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431
Some Unpublished Documents,” Perspectives of New Music 14:1 (Fall-Winter
1975), p. 141.
141 “Old Folks at Home”: Ives: Memos, p. 115. Ives calls it “The Swanee River”
(alternate title).
141 organist since his teens: See J. Peter Burkholder, “The Organist in Ives,”
Journal of the American Musicological Society 55:2 (Summer 2002), pp. 255–
310.
141 “spirited and melodious”: J. Peter Burkholder, ed., Charles Ives and His
World (Princeton UP, 1996), pp. 275–77.
141 “Damn rot”: Jan Swafford, Charles Ives: A Life with Music (Norton, 1996), p.
161.
142 “emasculated art”: Ives: Memos, pp. 130–31.
142 “pussies”: Swafford, Charles Ives, p. 334. For sissies and pansies, see
Burkholder, Charles Ives and His World, p. 237.
142 “simple enough”: Charles Ives, Essays Before a Sonata, The Majority, and
Other Writings, ed. Howard Boatwright (Norton, 1970), p. 240.
142 “knock some BIG”: Henry Cowell and Sidney Cowell, Charles Ives and His
Music (Oxford UP, 1969), p. 59.
142 “Music may be yet”: Ives, Essays Before a Sonata, p. 88.
143 “one of those exceptional”: Swafford, Charles Ives, pp. 411–12 (part of
review reproduced).
143 “There is a great Man”: Dorothy Lamb Crawford, Evenings On and Off the
Roof: Pioneering Concerts in Los Angeles, 1939–1971 (University of California
Press, 1995), p. 125.
143 Solomon, Sherwood: Maynard Solomon, “Charles Ives: Some Questions of
Veracity,” Journal of the American Musicological Society 40:3 (Fall 1987), pp.
443–70, detects a “systematic pattern of falsification” in Ives’s datings of his
compositions (p. 463). Gayle Sherwood, in “Questions and Veracities:
Reassessing the Chronology of Ives’s Choral Works,” Musical Quarterly 78:3
(Fall 1994), pp. 429–47, concludes that Ives’s dates for early experimental
choral works such as Psalm 67, Psalm 25, and Psalm 24 are more or less
correct. Sherwood’s revised dates are cited by J. Peter Burkholder in his All
Made of Tunes: Charles Ives and the Uses of Musical Borrowing (Yale UP,
1995). Still, questions remain about the dates and markings on Ives’s scores.
For example, on the first page of the full manuscript of the “St. Gaudens”
movement is written: “Return to Chas. E. Ives, 70 W 11.” Ives lived on West
Eleventh Street in New York from 1908 to 1911, but Sherwood says that the
manuscript paper dates from between 1919 and 1923.
143 “Why tonality as such”: Swafford, Charles Ives, p. 338.
143 J. Peter Burkholder: Burkholder, All Made of Tunes, throughout. For the
Second Symphony, see pp. 102–36.
144 “cumulative form”: Ibid., pp. 137–215.
144 “exaggerated”: Ives: Memos, p. 53.
432
144 “does not ‘represent the American nation’ … tomato ketchup”: Ives, Essays
Before a Sonata, p. 94.
144 “fervently, transcendentally”: Ibid., p. 80.
144 “an African soul”: Ibid., p. 79.
145 Anderson Brooks: Ives: Memos, p. 53, and app. 14, pp. 250–52.
145 Colored People’s Day: Swafford, Charles Ives, pp. 73–76.
145 spirituals on the piano: Perlis, Charles Ives Remembered, p. 82.
145 The Abolitionists: James B. Sinclair, A Descriptive Catalogue of the Music
of Charles Ives (Yale UP, 1992), p. 613.
145 tune in “St. Gaudens”: Burkholder, All Made of Tunes, pp. 317–22.
145 “Black March”: Ives: Memos, p. 87.
146 Von Glahn has described: Denise Von Glahn, “New Sources for ‘The “St.
Gaudens” in Boston Common (Colonel Robert Gould Shaw and His Colored
Regiment),’” Musical Quarterly 81:1 (Spring 1997), pp. 13–50.
147 “mobbed the lobbies”: “Throng Hears Ornstein,” NewYork Times, Dec. 8,
1918.
147 “commuters”: Oja, Making Music Modern, p. 176.
148 “I became a sort”: Malcolm MacDonald, Varèse: Astronomer in Sound
(Kahn and Averill, 2003), p. 56.
148 “skyscraper mysticism”: Paul Rosenfeld, Discoveries of a Music Critic
(Vienna House, 1972), p. 260.
149 “matinee idol”: Oja, Making Music Modern, p. 26.
149 L’Herbier: See George Antheil, Bad Boy of Music (Samuel French, 1990),
pp. 131–37; and Lynn Garafola, Diaghilev’s Ballets Russes (Da Capo, 1998), p.
354. The riot scene from L’Inhumaine can be seen at
musicmavericks.publicradio.org/features/interview_lehrman.html (accessed May
1, 2007).
150 A Jazz Symphony: Daniel Albright, Untwisting the Serpent: Modernism in
Music, Literature, and Other Arts (University of Chicago Press, 2000), pp. 234–
35.
150 “Expected Riots Peter Out”: Oja, Making Music Modern, p. 93. See also
Antheil, Bad Boy of Music, pp. 187–97.
150 “catering to the public”: Claire R. Reis, Composers, Conductors, and Critics
(Detroit Reprints in Music, 1974), p. 7. For more on Ruggles, see Marilyn J.
Ziffrin, Carl Ruggles: Composer, Painter, and Storyteller (University of Illinois
Press, 1994).
152 tonic-dominant: Kathleen Hoover and John Cage, Virgil Thomson: His Life
and Music (Sagamore, 1959), p. 157.
152 Jimmy Daniels: Virgil Thomson, Virgil Thomson (Dutton, 1985), p. 217.
152 “Pigeons are definitely not alas”: James Thurber, “There’s an Owl in My
Room,” New Yorker, Nov. 17, 1934, p. 19.
433
152 “Negroes objectify”: Steven Watson, Prepare for Saints: Gertrude Stein,
Virgil Thomson, and the Mainstreaming of American Modernism (Random
House, 1998), p. 202.
153 “Thomson gave black artists”: Anthony Tommasini, Virgil Thomson:
Composer on the Aisle (Norton, 1997), p. 227.
153 “Jazz is not America”: Olivia Mattis, “Edgard Varèse’s ‘Progressive’
Nationalism: Amériques Meets Américanisme,” in Edgard Varèse: Die Befreiung
des Klangs, ed. Helge de la Motte-Haber (Wolke, 1992), p. 167.
153 Scholars have tracked: See, for example, Jack Gottlieb, Funny, It Doesn’t
Sound Jewish: How Yiddish Songs and Synagogue Melodies Influenced Tin
Pan Alley, Broadway, and Hollywood (SUNY Press, 2004), p. 218; and Andrea
Most, Making Americans: Jews and the Broadway Musical (Harvard UP, 2004).
153 “link between the exiled”: Constant Lambert, Music Ho! A Study of Music in
Decline (Hogarth, 1985), p. 185.
154 the creators could hardly: See Raymond Knapp, The American Musical and
the Formation of National Identity (Princeton UP, 2005), pp. 185–94.
155 “I frequently hear music”: Isaac Goldberg, George Gershwin: A Study in
American Music (Ungar, 1958), p. 139.
155 Dvorak’s Humoresque: Ibid., p. 58.
156 favorite pianists and composers: See Gershwin’s scrapbooks in GGLC.
156 Hambitzer: David Ewen, A Journey to Greatness: The Life and Music of
George Gershwin (Holt, 1956), pp. 47 and 61.
156 Kilenyi … better chance of winning: Ibid., p. 63. For Kilenyi and
Harmonielehre, see Howard Pollack, George Gershwin: His Life and Work
(University of California Press, 2006), p. 30.
157 Gershwin regularly attended: Vernon Duke, Passport to Paris (Little, Brown,
1955), p. 90.
157 accompanying Gauthier: “Jazz Throws Down the Gage to the ‘Classicists,’
Invading New York’s Strongholds of Serious Music,” Musical America, Feb. 2,
1924.
158 Whiteman: Don Rayno, Paul Whiteman: Pioneer in American Music, Vol. 1:
1890–1930 (Scarecrow, 2003), p. 19.
158 “the tremendous strides”: Goldberg, George Gershwin, pp. 144–45.
158 “out of the kitchen”: Deems Taylor, “Words and Music,” New York World,
Feb. 17, 1924.
158 glissando: On this effect, see Goldberg, George Gershwin, p. 71.
Interestingly, when Duke Ellington recorded the Rhapsody in 1960, he removed
the glissando, returning to Gershwin’s original sketch. See David Schiff,
Gershwin, “Rhapsody in Blue” (Cambridge UP, 1997), p. 69.
158 such classical celebrities: Ewen, Journey to Greatness, p. 162.
159 more high-level admirers: Pollack, George Gershwin, pp. 139–45.
434
159 Lyric Suite: Alban Berg, Letters to His Wife, ed. and trans. Bernard Grun
(St. Martin’s, 1971), p. 363. For the Berg photo, see Edward Jablonski and
Lawrence D. Stewart, The Gershwin Years (Doubleday, 1958), p. 197.
159 “I should study with you”: Edward Jablonski, Gershwin (Da Capo, 1998), p.
168. For the story featuring Ravel, see Oscar Levant, The Memoirs of an
Amnesiac (Bantam, 1965), pp. 116–17.
159 Pollack shows: See Pollack, George Gershwin, pp. 118–35.
160 Gershwin’s notebooks: GGLC.
160 “jazz grand opera”: New York Evening Mail, Nov. 18, 1924, clipping at
GGLC.
160 only by a black cast: Henrietta Malkiel, “Awaiting the Great American
Opera: How Composers Are Paving the Way,” Musical America, April 25, 1925.
160 “appeal to the many”: George Gershwin, “Rhapsody in Catfish Row,” New
York Times, Oct. 20, 1935.
161 “Summertime”: Allen Forte, “Reflections upon the Gershwin-Berg
Connection,” Musical Quarterly 83:2 (Summer 1999), p. 154, also proposes a
connection between Marie’s lullaby and “Summertime,” but he chooses the
more dissimilar chords that appear beneath “Mä del, was fangst Du jetzt an?”
161 “Melodic. Nothing neutral”: Jablonski and Stewart, Gershwin Years, p. 233.
162 Gershwin and Bubbles: Jablonski, Gershwin, p. 286.
162 “not a very serious”: Virgil Thomson, “George Gershwin,” Modern Music
13:1 (Nov.-Dec. 1935) pp. 16–17.
162 “Abraham Lincoln of Negro music”: Pollack, George Gershwin, pp. 597–98.
162 “Grand music”: Mark Tucker, ed., The Duke Ellington Reader (Oxford UP,
1993), p. 115.
163 “Folk-lore subjects … I don’t mind”: Thomson, “George Gershwin,” p. 17.
163 “I don’t feel I’ve really scratched”: Interview with Frances Gershwin
Godowsky, included on companion CD to Vivien Perlis and Libby Van Cleve,
Composers’ Voices from Ives to Ellington (Yale UP 2005).
163 Anderson explains: Paul Allen Anderson, Deep River: Music and Memory in
Harlem Renaissance Thought (Duke UP, 2001), p. 177. For “hybridic fusion,”
see p. 163.
164 in his musical commentaries: See Alain Locke, The Negro and His Music
(Associates in Negro Folk Education, 1936), p. 86; and Alain Locke, “Toward a
Critique of Negro Music,” Opportunity, Nov. 1934, pp. 328–30.
164 “We build our temples”: Langston Hughes, “The Negro Artist and the Racial
Mountain” (June 1926), in The Portable Harlem Renaissance Reader, ed. David
Levering Lewis (Penguin, 1994), p. 95.
164 “Bach and myself”: Richard O. Boyer, “The Hot Bach,” pt. 1, New Yorker,
June 24, 1944, p. 30.
164 “To attempt to elevate”: Tucker, Duke Ellington Reader, p. 247.
165 “heterogeneous sound ideal”: Olly Wilson, “The Heterogeneous Sound
Ideal in African-American Music,” in New Perspectives on Music: Essays in
435
Honor of Eileen Southern, ed. Josephine Wright (Harmonie Park Press, 1992),
pp. 328–29.
165 “The phonograph record”: Albert Murray, Stomping the Blues (Da Capo,
2000), p. 183.
165 “I’d sing a melody”: Boyer, “The Hot Bach,” pt. 3, New Yorker, July 8, 1944,
p. 29.
165 “You know you should go”: Ellington, Music Is My Mistress, p. 97.
166 “a rhapsody unhampered”: Tucker, Duke Ellington Reader, pp. 49–50.
167 Gershwin and Ellington: See Pollack, George Gershwin, pp. 165–68.
167 Boola: Mark Tucker, “The Genesis of Black, Brown, and Beige,” Black
Music Research Journal 13:2 (Fall 1993), pp. 73–74.
167 churches outnumber: Howard Taubman, “The ‘Duke’ Invades Carnegie
Hall,” New York Times, Jan. 17, 1943.
167 Rattenbury points out: Ken Rattenbury, Duke Ellington, Jazz Composer
(Yale UP, 1990), p. 106.
168 “That’s the Negro’s life”: Tucker, Duke Ellington Reader, p. 150.
168 “not a song of great Joy”: Tucker, “Genesis of Black, Brown, and Beige,” p.
78.
168 assist from Billy Strayhorn: On Strayhorn’s contribution, see van de Leur,
Something to Live For, pp. 87–88.
169 “formless and meaningless”: Paul Bowles, “Duke Ellington in Recital for
Russian Relief,” New York Herald Tribune, Jan. 25, 1943.
169 Hammond … complained: John Hammond, “Is the Duke Deserting Jazz?”
in Tucker, Duke Ellington Reader, pp. 171–73.
169 “Anyone who writes music”: On the Road with Duke Ellington (NBC, 1967).
170 “I was struck by”: Tucker, Duke Ellington Reader, p. 209. 5: Apparition from
the Woods
5.-Apparition from the woods
171 #x201C;Desperately difficult”: TMDF, p. 254.
172 “God opens his door”: James Hepokoski, Sibelius, Symphony No. 5
(Cambridge UP, 1993), p. 33.
172 “Isolation and loneliness”: ETS3, p. 283.
172 seven volumes: Kari Kilpelä inen, “Sibelius Eight: What Happened to It?”,
Finnish Music Quarterly 4 (1995), pp. 33–35.
172 “I suppose one”: ETS3, p. 328, with emendations by Jeffrey Kallberg.
172 “In the 1940s”: Ibid., p. 317.
173 “The small nations”: Milan Kundera, Testaments Betrayed, trans. Linda
Asher (HarperCollins, 1995), pp. 192–94.
174 “I feel like a ghost”: Sergei Bertensson and Jay Leyda, Sergei
Rachmaninoff: A Lifetime in Music (Indiana UP, 2001), p. 351.
174 “Not everyone”: Hepokoski, Sibelius, Symphony No. 5, p. 13.
436
174 “The simplest”: Carl Nielsen, Living Music, trans. Reginald Spink
(Hutchinson, 1953), p. 75.
176 “could not grasp”: The Kalevala, trans. Francis Peabody Magoun Jr.
(Harvard UP, 1963), p. 245.
176 “Kullervo, Kalervon”: Translation by William Forsell Kirby, included in the
notes to Osmo Vä nskä ’s 2000 recording of Kullervo (BIS CD-1215).
177 “most broken-hearted protest”: ETS1, p. 244.
178 “severity of form”: ETS2, pp. 76–77.
178 Salome and Elektra: Santeri Levas, Sibelius: A Personal Portrait, trans.
Percy Young (Dent, 1972), p. 74.
179 Debussy: ETS2, p. 107.
179 “my most faithful companion”: James Hepokoski, “Sibelius, Jean,” NG 23,
p. 336.
180 “The Raven”: ETS2 pp. 195–201.
180 “People avoided our eyes”: ETS2, p. 170.
180 “A symphony is not”: ETS2, p. 159. Emendations by Jeffrey Kallberg.
181 “Freudvoll und leidvoll”: Ibid., p. 161.
181 “rotational form”: Hepokoski, Sibelius, Symphony No. 5, pp. 23–26.
182 “One of my greatest”: Ibid., pp. 36–37.
183 overtone series of a meadow: Matti Huttunen, “The National Composer and
the Idea of Finnishness,” in The Cambridge Companion to Sibelius, ed. Daniel
M. Grimley (Cambridge UP, 2004), p. 14.
183 “dissolution” and “decay”: James Hepokoski, “Rotations, Sketches, and the
Sixth Symphony,” in Sibelius Studies, ed. Timothy Jackson and Veijo Murtomä
ki (Cambridge UP, 2002), esp. pp. 328 and 345.
184 “Where the stars dwell”: Hepokoski, “Sibelius, Jean,” p. 338.
184 “deep acoustic throbbing”: Julian Anderson, “Sibelius and Contemporary
Music,” in Grimley, Cambridge Companion to Sibelius, p. 198.
185 “I have bedimmed”: William Shakespeare, The Tempest, ed. David Lindley
(Cambridge UP, 2002), p. 200.
186 “It’s strange”: ETS3, p. 308.
187 “the last of the heroes”: Glenda Dawn Goss, Jean Sibelius and Olin
Downes: Music, Friendship, Criticism (Northeastern UP, 1995), pp. 105 and 57.
188 “My mother and I”: Ibid., p. 202.
188 “boring Nordic dreariness”: ETS3, p. 293.
189 “could not afford”: Ibid., p. 291.
189 “vulgar, self-indulgent”: Virgil Thomson, Music Reviewed, 1940–1954
(Vintage, 1967), p. 4.
189 “The work of Sibelius”: “The Sibelius Problem,” subsection of
“Memorandum: Music in Radio,” pp. 59–60, Princeton Radio Research Project,
Paul Lazarsfeld Papers, Columbia University. 189 “the tone is more apt”:
437
Selected Letters of Virgil Thomson, ed. Tim Page and Vanessa Weeks Page
(Summit Books, 1988), p. 182.
189 correspondence with Koussevitzky: Letters dated Jan. 2, 1930, Aug. 16,
1930, Aug. 20, 1931, Jan. 15, 1932, June 6, 1932, June 14, 1932, Dec. 31,
1932, and Jan. 17, 1933, in Serge Koussevitzky Archive, Music Division, Library
of Congress.
190 Sibelius Society: Árni Ingólfsson, “‘This Music Belongs to Us’: Scandinavian
Music and ‘Nordic’ Ideology in the Third Reich,” paper delivered at the American
Musicological Society New England Chapter meeting, March 23, 2002.
190 “I wish with all my heart”: Harold E. Johnson, Jean Sibelius (Knopf, 1959),
p. 213.
190 “How can you”: ETS3, p. 327.
191 “The tragedy begins”: Jean Sibelius, Dagbok, 1909–1944 (Svenska litter-
atursä llkapet i Finland, 2005), pp. 325 and 338. Translation by Jeffrey Kallberg.
191 “All the doctors”: Levas, Sibelius, p. 20. 191 “It is very painful”: Ibid., p. 123.
191 “Every day”: ETS1, p. 289. 191 “Here they come”: ETS3, p. 330.
191 Stravinsky and Sibelius: See SWS2, p. 443; Eric Walter White, Stravinsky:
The Composer and His Works (University of California Press, 1979), p. 143;
and RCSC, pp. 170 and 242.
192 “antimodern modernism”: Milan Kundera, “Die Weltliteratur,” trans. Linda
Asher, New Yorker, Jan. 8, 2007.
192 New-music luminaries: See Brian Ferney-hough, Collected Writings
(Harwood, 1995), p. 205; Hans Gefors, “Make Change Your Choice!” in The
Music of Per Nørgård, ed. Anders Beyer (Scolar, 1996), p. 37; and, for many
other examples, Anderson, “Sibelius and Contemporary Music.”
192 Lindberg: For Lindberg on Tapiola, see Peter Szendy’s interview in Magnus
Lindberg (FMIC/IRCAM, 1993), p. 11.
193 “The people who you think”: MFS, p. 192. 6. City of Nets
6.-City of Nets
194 “The blood stains looked”: Klaus Mann, The Turning Point (Fischer, 1942),
pp. 257 and 260.
195 “Music is no longer”: Alexander Ringer, “Schoenberg, Weill, and Epic
Theater,” Journal of the Arnold Schoenberg Institute 4:1 (June 1980), p. 86.
196 “I’ve had indescribable”: David Farneth, Elmar Juchem, and Dave Stein,
eds., Kurt Weill: A Life in Pictures and Documents (Overlook, 2000), pp. 20–21.
196 champagne reception: Klaus Kreimeier, The Ufa Story: A History of
Germany’s Greatest Film Company, 1918–1945, trans. Robert Kimber and Rita
Kimber (Hill and Wang, 1996), pp. 46–47.
196 Strauss had conducted: BGFI, p. 571.
196 four hundred political murders: Emil Julius Gumbel, “Four Years of Political
Murder,” in The Weimar Republic Sourcebook, ed. Anton Kaes, Martin Jay, and
Edward Dimendberg (University of California Press, 1994), pp. 100–4.
438
196 Gustav Landauer: See Joan Weinstein, The End of Expressionism: Art and
the November Revolution in Germany, 1918–19 (University of Chicago Press,
1990), pp. 177–205. The film director Mike Nichols is Landauer and
Lachmann’s grandson.
196 “Nothing was so mad”: Bernd Widdig, Culture and Inflation in Weimar
Germany (University of California Press, 2001), pp. 10–11.
197 Rockwell has shown: John Rockwell, “The Prussian Ministry of Culture and
the Berlin State Opera, 1918–1931” (Ph.D. diss., University of California at
Berkeley, 1972); and John Rockwell, “Kurt Weill’s Operatic Reform and Its
Context,” in A New Orpheus: Essays on Kurt Weill, ed. Kim H. Kowalke (Yale
UP, 1986), pp. 55–58.
198 “This is not the true”: Joseph Goebbels, “Around the Gedä chtniskirche”
(1928), in Kaes, Jay, and Dimendberg, Weimar Republic Sourcebook, p. 561.
198 Count von Kielmannsegg: Paul Hindemith, “Notizen zu meinen ‘Feldzugs-
Erinnerungen,’” Hindemith Jahrbuch 18 (1989), p. 88; and Andres Briner, Dieter
Rexroth, Giselher Schubert, eds., Paul Hindemith: Leben und Werk im Bild und
Text (Atlantis, 1988), p. 36; Selected Letters of Paul Hindemith, ed. and trans.
Geoffrey Skelton (Yale UP, 1995), p. 21.
198 “neither Impressionistically”: Stephen Hinton, “Aspects of Hindemith’s Neue
Sachlichkeit,” Hindemith Jahrbuch 14 (1985), p. 26.
200 Orff and Brecht: Kim H. Kowalke, “Burying the Past: Carl Orff and His
Brecht Connection,” Musical Quarterly 84:1 (Spring 2000), pp. 58–83.
200 “hunger for wholeness”: Peter Gay, Weimar Culture: The Outsider as
Insider (Harper and Row, 1968), p. 96.
200 Adorno and Hindemith: Theodor W. Adorno, “Kritik des Musikanten,” in
Gesammelte Schriften (Suhrkamp, 1973), vol. 14, pp. 67–107.
200 photomontage: See the notes to the 1993 recording of Jonny spielt auf
(London 436 631–2).
201 “Fiftieth Avenue,” Max Brand: NSM, pp. 304 and 311.
202 78-rpm recording: See Susan C. Cook, “Flirting with the Vernacular:
America in Europe, 1900–45,” in The Cambridge History of Twentieth-Century
Music, ed. Nicholas Cook and Anthony Pople (Cambridge UP, 2004), p. 179.
203 Sam Wooding’s jazz revue: John L. Stewart, Ernst Krenek: The Man and
His Music (University of California Press, 1991), p. 81.
203 “Despite the infusions”: Hanns Eisler, Musik und Politik, ed. Günter Mayer
(VEB, 1973), p. 35.
203 “relative stabilization”: Ibid., p. 80.
203 Scheindasein: Ibid., p. 33.
203 “The big music festivals”: Hanns Eisler, “On the Situation of Modern Music”
(1928), in A Rebel in Music: Selected Writings, ed. Manfred Grabs (International
Publishers, 1978), p. 29.
203 “Remember that”: Ibid., pp. 30–31.
204 “Hindemith has already”: Jürgen Schebera, Kurt Weill: An Illustrated Life,
trans. Caroline Murphy (Yale UP, 1995), p. 46.
439
204 “pandering to the taste”: Ibid., p. 47.
205 “Do not be afraid”: Kurt Weill, Musik und musikalisches Theater:
Gesammelte Schriften, ed. Stephen Hinton and Jürgen Schebera (Schott,
2000), p. 489.
205 Schlagwort: The debt to Busoni is detailed in Michael Morley, “‘Suiting the
Action to the Word’: Some Observations on Gestus and Gestische Musik,” in
Kowalke, A New Orpheus, pp. 187–88.
205 “in which pantomime”: Daniel Albright, Untwisting the Serpent: Modernism
in Music, Literature, and Other Arts (University of Chicago Press, 2000), p. 112.
206 “cool, withdrawn”: Ronald Taylor, Kurt Weill: Composer in a Divided World
(Northeastern UP, 1992), p. 58.
206 “She can’t read music”: Speak Low (When You Speak Love): The Letters of
Kurt Weill and Lotte Lenya, ed. and trans. Lys Symonette and Kim H. Kowalke
(University of California Press, 1996), frontispiece.
206 “composer of atonal”: Morley, “‘Suiting the Action to the Word,’” p. 189.
207 “Is here no telephone?”: Taylor, Kurt Weill, pp. 115–16.
208 “ugly, brutal”: John Willett, ed. and trans., Brecht on Theatre: The
Development of an Aesthetic (Hill and Wang, 1964), p. 3.
208 “Just as Wagner”: Walter Benjamin, Selected Writings, Volume 2, 1927–
1934, ed. Michael W. Jennings, Howard Eiland, and Gary Smith, trans. Rodney
Livingstone et al. (Harvard UP, 1999), p. 369.
208 “intimately the countermorality”: Walter Benjamin, Selected Writings,
Volume 3, 1935–1938, ed. Howard Eiland and Michael W. Jennings, trans.
Edmund Jephcott, Howard Eiland, et al. (Harvard UP, 2002), p. 257.
209 “style of willful”: Stephen Hinton, “Misunderstanding ‘The Threepenny
Opera,’” in Kurt Weill, “The Threepenny Opera,” ed. Stephen Hinton
(Cambridge UP, 1990), p. 189.
210 twenty-three different instruments: Stephen Hinton, “Die Dreigroschenoper:
The 1928 Full Score,” in Die Dreigroschenoper: A Facsimile of the Holograph
Full Score, ed. Edward Harsh (Kurt Weill Foundation for Music, 1996), p. 8.
210 “When I tell you”: As recorded in Los Angeles on Oct. 30, 1986, released
on Frank Sinatra: The Reprise Collection (9 26340–2)
210 Armstrong said: Will Friedwald, Stardust Melodies: The Biography of
Twelve of America’s Most Popular Songs (Pantheon, 2002), p. 88.
211 “The audience was”: Bob Dylan, Chronicles, Volume 1 (Simon and
Schuster, 2004), pp. 273–75.
211 direct quotation: The song in question is “Lied von der Moldau,” from
Schweyk im zweiten Weltkrieg, a 1943 Brecht-Eisler revue. For more on the link
between Brecht and Dylan, see Esther Quin, “Stumbling on Lost Cigars of
Bertolt Brecht: Bob Dylan’s Rebellion,” PN Review 30:2 (Nov.-Dec. 2003), pp.
47–53.
212 “You have betrayed”: Translation by Allen Forte in the libretto to Pierre
Boulez’s 1995 recording of Moses und Aron (DG 449 174–2), p. 63.
212 “method of composing”: ASSI, p. 218.
440
212 Pupils and friends: HMAW, p. 252.
212 “extreme emotionality”: ASSI, p. 217.
212 “The bourgeois God”: Josef Rufer, Das Werk Arnold Schönbergs (Bä
renreiter, 1959), p. 101. See also Arnold Schoenberg, Texte (Universal, 1926),
pp. 23–28.
212 twelve-tone patterns in Salome: At the end of the opera, after Herod
shouts, “Kill that woman!,” the orchestra runs through eleven different tones in
rapid, kaleidoscopic succession—a minatory chord in the brass (D, F, A), a
skewy trumpet fanfare (C, G-flat, B-flat, D-flat, G), a rumbling trombone
arpeggio (A-flat, C-flat, E-flat). See also a perfect twelve-tone aggregate at 3
before 255: arpeggiated chords of E-flat minor, D-flat major, G dominant
seventh, and A minor. On quasi-twelve-tone writing in Elektra, see Tethys
Carpenter, “The Musical Language of Elektra,” in Richard Strauss, “Elektra,” ed.
Derrick Puffett (Cambridge UP, 1989), pp. 74–106.
214 “When all twelve notes”: Anton Webern, Path to the New Music, ed. Willi
Reich (Universal, 1960), p. 51.
214 copied out rows: HMAW, pp. 309–10.
214 “used twelve tones”: HHS, p. 442.
214 “completely undifferentiated”: Joseph Auner, “Proclaiming the Mainstream:
Schoenberg, Berg, and Webern,” in Cook and Pople, Cambridge History of
Twentieth-Century Music, pp. 253–54.
215 next hundred years: HHS, p. 277.
215 “Recognition does one good”: ASL, pp. 117–18.
215 “Art is from the outset”: JASR, p. 212.
216 “But who’s this”: As translated in JASR, p. 188. For other terms of derision,
see Leonard Stein, “Schoenberg and ‘Kleine Modernsky,’” in Confronting
Stravinsky: Man, Musician, and Modernist, ed. Jann Pasler (University of
California Press, 1986), p. 319.
216 “want to apply”: JASR, pp. 186–87.
216 “They betray their God”: ASSI, pp. 258–59.
216 “Jo-Jo-Foxtrot”: HHS, p. 306.
216 “one after the other”: From Susan Marie Praeder’s translation in the booklet
for Michael Gielen’s 1997 recording of Von heute auf morgen (cpo 999 532-2),
p. 35. See also Juliane Brand, “A Short History of Von heute auf morgen with
Letters and Documents,” Journal of the Arnold Schoenberg Institute 14:2 (Nov.
1991), p. 259.
217 “wishes for only whores”: JASR, p. 196. For Krenek’s remark, see p. 194.
217 “Modern music bores me”: HHS, pp. 311–12.
217 “treason”: ASL, p. 120.
217 “who, filled with disdain”: Kurt Weill, “Verschiebungen in der musikalischen
Produktion” (Oct. 1927), in Musik und musikalisches Theater, p. 61.
218 “understandable”: Ringer, “Schoenberg, Weill, and Epic Theater,” pp. 85–
86.