How I spent my week
In the all-important and frightfully busy last week of the Cambridge term, I can now reveal the shocking news that at one frightfully important member of the music faculty hasn't been entirely focussed on the job in hand.
Whilst checking through the music tripos syllabus for some details necessary to a few of my own students, I noticed that the third year courses include one on Jesuits and music, entitled "One world is not enough". So when replying to an end-of-term party invitation from my former Director of Studies and one of the music faculty's greatest assets, the legendary Dr Martin Ennis, I happened to enquire in a postscript whether we might expect to see any more James Bond puns in future courses.
I also gave him a list of suggestions, which were as follows:
For Your Reise Only - Schubert and Muller
On Her Majesty's Second Service - Byrd and Elizabeth I
Dr? No. - Brahms and Cambridge University
License to Drill - the use of household objects in experimental music of the 1960s
From Russia with l'oeuf - Paul Kiang's interpretations of Shostakovich
Thanks to my obsessive nature, the email took considerably longer to write than my busy, end-of-term schedule really allowed for, but I felt it was worth it for the depth and complexity of some of my immensely clever puns (the Brahms one certainly requires specialist musical knowledge, and the Shostakovich one is so specific that unless you are acquainted with Paul Kiang and his egg allergy it makes absolutely no sense at all). Besides which, I was fairly confident that I had done absolutely all of the musical James Bond puns there could be.
So the response came as a bit of a shock:
I'm glad to see that you've been able to remain at the cutting edge of musicological research. You may be interested to know that one of the Part II papers for next year is a detailed study of Scarlatti's 'Cat' Fugue. I believe the provisional title is Octave-Pussy. As ever, M
Naturally I wasn't going to let that go, so I spent some hours coming up with a fitting counter-pun.
Dear Martin, yes, I'd heard about the Scarlatti course - hasn't it been suggested by the same person who's thinking of doing a course based on an unreasonable prejudice against recordings of Stravinsky's music made by the Acadamy of St Martin in the Fields - I think it's called Never Play Neville's Agon? James
This time Martin's comeback was swift, but disappointing.
I believe that students of global warming are also interested in For your Ice only
Not only an extremely weak pun but one which diverges from the musical theme of the contest. But by this stage Martin was no doubt feeling the pressure of doing end-of-term meetings and running the music faculty at the same time as desperately googling James Bond films and consulting Grove's dictionary of music, so we'll let him off. In any case, it was a good excuse to slip in a weaker entry of my own, so I quipped that students of Bach are very much interested in The Man With the Golden Section - academically sound, but dull.
This time Martin came back with a blinder:
And students of Stanford will doubtless enjoy Thunderbore...
and I was forced to resort to:
Whilst people who end up studying the height of Farinelli's success at the court of Philip V will be looking in depth at a Castrato Royale...
Martin's slightly bizarre and again amusical reply was:
I believe the Welsh are very fond of Dai, Another Dai - it's often exclaimed at christenings.
By this time I had stopped sleeping and I was spending every spare minute desperately flicking between my CD collection and wikipedia, determined not to be defeated. My own students were ignored and my important emails went on the back burner as I hunted for a pun on Tomorrow Never Dies that wouldn't have to resort to Welsh christenings. Finally the answer came to me, appropriately enough, during Clare college's advent carol service, and I dispatched the following before going to bed:
I'm currently undergoing a thorough study of Rutter's* success with the working title Moneyraker.
Martin's hasty reply this morning indicated that a pressing engagement conducting the Messiah in Japan would prevent him from making an appropriate response. I know - the lengths to which people will go to avoid making James Bond puns.
Still, there are a few titles left over and since I'm now off the hook I suggest it would make for brilliant Christmas fun if you fancy finishing off the list. You might also try finding alternatives for Martin's two non-musical entries in the series. Let me know what you come up with!
Another reply
Purely for the sake of advertising the fact that this blog does indeed have readers, I will relate a second extraordinary response to my post from one Simon Andrews, who directed me in a play recently:
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Having glanced at the weblog entry you posted, and having little else to do, I thought I should commit myself to the indignity of suggesting my own horribly contrived and almost unrecognisable pun in the form of this summary of the poor critical reception of Haydn's subject matter for "The Seasons" -
Haydn's flaw: the weather.
I justify myself with the assurance that, as an armchair psycholinguist, I tend towards phonemic puns as opposed to wordplays based on graphemes or physical structure.
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I have pointed out to Simon that the only way I was actually able to deduce the original title of the film he has attempted a pun on was to check the list of film titles, so this is not so much a pun as a puzzle. On the other hand, it is musical in nature, so - er - well done for that at least.






A reply
Since comments have been disabled due to rampant viagra salesmen we rarely hear from our readers, but we still love your feedback and I felt it was well worth relating a message I got from an occasional co-singer Oliver Phillips, if only so that I'm not the only person asking myself where on earth he finds the time...
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Your blog post has (a) given me a great deal of amusement and (b) made me spend the last hour or so deep in thought. Here are some of the results of the latter, though none is (or could be) superior to your 'OHMSS' (which is still making me smile) or the splendidly recherche and (for Martin) brilliantly well-chosen 'Dr? No'.
A course on French baroque music entitled 'For your eyes Lully'
A study of minor characters in Handel's Giulio Cesare entitled 'A view to
Achilla'
A trio of related courses:
'The living Te Lucis': modern plainchant in context
'The living day leitmotifs': night and day in Wagner's operas
'The living day Licht': Stockhausen and opera
A promotion of the works of the composer of 'Greater Love': 'Ireland are
forever'
'OcDebussy'? (not sure how to make anything of that one)
'The Worldes Blis not enough': dissatisfaction and the works of Peter
Maxwell Davies
'Coldfinger': problems in Schumann's piano technique
'Cadence to kill': cadential false relations in early English church music
And finally, my two personal favourites:
'The spy who loved doh-re-me': tonic sol-fa in the Secret Service
'You only live twice': a study of Mahler's Second Symphony. [Think about it.]
All best,
Olly
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I have informed Olly that, contrary to his apparent belief, there is much here to rival OHMSS. The less said about the Lully the better, and the Mahler is both an extraordinarily poncy reference and not even a real pun. But OcDebussy is inspired, for all that it is meaningless, and the Maxwell Davies is superb. And as for the tonic sol-fa - were I wearing a hat, I would be taking it off to him right now.
He has raised the bar considerably (pun sort of intended) - any more for any more?