VOVirginia Woolf, The Voyage Out
WVirginia Woolf, The Waves
YVirginia Woolf, The Years

       Virginia Woolf & Music

      Introduction

       Adriana Varga

      AS EARLY AS 1901, VIRGINIA WOOLF WAS WRITING TO HER COUSIN Emma Vaughan, “The only thing in this world is music – music and books and one or two pictures” (L1: 35). And as late as 1940, she was writing to her friend, the gifted violinist Elizabeth Trevelyan, about the structure of Roger Fry: A Biography:

      Its odd, for I’m not regularly musical, but I always think of my books as music before I write them. And especially with the life of Roger, – there was such a mass of detail that the only way I could hold it together was by abstracting it into themes. I did try to state them in the first chapter, and then to bring in developments and variations, and then to make them all heard together and end by bringing back the first theme in the last chapter. Just as you say, I am extraordinarily pleased that you felt this. No one else has I think. (L6: 425–26)


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