Did you know that Ezra Pound, known as one of the pioneers of the post-modernist movement, author of the famous Cantos poems as well as a political prisoner, also dabbled in the musical world?

Before making a name for himself as a poet, Pound earned his living as a music critic, in London, writing reviews for various publications under the pseudonym William Atheling. In 1911 Pound, along with composer Walter Rummel, collaborated on a project in which they translated and published 12th century troubadour music. It was while attending an operatic performance, one summer in France, that the idea came to Pound that he too could compose an opera. Pound strongly believed that the combining of music and poetry was a natural one. He wrote: the idea that music and poetry can be separated is an idea current in ages of degradation and decadence when both arts are in the hands of lazy imbeciles (Pound article).

Pound wanted to collaborate, once again, with Walter Rummel on this new project but soon changed his mind after hearing his latest work. Pound stated that Rummel isn't going to be of any use...the last time I heard him, his playing had every possible skill and no interest. Besides, said Pound, it will probably be more satisfactory to do it myself, ourself, our selves or however it works out (Carpenter 386).

One evening, Pound's friend, author Margaret Anderson, introduced him to a young composer named George Antheil. Known as the bad boy of music, Antheil was a revolutionary composer who combined various instruments with other sound sources in his creations. His most famous composition is Ballet Mecanique. The original version of Mecanique included a score written for sixteen player pianos, four drums, three xylophones, several electric bells and three different sized airplane propellers (Lehrman). As it turned out, this particular version of the piece was not practical since he could never get all of the pianos to play in sync, as he intended. Antheil eventually scaled down the piece using only two regular pianos played by musicians. Recently, during a salute to American composers at Carnegie Hall, the American Composers Orchestra recreated the elaborate version that Anthiel had originally intended. They were able to use a computer-controlled piano connected to a MIDI (Musical Instrument Digital Interface) program to solve the problem of synchronization. Antheil always worked under his bad boy image. He was said to be so revolutionary that he angered the traditional opera going public. Rumor has it that he would get into actual fights, both verbal and physical, with various members of the audience before and after his performances.

Pound, who constantly referred to him as Ant-hill asked if he would be interested in joining forces to work on this new project. They agreed to work together and soon began their collaboration.
Le Testament de Villon, as the opera was titled, was inspired by poet Francois Villon's lengthy poem Le Grand Testament.

In the poem, Villon is sentenced to a death by hanging. In a courtyard, waiting for the soldiers to take him away, Villon decides to write his last will and testament. He realizes that he does not have any earthly possessions and the only thing of value that he has is his words. He then proceeds to write down his final testament for future generations to read.

The opera was to take place in one act and was to last about an hour in length. Pound wrote the majority of the libretto for the opera in less than three weeks. Word soon spread throughout the writing community that Pound was attempting to write an opera. Pound writing an opera?, said William Carlos Williams, why he doesn't know one note from another (Carpenter 387). During rehearsals for the project Antheil would play the piano and Pound would play the drums. At one point, during the rehearsals, the noise was so loud that it caused one of Pound's neighbors to complain to the police. Pound said that he is a composer and some noise was necessary. (Tytell 189).

Le Testament de Villon premiered on June 29, 1926 at the Salle Pleyel in France. At the premiere, Pound played the drums and Antheil played the harpsichord. Seated in the audience were such friends and peers as James Joyce, T.S. Eliot and Ernest Hemingway. I dare say it went fairly
well,
said Pound after the performance. (Carpenter 451).

Several years later, the British Broadcasting Corporation (BBC) produced a version of Le Testament, which was broadcasted over their airwaves on October 26, 1931. Pound wrote very specific notes for the director of this particular production. In his notes, (which Pound refers to the opera as Le Petit Testament de Francois Villon) he says that the masks worn for the opera would have heightened the upper part of the face, been flexible at the side, waxed to the cheeks but leaving the jaw free (BBC notes).

The reviews for this particular production were mixed. The Manchester Guardian called it one of the best plays the BBC has given. Where as The Sunday Referee judged it an hour of clotted nonsense (Carpenter 452). Pound himself wrote a review of the opera, which, besides being a sure-fire way of receiving a positive review was actually publish in several publications. In his review, Pound addressed those who were worried that he may have given up his career as a poet. The stupidity of suggesting that the composer has abandoned poetry, he wrote, or is exercising dilettantism in another art; has been pointed out by several authoritative writers, among them the so utterly different modernist composer, Mr. Antheil. (Pound article).

The opera has been performed over the years in a number of places. Besides the 1931 version, the BBC also produced the opera again in 1962. In 1965 the opera was performed as a ballet at the Festival of Two Worlds held in Spoleto, Italy. Pound, who attended the performance, considered this version a waste of time. It was written to be sung in French always, he said, the music for each song was especially fitted word for word (Meacham 191).

The opera did not premiere in the United States until the early 1970's when it was performed (and also recorded) by the San Francisco Opera's touring branch at the Zellerbach Auditorium, located on the University of California at Berkeley campus, on November 13, 1971. The performance also coincided with a Pound festival that was held at the university.

In 1932, pleased with the results of Le Testament de Villon, Pound attempted to write another opera. Unfortunately, Cavalcanti was never finished. Pound stated that this new project did not have the same feel and drive as the Villon text. As a poet, critic, political activist and librettist, Ezra Pound was able to accomplish much more than the average writer and, luckily for us, his words live on today as inspiration for us all.

© 2003 - James Eimont