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Trevelyan, Paul (1906-1909), son of Elizabeth and Robert Calverley Trevelyan
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Letter from E. M. Forster to R. C. Trevelyan

Harnham, Monument Green, Weybridge. - Is being given the 'N.Q.' [New Quarterly], and finds it splendid. An essay on Poggio [Bracciolini], which MacCarthy encouraged him to send to the United States, has been rejected. Is going to Founder's Feast soon. Thanks Trevelyan about Stokoe, who must have moved. Lady Holroyd (who knows Trevelyan] has called, as has Mrs Barnes. Sends love to [Trevelyan's son] Paul.

Letter from E. M. Forster to R. C. Trevelyan

Harnham, Monument Green, Weybridge. - Has heard from Miss V. W. [Vaughan Williams] about Trevelyan's accident at the Pageant: hopes he has recovered. Asks where Paul's 'playground' was purchased, as he would like to buy one for [Hugh Owen] Meredith's children. Returns two books, and his 'silly Dante paper'. 'Miss Bartlett' ["A Room with a View" has been rejected by the USA. Visits Meredith next week, then Mrs Hope Wedgwood; goes to Abinger next and on the 5th September may join [Goldsworthy Lowes] Dickinson in Italy. Wishes that Trevelyan could come too. Is reading Marco Polo, inspired by Masefield's introduction.

Letter from E. M. Forster to R. C. Trevelyan

Hollycroft, Cavendish Avenue, Cambridge. - Is glad that Trevelyan's wife is as well as can be expected [after the death of their son Paul]; asks if they are in Holland. Has been staying with [Hugh Owen] Meredith in his new house; goes tomorrow with Mrs Barger to join a party in Wales. Is reading "L'Iles des Pengouins" [sic: "L'Île des Pingouins", Anatole France] but is rather disappointed.

Postcard from E. M. Forster to R. C. Trevelyan

Postmarked Abinger Hammer. - Is sorry that he has not been able to visit while staying at his aunt's; but 'of all human beings a baby keeps the longest' so he will have to leave Paul 'in his Tarsian stage' for a few months more. Is arguing with Blackwood 'over the colonies' and thinks he will have to go elsewhere [for the publication of "The Longest Journey"]. Has received "The Arabian Nights."

Letter from Roger Fry to R. C. Trevelyan

22 Willow Road, Hampstead, N.W. - Delighted to hear the news from Helen about the birth of the Trevelyans' son Paul; is not sure he will fit into "Ariadne" ["The Bride of Dionysus"] but perhaps Bessie won't allow his use in poetry: he had 'to behave very well to be allowed to draw Julian'. Possible arrangements for meeting; has to go to Munich for a day but otherwise is free. Jokes about all babies' resemblance to McTaggart. Asks Trevelyan to get tickets for the concert on February 11th.

Letter from Roger Fry to R. C. Trevelyan

The Reform Club. - Looks forward to seeing Trevelyan in town, though he cannot make the Joachim [Joachim Memorial Concert]. Jokes about his title [at the Metropolitan Museum of Art]: 'I'm European adviser... (to the whole United States of course)'. The children are very well; he goes to see Helen often and can't feel hopeless yet though Savage is pessimistic. Is glad Paul is well and hopes Bessie is too. Met "the dear [Julius?] Röntgen" who 'plays divinely'.

Letter from Roger Fry to R. C. Trevelyan

Chantry Dene, Guildford. - Wishes he could get to the concert: he is an admirer of 'orange jelly' [Jelly Arányi], whom he heard at Haslemere a while ago, but he has promised to take over MacColl's lectures at the Slade this term and travelling to see Helen at Crowborough takes up much time. Asks Trevelyan to apologise to Miss Weisse. Goes Paris after his lecture on Friday to meet Burroughs and see things for the [Metropolitan] Museum. Helen seems to be doing well, but is anxious to return home. His show [at the Carfax Gallery] a qualified success, with rather poor notices of his new style but a good review from Claude Phillips. Hopes Bessie is better for their time in Holland [after the death of the Trevelyans' son Paul].

Letter from Roger Fry to Elizabeth Trevelyan

Hampstead. - The rain on Sunday made it too uninviting to bicycle on Sunday: they stayed in the shelter of Shulbrede Priory and rode back some of the way this morning. He had written to Helen about Paul [Trevelyan]; the letter from her, originally enclosed, is a response. Would be good if Bessie could write a little note about Paul and other 'domesticities', but the doctor does not want her to have much strain from correspondence; the doctor seems to think she is getting on slowly. They enjoyed their stay with Bessie and saw some good sights on the way to Petersfield, including Bedales where he hopes Paul will go one day with Julian and Pamela. Is going to Failand to see his children soon.

Letter from Desmond MacCarthy to R. C. Trevelyan

Thanks for Trevelyan's letter of advice about the article. Has his 'back up' against the Ind[ependent] Rev[iew] at the moment: received a cheque from Jenks for his review which was 25 shillings short of the sum agreed. Does not mind writing 'for love', but does object to having his 'wages chipped at the discretion of that little shit'. Asks for total discretion: must speak to George [Trevelyan] first if he decides to complain. There has been a fight outside the office: Udale had his nose 'scraped'. J. Burns [John Burns?] is probably going to be sued by Harris for libel; this too can only be mentioned to Trevelyan's wife. Would like to visit soon; will bring 'the black wallowing unprofitable & the Marie Kov [?]'. A postscript, reading 'Sir, my name is Otto. Why not make my initials D.S.O?' may be a reference to the Trevelyan's son Paul.

Letter from Desmond MacCarthy to R. C. Trevelyan

8, Cheyne Gardens, S.W. - Addresses Trevelyan as 'Bobolinka': an annotation in pencil reads 'its song is emitted with a volubility bordering on the burlesque [Audubon on the Rice Bird, Boblink or Bobolink]'. Invites him down to stay at Timworth; hears he did not think the conversation at the reading party up to the mark, he would not find this fault at the Green Farm. There is a 'rough tangled plantation' there which MacCarthy wishes to turn into a 'grove for contemplation'; he could help with this. Hopes his wife is well; asks if he can please his son and make him laugh; supposes Bessie would not be able to visit (they cannot yet put Paul up). Asks if he has read Forster's 'Romance' ["The Longest Journey"], which captures 'those miserable muffs the Cambridge Apostles pretty well. What a set!'. A doodle of a face on the last page, crossed through.

Letter from Molly MacCarthy to R. C. Trevelyan

The Green Farm, Timworth, Bury St. Edmunds. - Arrangements for Trevelyan's visit to Timworth: the trains are difficult. If Trevelyan is going to the concert at Northlands [Sophie Weisse's school] he should not spoil it by worrying about getting to Liverpool Street. Is writing on Desmond's behalf as he is busy with his "Independent [Review]" article. Is very sorry that Trevelyan's wife is not coming with him, as she would have liked to hear more about Paul, and the MacCarthys have a lovely piano which was a gift from Miss Weisse (they can only play "The Bluebells of Scotland" on it), but understands that she cannot leave the baby.

Letter from Dorothy Moore to Elizabeth Trevelyan

6, Pembroke Villas, The Green, Richmond, Surrey. - She and George had a quick if crowded journey home. Enticnap [Enticknap] was very interesting on the way to the station, telling them about his time in King's College hospital and about fox and stag hunting; she thought stag hunting very cruel and was surprised that Enticnap said more ladies hunted stags than foxes. The view from their windows seems 'tame', and the air 'much infected with railway smoke' after their time with the Trevelyans. Hopes Paul is better; it was very good of Bessie to let her visit despite his illness and her anxiety; wishes she could do something to help; is sorry she could not think of good lodgings and hopes Paul will get better without being parted. They hope Trevelyan will visit when he is in town.

Letter from Eleanor Sickert to R. C. Trevelyan

12 Pembroke Gardens, Kensington, W. - Letter of condolence on the death of the Trevelyan's new-born daughter, Susan Caroline; sends love to Elizabeth Trevelyan and says she hopes she will take care of herself, for Trevelyan and Paul. Finds that young mothers often do not look after their eyes properly: Agnes Makower hurt hers when Ursula was born. Oswald [her son] and Bessie have taken a furnished house in Wellington, New Zealand and will not be back before June; now Oswald has an office Bessie was finding hotel life lonely; hopes they have solved 'the servant difficulty'.

Letter from Robert Oswald Sickert to R. C. Trevelyan

12 Pembroke Gardens, Kensington, W. - It is just like Trevelyan to generously put in a word for his translation [of a short story by Eduard von Keyserling, see 6/54]. Is having the story typed and has written to the editor [of the "New Quarterly", Desmond MacCarthy] asking whether he should send it. There is a fair amount of 'good, thoughtful work by these clever modern Germans' which ought to be translated and published in the better sort of reviews. Mentions the heat. Hopes little Paul [Trevelyan] is bearing up.

Letter from Donald Tovey to R. C. Trevelyan

Englefield Green, Surrey. - Thanks Trevelyan for 'Henry Adney' [Ariadne: i.e. Trevelyan's first draft of the libretto for "The Bride of Dionysus" and apologises for not acknowledging receipt sooner. Will calculate the length of scenes and the whole, but does not think it will need much altering; suggests replacing the Satyr and his song [Act III, Scene II] with a second chorus of Maenads, and ending the work with a 'short Bacchic-philosophic chorus' modelled on an earlier 'captive-chorus'. Is already very excited about the work, and feels it has 'any amount of poetry & contrast & flow': sketches out the moods of the four acts. Miss Weisse also thinks it very beautiful. Is not sure when he will be able to begin, but will try some 'crude extempore experiments' very soon; doesn't expect major rhythmic difficulties, though he may have to sacrifice certain 'verbal rhythmical effects' which will not be noticeable when set to music. Trevelyan can publish his poem before the opera is ready, as long as they ensure the rights do not interfere with those of the poem: it would be awkward if the opera had to be published without words, or if Richard Strauss were to 'combine Ariadne with an operatic version of Bernard Shaw's Philanderer' before he was ready. Will 'agitate at Oxford' as soon as he starts composition, and ask for help 'in wire-pulling & preparing the ground'. It will be a 'large undertaking' and he fears his intention of doing it with 'a pre-Wagnerian orchestra' will not be feasible; will know more when he has sketched out the first act, and will do it for a small orchestra if he can.

Tovey returns to the letter 'three days later', with about twenty pages of detailed suggestions for the libretto: some of these are alterations of a word or two, others suggestions for additions or rearrangements, to best suit Tovey's conception of the characters and / or musical needs. Has other suggestions which he will make later. Emphasises that most of his alterations are very slight, a line or two only, except for the speeches of Minos and Dionysus in which he has suggested new arguments. Thinks Trevelyan has chosen a splendid story and succeeded despite Tovey's 'croaking'; he has written a play which 'cries out for music & is unlike any opera-book... that has ever been seen.' Will soon be 'boiling over with themes & contrasts'; finds it significant that all the musical ideas he has begun to have so far are connected with points which are 'most entirely [Trevelyan's]', who has taken up Tovey's past suggestions patiently but made them his own; he therefore has no hesitation in sending 'all this screed of details' as he knows Trevelyan will make of them something better than he could have imagined.

Gets through the first act in his head with extempore music, probably a little quick, in forty minutes; this is 'not very alarming' for four hundred lines out of fifteen hundred and fifty lines. Wishes Trevelyan would publish the text 'nicely got up' like his "Polyphemus", and omitting any alterations made by Tovey which are 'merely musical or practical'; it would 'aid its career as an opera if it is understood as literature' beforehand and even performed as such, maybe with choruses set to Tovey's music. Invites Trevelyan, his wife and son, to see 'the Miltonic Arcades' [at Northlands?] for which he has composed the songs.

Letter from Donald Tovey to R. C. Trevelyan

S.Y. Zingara, 'floating in the neighbourhood of Skye, where it rains angoras and terriers'. - Hopes that Trevelyan and 'Mrs. Poet' are well, and that [their son] Paul is recovering. Has almost finished a 'declamatory sketch' of the first act [of "The Bride of Dionysus"]. Sets out the plan describing musical themes in some detail. Mentions some alterations he would like made at various points throughout the opera. Thinks the length is 'practical but formidable' but that it would be a 'great mistake' to cut it.

His theories about 'the possibilities of musical form in modern opera are vastly enlarged and changed': believes that much 'Wagnerism', such as 'the abnormal exaggeration of every pause in Wagner's sentences' will one day seem archaic. Wagner's 'business-technique' no longer impresses Tovey and he now feels, 'candidly' that he can do 'far better himself', in part because he has much better material. However, Tovey is 'driven to despair' by much of Wagner's music - he lists numerous examples - which can make him feel that the only point for him to write music is to amuse himself. Yet he thinks 'the musical patchiness of Wagner is an archaism' and 'the [Richard] Straussian development of the unmusical side of Wagner's technique is... the vilest humbug ever foisted on ignorant journalists by a cad'. Refuses to have anything more to do with 'modern tendencies' in musical drama; ready to learn many things from Debussy about timbre but cares nothing for the 'new doctrines & practices' from any other point of view.

Is visiting the Speyers around the 6 September and asks if they could meet there, or whether he could visit the Shiffolds after that or they could meet at the Dakyns' house over the Haslemere concert. Wants to run through what he's done on the piano, and would be very glad if Elizabeth Trevelyan could hear it.

Letter from Donald Tovey to R. C. Trevelyan

Asks if he and his father can come on Monday, and for Trevelyan to send a line about trains to his father so that the visit appears to have been settled long ago. Checks that it really is convenient to 'Paul & Mrs Poet' and Trevelyan. The visit also depends on the state of the roads 'here & in Calabria & Sicily'. They are 'reading the Plutus of Henry Stuffiknew [?]' as it is the only thing his father can think of that is at all like [Trevelyan's] "Sisyphus".

Postcard from Donald Tovey to R. C. Trevelyan

Postmarked Oban. Sent to Trevelyan at the Shiffolds but forwarded on to Central Post Office, Marlborough. - Has finished Act I [of "The Bride of Dionysus"], leaving a blank space for Minos' new lines. It lasts an hour and twenty minutes, so unless the long speeches of the rest of the play go quicker than this 'very chopped up' act, the opera will be over four hours long: 'quite Wagnerian'. Asks if [Trevelyan's] "Sisyphus" could be called an 'Operatic Drama', implying 'a play tinged with operatic extravagance (if not one that might be set to music)'; if there was classical precedent for calling a play a fable, 'Operatic Fable' might sound well. Would be good if they could run through the first act together more than once: would like Marie Joachim to hear it, and to play it to his parents at Worplesdon, and to Paul [Trevelyan's son?]. Asks Trevelyan to forgive his 'rude remarks about the pied fawn skin' - the line is beautiful, but will not be set to music.

Letter from Donald Tovey to Elizabeth Trevelyan

Northlands, Englefield Green, Surrey. - Ariadne ["The Bride of Dionysus"] is 'a joy' to Tovey; has tried it on 'several unprejudiced people' who all confirm his impression that it is a beautiful poem. 'The poet' [Bob Trevelyan] over-rates Tovey's role in it: this is only 'practical & prosaic and mechanical', and Tovey has as much right to praise it as [Joseph] Joachim has to praise the D minor concerto of Brahms. No 'greater proof of originality than the ability to act on external interferences'. Thinks it a totally unique opera. Trevelyan must not 'despoil his other works in this'; cites the bracketed passages in the last act which come from "Polyphemus". Sends 'veneration' to Paul.

Letter from Sophie Weisse to Elizabeth Trevelyan

Brighton. - Writes with the news that Donald [Tovey]'s mother died on Christmas Day and the funeral is on Tuesday. Wants then to take Donald and his father back to Northlands for a few days, then hopes Donald will still come on to the Trevelyans instead of going back to Worplesdon. Sends best Christmas wishes to the Trevelyans. Does hope Donald's brother and 'his very capable little wife' will look after Mr Tovey at the Rectory so that Donald can come to the Trevelyans; perhaps Bessie could 'urge it a little'. Fears he will not come to Scotland with her now.

Letter from Sophie Weisse to Elizabeth Trevelyan

Englefield Green, Surrey. - Is recovering well and thinks she will be out of bed by the end of the week; it is a relief to know there is 'no serious mischief'. Very sorry about Paul [Trevelyan]'s illness, a shame for him 'to be liverish and out of spirits like an Anglo Indian', but children mend quickly. Is glad 'the Poet' [Robert Trevelyan] was not hurt. Donald [Tovey] is going north on Saturday; Mrs James is his hostess.

Letter from Sophie Weisse to Elizabeth Trevelyan

Northlands, Englefield Green, Surrey. - Very kind of Bessie to offer the Shiffolds in her absence, but [Donald Tovey] wishes to stay at Northlands until he takes his 'little tour with Mr Trevelyan'. She wished him to accompany his father on his tour of the Mediterranean;Mr [Richard Douglas?] Denman tried to persuade him but he did not want to go; Mr [Frederick] Kelly is coming to work with him. Very kind of Bessie to think of him. Hopes 'Paulchen' will benefit soon from his trip to the sea.

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