Reading Henry James

As far as I can tell, Henry James never wrote anything about music. Not only did he not discuss music in his fiction, but I can’t find any trace of articles about music in his non-fiction, or any mentions of music in the standard biographies. Either Henry wasn’t interested in music, or perhaps he had a tin ear. It’s certain that he heard music, in the salons he visited, the theaters he frequented, and the balls that he attended. Music was part of society, but Henry seems to not have been interested in music in concert halls. He did have a “faithful fat dog” named Tosca (after the character in Puccini’s opera), but he is said to have found Wagner’s music “boring.”

James’ work has inspired plenty of music, especially operas by Benjamin Britten: the British composer wrote operas based on Turn of the Screw and Owen Wingrave, and other composers have brought a number of James’ novels onto the stage with music. (The Henry James Review had a special issue about Henry James and Opera in 1998.) Something about James’ work inspires composers, but James himself seems to have lacked that musical inspiration.

I often like to try and find what type of music best matches some of the authors I like. Take Marcel Proust: the music of his time – including that of Debussy, Franck, Ravel, and Proust’s friend Reynaldo Hahn fit his work like a glove. Or Samuel Beckett: music by Philip Glass (who scored a production of Company) and Steve Reich seem appropriate. But with Henry James, it’s a bit more difficult. I find that some music by Franz Schubert fits the lyricism in James’ prose, but Schubert can be much more stormy than James. (His Impromptus for piano work quite well, but many of his piano sonatas have an angry, fiery register than is not Jamesian.) Edvard Grieg’s Lyric Pieces also seem appropriate to Henry’s prose, as do some of Debussy’s piano works.

Lately, however, as it’s the year of remembrance for the death of Joseph Haydn, I’ve been listening to a lot of that composer’s music, and find it fits well with the tone and tenor of James’ prose. While Haydn’s music rarely surprises, it is constantly interesting, it is distinguished, and there is always more to it than it seems on the surface. Haydn’s music seems simple, yet is rather complex; Henry’s stories can be simple, at first glance too, but under the surface contain far more complexities than their often simple plots belay.

In any case, all this is speculation, and a mere foible of mine to try and make a parallel between authors and composers. In some cases, it can be a valid comparison, but in Henry’s case, since he seemed to be untouched by music, it might just be hot air.