Stuk 29 - Letter from Donald Tovey to R. C. Trevelyan

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Northlands, Englefield Green, Surrey. - Thanks Trevelyan for the 'beautiful copy' of the end of Act I [of "The Bride of Dionysus"] and all the sketches for Act V which seems to be quickly resolving itself. Is not sure about the appearance of the satyrs in Act IV, but is not at all afraid of 'Phaedra's long conjurations' and feels this scene has a great deal of power; the only thing proved by its 'present effect' on Miss Weisse and others is that unfinished music should never be shown to those who cannot compare it with even earlier stages rather than ideals. Further thoughts on Dionysus' expectations of Ariadne and the last act more generally. Is still working on Act II, about which he raises a few questions, then sketches out his intended plan of work. Is very sorry to have got 'so slow & backward' but it will not last much longer: has been thinking through the technical question of what it means to support a voice. Theseus making love is 'not a very intellectual person' so needs 'colour' from the music: prefers him 'when he's practical or heroic'. A pity that Cleg [F. S. Kelly?] is not a tenor: he has just 'the right vein of sentiment', though he feels he would never get into the same situation as Theseus.

Has spent more than a week over the duet and got to the end 'just in time for [his] sanity'; unsure why it has been so difficult, except that it is the only place in the opera which is 'neither lyric (so one can rely on inspiration) nor very profoundly involved in the musical structure as distinguished from the plot'. Gives Trevelyan the musical notation for Theseus and Phaedra's vocal lines at the end of the duet. Asks for a few reversions to original readings in the following scene. Also suggests that 'the last movement of Ariadne's struggle with Dionysus' could take shape with 'an appeal to Love to rescue her from the Labyrinth': Tovey has already come close to identifying Dionysus with love musically at certain points. Sends love to 'Mrs Poet and Julian the Apostle'.

Pencil annotations with various suggestions of dates, ending with 'probably July 1911'. Certainly after the birth of Julian Trevelyan on 20 Feb 1910.