Setting prose to music is a strikingly different experience from setting lyric verse. Perhaps some of Woolf’s more ‘musical’ passages, such as the poetic and lyrical refrains of The Waves, might have lent themselves more immediately to this kind of treatment – but I didn’t want to tear a short passage out of an intricately interwoven progression that spans the entire book. Woolf’s Diaries and Letters were suggested to me as good places to look – and certainly, they are bursting with life and quick sharp perceptions. But in the end I settled on a passage from an essay, ‘Street Haunting: A London Adventure’.
I’ve called it A London street in winter. It begins
How beautiful a London street is in winter, with its islands of light, and its long groves of darkness, and on one side of it perhaps some tree-sprinkled, grass-grown space where night is folding herself to sleep naturally and, as one passes the iron railing, one hears those little cracklings and stirrings of leaf and twig which seem to suppose the silence of fields all round them, an owl hooting, and far away the rattle of a train in the valley.
A deeply evocative scene, in which we both do and do not stay – for Woolf’s imagination is quick to burrow behind the vivid and immediate sights and scents and take us on unexpected journeys, even if in the end she checks herself, and asks to ‘be content with surfaces only’.
I tried to keep my setting clear and unfussy, so that rich and complex sentences can still be understood, and words are given space to resonate. And I tried to make musical clarity and unfussiness leave space for mystery, suggestion, the unspoken and the half-thought.
A London street in winter will be given its first performance by Annelies van Hijfte and Lana Bode at 7.30 in the Clothworkers’ Centenary Concert Hall, Leeds University on Friday 17 June.