Trackimage | Playbut | Trackname | Playbut | Trackname |
---|---|---|---|---|
82165942 | Play | Fiddle Music First Suite Part 1 | 00:00 Tools | |
82165943 | Play | Fiddle Music First Suite Part 5 | 00:00 Tools | |
82165944 | Play | Buildings Follow Me to You | 00:00 Tools | |
82165946 | Play | Hugh Selwyn Mauberley (excerpt) | 00:00 Tools | |
82165945 | Play | Hugh Selwyn Mauberley | 00:00 Tools | |
82165947 | Play | Cantico del Sole | 00:56 Tools | |
82165948 | Play | Fiddle Music First Suite Part 6 | 00:00 Tools | |
82165952 | Play | Canto #38 | 00:00 Tools | |
82165949 | Play | Dictes Moy: Selection from Le Testament | 00:00 Tools | |
82165950 | Play | Poi Che Di Doglia: From the opera Cavalcanti | 00:00 Tools | |
82165951 | Play | The Seafarer | 00:00 Tools | |
82165953 | Play | Canto I | 00:00 Tools | |
82165955 | Play | Moeurs Contemporaines | 00:00 Tools | |
82165954 | Play | Sestina: Altaforte | 00:00 Tools | |
82165957 | Play | four legs | 00:00 Tools | |
82165958 | Play | Canto XLV | 00:00 Tools | |
82165956 | Play | Tos Temps Serai: From the opera Cavalcanti | 00:00 Tools | |
82165969 | Play | Canto #3 | 00:00 Tools | |
82165959 | Play | in the morning | 00:00 Tools | |
82165960 | Play | The Cantos [Excerpt] | 00:00 Tools | |
82165961 | Play | Canto III | 00:00 Tools | |
82165965 | Play | Canto IV | 00:00 Tools | |
82165968 | Play | The Exile's Letter | 00:00 Tools | |
82165964 | Play | Frattola: Recorded at Arch Recording Studios, Berkeley California, July, 19, 1983 | 00:00 Tools | |
82165962 | Play | Canto XVII | 00:00 Tools | |
82165963 | Play | XLV from The Cantos | 00:00 Tools | |
82165966 | Play | The Gypsy | 00:00 Tools | |
82165967 | Play | Canto XXXVI | 00:00 Tools | |
82165971 | Play | Sol Per Pieta: From the opera Cavalcanti | 00:00 Tools | |
82165970 | Play | Canto XXX | 00:00 Tools | |
82165992 | Play | Canto #106 | 00:00 Tools | |
82165972 | Play | aliter: Recorded live March 28, 1983 at Herbst Theatre, San Francisco, California | 00:00 Tools | |
82165974 | Play | Dame Du Ciel: Selection from Le Testament | 00:00 Tools | |
82165973 | Play | Al Poco Giorno: Recording from the world premiere performance, March 28, 1983 at Herbst Theatre, San Francisco, California | 00:00 Tools | |
82165976 | Play | Pere Noe: Selection from Le Testament | 00:00 Tools | |
82165977 | Play | Ailas: From the opera Cavalcanti | 00:00 Tools | |
82165979 | Play | Canto LI | 00:00 Tools | |
82165975 | Play | Envoi (1919) (from "Hugh Selwyn Mauberley" at the end of Part I) | 00:00 Tools | |
82165981 | Play | Heaulmiere's Aria - "Ha, Vieillesse Felonne Et Fiere": Selection from Le Testament | 00:00 Tools | |
82165978 | Play | Hugh Selwyn Mauberley, Parts II, IV, & V | 00:00 Tools | |
82165980 | Play | Yeux Glauques | 00:00 Tools | |
82165982 | Play | Gianni Quel Guido: From the opera Cavalcanti | 00:00 Tools | |
82165987 | Play | Perch'io Non Spero: From the opera Cavalcanti | 00:00 Tools | |
82165988 | Play | Freres Humains: Selection from Le Testament | 00:00 Tools | |
82165985 | Play | Canto LXXXIV | 00:00 Tools | |
82165983 | Play | Collis O Heliconii: Selection from the opera Collis O Heliconii, text of this performance excerpt is from the first 50 lines of Carmen LXI | 00:00 Tools | |
82165984 | Play | E.P.: Ode Pour L'Election de Son Sepulchre | 00:00 Tools | |
82165986 | Play | Homage to Sextus Propertius, Section VI | 00:00 Tools | |
82165989 | Play | Hugh Selwyn Mauberley, First two sections of Part II | 00:00 Tools | |
82165993 | Play | From Canto LXXVI | 00:00 Tools | |
82165990 | Play | Canto XVI | 00:00 Tools | |
82165991 | Play | Canto XLIX | 00:00 Tools | |
82165994 | Play | Canto LVI | 00:00 Tools | |
82166001 | Play | Quando Di Morte: From the opera Cavalcanti | 00:00 Tools | |
82165996 | Play | Hid! Hid! | 00:00 Tools | |
82165995 | Play | Canto CXV | 00:00 Tools | |
82165999 | Play | aliter | 00:00 Tools | |
82165997 | Play | Ezra Pound - Canto #3 | 00:00 Tools | |
82166026 | Play | Le Testament de Villon: Dictes moy | 00:00 Tools | |
82165998 | Play | The year puts on her shining robe | 00:00 Tools | |
82166023 | Play | Al poco giorno | 00:00 Tools | |
82166045 | Play | Fiddle Music First Suite: I. — | 00:00 Tools | |
82166000 | Play | From Hugh Selwyn Mauberly | 00:00 Tools | |
82166005 | Play | Garden peach | 00:00 Tools | |
82166002 | Play | From Hugh Selwyn Mauberly (II, IV, V) | 00:00 Tools | |
82166003 | Play | Canto LXXXI - First Reading | 00:00 Tools | |
82166004 | Play | The Beautiful Toilet | 00:00 Tools | |
82166008 | Play | Ezra Pound - Canto #106 | 00:00 Tools | |
82166007 | Play | Dictes Moy | 00:00 Tools | |
82166009 | Play | Thick, all in mass | 00:00 Tools | |
82166011 | Play | In fleecy coats | 00:00 Tools | |
82166010 | Play | What! No clothes? | 00:00 Tools | |
82166006 | Play | Ezra Pound - Canto #38 | 00:00 Tools | |
82166013 | Play | Lies a dead deer | 00:00 Tools | |
82166014 | Play | Folk worn out | 00:00 Tools | |
82166012 | Play | Song of the Bowmen of Shu | 00:00 Tools | |
82166016 | Play | RATS | 00:00 Tools | |
82166017 | Play | Compassionate heaven | 00:00 Tools | |
82166018 | Play | Hep-Cat Chung | 00:00 Tools | |
82166019 | Play | On comes her car | 00:00 Tools | |
82166015 | Play | The River Song | 00:00 Tools | |
82166021 | Play | Chariots, rank on rank | 00:00 Tools | |
82166057 | Play | Fiddle Music First Suite: V. — | 00:00 Tools | |
82166022 | Play | Canto XCIX | 00:00 Tools | |
82166058 | Play | Fiddle Music First Suite: VI. — | 00:00 Tools | |
82166024 | Play | I climb the knoll | 00:00 Tools | |
82166020 | Play | Hugh Selwyn Maugerly II, IV, and V | 00:00 Tools | |
82166027 | Play | Yaller bird | 00:00 Tools | |
82166025 | Play | The River Merchant's Wife: A Letter | 00:00 Tools | |
82166031 | Play | Hugh Selwyn Mauberley II, IV, and V | 00:00 Tools | |
82166074 | Play | Cavalcanti: Poi che di doglia | 00:00 Tools | |
82166033 | Play | Flies, blue flies on a fence rail | 00:00 Tools | |
82166030 | Play | Dame du ciel | 00:00 Tools | |
82166028 | Play | Further Instructions | 00:00 Tools | |
82166029 | Play | Canto LXXXI - Second Reading | 00:00 Tools | |
82166044 | Play | Frottola | 00:00 Tools | |
82166040 | Play | O omen tree | 00:00 Tools | |
82166032 | Play | A Girl | 00:00 Tools | |
82166039 | Play | Ailas | 00:00 Tools | |
82166034 | Play | Canto XCII | 00:00 Tools | |
82166043 | Play | Canto CVI | 00:00 Tools | |
82166035 | Play | Exile's Letter | 00:00 Tools | |
82166036 | Play | Impressions of François-Marie Arouet (de Voltaire), I (“Phyllidula and the Spoils of Gouvernet”) | 00:00 Tools | |
82166037 | Play | Canto XLVI | 00:00 Tools | |
82166038 | Play | Ezra Pound | 00:00 Tools | |
82166070 | Play | Cavalcanti: Ailas | 00:00 Tools | |
82166072 | Play | Cavalcanti: Tos temps serai | 00:00 Tools | |
82166052 | Play | Heaven’s worry | 00:00 Tools | |
82166053 | Play | Tos temps serai | 00:00 Tools | |
82166041 | Play | Francesca | 00:00 Tools | |
82166042 | Play | Canto XXV | 00:00 Tools | |
82166055 | Play | Impressions, III (“To Madame Lullin,” German translation) | 00:00 Tools | |
82166046 | Play | “Es starben” (German trans. of “Hugh Selwyn Mauberley, I, V”) | 00:00 Tools | |
82166103 | Play | Le Testament de Villon: Ha, vieillesse felonne et fiere | 00:00 Tools | |
82166047 | Play | Impressions, III (“To Madame Lullin”) | 00:00 Tools | |
82166048 | Play | Statement of Being | 00:00 Tools | |
82166083 | Play | Collis O Heliconii: Carmen LXI | 00:00 Tools | |
82166049 | Play | The City of Choan | 00:00 Tools | |
82166050 | Play | Poem by the Bridge at Ten-Shin | 00:00 Tools | |
82166064 | Play | Frottola (c. 1931) | 00:00 Tools | |
82166051 | Play | Lament of the Frontier Guard | 00:00 Tools | |
82166066 | Play | Poi Che Di Doglia | 00:00 Tools | |
82166067 | Play | Quando di morte | 00:00 Tools | |
82166054 | Play | Impressions, II (“To Madame du Châtelet”) | 00:00 Tools | |
82166056 | Play | Canto XXVI | 00:00 Tools | |
82166092 | Play | Cavalcanti: Sol per pieta | 00:00 Tools | |
82166073 | Play | Show of respect | 00:00 Tools | |
82166059 | Play | Now sun rises in Ram sign | 00:00 Tools | |
82166096 | Play | Cavalcanti: Gianni quel Guido | 00:00 Tools | |
82166060 | Play | Sennin Poem by Kakuhaku | 00:00 Tools | |
82166097 | Play | Cavalcanti: Quando di morte | 00:00 Tools | |
82166061 | Play | The Alchemist | 00:00 Tools | |
82166062 | Play | South-Folk In Cold Country | 00:00 Tools | |
82166063 | Play | Canto XCVI | 00:00 Tools | |
82166078 | Play | Lord of the Light’s axe | 00:00 Tools | |
82166065 | Play | Taking Leave of a Friend | 00:00 Tools | |
82166068 | Play | From Canto CXI | 00:00 Tools | |
82166069 | Play | Dante Speech (1965) | 00:00 Tools | |
82166102 | Play | Le Testament de Villon: Freres humains | 00:00 Tools | |
82166095 | Play | Cavalcanti: Perch'io non spero | 00:00 Tools | |
82166071 | Play | A Ballad of the Mulberry Tree | 00:00 Tools | |
82166084 | Play | Hugh Selwyn Mauberley [Excerpt] | 00:00 Tools | |
82166075 | Play | The Jewel Stair's Grievance | 00:00 Tools | |
82166076 | Play | “Der Wirbel” (German trans. of “Phanopoeia, I”) | 00:00 Tools | |
82166077 | Play | To Em-Mei's : The Unmoving Cloud | 00:00 Tools | |
82166088 | Play | Al poco giorno (c. 1931) | 00:00 Tools | |
82166089 | Play | Perch'io Non Spero | 00:00 Tools | |
82166090 | Play | Gianni Quel Guido | 00:00 Tools | |
82166079 | Play | Ezra Pound - Canto I | 00:00 Tools | |
82166080 | Play | Bad Penny | 00:00 Tools | |
82166081 | Play | Addendum for C | 00:00 Tools | |
82166082 | Play | Bad Penny | 00:00 Tools | |
90222753 | Play | Le Testament de Villon: Pere Noe | 00:00 Tools | |
90222754 | Play | Le Testament de Villon: Dame du ciel | 00:00 Tools | |
82166085 | Play | Old Idea of Choan by Rosoriu | 00:00 Tools | |
82166086 | Play | Four Poems of Departure | 00:00 Tools | |
82166087 | Play | The Seafarer: From the Anglo-Saxon | 00:00 Tools | |
82166091 | Play | From Canto XCIII | 00:00 Tools | |
82166093 | Play | From Canto CXII | 00:00 Tools | |
82166094 | Play | Ezra Pound - Canto III | 00:00 Tools | |
82166104 | Play | Freres Humains | 00:00 Tools | |
82166107 | Play | Canto LXXXI | 00:00 Tools | |
82166108 | Play | Pere Noé | 00:00 Tools | |
82166098 | Play | Tame Cat | 00:00 Tools | |
82166099 | Play | Ezra Pound - Hugh Selwyn Mauberley | 00:00 Tools | |
82166100 | Play | Follow Me to You | 00:00 Tools | |
88553281 | Play | Clear | 00:00 Tools | |
82166101 | Play | From Canto LXXX | 00:00 Tools | |
82166105 | Play | Ur Moeurs Contemporaines | 00:00 Tools | |
82166106 | Play | "Cantico Del Sole" | 00:00 Tools | |
90222755 | Play | Hugh Selwyn Mauberly | 00:00 Tools | |
88553282 | Play | Selection From Collis O Heliconii (1932) Carmen LXI | 00:00 Tools | |
88553283 | Play | Sol Per Pietà | 00:00 Tools | |
82166109 | Play | The River-Merchant's Wife: A Letter | 00:00 Tools | |
82166110 | Play | Hugh Selwyn Maub | 00:00 Tools |
Ezra Weston Loomis Pound (October 30, 1885 – November 1, 1972) was an American expatriate, poet, musician and critic who, along with T.S. Eliot, was a major figure of the modernist movement in early 20th century poetry. He was the driving force behind several modernist movements, notably Imagism and Vorticism. The critic Hugh Kenner said on meeting Pound: "I suddenly knew that I was in the presence of the center of modernism." Because of his political views, especially his support of Mussolini and his anti-Semitism, Pound continues to attract much criticism. While it is almost impossible to ignore the vital role he played in the modernist revolution in 20th century literature in English, Pound's perceived importance has varied over the years. The location of Pound -- as opposed to other writers such as T.S. Eliot -- at the center of the Anglo-American Modernist tradition was famously asserted by the critic Hugh Kenner, most fully in his account of the Modernist movement titled The Pound Era. The critic Marjorie Perloff has also insisted upon the centrality of Pound to numerous traditions of "experimental" poetry in the 20th century. As a poet, Pound was one of the first to successfully employ free verse in extended compositions. His Imagist poems influenced, among others, the Objectivists and The Cantos were a touchstone for Allen Ginsberg and other Beat poets. Almost every 'experimental' poet in English since the early 20th century has been considered by some to be in his debt. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.