Typed Letter Signed By Edith Sitwell

Author: Edith Sitwell
Price: £245
Publication Date: Not dated
Format: Folded A4 sheet
Condition: Old fold lines. Minor wear and creasing. Good.

Description:

An undated typed letter to “My Dear Peter, I’m sending you my little poem, part of which I recited to you, when last we met. Naturally I’m thrilled that you want to set it to music, but in fairness I feel you ought to know ‘Benjy’ Britten is very inter(e)sted, he visu(a)lises a sort of ‘Young Persons Guide to the Organ’. He showed it to Georgie Harewood, who thought it dirty, but that of course is his upbringing, poor boy. Looking forward to seeing you at Dame Myra’s joint on Friday, when we can discuss the question of royalties. Until then, Very Sincerely, Edith Sitwell. P.S. If you would both like to drift down for coffee, tonight or tomorrow, call on the telephone. Osbert and I would love to see you.’

Whilst the surname of Peter is not mentioned, this may well have been Sir Peter Pears, the English tenor who was closely associated with composer Benjamin Britten. While Pears is not typically mentioned as a central figure in Edith Sitwell’s life, there were connections within the British arts scene of which both were part. It is quite possible that the ‘little poem’ was her wartime poem, Still Falls the Rain (1941). Benjamin Britten set this poem to music in his composition Canticle III: Still Falls the Rain (1954). This piece was written for tenor (specifically for Peter Pears), horn, and piano, and is a reflection on the horrors of war, inspired by the bombings of London during World War II. It is also possible that his ‘Young Persons Guide To The Organ’ became his ‘Young Person’s Guide To The Orchestra‘ in 1945. 

Location: Book Room: Folder: L001

Edith Sitwell: A Short Biography

Edith Sitwell (1887–1964) was a British poet and critic, known for her eccentric personality, distinctive writing style, and influential contributions to modernist poetry. Born into an aristocratic family in Scarborough, Yorkshire, Sitwell had a strained relationship with her parents, which fuelled her desire to pursue a creative and independent life.

Sitwell began her literary career in the 1910s and quickly gained recognition for her poetry, which often featured experimental forms and abstract imagery. She was part of the literary modernist movement, drawing inspiration from symbolism and avant-garde techniques. Along with her two brothers, Osbert and Sacheverell Sitwell, she was a key figure in London’s literary scene during the early 20th century. Some of her most famous works include Facade (1922), a collection of poems set to music by the composer William Walton, and her wartime poetry, such as Still Falls the Rain (1941), which captured the suffering and resilience of the British people during World War II. Her poetry often blended wit, musicality, and sharp social commentary.

Despite her success, Sitwell was known for her eccentric behaviour, elaborate fashion sense, and dramatic public persona. She maintained a fierce rivalry with other poets, most notably with T.S. Eliot, though she was respected for her contributions to literature. Later in life, Sitwell wrote extensively about her family and literary circle, and she was also a tireless promoter of the arts. She was made a Dame Commander of the Order of the British Empire (DBE) in 1954. Edith Sitwell passed away in 1964, leaving behind a rich legacy of poetry and criticism that continues to influence modernist literature.

Benjamin Britten And Edith Sitwell: A Short Account

Benjamin Britten and Edith Sitwell had a notable artistic connection, though their collaboration was not as extensive as Sitwell’s work with William Walton. Britten, one of the leading British composers of the 20th century, set Sitwell’s poem ‘Still Falls the Rain’ to music in his composition ‘Canticle III: Still Falls the Rain’ (1954). This piece was written for tenor (specifically for Peter Pears), horn, and piano, and is a reflection on the horrors of war, inspired by the bombings of London during World War II. It is one of Britten’s more intense and emotionally charged works.

The poem ‘Still Falls the Rain’, part of Sitwell’s The Canticle of the Rose (1941), is a deeply religious and symbolic meditation on suffering, drawing from the devastation of the Blitz. It resonated with Britten’s own pacifism and sensitivity to human suffering, making the collaboration a natural fit. The musical setting captures the bleakness and sorrow of the poem, with Britten’s music enhancing the emotional depth of Sitwell’s words.

While Sitwell and Britten were not close collaborators beyond this work, their artistic paths intersected in significant ways, especially with their shared concern for the impact of war and suffering on humanity. Both were major figures in their respective fields, with Sitwell’s avant-garde poetry and Britten’s innovative compositions influencing the British cultural scene during the mid-20th century.

‘Georgie’ Harewood And Edith Sitwell: A Short Account

“Georgie” refers to George Lascelles, 7th Earl of Harewood, a prominent British aristocrat and music administrator, who was also known as Lord Harewood. He had a close association with both Edith Sitwell and other significant figures in the British cultural scene.

George Lascelles (1923–2011) was the eldest son of Princess Mary, the only daughter of King George V, making him a member of the British royal family. However, he is most well-known for his contributions to the world of classical music and opera. As a lifelong patron of the arts, Lord Harewood held important positions in British musical institutions, including being the director of the Royal Opera House and the English National Opera. He was also a great supporter of modern music and innovative performances.

His connection with Edith Sitwell came from their mutual involvement in the British cultural elite and their shared love for the arts. Sitwell, known for her avant-garde poetry, was admired by many in the artistic circles that Lascelles was part of, and it is likely that they would have interacted socially and professionally, particularly given his role in promoting contemporary music and her engagement with composers like William Walton and Benjamin Britten.

While there is no documented extensive collaboration between them, their mutual interests in the arts would have brought them into the same cultural spaces, and Lord Harewood’s support of modernist artistic endeavours aligned with Sitwell’s literary ambitions.

Dame Myra Hess: A Short Biography

Dame Myra Hess (1890–1965) was a celebrated British pianist, best known for her contributions to the classical music world, particularly during World War II. Born in London, she displayed musical talent from an early age, studying at the Guildhall School of Music and then at the Royal Academy of Music under Tobias Matthay. Her professional debut came in 1907, and she quickly gained recognition for her interpretations of classical and Romantic composers, particularly Mozart, Beethoven, and Schumann.

Hess’s most enduring legacy is tied to her efforts during World War II. When the National Gallery in London was closed to protect its artworks from bombings during the Blitz, Hess organized a series of lunchtime concerts at the gallery. Beginning in October 1939, these concerts continued throughout the war and provided much-needed solace and cultural enrichment to the London public amidst the bombings and devastation. Over 1,600 concerts were held, and Hess performed in many of them herself.

The National Gallery concerts became a symbol of British resilience and determination to uphold cultural life even in the darkest times. Hess was admired not just for her musical talent but also for her sense of duty and public service. She was appointed Dame Commander of the Order of the British Empire (DBE) in 1941 in recognition of her efforts.

Dame Myra Hess continued to perform internationally after the war, including in the United States, where she gained significant acclaim. Her interpretations of the works of composers like Bach, Beethoven, and Schubert remain highly regarded, and her recordings continue to be celebrated.

Hess passed away in 1965, leaving behind a legacy as one of the 20th century’s greatest pianists and a cultural heroine of wartime Britain.

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