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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That's a name worth following up -
http://www.presser.com/Composers/info.cfm?Name=ELLENTAAFFEZWILICH
http://www.amazon.com/s/ref=nb_ss_gw?url=search-alias%3Dpopular&field-keywords=Ellen+Taaffe+Zwilich&x=12&y=20
Talk about concert music having aspirations! At least it often does in Boston, and maybe soon in New York City, under the Philharmonic's incoming director.
http://www.spectator.co.uk/clivedavis/2564806/circle-of-fifths.thtml