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451
289 would not be renewed: Horowitz, Understanding Toscanini, p. 176; Virgil
Thomson, Music Reviewed, 1940–1954 (Vintage, 1967), p. 111; and Meyer,
“The NBC Symphony Orchestra,” pp. 242–44.
289 “It is highly doubtful”: Theodor W. Adorno, in Essays on Music, ed. Richard
Leppert, trans. Susan H. Gillespie (University of California Press, 2002), p. 268.
290 Ott & Pfaffle’s: “Early Dallas Hotels,”
freepages.history.rootsweb.com/∼jwheat/adairtoc.html (accessed Dec. 1,
2003).
290 Jesse James: ACVP, p. 3. A possible problem with this tale is that Frank
James worked in Dallas only from about 1885 on, after his criminal career had
ended.
290 “simply drab”: ACR, p. xix.
290 “When we were finally”: ACVP, p. 130. For more on the relationship
between Gershwin and Copland, see Carol J. Oja, “Gershwin and American
Modernists of the 1920s,” Musical Quarterly 78:4 (Winter 1994), pp. 656–58.
291 Swedish Ballet: Copland, in ACVP, p. 44. For other events attended, see
ACVP, p. 91; “My First Trip Abroad,” ACLC; and Gail Levin and Judith Tick,
Copland’s America: A Cultural Perspective (Watson-Guptill, 2000), pp. 136–77.
For Joyce and Le Boeuf, see ACVP, p. 75.
291 hearing Copland bang out: Aaron Copland, Copland on Music (Doubleday,
1960), p. 74; Léonie Rosenstiel, Nadia Boulanger: A Life in Music (Norton,
1982), p. 162.
292 “The day of the neglected”: “America’s Young Men of Promise,” in Copland,
Copland on Music, p. 151.
292 “filthy bunch of Juilliard Jews”: 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. 169.
292 “commando unit”: Virgil Thomson, Virgil Thomson (Dutton, 1985), p. 254.
624292 “It began, I suppose”: Aaron Copland, “Jazz Structure and Influence,” in
ACR, p. 84.
292 Pollack observes: HPAC, pp. 129–30.
293 “harsh and solemn”: Paul Rosenfeld, Discoveries of a Music Critic (Vienna
House, 1972), p. 334. 6.93: HPAC, p. 90.
293 “I might force myself”: Diary of 1927, ACLC.
293 “How does one deepen”: Diary, Christmas Day 1930, ACLC.
294 without indoor plumbing: David M. Kennedy, Freedom from Fear: The
American People in Depression and War, 1929–1945 (Oxford UP, 1999), p. 16.
On populism, see Michael Kazin, The Populist Persuasion: An American History
(Cornell UP, 1998).
294 “open mind”: Michael Denning, The Cultural Front: The Laboring of
American Culture in the Twentieth Century (Verso, 1997), p. 4.
294 “Communism is”: Ibid., p. 129.
295 Denning argues: Ibid., p. 10.
452
295 “Don’t worry”: Joshua Kunitz, “Stairway That Leads Nowhere,” New
Masses, May 5, 1936, p. 21.
295 “Based not on my words”: Andrew Hemingway, Artists on the Left:
American Artists and the Communist Movement, 1926–1956 (Yale UP, 2002),
p. 105.
295 “foremost revolutionary”: Hanns Eisler, A Rebel in Music: Selected Writings,
ed. Manfred Grabs (International Publishers, 1978), p. 15.
296 “dealers in narcotics”: Ibid., p. 115.
296 “the modern composer”: Ibid., p. 112.
296 “dissonant counterpoint”: Charles Seeger, “Manual of Dissonant
Counterpoint,” in Studies in Musicology II, 1929–1979, ed. Ann M. Pescatello
(University of California Press, 1994), pp. 163–228. On Crawford, see Joseph
N. Straus, The Music of Ruth Crawford Seeger (Cambridge UP, 1995); David
Nicholls, American Experimental Music, 1890–1940 (Cambridge UP, 1990); and
Judith Tick, Ruth Crawford Seeger: A Composer’s Search for American Music
(Oxford UP, 1997).
296 “combination of simplicity”: Tick, Ruth Crawford Seeger, p. 254.
297 “can’t compose symphonies”: Ibid., p. 200.
297 “first great individualist”: Margaret Brenman-Gibson, Clifford Odets,
American Playwright: The Years from 1906 to 1940 (Atheneum, 1981), p. 171.
298 “the corruption of legal systems”: ACVP, p. 234.
298 Clurman plausibly heard: Harold Clurman to Copland, Oct. 25, 1947,
ACLC.
298 “from ivory tower”: Ibid., p. 223.
298 “We learned to know”: Sept. 1934 letter to Israel Citkowitz, ACLC.
299 “At last I have found”: Sept. 5, 1932, letter to the Koussevitzkys, ACLC.
299 José Vasconcelos: David Craven, Art and Revolution in Latin America,
1910–1990 (Yale UP, 2002), pp. 25–32.
299 El Salón and Variations: Michael Tilson Thomas, lecture/recital at Zankel
Hall, Nov. 19, 2003. Compare the music at 6 in Piano Variations, and also bar
10 of the Coda.
299 “rural peasants”: Elizabeth Crist, Music for the Common Man: Aaron
Copland During the Depression and War (Oxford UP, 2005), p. 59.
300 “workers’ music”: ACVP, p. 224.
300 “Shake the midtown towers”: “Into the Streets May First,” New Masses,
May 1, 1934, pp. 16–17.
300 balalaikas and mandolins: Ashley Pettis, “Second Workers’ Music
Olympiad,” New Masses, May 22, 1934, pp. 28–29. ACVP, p. 226, implies that
the entire eight-hundred-strong complement of choruses performed the piece,
but according to Pettis they were not able to come together to rehearse.
300 advised David Diamond: HPAC, p. 190.
300 “plain unpretentious person”: Charles Seeger, “Grass Roots for American
Composers,” Modern Music 16:3 (March-April 1939), p. 148.
453
300 “Those young people”: Aaron Copland, “A Note on Young Composers,” in
ACR, p. 216.
301 Walter Noble Burns: HPAC, pp. 316–17; Walter Noble Burns, The Saga of
Billy the Kid (University of New Mexico Press, 1999).
302 Scottsboro Boys: See Beth E. Levy, “From Orient to Occident: Aaron
Copland and the Sagas of the Prairie,” in Aaron Copland and His World, ed.
Carol J. Oja and Judith Tick (Princeton UP, 2005), pp. 307–49. In 1967 Copland
renamed the piece Prairie Journal.
302 “Roosevelt was willing”: Richard D. McKinzie, The New Deal for Artists
(Princeton UP, 1973), p. x. See also Joseph P. Lash, Eleanor and Franklin
(Norton, 1971), p. 407.
303 “responsibility toward art”: Allida M. Black, ed., Courage in a Dangerous
World: The Political Writings of Eleanor Roosevelt (Columbia UP, 1999), p. 26.
303 “Gospel Train”: Allan Keiler, Marian Anderson: A Singer’s Journey
(University of Illinois Press, 2002), p. 165.
303 funding for WPA, FMP: George Foster, Record of the Operation and
Accomplishments of the Federal Music Project, June 1943, FMP.
303 quantities for FMP: Report on FMP, March 17, 1939, Hearings on H.J. Res.
83, Subcommittee of the Committee on Appropriations, House of
Representatives, 76th Cong., 1st sess., Congressional Record, pp. 113–14. For
more on the FMP, see Kenneth J. Bindas, All of This Music Belongs to the
Nation: The WPA’s Federal Music Project and American Society (University of
Tennessee Press, 1995).
303 “When the arts flourished”: Eleanor Roosevelt, “My Day,” Nov. 1, 1939.
304 “social revolution”: George Biddle, An American Artist’s Story (Little, Brown,
1939), p. 268. For Biddle’s background, see Hemingway, Artists on the Left, p.
60.
304 “despondent theme”: “Public Buildings May Get New Deal Art; Roosevelt
Favors Murals Instead of Scrolls,” New York Times, April 26, 1934.
304 “both slavery”: McKinzie, New Deal for Artists, p. 31.
304 “Through the program”: Feb. 1, 1937, release, Correspondence of Harry L.
Hewes, project supervisor, with the division liaison officer of the Division of
Professional and Service Projects, July 1936-Dec. 1939, box 29: 1936–1937,
entry 815, FMP.
304 “This was opera”: Quoted in Hewes’s memo of Aug. 20, 1936, box 29, as
above.
304 “sissy stuff”: New York Evening Journal, Nov. 30, 1936, box 29, as above.
304 “For the first time”: Dean Richardson to Nikolai Sokoloff, April 8, 1938,
Monthly Narrative Reports, box 5: MI-RI 1938, entry 805, FMP.
304 “The highlight”: Report of the Federal Music Teaching Project of Oklahoma,
May 1 to 31, 1938, Monthly Narrative Reports, box 5: MI-RI 1938, entry 805,
FMP.
305 “A technic has been perfected”: Oct. 6, 1936, press release on Composers’
Forum-Laboratories, Correspondence of Harry L. Hewes with the division
454
liaison officer of the Division of Professional and Service Projects, July 1936-
Dec. 1939, box 29: 1936–1937, entry 815, FMP.
305 “a very great virile music”: Transcript dated Oct. 30, 1935, NYC
Composers’ Forum, box 1 General, F1-Y, Composers’ Forum Records, FMP.
305 “hewed by hand”: “Log Cabin Composer,” Time, Nov. 11, 1935.
306 “If I had pitchers”: Nicolas Slonimsky, “Roy Harris: The Story of an
Oklahoma Composer Who Was Born in a Log Cabin on Lincoln’s Birthday,” in A
Celebration of American Music: Words and Music in Honor of H. Wiley
Hitchcock, ed. Richard Crawford, R. Allen Lott, and Carol J. Oja (University of
Michigan Press, 1990), p. 314.
306 “the conception of art”: “Is This the Time and Place?,” speech delivered
Oct. 8, 1935, Records of the Federal Theatre Project, Library of Congress. For
more on Flanagan, see her memoir Arena (Duell, Sloan and Pearce, 1940).
307 “Franco-Russian pretty music”: Eric A. Gordon, Mark the Music: The Life
and Work of Marc Blitzstein (St. Martin’s, 1989), p. 28.
307 “little more than drivel”: Ibid., p. 41.
307 “write a piece”: Ibid., p. 113. For good readings of The Cradle Will Rock,
see Geoffrey Block, Enchanted Evenings: The Broadway Musical from “Show
Boat” to Sondheim (Oxford UP, 1997); and Raymond Knapp, The American
Musical and the Formation of National Identity (Princeton UP, 2005).
308 feared outbreaks of violence: Frank Brady, Citizen Welles: A Biography of
Orson Welles (Scribner, 1989), p. 114; Gordon, Mark the Music, pp. 140–41.
309 “You can’t imagine”: Barbara Learning, Orson Welles: A Biography
(Limelight, 1995), p. 130.
309 “It don’t sound wicked”: Anthony Tommasini, Virgil Thomson: Composer on
the Aisle (Norton, 1997), pp. 276–77.
309 violently percussive: Thomson, Virgil Thomson, p. 264. For “hysterical,” see
Denning, Cultural Front, p. 369. See also Brooks Atkinson, “WPA Journalism,”
New York Times, July 25, 1936.
310 hostile judicial rulings: In May 1936, the Court of Appeals for the District of
Columbia ruled the Resettlement Administration unconstitutional. See “Jersey
Housing Halted,” New York Times, May 19, 1936.
310 “The water comes”: Pare Lorentz, “The River,” in The New Deal: A
Documentary History, ed. William E. Leuchtenburg (University of South Carolina
Press, 1968), pp. 131 and 135.
310 “The German Führer”: Tommasini, Virgil Thomson, p. 288.
310 five men: Thomson, Virgil Thomson, p. 254.
310 “The luxury-trade”: Virgil Thomson, “In the Theatre,” Modern Music 15:2
(Jan.—Feb. 1938), p. 114.
311 Toscanini was listening: Barbara B. Heyman, Samuel Barber: The
Composer and His Music (Oxford UP, 1992), p. 122. See also p. 539 n. 4.
311 “grotesque harlequinade”: R. D. Darrell, “Sights and Sounds,” New Masses,
April 27, 1937.
455
311 “’authentic,’ dull”: “From the Mail Pouch,” New York Times, Nov. 13, 1938.
311 absolute sincerity: Heyman, Samuel Barber, p. 174.
312 “essential innerlich notwendig”: Nov. 1932 letter, in The Correspondence of
Roger Sessions, ed. Andrea Olmstead (Northeastern UP, 1992), p. 191.
312 “the socialist idea”: David Drew, Kurt Weill: A Handbook (University of
California Press, 1987), p. 295.
313 “I don’t give a damn”: David Farneth, Elmar Juchem, and Dave Stein, eds.,
Kurt Weill: A Life in Pictures and Documents (Overlook, 2000), p. 196.
313 “open-air spirit”: Richard Crawford, America’s Musical Life: A History
(Norton, 2001), p. 680. The resemblance to Rodeo was noted by Harold
Clurman in a June 24, 1943, letter in ACLC, box 251: “dance by Agnes de Mille
à la Rodeo.”
314 “one more link”: “Theatre Project Faces an Inquiry,” New York Times, July
27, 1938.
314 American Federation of Musicians: See “Teachers Fear Socialization of
Music by WPA,” New York Herald Tribune, April 17, 1936.
314 “encouraging art”: McKinzie, New Deal for Artists, p. 186.
314 “a new art”: David Gelernter, 1939: The Lost World of the Fair (Free Press,
1995), p. 167.
315 “Mr. Copland Here”: Robert A. Simon, “Mr. Copland Here, There, and at the
Fair,” New Yorker, June 3, 1939, pp. 69–71.
315 “Hollywood is an extraordinary”: ACVP, p. 298.
316 “Paradise and hell”: Fünf Elegien, No. 4.
316 “The man who insists”: Aaron Copland, “Second Thoughts on Hollywood,”
in ACR, p. 111.
316 mad for music: For a good commentary on Hollywood’s movies about
classical composers and musicians, see John C. Tibbetts, Composers in the
Movies: Studies in Musical Biography (Yale UP, 2005).
316 Boris Morros: See Allen Weinstein and Alexander Vassiliev, The Haunted
Wood: Soviet Espionage in America—the Stalin Era (Random House, 1999),
pp. 118–25; and Boris Morros, My Ten Years as a Counterspy (Viking, 1959).
317 “What that awful music”: Gore Vidal, Point to Point Navigation (Doubleday,
2006), p. 107.
317 “loathing of the present”: Royal S. Brown, Overtones and Undertones:
Reading Film Music (University of California Press, 1994), p. 71.
317 squealing rat: Theodor W. Adorno and Hanns Eisler, Composing for the
Films (Athlone, 1994), pp. 27–28.
317 noted in wonder: “Copland Given Free Hand in Scoring Picture,” Los
Angeles Times, Nov. 19, 1939. Milestone was a cousin of the violinist Nathan
Milstein (HPAC, p. 340).
318 “absolutely clear”: HPAC, p. 347.
318 how many feet of film: Brendan Carroll, The Last Prodigy: A Biography of
Erich Wolfgang Korngold (Amadeus, 1997),p. 240.
456
319 tried to have the film suppressed: Simon Callow, Orson Welles: The Road
to Xanadu (Viking, 1996), pp. 530–59.
320 “50 percent responsible”: Steven C. Smith, A Heart at Fire’s Center: The
Life and Music of Bernard Herrmann (University of California Press, 1991), p.
84.
320 “I am the forgotten composer”: Diane Peacock Jezic, The Musical Migration
and Ernst Toch (Iowa State UP, 1989), p. 17.
321 “C’mon, Professor”: Oscar Levant, A Smattering of Ignorance (Doubleday,
1940), p. 65.
321 On four occasions: See Dorothy Lamb Crawford, Evenings On and Off the
Roof: Pioneering Concerts in Los Angeles, 1939–1971 (University of California
Press, 1995), p. 127; and SWS2, pp. 183 and 251.
321 Gershwins: Levant, Smattering of Ignorance, p. 187.
321 “frank and abrupt”: Sabine M. Feisst, “Arnold Schoenberg and the
Cinematic Art,” Musical Quarterly 83:1 (Spring 1999), p. 110.
322 “Hi-yo, Silver!”: Dika Newlin, Schoenberg Remembered: Diaries and
Recollections (Pendragon, 1980), p. 146.
322 “a peach-colored shirt”: Ibid., p. 58.
322 “upsurge of desire”: ASL, p. 255.
322 Sibelius and Shostakovich: ASSI, p. 136.
322 “That man is a composer”: Author’s interview with David Raksin, Feb. 23,
2001.
322 “there is still plenty”: Dika Newlin, “Secret Tonality in Schoenberg’s Piano
Concerto,” Perspectives of New Music 13:1 (Fall-Winter 1974), p. 137; Roger
Sessions, “Schoenberg in the United States” (1944), in Schoenberg and His
World, ed. Walter Frisch (Princeton UP, 1999), p. 335.
323 “I still see”: Salka Viertel, The Kindness of Strangers (Holt, Rinehart, and
Winston, 1969), pp. 207–8. For more, see www.therestisnoise.com/2007/07/
schoenberg-thal.html
323 “I can not believe”: Schoenberg to Thalberg, Dec. 6, 1935, ASC.
323 Souls at Sea: Dorothy Lamb Crawford, “Arnold Schoenberg in Los
Angeles,” Musical Quarterly 86:1 (Spring 2002), pp. 17 and 41.
324 Tom and Jerry cartoons: Daniel Goldmark, Tunes for ‘Toons: Music and the
Hollywood Cartoon (University of California Press, 2005), pp. 70–73; and Roy
M. Prendergast, Film Music: A Neglected Art (Norton, 1992), p. 194.
324 male nurse: See JASR, pp. 313–14; and HHS, p. 479.
324 “as if in his delirium”: Allen Shawn, Arnold Schoenberg’s Journey (Farrar,
Straus and Giroux, 2001), p. 265.
324 “My father was always”: Author’s interview with Ronald Schoenberg, Feb.
22, 2001.
325 Stravinsky and Disney: Charles M. Joseph, Stravinsky Inside Out (Yale UP,
2001), pp. 108–11. For more on Stravinsky’s attempts at film scoring, see ibid.,
pp. 100–31; and SWS2, pp. 143–44. For Stravinsky’s admiration for Kane, see
457
Orson Welles and Peter Bogdanovich, This Is Orson Welles (HarperCollins,
1992), p. 175.
325 no record of his saying anything negative: Joseph, Stravinsky Inside Out, p.
111. Compare Igor Stravinsky and Robert Craft, Expositions and Developments
(Doubleday, 1962), pp. 166–67.
325 “Igor appears”: Selected Letters of Paul Hindemith, ed. and trans. Geoffrey
Skelton (Yale UP, 1995), p. 177.
325 $100,000: Joseph, Stravinsky Inside Out, p. 117.
326 goose-stepping soldiers: Igor Stravinsky and Robert Craft, Dialogues and a
Diary (Doubleday, 1963), pp. 83–84.
326 added an extra pulse: SWS2, p. 180.
327 “With composing like this”: Soma Morgenstern, Alban Berg und seine Idole:
Erinnerungen und Briefe (Aufbau, 1999), p. 297.
327 “remind those who have not”: Giselher Schubert, preface to Paul
Hindemith, Ludus tonalis (Schott, 1989), p. iii. On Bartók’s Shostakovich
quotation, see Peter Bartók, My Father (Bartók Records), pp. 174–77.
328 “economic democracy”: John C. Culver and John Hyde, American
Dreamer: A Life of Henry A. Wallace (Norton, 2000), pp. 291–92. For “century
of the common man,” see ibid., pp. 275–78.
329 “The title was not meant”: Copland to Goossens, April 12, 1943, ACLC.
330 “could have the feeling”: HPAC, p. 396. For Crane and Graham, see HPAC,
p. 402. For Crane and Copland, see The Letters of Hart Crane, 1916–1932, ed.
Brom Weber (Hermitage House, 1952), p. 195.
331 “Softer, very sul tasto”: Recording session of May 9–11, 1973, released on
A Copland Celebration Vol. 1 (Sony Classical SM2K 89323).
9. Death Fugue
333 “tears in his voice”: AHRP I:1, p. 369.
333 “Wach’ auf!”: JGT I:2, p. 462. For more on Hitler’s citations of
Meistersinger, see Hans Rudolf Vaget, “Hitler’s Wagner: Musical Discourse as
Cultural Space,” in Music and Nazism: Art Under Tyranny, 1933–1945, ed.
Michael H. Kater and Albrecht Riethmüller (Laaber, 2003), p. 27. For Hans
Frank, see Leon Goldensohn, The Nuremberg Interviews, ed. Richard Gellately
(Knopf, 2004), p. 19. For Heydrich, see Günther Deschner, Reinhard Heydrich:
Statthalter der totalen Macht (Bechtle, 1977), p. 300; Lina Heydrich, Leben mit
einem Kriegsverbrecher (Ludwig, 1976), p. 16; and Edouard Calic, Reinhard
Heydrich: The Chilling Story of the Man Who Masterminded the Nazi Death
Camps, trans. Lowell Bair (William Morrow, 1982), p. 16. For Mengele, see
Robert Jay Lifton, The Nazi Doctors (Basic Books, 2000), p. 344.
334 “Thank God”: Paul Ehlers, “Die Musik und Adolf Hitler,” Zeitschrift für
Musik, April 1939, p. 361.
458
334 “Beside the history”: From the title page of Palestrina (Schott score). For
the Mussolini dedication, see Sabine Busch, Hans Pfitzner und der
Nationalsozialismus (J. B. Metzler, 2001), p. 422.
335 “There is too much music”: RSRR, p. 215. For “hypnotism,” see p. 209.
335 “has a basically”: Thomas Mann, Reflections of a Nonpolitical Man, trans.
Walter D. Morris (Ungar, 1983), p. 289.
335 Untergang: Jens Malte Fischer, Richard Wagners “Das Judentum in der
Musik” (Insel, 2000), p. 173. For varying interpretations of “annihilation,” see
Joachim Köhler, Wagner’s Hitler: The Prophet and His Disciple, trans. Ronald
Taylor (Polity, 2000), p. 86–88; Paul Lawrence Rose, Wagner: Race and
Revolution (Yale UP, 1992), pp. 78–88; and Fischer, Richard Wagners “Das
Judentum in der Musik,” pp. 85–87.
336 “the born enemy”: Selected Letters of Richard Wagner, ed. and trans.
Stewart Spencer and Barry Millington (Norton, 1988), p. 918.
336 “plastic demon”: Richard Wagner, “Erkenne dich selbst,” in Gesammelte
Schriften und Dichtungen (Siegel’s Musikalienhandlung, 1907), vol. 10, p. 272.
For Goebbels, see “Why Are We Enemies of the Jews?” (1930), in The Weimar
Republic Sourcebook, ed. Anton Kaes, Martin Jay, and Edward Dimendberg
(University of California Press, 1994), p. 138; and John Hallowell, Main Currents
in Political Thought (Holt, 1950), p. 740 (quoting Nuremberg speech of 1937).
336 singled out for praise: See Annette Hein, “Es ist viel ‘Hitler’ in Wagner”:
Rassismus und antisemitische Deutschtumsideologie in den “Bayreuther Blä
ttern” (1878–1938) (Niemeyer, 1996), p. 120.
336 “characteristic traits”: LGM1, p. 482.
336 “Alberichs”: Richard Strauss, Max von Schillings: Ein Briefwechsel, ed.
Roswitha Schlötterer (W Ludwig, 1987),pp. 203–4.
337 Gobineau and Parsifal: Cosima Wagner’s Diaries, Volume II: 1878–1883,
ed. Martin Gregor-Dellin and Dietrich Mack, trans. Geoffrey Skelton (Harcourt
Brace Jovanovich, 1980), p. 666.
337 “4 Juden”: Hans Hinkel to KarlTheodor Zeitschel, Sept. 24, 1935, memo,
Richard Strauss file, BDC. On the friendship of Strauss and Wolfes, see
Günther Weiβ, “Richard Strauss und Felix Wolfes,” Jahrbuch der Bayerischen
Staatsoper 1988/89 (Bruckmann, 1988), pp. 77–92.
338 “contaminated by”: Brigitte Hamann, Winifred Wagner; oder, Hitlers
Bayreuth (Piper, 2002), p. 18.
338 “political operetta”: “Der Briefwechsel zwischen Alfred Kerr und Richard
Strauss,” ed. Marc Konhä user, Richard Strauss-Blä tter 39 (June 1998), p. 38.
338 Billy Wilder: Kevin Lally, Wilder Times: The Life of Billy Wilder (Holt, 1996),
p. 11. For Strauss’s admiration of Mussolini, see Robert Scherwatzky, Die
grossen Meister deutscher Musik in ihren Briefen und Schriften (Deuerlichsche
Verlagsbuchhandlung, 1939), p. 358. For his advocacy of dictatorship, see
Harry Kessler, In the Twenties: The Diaries of Harry Kessler, trans. Charles
Kessler (Holt, Rinehart, and Winston, 1971),p. 346.
339 “Hitler is apparently finished”: RSC, p. 531.
339 “I thank you”: Ibid., pp. 539–40.
459
339 postcards: Adolf Hitler, Sä mtliche Aufzeichnungen, 1905–1924, ed.
Eberhard Jä ckel with Axel Kühn (Deutsche Verlags-Anstalt, 1980), pp. 44–45.
339 Hitler in Graz: See Manfred Blumauer, Festa teatrale: Musiktheater in Graz
(Edition Strahalm, 1998), pp. 68–82, for a thorough discussion of the issue. Two
other scholars conclude that Hitler did not go to Graz: see Brigitte Hamann,
Hitler’s Vienna: A Dictator’s Apprenticeship (Oxford UP, 1999), p. 411; and
Frederic Spotts, Hitler and the Power of Aesthetics (Overlook, 2003), p. 230.
For Alice’s testimony, see Blumauer, Festa teatrale, p. 76. For the kissing of the
hand, see Kurt Wilhelm, Richard Strauss persönlich: Eine Bildbiographie
(Kindler, 1984), p. 311—although Hamann, Winifred Wagner, p. 285, says it
was a “handshake.”
340 up to Roller’s door: Hamann, Hitler’s Vienna, pp. 38–40 and 61; John
Toland, Adolf Hitler (Anchor Books, 1976), p. 31; and Adolf Hitler, Monologe im
Führer-Hauptquartier, 1941–1944, ed. Werner Jochmann (Knaus, 1980), p.
200.
340 “the tower to the left”: Hamann, Hitler’s Vienna, p. 61.
340 Mahler conducting Tristan: Wiener Staatsoper to author, June 5, 1998.
340 “because [he] concerned himself”: Hamann, Hitler’s Vienna, p. 66. This is
from the unpublished first draft of Kubizek’s memoir, which Hamann uses as a
source in Hitler’s Vienna. That draft seems more reliable than the published
version, which was concocted after the war, probably with the help of a
ghostwriter, as Frederic Spotts points out in Hitler and the Power of Aesthetics,
pp. xv–xviii. In the book, Hitler is said to have had “greatest admiration” for
Mahler (August Kubizek, Adolf Hitler, mein Jugendfreund [Leopold Stocker,
1953], p. 229). The practically useless English translation, The Young Hitler I
Knew, trans. E. V. Anderson (Tower, 1954), uses the first-person plural (p. 173),
implying that Kubizek, too, heard Mahler, which was impossible.
340 “did not contest”: JGT I:9, p. 62.
340 Hitler and Rienzi: Henry Picker, Hitlers Tischgesprä che im
Führerhauptquartier, 1941–1942, ed. Percy Ernst Schramm (Seewald, 1963), p.
95.
340 “a couple of yammering Jews”: Hans Frank, Im Angesicht des Galgens
(Friedrich Alfred Beck, 1953), p. 213. This is in 1935.
341 “Is this a Jew?”: Adolf Hitler, Mein Kampf (NSDAP, 1943), p. 59.
341 Bechstein and Bruckmann: David Clay Large, Where Ghosts Walked:
Munich’s Road to the Third Reich (Norton, 1997), p. 152.
341 Schirach: Baldur von Schirach, Ich glaubte an Hitler (Mosaik, 1967), p. 27.
341 Germany’s savior: Friedelind Wagner, The Royal Family of Bayreuth (Eyre
and Spottiswoode, 1948), p. 9.
341 “hour of highest need”: Hartmut Zelinsky, Richard Wagner—ein deutsches
Thema (Zweitausendeins, 1976), p. 169.
341 “ruinous, indeed poisonous”: Ibid., p. 170.
342 “Parsifal nature”: Hamann, Winifred Wagner, p. 119.
460
342 “He obviously felt”: Albert Speer, Inside the Third Reich, trans. Richard
Winston and Clara Winston (Macmillan, 1970), p. 149.
342 Glück: See Hamann, Winifred Wagner, pp. 86–87.
342 “in the line of march”: Hitler, Sä mtliche Aufzeichnungen, pp. 1231–32. For
recordings in Landsberg, see Henriette von Schirach, ed., Anekdoten um Hitler:
Geschichten aus einem halben Jahrhundert (Türmer, 1980), p. 50. For
Schmied, see Winifred’s Dec. 9, 1923, letter, reproduced in the illustrations to
Toland’s Adolf Hitler. For domestic items, see Hamann, Winifred Wagner, p. 97.
For paper, see Friedelind Wagner, Royal Family of Bayreuth, p. 17; and Toland,
Adolf Hitler, p. 197. For the phonograph, see Hamann, Winifred Wagner, p. 98.
342 “Only a couple”: Hitler: Reden, Schriften, Anordnungen, Februar 1925 bis
Januar 1933, II:2 (K. G. Saur, 1992–2003), p. 652.
342 “In Germany one lets”: Ibid., III:2, p. 267.
343 “alias Schlesinger”: Ibid., pp. 130 and 177–78.
343 “fünf Juden”: Ibid., p. 179. Erich Kleiber, the chief conductor of the
Staatsoper, was not Jewish, but there were in fact five Jewish conductors on
the staff of the Staatsoper and the Kroll: Leo Blech, Otto Klemperer, George
Szell, Alexander Zemlinsky, and Fritz Zweig.
343 “spiritual development”: Alan E. Steinweis, Art, Ideology, and Economics in
Nazi Germany: The Reich Chambers of Music, Theater, and the Visual Arts
(University of North Carolina Press, 1993), p. 33.
343 “self-administration”: Ibid., pp. 39–40 and 42.
344 “there is no more glorious”: Hamann, Winifred Wagner, p. 256.
344 “it is totally impossible”: “Die grosse Kunstrede des Führers,” Völkischer
Beobachter, Sept. 7, 1938.
344 no more music should be dedicated: Michael H. Kater, The Twisted Muse:
Musicians and Their Music in the Third Reich (Oxford UP, 1997), p. 13.
344 paled in comparison to Bruckner: JGT I:3, p. 491. For Bruckner at the 1938
rally, see JGT I:6, p. 76. For Goebbels’s leitmotif metaphor, see JGT II:7, p. 53.
344 three thousand seats: AHRP I:2, p. 984.
344 mostly empty hall: See Speer, Inside the Third Reich, p. 60. For the
Deutscher Hof, see Fritz Wiedemann, Der Mann, der Feldherr werden wollte
(Blick + Bild, 1964), p. 207. For Hitler shaking concertgoers awake, see Traudl
Junge, Until the Final Hour, trans. Melissa Müller (Arcade, 2002), p. 81.
345 Karajan’s arrogance: Nicolaus von Below, Als Hitlers Adjutant, 1937–45
(Hase and Koehler, 1980), p. 166. On Knappertsbusch, see Picker, Hitlers
Tischgesprä che, p. 303.
345 John Rockwell: Communication to author.
345 Hitler and Bruckner: See Christa Brüstle, “The Musical Image of Bruckner,”
in The Cambridge Companion to Bruckner, ed. John Williamson (Cambridge
UP, 2004), p. 258.
345 kind of rehearsal: See Bryan Gilliam, “The Annexation of Anton Bruckner:
Nazi Revisionism and the Politics of Appropriation,” Musical Quarterly 78:3 (Fall
1994), p. 584.