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441
218 “In the end”: Ibid., p. 89.
218 “I do not believe”: ASSI, p. 96.
219 Stresemann … attended: Wolfgang Stresemann, Zeiten und Klä nge: Ein
Leben zwischen Musik und Politik (Ullstein, 1994), pp. 102–3.
219 “It’s the beginning of the end”: Mann, Turning Point, p. 230.
220 Beethoven’s Fifth: Thomas Phelps, “Stefan Wolpe: Eine Einführung,” in
Stefan Wolpe, Lieder mit Klavierbegleitung, 1929–1933 (Peer, 1993), p. 5;
Austin Clarkson, “Lecture on Dada by Stefan Wolpe,” Musical Quarterly 72:2
(1986), pp. 209–10.
220 Zeus und Elida: Austin Clarkson, “Stefan Wolpe: Broken Sequences,” in
Music and Nazism: Art Under Tyranny, 1933–1945, ed. Michael H. Kater and
Albrecht Riethmüller (Laaber, 2003), p. 222.
220 failed to satisfy: Ibid., p. 224.
220 postwar recordings: Ernst Busch, Lieder der Arbeiterklasse & Lieder aus
dem spanischen Bürgerkrieg (Plä ne CD 88 642).
220 400,000 members: Clarkson, “Stefan Wolpe: Broken Sequences,” p. 223.
221 balled-up fist: Jürgen Schebera, Hanns Eisler: Eine Biographie in Texten,
Bildern, und Dokumenten (Schott, 1998), p. 68.
221 “Better to make music”: Stephen Hinton, “Lehrstück: An Aesthetics of
Performance,” in Hindemith Jahrbuch 22 (1993), pp. 80–81.
222 “willingness to act”: Ibid., p. 88.
222 Gerhart Eisler: See Herbert Romerstein and Eric Breindel, The Venona
Secrets: Exposing Soviet Espionage and America’s Traitors (Regnery, 2000),
pp. 71–73 and 526; Raymond W. Leonard, Secret Soldiers of the Revolution:
Soviet Military Intelligence, 1918–1933 (Greenwood, 1999), p. 41; and John
Willett, “Production as Learning Experience: Taniko, He Who Says Yes, The
Measures Taken” in Brecht and East Asian Theatre, ed. Antony Tatlow and
Tak-Wai Wong (Hong Kong UP, 1982), pp. 157–58.
223 “What shall we do”: Bertolt Brecht, The Measures Taken and Other
Lehrstücke, trans. Carl R. Mueller (Arcade, 2001), pp. 33–34.
223 “The I is disappearing”: Ludwig Bauer, “The Middle Ages, 1932,” in Kaes,
Jay, and Dimendberg, Weimar Republic Sourcebook, p. 385.
223 “phony Richard Strauss”: John Fuegi, Brecht and Company: Sex, Politics,
and the Making of Modern Drama (Grove, 1994), p. 267.
224 “Deutschland erwache!”: Farneth, Juchem, and Stein, Kurt Weill, p. 115;
and NSM, p. 325.
224 “The great retaliation”: Karl Kraus, “Die Büchse der Pandora,” in
Grimassen: Ausgewä hlte Werke, Band I, 1902–1914 (Langen Müller, 1971), p.
54. See also Patricia Hall, A View of Berg’s “Lulu” Through the Manuscript
Sources (University of California Press, 1996), pp. 94 and 73–75.
226 “I was with him”: Theodor W. Adorno, Alban Berg: Master of the Smallest
Link, trans. Juliane Brand and Christopher Hailey (Cambridge UP, 1991), p. 10.
226 “Schoenberg envied Berg”: Ibid., p. 29.
442
226 new kinds of tonality: Theodor W. Adorno, Alban Berg: Briefwechsel, 1925–
1935, ed. Henri Lonitz (Suhrkamp, 1997), p. 108.
227 “Alban invented”: George Perle, The Operas of Alban Berg, Vol. 2: “Lulu”
(University of California Press, 1985), p. 28.
228 get his orchestration right: Hall, A View of Berg’s “Lulu,” pp. 39 and 167.
228 Berg saw in Vienna: David Drew, Kurt Weill: A Handbook (University of
California Press, 1987), p. 184.
229 noting the triads: Hall, A View of Berg’s “Lulu,” pp. 120–21. For more on
Lulu’s row technique, see Douglas Jarman, Alban Berg, “Lulu” (Cambridge UP,
1991), pp. 67–71.
230 “I always had the impression”: Willi Reich, Alban Berg, trans. Cornelius
Cardew (Harcourt, Brace and World), p. 30.
231 “We saw tears”: TMDF, p. 527.
231 Mann often thought of Berg: Mann seems to have read Willi Reich’s book
Alban Berg (Reichner, 1937) as a source. See Thomas Mann, Tagebücher,
1944–1.4.1946 (Fischer, 1986), p. 14; and Thomas Mann, The Story of a Novel:
The Genesis of Doctor Faustus (Knopf, 1961), p. 72. Only one Berg book
existed in 1944. The Mann library in Zurich does not have Reich’s book in its
collection; perhaps Mann returned the volume to Adorno when he was done
with it. For the Lulu premiere, see Thomas Mann, Diaries, 1918–1939, ed.
Hermann Kesten, trans. Richard Winston and Clara Winston (Abrams, 1982), p.
278. For the inclusion of the final scene in the 1937 performance, see Perle,
Operas of Alban Berg, Vol. 2, p. 266.
231 “One instrument after another”: Adorno, Alban Berg, p. 113. The original
German, from Reich, Alban Berg (1937), p. 101: “Ein Instrument schweigt nach
dem anderen.” Compare Doktor Faustus (Fischer, 1971), p. 490: “Eine
Instrumentengruppe nach der anderen tritt zurück.”
232 “One instrumental group”: TMDF, p. 515. 7. The Art of Fear
7.- The At of Fear
233 “Along the legendary”: The Complete Poems of Anna Akhmatova, ed.
Roberta Reeder, trans. Judith Hemschemeyer (Zephyr, 1997), p. 562.
235 Box A: Details of Stalin’s visit to Lady Macbeth are drawn from Dmitri
Volkogonov, Stalin: Triumph and Tragedy (Forum, 1996), p. 148; Galina
Vishnevskaya, Galina: A Russian Story, trans. Guy Daniels (Harcourt Brace
Jovanovich, 1984), p. 94; Krzysztof Meyer, Dimitri Chostakovitch (Fayard,
1994), pp. 201–2; and LFS, pp. 84–85.
236 “make use of all”: Boris Schwarz, Music and Musical Life in Soviet Russia,
1917–1970 (Norton, 1972), p. 144.
236 “sick at heart”: EWS, p. 129.
236 “From the first moment”: LFS, pp. 84–85.
236 New Year’s Eve: Harlow Robinson, Sergei Prokofiev: A Biography
(Northeastern UP, 2002), pp. 309–10.
443
238 “official” or dissident: The main controversy around Shostakovich is the
debate set off by Solomon Volkov’s book Testimony: The Memoirs of Dmitri
Shostakovich (Harper and Row, 1979), which purports to be the composer’s
autobiography and portrays him as a dissident or “holy fool.” That thesis was
expanded in Ian MacDonald, The New Shostakovich (Northeastern UP, 1990);
and in Allan B. Ho and Dmitry Feofanov, Shostakovich Reconsidered (Toccata,
1998). But two essays by Laurel E. Fay—“Shostakovich Versus Volkov: Whose
Testimony?” (1980), reprinted in A Shostakovich Casebook, ed. Malcolm
Hamrick Brown (Indiana UP, 2004), pp. 11–21; and “Volkov’s Testimony
Reconsidered,” also in Shostakovich Casebook, pp. 22–66—have established
that Testimony is a fraudulent document. For more information, see
www.therestisnoise.com/2004/07/the_case_of_the.html.
238 “There are those”: Brecht wrote these lines in 1930 for G. W. Pabst’s film of
The Threepenny Opera.
238 May Day colors: Sheila Fitzpatrick, The Commissariat of Enlightenment:
Soviet Organization of Education and the Arts Under Lunacharsky, October
1917–1921 (Cambridge UP, 1970), p. 126.
238 “I can’t listen”: Robert Payne, The Life and Death of Lenin (Simon and
Schuster, 1964), p. 249.
239 “old aesthetic junk”: Fitzpatrick, Commissariat of Enlightenment, p. 121.
239 “Spit on rhymes”: Vladimir Mayakovsky, “Order No. 2 to the Army of the
Arts” (1921), in The Bedbug and Selected Poetry, trans. Max Hayward and
George Reavey (Indiana UP, 1975), pp. 147–48.
240 Symphony for Factory Whistles: Amy Nelson, Music for the Revolution:
Musicians and Power in Early Soviet Russia (Penn State UP, 2004), pp. 27–28.
240 “Let the worker hear”: Fitzpatrick, Commissariat of Enlightenment, p. 134.
Said in 1918.
240 Bulgakov and Zoshchenko: See Edvard Radzinsky, Stalin, trans. H. T.
Willetts (Doubleday, 1996), pp. 261 and 524.
240 fine tenor voice: Simon Sebag Montefiore, Stalin: The Court of the Red
Tsar (Weidenfeld and Nicolson, 2003), p. 73.
240 “good,” “so-so”: Roy A. Medvedev and Zhores A. Medvedev, The Unknown
Stalin: His Life, Death, and Legacy, trans. Ellen Dahrendorf (Tauris, 2003), p.
92.
241 “sharp, unbearably explicit”: Nadezhda Mandelstam, Hope Against Hope: A
Memoir, trans. Max Hayward (Atheneum, 1970), p. 4.
241 “Our mysterious awe”: Ibid., p. 85.
241 “It seemed to you”: LFS, p. 121.
242 Glazunov: Ibid., p. 292.
242 Funeral March: Ibid., p. 12.
242 burst out laughing: Ibid., p. 36.
242 “’Art belongs’”: Michael Ardov, Memories of Shostakovich, trans. Rosanna
Kelly and Michael Meylac (Short, 2004), pp. 88–89.
444
242 poison gas: See Arno J. Mayer, The Furies: Violence and Terror in the
French and Russian Revolutions (Princeton UP, 2000), p. 395; and Alexander
Yakovlev, A Century of Violence in Soviet Russia, trans. Anthony Austin (Yale
UP, 2002), p. 90.
242 “a man of great”: IGSF, p. 216.
243 Moscow offer: “Shostakovich: Letters to His Mother,” trans. Rolanda
Norton, in Shostakovich and His World, ed. Laurel E. Fay (Princeton UP, 2004),
p. 16.
243 Yavorsky: See Gordon D. McQuere, “The Theories of Boleslav Yavorsky,”
in Russian Theoretical Thought in Music, ed. Gordon D. McQuere (UMI
Research Press, 1983), pp. 109–64.
243 Berg letter: LFS, p. 39.
243 commission of Second Symphony: Ibid., pp. 39–40.
244 Berlin influence: In “Responses of Shostakovich to a Questionnaire on the
Psychology of the Creative Process” (1927), trans. Malcolm Hamrick Brown, in
Fay, Shostakovich and His World, pp. 29–30, Shostakovich mentions the
influence of Schoenberg, Bartók, Hindemith, and Krenek.
244 New Babylon: See Richard Taylor and Ian Christie, eds., Inside the Film
Factory: New Approaches to Russian and Soviet Cinema (Routledge, 1991), p.
180.
244 “The first experiments”: Sergei Eisenstein, Vsevolod Pudovkin, and Grigori
Aleksandrov, “Statement on Sound,” in The Film Factory: Russian and Soviet
Cinema in Documents, 1896–1939, ed. Richard Taylor and Ian Christie
(Harvard UP, 1988), pp. 234–35.
245 “The Song of the Counterplan”: For more on Shostakovich’s film music, see
John Riley, Dmitri Shostakovich: A Life in Film (Tauris, 2005).
246 flute to his buttocks: EWS, p. 93.
246 Union of Soviet Composers: Ibid., pp. 79–81, and LFS, p. 65.
246 “engineers of human souls”: Tovah Yedlin, Maxim Gorky: A Political
Biography (Praeger, 1999), p. 199.
246 “tragedies and conflicts”: Pauline Fairclough, “The ‘Perestroyka’ of Soviet
Symphonism: Shostakovich in 1935,” Music & Letters 83:2 (May 2002), p. 262.
246 “typical master kulak,” “future kulak”: Dmitri Shostakovich, “About My
Opera,” in Victor Seroff, Dmitri Shostakovich: The Life and Background of a
Soviet Composer (Knopf, 1943), pp. 254 and 253.
247 “In Lady Macbeth I wanted”: David Fanning, notes to Myung Whun-Chung’s
recording of Lady Macbeth (DG 437 511–2), p. 15.
247 “petty,” “vulgar”: Shostakovich, “About My Opera,” pp. 250–55.
247 three million people: Robert Conquest, The Harvest of Sorrow: Soviet
Collectivization and the Terror-Famine (Oxford UP, 1986), pp. 305–6.
247 Katerina and Nina: Vishnevskaya, Galina, p. 351.
248 “[Shostakovich] was thirsting”: EWS, p. 110.
445
248 Gavriil Popov: Laurel E. Fay, “Found: Shostakovich’s Long-Lost Twin
Brother,” New York Times, April 6, 2003; Pauline Fairclough, A Soviet Credo:
Shostakovich’s Fourth Symphony (Ashgate, 2006), pp. 43–45; and Victor
Tsaritsyn, “This Strong, Brilliant Gift …,” Neva, September 2004. The author is
grateful to Chris Lovett for bringing Tsaritsyn’s article to his attention and for
making a translation.
248 “rebuses and riddles”: Leonid Maximenkov, “Stalin and Shostakovich:
Letters to a ‘Friend,’” in Fay, Shostakovich and His World, p. 48.
249 “We had to begin”: Joshua Kunitz, “The Shostakovich ‘Affair,’” New
Masses, June 9, 1936, p. 18.
249 “It has to be there”: LFS, p. 87; IGSF, p. 214.
250 “There’s no need”: Andrei Artizov and Oleg Naumov, eds., Vlast’ i
khudozhestvennaia intelligentsiia: Dokumenty TsK RKP(b)- VKP(b), VChK-
OGPU-NKVD o kul’turnoi politike, 1917–1953 gg. (Demokratiia, 1999), pp. 290–
95. Translation by Alex Abramovich. Abram Lezhnev was the pen-name of
Abram Garelik.
251 Meyerhold’s defense: LFS, p. 91. For Meyerhold attending Lady Macbeth,
see Meyer, Dimitri Chostakovitch, p. 201.
251 “All that the Pravda”: Maxim Gorky: Selected Letters, ed. and trans. Andrew
Barratt and Barry P. Scherr (Clarendon, 1997), p. 366.
251 “as a gardener cultivates”: Joseph Stalin et al., Soviet Union, 1935 (Co-
operative Publishing Society of Foreign Workers in the U.S.S.R., 1935), p. 13.
251 “To my question”: Memo from Kerzhentsev to Stalin and Molotov, Feb. 7,
1936, in Artizov and Naumov, Vlast’ i khudozhestvennaia intelligentsiia, p. 289.
Translation by Alex Abramovich.
251 waiting by the phone: LFS, p. 91.
251 “I am living”: Lyudmila Mikheyeva-Sollertinskaya, “Shostakovich As
Reflected in His Letters to Sollertinsky,” in Shostakovich in Context, ed.
Rosamund Bartlett (Oxford UP, 2000), p. 76.
252 Tukhachevsky sweating: IGSF, p. 215.
252 other relatives: LFS, p. 98; EWS, pp. 145–46.
252 bloodstains on several pages: Robert Conquest, The Great Terror: A
Reassessment (Oxford UP, 1990), p. 200.
252 “enemies of the people”: For the use of this phrase in connection with
Shostakovich, see Henry Orlov, “A Link in the Chain,” in Brown, Shostakovich
Casebook, p. 197.
253 “The authorities tried”: IGSF, p. 194.
253 Bukharin: For more on the Fourth’s relationship with the less restrictive,
Gorky-Bukharin definition of socialist realism, see Fairclough, “‘Perestroyka’ of
Soviet Symphonism,” p. 262.
254 Fairclough hears: Fairclough, Soviet Credo, p. 205.
254 Taruskin points out: Richard Taruskin, Defining Russia Musically: Historical
and Hermeneutical Essays (Princeton UP, 1997), p. 493.
446
254 set to work on the finale: LFS, p. 93; second movement is finished on Jan.
6, 1936.
255 “I didn’t like the situation”: Ibid., p. 96. For “diabolical complexity,” see
IGSF, p. xxiii.
255 “If I have really succeeded”: Taruskin, Defining Russia Musically, pp. 523–
24.
255 “’Heroic’ Symphony”: Maxim Shostakovich, “Six Lectures on the
Shostakovich Symphonies,” trans. John-Michael Albert, in Ho and Feofanov,
Shostakovich Reconsidered, p. 408.
256 Benditsky: EWS, p. 153.
256 “separation call”: Jaak Panksepp and Günther Bernatzky, “Emotional
Sounds and the Brain: The Neuroaffective Foundations of Musical
Appreciation,” Behavioural Processes 60 (2002), p. 143.
257 “An artist-barbarian”: Translation by Alex Abramovich. Ironically, the
quotation was first pointed out by the Soviet writer David Rabinovich, who cited
the final lines as evidence that Shostakovich was depicting his own rebirth in
the arms of Soviet society. See David Rabinovich, Dmitry Shostakovich
(Lawrence and Wishart, 1959), p. 49.
258 “remarkable,” “bad,” “D-major,” “tedious”: LFS, pp. 99 and 103.
258 “expressionist etching”: Taruskin, Defining Russia Musically, pp. 527–28.
258 “determination of a strong man”: Shostakovich, “Six Lectures on the
Shostakovich Symphonies,” p. 409.
258 Lyubov Shaporina: For Shaporina’s diary, see Véronique Garros, Natalia
Korenevskaya, and Thomas Lahusen, eds., Intimacy and Terror: Soviet Diaries
of the 1930s, trans. Carol A. Flath (New Press, 1995), p. 356; for other details,
see EWS, p. 126.
258 “You know”: Taruskin, Defining Russia Musically, p. 482.
259 football guard: Robinson, Sergei Prokofiev, p. 145.
259 St. Petersburg Conservatory: For more, see Prokofiev by Prokofiev, ed.
David H. Appel, trans. Guy Daniels (Doubleday, 1979), pp. 99–318.
260 “sensation you get”: Bruno Monsaingeon, Sviatoslav Richter: Notebooks
and Conversations, trans. Stewart Spencer (Princeton UP, 2001), p. 71.
260 David Nice notes: See David Nice, Prokofiev: From Russia to the West,
1891–1935 (Yale UP, 2003), p. 135.
260 “in Russia we also”: Stephen Press, “Prokofiev’s Vexing Entry into the
USA,” Three Oranges Journal 6 (Nov. 2003), pp. 22–26.
261 Christian Science: Nice, Prokofiev, pp. 206–7.
261 “frightfully desires”: Ibid., p. 200.
262 “new simplicity”: Interview with Los Angeles Evening Express, Feb. 19,
1930, quoted by Alexander Ivashkin in his notes to Valeri Polyansky’s recording
of On the Dnieper (Chandos 10044), p. 5.
263 OGPU and Prokofiev: Radzinsky, Stalin, pp. 229–30.
447
263 signs of surveillance: See Sergei Prokofiev, Soviet Diary 1927 and Other
Writings, ed. and trans. Oleg Prokofiev (Northeastern UP, 1992), pp. 43–44.
263 five main lines: Ibid., pp. 248–49.
264 Songs of Our Days: Robinson, Sergei Prokofiev, p. 341.
264 the opening melody: Philip Taylor, liner notes to Valeri Polyansky’s
recording of On the Dnieper and other works (Chandos 10056).
265 “Daddy!”: Robinson, Sergei Prokofiev, p. 370.
265 Working with Eisenstein: See Yon Barna, Eisenstein (Indiana UP, 1973), p.
215; Léon Moussinac, Sergei Eisenstein (Crown, 1970), p. 99; Marie Seton,
Sergei M. Eisenstein (Dennis Dobson, 1978), p. 385.
266 346 death sentences: Montefiore, Stalin, p. 287.
266 “behind this mask”: Nabokov, Old Friends and New Music, p. 180. 266
“That’s nice bait”: Vernon Duke, Passport to Paris (Little, Brown, 1955), p. 367.
266 “I ought to have gone”: Fyodor Dostoevsky, The Gambler, trans. Constance
Garnett, in Great Short Works of Fyodor Dostoevsky (HarperCollins, 2004), p.
400.
266 “Should I forget”: Prokofiev, Soviet Diary, pp. 8 and 9.
267 “A blizzard is raging”: IGSF, p. 23. See also Pis’ma k drugu : Dmitrii
Shostakovich—Isaaku Glikmanu (DSCH/Kompositor, 1993), p. 62.
267 means the opposite: IGSF, p. 249.
267 “Everything is so fine”: Ibid., p. 39.
267 “I’m feeling fine”: Ibid., p. 293.
268 fire brigade: Dmitri Sollertinsky and Ludmilla Sollertinsky, Pages from the
Life of Dmitri Shostakovich, trans. Graham Hobbs and Charles Midgley
(Harcourt Brace Jovanovich, 1980), p. 98; Manashir Yakubov, preface to Dmitri
Shostakovich, Symphony No. 7, “Leningrad,” Op. 60 (1941): Facsimile Edition
of the Manuscript (Zen-On Music Company, 1992), pp. 7–8; Seroff, Dmitri
Shostakovich, p. 236.
268 staging of the photo: LFS, p. 123.
268 “Our art is threatened”: Harrison E. Salisbury, The 900 Days: The Siege of
Leningrad (Pan, 2000), pp. 283–84; and LFS, p. 125.
268 For several composer friends: Salisbury, 900 Days, p. 298.
268 Talk of the Town: “Symphony,” New Yorker, July 18, 1942.
268 “Amid bombs”: “Fireman Shostakovich,” Time, July 20, 1942.
268 August 9, 1942: Details drawn from LFS, pp. 132–33; Galina Stolyarova,
“Remembering an Orchestra That Played on Through the Horrific Siege of
Leningrad,” St. Petersburg Times, Feb. 5, 2004; and Ed Vulliamy, “Orchestral
Manoeuvres,” Observer, Nov. 25, 2001.
269 “The exposition”: Yakubov, preface to Dmitri Shostakovich, Symphony No.
7, pp. 8–9, dated Oct. 9, 1941. See also “Leningrad Calling,” New Masses, Oct.
28, 1941.
269 “all forms of terror”: EWS, p. 185.
448
269 “invasion episode”: Yakubov, preface to Dmitri Shostakovich, Symphony
No. 7, p. 81.
270 “One had the feeling”: Fyodor Dostoevsky, The Devils, trans. David
Magarshack (Penguin, 1971), pp. 326–27.
270 “Surely it is”: Beyond the Stars: The Memoirs of Sergei Eisenstein, ed.
Richard Taylor, trans. William Powell (Seagull, 1995), pp. 345–46. Some time
later the literary critic Abram Gozenpud asked Shostakovich whether he had the
Dostoevsky episode in mind in writing the Leningrad, and the composer
answered that he was not thinking of it consciously but did not reject the
possibility. See EWS, p. 520.
271 “And over forests”: Complete Poems of Anna Akhmatova, pp. 575–76. See
also explanatory notes on pp. 580 and 847. Although Akhmatova’s notes can be
taken as saying that the poet herself carried out a manuscript of the
symphony—“the first part [movement] of the symphony was taken by the author
in a plane from the besieged city (1.X.1941)”—Laurel Fay doubts that such a
thing happened (communication to author). It seems more likely that the
“author” is Shostakovich.
272 “Ivan … was very cruel”: Montefiore, Stalin, p. 483.
273 “When Prokofiev stood up”: Monsaingeon, Sviatoslav Richter, p. 89. See
also “Composer, Soviet-Style,” Time, Nov. 19, 1945.
273 “A very pleasant place”: Harrison E. Salisbury, “Visit with Dmitri
Shostakovich,” New York Times, Aug. 8, 1954.
273 “All of this made me”: Maximenkov, “Stalin and Shostakovich,” p. 43.
274 anthem: Ibid., p. 51.
274 Order of Lenin: See LFS, p. 153, for some of these other posts and prizes.
For the conservatory, see David Fanning, “Shostakovich and His Pupils,” in
Fay, Shostakovich and His World, p. 278.
274 plush lifestyle: For more on the economic roots of the 1948 campaign, see
Maximenkov, “Stalin and Shostakovich,” pp. 51–52; and Kiril Tomoff, Creative
Union: The Professional Organization of Soviet Composers, 1939–1953
(Cornell UP, 2006), pp. 97–151.
274 gone on vacation: LFS, p. 152; and IGSF, pp. 241–42.
275 “The Pianist”: Montefiore, Stalin, pp. 122 and 482. But Shostakovich denied
the story that Zhdanov played the piano for the composers.
275 Quotations from Zakharov, Khrennikov, and others: Alexander Werth,
Musical Uproar in Moscow (Turnstile, 1949), pp. 54, 57, 55, 73, 69.
276 Prokofiev is said: For some of these accounts, see Robinson, Sergei
Prokofiev, p. xvi; Meyer, Dimitri Chostakovitch, pp. 306–7; Alfred Schnittke, “On
Prokofiev,” in A Schnittke Reader, ed. Alexander Ivashkin, trans. John Goodliffe
(Indiana UP, 2002), p. 63.
276 “Comrade Zakharov”: Werth, Musical Uproar in Moscow, p. 62.
276 “I envy him”: EWS, p. 260.
449
277 forty-two works: Order No. 17 of the Chief Directorate for Inspection of
Programs and Repertory of the Committee for Artistic Affairs of the U.S.S.R.
Soviet of Ministers Moscow, Feb. 14, 1948. Translation courtesy of Laurel Fay.
277 insincerity was obvious: EWS, p. 235; and Werth, Musical Uproar in
Moscow, pp. 95–96.
277 “unwittingly”: NMS, p. 1065.
277 “I am prepared”: Robinson, Sergei Prokofiev, p. 458.
277 chilling coincidence: Simon Morrison’s communication to author. Morrison
has assembled evidence showing that Prokofiev was in reasonably good health
in February 1948, contrary to the claim in his letter.
278 “All the resolutions”: NMS, p. 1063.
279 “conspiracy of silence”: LFS, p. 161.
279 thrust into his hands: EWS, p. 335; and LFS, pp. 320–21 n. 70.
279 “I read like the most”: EWS, p. 335.
279 “O Lord, if only”: Christopher Barnes, Boris Pasternak: A Literary
Biography, Volume 2: 1928–1960 (Cambridge UP, 1998), p. 252.
279 “The violin played semiquavers”: EWS, p. 245.
279 “Thank you”: See EWS, pp. 212–14; Ardov, Memories of Shostakovich, pp.
69–73; and LFS, p. 172.
280 “You supported me”: Maximenkov, “Stalin and Shostakovich,” p. 55.
280 breathe again: Nelly Kravetz, “A New Insight into the Tenth Symphony of
Dmitri Shostakovich,” in Bartlett, Shostakovich in Context, p. 170.
280 “most successful”: NSM, p. 545.
280 “ultimate Stalinist film”: Peter Kenez, Cinema and Soviet Society from the
Revolution to the Death of Stalin (Tauris, 2001), p. 232.
280 burst into tears: LFS, p. 175.
281 “an extraordinarily good opera”: See Lion Feuchtwanger, Moskau 1937: Ein
Reisebericht für meine Freunde (Aufbau, 1993),p. 48.
281 Pathétique: Compare bars 221ff. of Tchaikovsky’s third movement with
Shostakovich’s finale after bar 204.
282 Sabinina: EWS, p. 336.
282 Prokofiev’s body: Monsaingeon, Sviatoslav Richter, p. 4; Rostislav
Dubinsky, Stormy Applause: Making Music in a Worker’s State (Hill and Wang,
1989), pp. 34–44; Ardov, Memories of Shostakovich, p. 92; Michel Dorigné,
Serge Prokofiev (Fayard,1994), pp. 712–13; Georges Bartoli, The Death of
Stalin (Praeger, 1975), p. 162; and Schnittke, “On Prokofiev,” pp. 65–66.
283 “I wish you”: “Prokofiev’s Correspondence with Stravinsky and
Shostakovich,” trans. Natalia Rodriguez and Malcolm Hamrick Brown, in
Slavonic and Western Music: Essays for Gerald Abraham, ed. Malcolm Hamrick
Brown and Roland J. Wiley (UMI Research Press), p. 285. See also
Rostropovich’s interview with Manashir Yakubov, in Brown, Shostakovich
Casebook, p. 147, for Shostakovich’s admiration for the Sinfonia Concertante.
450
8: Music for All
284 “I was driven”: ASSI, p. 502. For the Ford car, see Schoenberg to W. D.
Dunham, Nov. 2, 1934, ASC.
284 “IF HITLER”: Meyer Weisgal, … So Far: An Autobiography (Random
House, 1971), p. 116.
285 “highbrow” and “lowbrow”: James Hoopes, Van Wyck Brooks: In Search of
American Culture (University of Massachusetts Press, 1977), pp. 99–100.
285 ninety-five million people: Report of Mr. Hopkins, April 4, 1938,
Correspondence of Harry L. Hewes, 1936–40, FMP.
286 “The great mass of people”: Marc Blitzstein, “Coming—the Mass
Audience!,” Modern Music 13:4 (May-June 1936), pp. 23 and 25.
287 ten million: Donald C. Meyer, “The NBC Symphony Orchestra” (Ph.D. diss.,
University of California at Davis, 1994), p. 157.
287 twenty million records: Joseph Horowitz, Understanding Toscanini: A Social
History of American Concert Life (University of California Press, 1994), p. 277.
287 film of Don Juan: Donald Crafton, The Talkies: American Cinema’s
Transition to Sound, 1926–1931 (University of California Press, 1999), pp. 72–
82.
287 government takeover: See Hugh Richard Slotten, Radio and Television
Regulation: Broadcast Technology in the United States, 1920–1960 (Johns
Hopkins UP, 2000), pp. 1–67.
288 “radio music box”: Looking Ahead: The Papers of David Sarnoff (McGraw-
Hill, 1968), pp. 31–33. For more on Sarnoff, see Carl Dreher, Sarnoff: An
American Success (Quadrangle, 1977); and Evan I. Schwartz, The Last Lone
Inventor: A Tale of Genius, Deceit, and the Birth of Television (HarperCollins,
2002).
288 “I regard radio”: Schwartz, Last Lone Inventor, p. 66.
288 Ohio State … Lotte Lehmann: See broadcasts of Oct. 1 and 2, as reported
in Time, Oct. 3, 1938.
288 “Toscanini’s Hep Cats”: Donald C. Meyer, “Toscanini and the NBC
Symphony Orchestra: High, Middle, and Low Culture, 1937–1954,” in
Perspectives on American Music, 1900–1950, ed. Michael Saffle (Garland,
2000), p. 306.
288 “Wagner, Beethoven, Bach”: “The Messenger Boy,” New York Times,
March 7, 1938.
288 six native works: Horowitz, Understanding Toscanini, p. 133.
289 “Dee next Beethoven”: HPAC, p. 122.
289 85 premieres: H. Earle Johnson, Symphony Hall, Boston (Little, Brown,
1950), p. 163.