the composer as ASS and other exasperations

In May of 1942, as Sayers was writing the eleventh play in the sequence called The Man Born to be King, she shot a quick letter to her producer, Val Gielgud: 

As proof that I am doing something, and because it is urgent, I am sending you Mary Magdalen’s song to be set. You remember where it comes — the Soldiers will not let her and her party through to the foot of the Cross unless she sings to them — “Give us one of the old songs, Mary!”

The song is thus the, so to speak, “Tipperary” of the period, and must be treated as such. That is to say, the solo portion is nostalgic and sentimental, and the chorus is nostalgic and noisy; and the whole thing has to be such as one can march to. We want a simple ballad tune, without any pedantry about Lydian modes or Oriental atmosphere…. 

I want a tune that is both obvious and haunting — the kind that when you first hear it you go away humming and can’t get out of your head! And quite, quite, low-brow. 

In September, when the company were rehearsing the play, DLS wrote to a friend, 

We had an awful time with rehearsals. Everything seemed to go wrong — it was one of those days. Claudia’s Dream had been done badly (owing to my not being there to explain just what I wanted!) and the ASS who set the song disregarded all my instructions, and not only set it in ¾ time instead of march time, but had the vile impertinence to alter my lines because they wouldn’t fit his tune. I threw my one and only fit of temperament, and we sang the thing in march-time and restored the line, but it wasn’t a good tune anyway! 

In another letter she wrote, “I’m still furious with the man who wrote that silly tune.” Who was this “ASS”? His name was … Benjamin Britten. Probably never made much of himself. 

It’s fun to write about DLS in part because she is very entertaining when she is outraged by something. Some years after this incident she reluctantly gave an interview to a reporter from the News Chronicle, who then announced to the world that Sayers had declared that there would be no more Lord Peter Wimsey stories. Sayers to the paper’s editor:

Your interviewer appears to have misunderstood me. I did not say that I had given up writing detective stories. I did not say that there would be no more Peter Wimseys. I made no announcement on the subject one way or the other. I only said that for the next few years, I had another job which would take me all my time.

(The “another job” was translating the Divine Comedy.) The editor’s reply merely created further exasperation:

There is no need to wonder how your reporter came to misinterpret me. Your own letter provides the explanation, since it shows you to have fallen into a similar misunderstanding, and for the same reason; namely, that Fleet Street renders a man incapable of taking in the plain meaning of an English sentence. You say you are “glad to hear that there will, in fact, be further Wimsey stories”; how, pray, do you contrive to extract that conclusion from my statement that “I made no announcement upon the subject one way or the other”?

I have not said, and I will not and cannot say, whether I shall write any more detective fiction or not; for the excellent reason that I do not know. Is that sufficiently clear?

Three times your reporter tried to force me into promising that I would write more of this kind of story; three times I refused to commit myself to any such thing. This refusal he interpreted to suit his own fancy; you in your turn have done the same.