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Afterword: Anthony Burgess’s D.H. Lawrence Suite

  • Susan ReidEmail author
Chapter
Part of the Palgrave Studies in Music and Literature book series (PASTMULI)

Abstract

This chapter, “Afterword: Anthony Burgess’s D.H. Lawrence Suite”, provides details of the tribute paid by this writer-composer to one of his favourite artists: a setting of four Lawrence poems as the song cycle titled Man Who Has Come Through (1985), which has gone largely unnoticed within Lawrence studies. A list, by no means exhaustive, of musical settings of Lawrence’s work by other composers follows in the Appendix.

References

  1. Burgess, Anthony. 1982. This Man and Music. London: Hutchinson.Google Scholar
  2. ———. 1985. Flame into Being: The Life and Work of D.H. Lawrence. London: William Heinemann.Google Scholar
  3. ———. 1998. Lorenzo. In One Man’s Chorus, 299–303. New York: Carrol & Graf.Google Scholar
  4. Chaudhuri, Amit. 2003. D.H. Lawrence and “Difference”. Oxford: Oxford University Press.CrossRefGoogle Scholar
  5. Jeannin, Marc, ed. 2009. Anthony Burgess: Music in Literature and Literature in Music. Newcastle upon Tyne: Cambridge Scholars Publishing.Google Scholar
  6. ———, ed. 2010. Anthony Burgess: Selected Songs/Chansons Choisies. Angers: Presses de l’Université d’Angers.Google Scholar
  7. Phillips, Paul. 2009. That Man and Music: Ten Reasons Why Anthony Burgess’s Music Matters. In Anthony Burgess: Music in Literature and Literature in Music, ed. Marc Jeannin, 7–19. Newcastle: Cambridge Scholars.Google Scholar
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  10. Sparling, James. 2003. The Fusion of Two Art Forms in the Work of Anthony Burgess. Unpublished Lecture from 1986, Updated 2003. Archives of the Anthony Burgess Foundation, Manchester.Google Scholar

Copyright information

© The Author(s) 2019

Authors and Affiliations

  1. 1.University of Northampton NorthamptonNorthamptonshireUK

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