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421
73 Patricia Hall notes: Patricia Hall, “Berg’s Sketches and the Inception of
Wozzeck: 1914–18,” Musical Times 146 (Autumn 2005), pp. 3–24.
74 “There is a bit of me”: Alban Berg, Letters to His Wife, ed. and trans. Bernard
Grun (St. Martin’s, 1971), p. 229.
74 Dr. Wernisch: Hall, “Berg’s Sketches and the Inception of Wozzeck,” p. 15.
74 Berg used both those operas: For the Salome comparison, see Josef
Gmeiner, “Ideal und Bête noire: Richard Strauss—Alban Bergs beschä digtes
Leitbild,” in Musica conservata: Günter Brosche zum 60. Geburtstag (Hans
Schneider, 1999), p. 79. For Pelléas, see Hall, “Berg’s Sketches and the
Inception of Wozzeck,” p. 10.
74 Berg went so far as to conceal: For mention of the unwritten biography, see
Berg-Schoenberg Correspondence, p. 306. For Berg’s urge to conceal the work
on Wozzeck from Schoenberg, see Alban Berg, Briefe an seine Frau (Langen
Müller, 1965), p. 457. For Schoenberg’s opposition to the project, see George
Perle, The Operas of Alban Berg, Vol. 1: “Wozzeck” (University of California
Press, 1980), p. 192.
75 Salome chord: See the flute, trumpet, and harp figures in Act I, bar 370. For
other occurrences of this chord in Wozzeck, see Act III, bars 101 and 371, and,
transposed, the sustained chord in Act III, bars 384–86. Helpful in tracking
these down was Janet Schmalfeldt, Berg’s “Wozzeck”: Harmonic Language and
Dramatic Design (Yale UP, 1983), pp. 125, 200, 205.
75 a little Schoenberg: Anthony Pople, “The Musical Language of Wozzeck,” in
Pople, Cambridge Companion to Berg, pp. 151–52, notices the quotation from
the Five Pieces and speculates on other Schoenbergian subtexts in Wozzeck.
77 “Like the murder”: Robert Cogan, New Images of Musical Sound (Harvard
UP, 1984), p. 95.
78 “a confession”: Alban Berg, “A Lecture on Wozzeck,” in Douglas Jarman,
Alban Berg, “Wozzeck” (Cambridge UP, 1989), p. 169.
78 Sonata in D Minor: For more, see Ulrich Krä mer, Alban Berg als Schüler
Arnold Schönbergs: Quellenstudien und Analysen zum Frühwerk (Universal,
1996), p. 165. For Helene’s request, see Reich, Alban Berg, p. 229; and Berg,
Briefe an seine Frau, p. 487.
78 “worldwide festival of death”: Thomas Mann, The Magic Mountain, trans.
John E. Woods (Knopf, 1995), p. 706.
78 Berg … pointed out: Berg, “Lecture on Wozzeck,” p. 156.
3. Dance of the Earth
80 eighty-five degrees: Truman Campbell Bullard, “The First Performance of
Igor Stravinsky’s Sacre du Printemps” (Ph.D. diss., Eastman School of Music,
1971), vol. 1, p. 136.
80 “There, for the expert”: Le Coq et l’Arlequin, in Oeuvres complètes de Jean
Cocteau (Marguerat, 1946–51), vol. 9, pp. 46–47.
422
80 zeppelin: Thomas Forrest Kelly, First Nights: Five Musical Premieres (Yale
UP, 2000), p. 277.
81 “a new thrill”: Bullard, “First Performance,” vol. 3, p. 1.
81 “a sacred terror”: RTS2, p. 1000.
81 mutterings, titters: Alfredo Casella, Music in My Time, trans. Spencer Norton
(University of Oklahoma Press, 1955), pp. 108–9.
81 “Till the end”: From an interview with the composer included with Sony
Classical’s Igor Stravinsky Edition, vol. 4 (SM2K 46 294).
81 “The dancers trembled”: Lynn Garafola, Diaghilev’s Ballets Russes (Da
Capo, 1998), p. 68.
82 “Shut up, bitches”: Igor Stravinsky and Robert Craft, Expositions and
Developments (Doubleday, 1962), p. 164. See Doris Monteux, It’s All in the
Music (Farrar, Straus and Giroux, 1965), p. 90, for “À bas des grues du 16ème!”
See also Igor Stravinsky, An Autobiography (Norton, 1962), p. 47.
88 Jeanne Mühlfeld: Garafola, Diaghilev’s Ballets Russes, p. 294.), 82 “One
literally could not”: Selected Writings of Gertrude Stein, ed. Carl Van Vechten
(Vintage, 1972), p. 129. Stein says that she attended the second performance,
but it is more likely that her description applies to the May 29 premiere.
82 applauding faction: Bullard, “First Performance,” vol. 2, pp. 31–32. For later
performances, see ibid., pp. 91 and 107; SWS1, p. 232; and RTS2, p. 1032.
83 “our slender bodies”: Translation by Thomas Land, included with Pierre
Boulez’s recording of Cantata profana (DG 435 863–2).
84 “The great thing”: Herschel B. Chipp, Theories of Modern Art: A Source Book
by Artists and Critics (University of California Press, 1968), p 44.
84 “just as it is”: Ibid., p. 45.
85 Edison Bell cylinder: John Bird, Percy Grainger (Oxford UP, 1999), pp. 121–
22. See also Gwilym Davies, “Percy Grainger’s Folk Music Research in
Gloucestershire, Worcestershire, and Warwickshire, 1907–1909,” Folk Music
Journal 6:3 (1992), pp. 339–58.
86 damp, rundown schoolhouse: Mirka Zemanová, Janáccirc;ek: A Composer’s
Life (Northeastern UP, 2002), p. 12.
86 “Flashing movements”: Ibid., p. 60.
86 “Dobrý veĉer”: Leos Janáĉek, Letters and Reminiscences, ed. Bohumír
Ŝtêdroň, trans. Geraldine Thomsen (Artia, 1955), pp. 94–95.
86 “entire being”: Janáccirc;ek and His World, ed. Michael Beckerman
(Princeton UP, 2003), p. 246.
88 “Innumerable notes”: Leos Janáček, “How Ideas Come About,” in
Janáccirc;ek’s Uncollected Essays on Music, ed. and trans. Mirka Zemanová
(Marion Boyars, 1989), p. 69.
88 forty folk songs: Malcolm Gillies, Bartók c Remembered (Faber, 1990), pp.
6–7. For other details, see Kenneth Chalmers, Béla Bartók (Phaidon, 1995);
and Halsey Stevens, The Life and Music of Béla Bartók (Clarendon, 1993).
423
88 Maxim Gorky: Documenta Bartókiana (Akadémiai Kiadó, 1964–81), vol. 4,
pp. 38–40.
88 “destructive urban influence”: Béla Bartók, preface to Rumanian Folk Music
(Martinus Nijhoff, 1967–75), vol. 1, pp. 4–5.
89 contaminating influence: Julie Brown, “Bartók, the Gypsies, and Hybridity in
Music,” in Western Music and Its Others: Difference, Representation, and
Appropriation in Music, ed. Georgina Born and David Hesmondhalgh (University
of California Press, 2000), pp. 119–42.
89 strict tempo: See “Béla Bartók Replies to Percy Grainger” (1934), in Béla
Bartók Essays, ed. Benjamin Suchoff (Bison Books, 1992), p. 224.
90 “hateful”: Günter Weiss-Aigner, “The ‘Lost’ Violin Concerto,” in The Bartók
Companion, ed. Malcolm Gillies (Amadeus, 1993), p. 469.
90 “The essence of art”: Judit Frigyesi, Béla Bartók and Turn-of-the-Century
Budapest (University of California Press, 1998), pp. 163–64. For the following
quotations, see pp. 148, 121, and 204.
91 “The Arabs”: Béla Bartók Letters, ed. János Demény, trans. Péter Balabán
and István Farkas (St. Martin’s, 1971), p. 122.
91 sizable library: See Robert Orledge, “Evocations of Exoticism,” in The
Cambridge Companion to Ravel, ed. Deborah Mawer (Cambridge UP, 2000),
pp. 30–31.
92 “subtly authentic”: Gerald Larner, Maurice Ravel (Phaidon, 1996), p. 12.
92 Falla, in his writings: As quoted in Federico García Lorca, “Deep Song,” in
Deep Song and Other Prose, trans. Christopher Maurer (New Directions, 1975),
p. 26.
93 money from the Romanov dynasty: Garafola, Diaghilev’s Ballets Russes, pp.
167–73.
93 “few points of sympathy”: “Busy Kaiser Wilhelm,” New York Times, July 26,
1891.
94 “gusto”: Igor Stravinsky and Robert Craft, Conversations with Igor Stravinsky
(Doubleday, 1959), p. 82.
94 “beautiful, healthy”: Romain Rolland, Journal des années de guerre, 1914–
1919 (Michel, 1952), p. 59.
95 “His music reflects”: Nicolas Nabokov, Old Friends and New Music (Little,
Brown, 1951), p. 210.
96 “This goes further”: Jann Pasler, “Stravinsky and the Apaches,” Musical
Times 123 (June 1982), p. 404.
96 “symphony” and “counterpoint”: RTS1, pp. 672 and 682.
97 “It suppresses”: Jacques Rivière, “Petrouchka,” Nouvelle Revue Française
33 (1911), p. 377.
97 “Stravinsky is the only”: Ezra Pound, “Tibor Serly, Composer,” quoted in
György Novák, “‘I am a Vi====olerplayer’ [sic]: Pound and Serly in the Early
1930s,” Americana 2:1, www.arts.u-
szeged.hu/american/americana/volIInol/novak.htm (accessed July 20, 2006).
424
97 folkloric sources: RTS1, pp. 891–923.
98 “a kind of apotheosis”: Béla Bartók Essays, p. 360.
98 “great fusion”: RTS1, p. 965.
98 “You are truly”: See the chord combining a C-sharp dominant seventh and a
D-major triad at 299 of Salome.
98 “A silent accent”: A Virgil Thomson Reader (Houghton Mifflin, 1981), p. 16.
99 “Une musique nègre”: Igor Stravinsky and Robert Craft, Memories and
Commentaries (Doubleday, 1960), p. 77.
99 “Salt Peanuts”: Carl Woideck, Charlie Parker: His Music and Life (University
of Michigan Press, 1996), p. 162.
99 spill his Scotch: Alfred Appel Jr., Jazz Modernism: From Ellington and
Armstrong to Matisse and Joyce (Yale UP, 2002), pp. 59–60.
100 As Bartók observed: Béla Bartók Essays, p. 41.
100 As Lynn Garafola points out: Garafola, Diaghilev’s Ballets Russes, pp. 72–
73.
100 “There are works”: Jacques Rivière, “Le Sacre du printemps,” Nouvelle
Revue Française 59 (Nov. 1913), p. 730.
101 “infiltrations funèstes”: Jane Fulcher, “Speaking the Truth to Power,” in
Debussy and His World, ed. Jane Fulcher (Princeton UP, 2001), p. 207.
101 “universal formula”: Carol A. Hess, Manuel de Falla and Modernism in
Spain (University of Chicago Press, 2001), pp. 67–69.
101 Seal Harbor, Maine: Glenn Watkins, Proof Through the Night: Music and
the Great War (University of California Press, 2003), p. 304.
101 Albéric Magnard: Ibid., p. 433.
102 “Both hands touch”: Russell Wortley and Michael Dawney, “George
Butterworth’s Diary of Morris Dance Hunting,” Folk Music Journal 3:3 (1977), p.
204.
102 “I don’t believe”: Arbie Orenstein, ed., A Ravel Reader (Columbia UP,
1990), pp. 162–63. Also p. 168.
103 fighter plane: Watkins, Proof Through the Night, pp. 176–90.
103 “the intolerable spirit”: Rolland, Journal des années de guerre, p. 61.
103 early performances of Pierrot: Igor Stravinsky and Robert Craft, Dialogues
and a Diary (Doubleday, 1963), p. 53; Vera Stravinsky and Robert Craft,
Stravinsky in Pictures and Documents (Simon and Schuster, 1978), p. 91.
103 Taruskin is right: RTS2, pp. 988–1006.
103 “sauce” and “atmosphere”: Rivière, “Le Sacre du printemps,” pp. 706–7.
103 “each object”: Jacques Rivière, “La saison russe,” Nouvelle Revue
Française 67 (July 1914), p. 155.
104 “By imperceptible degrees”: RTS2, p. 1006.
104 “progressive abstraction”: Ibid., title of part 3.
425
104 “a machine to hit”: Drue Fergison, “Bringing Les Noces to the Stage,” in
The Ballets Russes and Its World, ed. Lynn Garafola and Nancy Van Norman
Baer (Yale UP, 1999), p. 185.
104 “leaning dangerously”: Claude Debussy, Correspondance, 1884–1918, ed.
François Lesure (Hermann, 1993), p. 358.
104 “Cher Stravinsky”: Ibid., p. 361.
104 As Taruskin shows: RTS2, pp. 1486–99.
105 “Austro-Boche miasmas”: Debussy, Correspondance, p. 361.
105 March 23, 1918: Various articles in the New York Times, March 24–30,
1918.
106 “hyperalertness”: Wolfgang-Andreas Schultz, “Avant-Garde and Trauma:
Twentieth-Century Music and the Experiences from the World Wars”
(unpublished English translation), p. 10.
106 “Boches!”: Francis Steegmuller, Cocteau: A Biography (Nonpareil Books,
1986), p. 186. Other details, pp. 175 and 187.
107 “The Titanic”: Frederick Brown, An Impersonation of Angels: A Biography of
Jean Cocteau (Viking, 1968), p. 128.
107 “That Mysterious Rag”: See Nancy Perloff, Art and the Everyday: Popular
Entertainment and the Circle of Erik Satie (Clarendon, 1991), p. 133; and
Steven Moore Whiting, Satie the Bohemian: From Cabaret to Concert Hall
(Oxford UP, 1999), pp. 477–79.
107 “For the first time”: Steegmuller, Cocteau, p. 185.
108 “The nightingale sings badly”: Le Coq et l’ Arlequin, p. 16. For other
quotations, see pp. 39 and 26.
108 “lie of the grand style”: Friedrich Nietzsche, The Birth of Tragedy and The
Case of Wagner, trans. Walter Kaufmann (Vintage, 1967), p. 157.
109 “Banana lou ito kous kous”: Glenn Watkins, Pyramids at the Louvre: Music,
Culture, and Collage from Stravinsky to the Postmodernists (Harvard UP,
1994), p. 105.
110 “the steam-driven merry-go-rounds”: Darius Milhaud, Notes Without Music:
An Autobiography, trans. Donald Evans (Knopf, 1953), p. 98.
110 Vance Lowry: Jean Wiéner, Allegro appassionato (Belfond, 1978), p. 43.
110 “a not unamusing place”: Selected Letters of Virgil Thomson, ed. Tim Page
and Vanessa Weeks Page (Summit, 1988), p. 54.
111 “Against the beat”: Milhaud, Notes Without Music, pp. 136–37. For Ellington
at Capitol Palace, see Stuart Nicholson, ed., Reminiscing in Tempo: A Portrait
of Duke Ellington (Northeastern UP, 1999), pp. 29–31.
111 “Little melodies”: Cocteau, Le Coq et l’ Arlequin, p. 45.
111 Antonio María Romeu: Milhaud, Notes Without Music, p. 91.
111 Villa-Lobos speculating: See Gerard Béhague, Heitor Villa-Lobos: The
Search for Brazil’s Musical Soul (University of Texas at Austin, 1994), pp. 5–6;
and Eero Tarasti, Heitor Villa-Lobos: The Life and Works, 1887–1959
(McFarland, 1995), pp. 169–80.
426
112 “unheard-of music”: Claude Tappolet, ed., Correspondance Ernest
Ansermet-Igor Strawinsky (1914–1967) (Georg, 1990–92), vol. 1, p. 48.
112 Creole Band: Lawrence Gushee, Pioneers of Jazz: The Story of the Creole
Band (Oxford UP, 2005), pp. 160 and 193.
112 “Jelly Roll Blues”: Gabriel Fournier, “Erik Satie et son époque,” La Revue
musicale 214 (June 1952), p. 130. The “compositions de Jelly Roll Morton”
referred to here could only be “Jelly Roll Blues,” which was published in
Chicago in 1915; nothing else by Jelly Roll was in circulation at the time.
112 “the musical ideal”: Rolland, Journal des années de guerre, p. 852.
112 “Dance must express nothing”: Steegmuller, Cocteau, p. 95.
112 jazz ensembles: RTS2, pp. 1301–4, argues against a jazz influence, saying
that the instrumentation is close to that of Eastern European Gypsy and klezmer
bands. See also Stravinsky and Craft, Expositions and Developments, pp. 103–
104. For the makeup of the Creole Band, see the frontispiece photo of
Gushee’s Pioneers of Jazz. Buddy Bolden’s pioneering group had the same
makeup around 1900.
113 “disappearance of the skyscraper”: Steegmuller, Cocteau, p. 259.
113 Adieu New-York: Perloff, Art and the Everyday, pp. 173–75.
113 “Already the influence”: Darius Milhaud, Études (Aveline, 1927), p. 22.
113 “period modernism”: Garafola, Diaghilev’s Ballets Russes, pp. 90–115.
114 “reconstitutes the past”: Sylvia Kahan, Music’s Modern Muse: A Life of
Winnaretta Singer, Princesse de Polignac (University of Rochester Press,
2003), p. 363.
114 “the days of big orchestras”: Ibid., pp. 177–78.
114 “I would like”: Stravinsky and Craft, Conversations with Igor Stravinsky, p.
83.
114 high-backed chair: Wiéner, Allegro appassionato, p. 57.
114 “Madame la Princesse”: Kahan, Music’s Modern Muse, p. 235.
115 asked to tone down: Milhaud, Notes Without Music, p. 159.
115 “Le Train bleu”: Paul Collaer, Darius Milhaud, trans. Jane Hohfeld Galante
(San Francisco Press, 1988), p. 78.
115 “What’s good about Poulenc”: Renaud Machart, Poulenc (Seuil, 1995), p.
18.
115 “modern fêtes galantes”: Francis Poulenc, My Friends and Myself (Dobson,
1978), pp. 43–44. For more description, see Garafola, Diaghilev’s Ballets
Russes, pp. 129–32.
115 “Defend me, Spaniards”: Hess, Manuel de Falla and Modernism in Spain,
p. 170.
116 “You were a friend”: Stravinsky and Craft, Conversations with Igor
Stravinsky, pp. 94–101.
116 “We’re sinking”: Calvin Tomkins, “Living Well Is the Best Revenge,” New
Yorker, July 28, 1962, pp. 44–46.
427
116 “My Octuor”: Eric Walter White, Stravinsky: The Composer and His Works
(University of California Press, 1979), pp. 574–75.
117 “Even in the early days”: “Interview with Stravinsky,” Observer, July 3,
1921.
117 “I consider music”: Igor Stravinsky, Chroniques de ma vie
(Denoël/Gonthier, 1962), p. 63.
117 “Art never expresses anything”: Oscar Wilde, “The Decay of Lying,” in The
Complete Works of Oscar Wilde (Perennial Library, 1989), p. 991.
118 Brunswick Records: SWS1, p. 406.
118 Each movement of the Serenade: Ibid., p. 412.
118 “open covenants”: Margaret MacMillan, Paris 1919: Six Months That
Changed the World (Random House, 2001), p. 57.
118 “to shake the hands”: Paul Op de Coul, “Modern Chamber Music at the
1920 Mahler Festival: A Prelude to the International Society for Contemporary
Music,” in Gustav Mahler: The World Listens (Het Concertgebouw, 1995), p.
I.84.
118 “Arnold Schönberg”: Steegmuller, Cocteau, p. 247.
118 Pierrot lunaire: Wiéner, Allegro appassionato, pp. 50–51.
119 “a nice person”: ASL, p. 69.
119 “an exquisite boy”: Francis Poulenc, Correspondance, 1910–1963, ed.
Myriam Chimènes (Fayard, 1994), p. 170.
119 Hobsbawm writes: Eric Hobsbawm, The Age of Extremes: The Short
Twentieth Century, 1914–1991 (Abacus, 1995), p. 90.
119 Martinů: Brian Large, Martinů: (Holmes and Meier, 1975), pp. 39–40.
119 “politics of style”: Bernard Holland, “Bringing Sibelius out of Bleak Oblivion,”
New York Times, Dec. 8, 1997.
120 “To be frank”: David E. Schneider, “Bartók and Stravinsky: Respect,
Competition, Influence, and the Hungarian Reaction to Modernism in the
1920s,” in Bartók and His World, ed. Peter Laki (Princeton UP, 1995), p. 186.
120 “Here I am”: Correspondance Ernest Ansermet-Igor Strawinsky, vol. 2, p.
21.
120 “Ravel, it’s a masterpiece”: Larner, Maurice Ravel, pp. 172–73.
121 a bit of jazz: See Béla Bartók Essays, p. 350, for a brief mention of jazz in
1941. As Benjamin Suchoff observes in his notes, Mikrokosmos No. 151 is
explicitly written in a Gershwin style. Contrasts, written for Benny Goodman in
1938, has jazzlike moments, as well as reminiscences of Balinese gamelan
music.
121 “racial impurity”: See Béla Bartók Essays, p. 31; and Brown, “Bartók, the
Gypsies, and Hybridity in Music,” p. 132.
121 “sufficiently modern”: Jan Maegaard, “1923—the Critical Year of Modern
Music,” in The Nielsen Companion, ed. Mina Miller (Amadeus, 1995), p. 106.
122 “‘stylized’ noise”: Béla Bartók Essays, p. 456.
428
122 “Peacock Melody”: This resemblance was pointed out by members of the
Hungarian folk-music group Muzsikás, which played Hungarian songs and
dances alongside Bartók’s Fourth Quartet at a concert by the Takács Quartet at
Zankel Hall in New York on Feb. 13, 2004.
123 “fascinating exchange”: Documenta Bartókiana, vol. 3, p. 122. First meeting
on Jan. 10, 1925, second on Oct. 16, 1927.
123 opened the wrong door: Zemanová, Janáccirc;ek, pp. 201–2.
123 “Lord have mercy”: Janáccirc;ek’s Uncollected Essays on Music, pp. 111–
13.
123 Janáccirc;ek dreamed of being a forester: Zemanová, Janáccirc;ek, p. 20.
124 “Good and evil”: John Tyrrell, Janáccirc;ek’s Operas: A Documentary
Account (Princeton UP, 1992), p. 296.
124 “You must play this”: Zemanová, Janáccirc;ek, p. 191; and Zdenka
Janáĉková, My Life with Janáccirc;ek, ed. and trans. John Tyrrell (Faber, 1998),
p. 238.
125 “the demon that lurked”: SWS1, p. 489.
125 abscess was gone: Vernon Duke, Passport to Paris (Little, Brown, 1955), p.
200.
125 “out of extreme mental”: SWS1, p. 431.
125 “crisis of the concept”: Jacques Rivière, “La Crise du concept de littérature,”
Nouvelle Revue Française 125 (Feb. 1924), pp. 159–70.
126 “well made”: Jacques Maritain, Art and Scholasticism and The Frontiers of
Poetry, trans. Joseph W Evans (University of Notre Dame Press, 1974), p. 104.
For “art for nothing,” see p. 92.
126 “The choice”: Stravinsky, Autobiography, p. 125.
127 “The swing of the pendulum”: Stravinsky, Autobiography, p. 136.
127 “Logically”: Garafola, Diaghilev’s Ballets Russes, p. 140.
127 private chapel: SWS1, p. 499.
128 “called to our mind”: Paul Rosenfeld, Discoveries of a Music Critic (Vienna
House, 1972), p. 196.
128 “Do I adore Stravinsky”: Ned Rorem, “Stravinsky at 100,” in Setting the
Tone: Essays and a Diary (Limelight, 1984), p. 191.
128 “Here is the real core”: William James, The Varieties of Religious
Experience (Penguin, 1958), p. 149.
4: Invisible Men
130 “the true grandfathers”: Carl Van Vechten, “The Great American Composer:
His Grandfathers Are the Present Writers of Our Popular Ragtime Songs,”
Vanity Fair, April 1917, pp. 75 and 140.
429
130 “primitive birthright”: Carl Van Vechten, Nigger Heaven (University of Illinois
Press, 2000), p. 89.
131 “I am now satisfied”: “Real Value of Negro Melodies,” New York Herald,
May 21, 1893. This article was ghostwritten by James Creelman, as Michael
Beckerman has established; see Beckerman, New Worlds of Dvořák: Searching
in America for the Composer’s Inner Life (Norton, 2003), pp. 100–6. But the
sentiments in the article must have been Dvok’s own, for Creelman later
distanced himself from them. In June 1894 he wrote that the composer’s
enthusiasm for Negro music was “almost pathetic” and that Negroes were
nothing more than “hewers of wood and carries of water to the white race,
originating melodies which can be transformed in other hands”; see Creelman,
“DvŘák’s Negro Symphony,” in xsDvoŘák’s and His World, ed. Michael
Beckerman (Princeton UP, 1993), p. 180. The phrase “hewers of wood and
carriers of water” comes from the book of Joshua and was a favorite of slavery
apologists. W. E. B. Du Bois makes ironic use of it in The Souls of Black Folk;
see Three Negro Classics (Avon, 1965), p. 215.
132 Paris, Texas: Dennis Brindell Fradin and Judith Bloom Fradin, Ida B. Wells:
Mother of the Civil Rights Movement (Clarion, 2000), pp. 63–65.
132 promoted blacks themselves: John C. Tibbetts, ed., DvoŘák’s in America,
1892–1895 (Amadeus, 1993), p. 377.
132 a paper titled: Leonard Bernstein, “The Absorption of Race Elements into
American Music,” in Findings (Simon and Schuster, 1982), pp. 36–99, esp. 38–
39.
133 “The limited resources”: Paul Lopes, The Rise of a Jazz Art World
(Cambridge UP, 2002), p. 40.
133 “I like Louis Armstrong”: Ralph Ellison, Invisible Man (Penguin, 1965), p.
11.
133 Wallingford Riegger: Lawrence Jackson, Ralph Ellison: Emergence of
Genius (John Wiley, 2002), pp. 172–73.
134 Copland … pointed out: ACR, p. xvi.
134 Harry Lawrence Freeman: On Freeman, see Elise K. Kirk, American Opera
(University of Illinois Press, 2001), pp. 186–88.
134 “the most promising”: Thomas L. Riis, “DvoŘák’s and His Black Students,”
in Rethinking DvoŘák’s: Views from Five Countries, ed. David R. Beveridge
(Clarendon, 1996), p. 270.
134 Humoresque: Maurice Peress, DvoŘák’s to Duke Ellington: A Conductor
Explores America’s Music and Its African-American Roots (Oxford UP, 2004),
pp. 46–47; and Maurice Peress, “Arnold, Maurice,” in International Dictionary of
Black Composers, ed. Samuel A. Floyd Jr. (Fitzroy Dearborn, 1999), pp. 43–45.
135 “I would … remain”: Will Marion Cook, “Autobiography,” transcribed in
Marva Griffin Carter, “The Life and Music of Will Marion Cook” (Ph.D. diss.,
University of Illinois at Urbana-Champaign, 1988), pp. 395–96. For “You are a
stranger,” see p. 418.
136 “felt exceptionally free”: David Levering Lewis, W. E. B. Du Bois: Biography
of a Race (Holt, 1993), pp. 132 and 138.
430
136 “A deep longing”: Du Bois, Souls of Black Folk, pp. 369 and 215.
136 “musical phenomenon”: New York Age, Nov. 30, 1889.
136 William Marion Cook Orchestra: See New York Age, Sept. 27, 1890.
137 Colored People’s Day: Carter, “Life and Music of Will Marion Cook,” pp.
27–30; and William S. McFeely, Frederick Douglass (Norton, 1991), pp. 370–
71.
137 letter of introduction: BeckermanDvoŘák’s and His World, pp. 198–99.
137 free of charge: “Real Value of Negro Melodies.”
137 “the world’s greatest Negro violinist”: Duke Ellington, Music Is My Mistress
(Doubleday, 1973), p. 97. For the review, see Carter, “Life and Music of Will
Marion Cook,” pp. 176–77; but see Peress, DvoŘák’s to Duke Ellington, p. 212,
for a possible sighting of the review in question.
137 “confrontational jabs”: Marva Griffin Carter, “Removing the ‘Minstrel Mask’
in the Musicals of Will Marion Cook,” Musical Quarterly 84:1 (Spring 2000), p.
209.
138 A Negro composer: Will Marion Cook, “Clorindy, the Origin of the
Cakewalk,” in Readings in Black American Music, ed. Eileen Southern (Norton,
1983), p. 228.
138 “All you white folks”: Thomas L. Riis, ed., The Music and Scripts of “In
Dahomey,” Recent Researches in American Music, vol. 25 (A-R Editions,
1996), pp. 118–19.
138 “Developed Negro music”: “Will Marion Cook on Negro Music,” New York
Age, Sept. 21, 1918.
139 “a new musical school”: “DvoŘák’s’s Theory of Negro Music,” New York
Herald, May 28, 1893.
139 “a genius,” “a highway”: Ernest Ansermet, “Sur un orchestre nègre,” in
Écrits sur la musique (Baconnière, 1970), pp. 173–78.
139 Will Vodery: See Mark Tucker, “In Search of Will Vodery,” Black Music
Research Journal 16:1 (Spring 1996), pp. 123–82.
140 Fletcher Henderson: See Gunther Schuller, Early Jazz: Its Roots and
Musical Development (Oxford UP, 1968), p. 253; and Jeffrey Magee, The
Uncrowned King of Swing: Fletcher Henderson and Big Band Jazz (Oxford UP,
2005), p. 24.
140 Billy Strayhorn: Magee, Uncrowned King of Swing, p. 31; David Hajdu,
Lush Life: A Biography of Billy Strayhorn (Farrar, Straus and Giroux, 1996), pp.
16–17; Walter van de Leur, Something to Live For: The Music of Billy Strayhorn
(Oxford UP, 2002), pp. 6–7.
140 “black Beethoven”: Maurice Peress, “My Life with Black, Brown, and
Beige,” Black Music Research Journal 13:2 (Fall 1993), p. 147.
141 Ives’s family: Charles E. Ives: Memos, ed. John Kirkpatrick (Norton, 1972),
p. 245; Frank R. Rossiter, Charles Ives and His America (Liveright, 1975), pp 9–
10.
141 eyewitness testimony: Vivian Perlis, Charles Ives Remembered: An Oral
History (Yale UP, 1974), p. 16; and David Eiseman, “George Ives as Theorist: