Coleman Barks ' books of Rumi's poetry have sold more than half a million copies worldwide, and in 1994 Publishers Weekly announced that Rumi was the bestselling poet in America. Poetry like classical music is a minority artform; yet Rumi has opened up a new market for poetry, the size of which classical music would die for. So can classical music learn from the Rumi success story? What is little-understood is that the bestselling volumes of Rumi's poetry from Coleman Barks are not actually his translations, but are in fact very skilled creative interpretations. Coleman Barks makes it no secret that he does not speak Farsi (Persian), the language of Rumi, or that his versions are populist re-writes of scholarly translations. In Rumi: Soul Fury he explains that: Of course, as I work on these poems, I don’t have the Persian to consult. I literally have nothing to be faithful to, except what the scholars give... What I do is a homemade, amateurish, loose, many-stranded ...
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Like you, I too can't find it online. It is a photo feature so they may not make it available on the web because of bandwidth considerations.
It is a fairly shallow 'toys for boys' feature they run each week. If you are a Terry Pratchett fan you haven't missed much by not reading it. There is little in it apart from the rather neat Tallis quote.
For me the highlight was The Sixteen's late night Prom, see this post which was quite outstanding.
One problem of course with Spem is the forces required. Which is why Antony Pitts' new work XL is so interesting, see this post.
Although the Tallis and Tippett anniversaries have justifiably grabbed attention this year it has meant that Obrecht has been overlooked in his anniversary year, something I hope to rectify shortly.
And talking of Tallis do you know Antoine Brumel's Missa "Et ecce terraemotus" (Earthquake Mass). If you like Spem you'll love it. And the great news is that it is on a stunning super budget release from Brilliant Classics, see this post.