ABSTRACT
The British intelligentsia of the twenties and thirties took their music seriously; Virginia Woolf records in her diary funeral services, like that of Roger Fry, at which not a word was spoken, the entire service consisting in music. She herself composed much of The Waves during sessions with the later works of Beethoven on the gramophone, works to which T. S. Eliot's Four Quartets owe more than their title; and the passage on the Beethoven sonata in Room with a View and the magnificent concert performance of the Fifth in Howards End provide only a hint of E. M. Forster's devotion to music and musicoliterary analogy, which he expands a bit in Aspects of the Novel.
