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461
345 “Say a big YES”: Fred K. Prieberg, Trial of Strength: Wilhelm Furtwä ngler
in the Third Reich, trans. Christopher Dolan (Northeastern UP, 1994), p. 231.
On Hitler’s triumphal entry into Graz, see Stefan Karner, Die Steiermark im
Dritten Reich, 1938–1945 (Leykam, 1986), p. 62.
346 “symphony of joy”: “Volk den Führer,” Völkischer Beobachter, April 5, 1938.
346 “mass hysteria”: Alfred Brendel, Me of All People: Alfred Brendel in
Conversation with Martin Meyer, trans. Richard Stokes (Cornell UP, 2002), p. 8.
346 visited the Graz Opera: Percy Ernst Schramm, “Adolf Hitler: Anatomie
eines Diktators,” Der Spiegel, Jan. 28, 1964, pp. 47–48; and Werner Maser,
Hitler: Legend, Myth, and Reality, trans. Peter Ross and Betty Ross (Harper
and Row, 1973), pp. 57 and 360.
346 “Jewish-international spirit”: Busch, Hans Pfitzner und der
Nationalsozialismus, p. 73.
346 “the one acceptable Jew”: Hans Pfitzner, “Glosse zum II. Weltkrieg,” in Sä
mtliche Schriften, ed. Bernhard Adamy (Schneider, 1987), vol. 4, pp. 339–41.
Hitler had a habit of bringing up Weininger in conversation; see Hitler, Monologe
im Führer-Hauptquartier, p. 148; and Frank, Im Angesicht des Galgens,p. 313.
For Hitler’s impression of Pfitzner as Jewish, see Kater, Twisted Muse, p. 218.
347 “The Führer is very strongly”: JGT II:8, p. 448.
347 “Today there is no one”: Kater, Twisted Muse, p. 219. For Pfitzner attacking
Orff and Egk, see ibid., p. 192. For the Kraków Greeting, see Fred K. Prieberg,
Musik im NS-Staat (Fischer, 1982), p. 225.
348 “the most ambitious program”: Selected Letters of Paul Hindemith, ed. and
trans. Geoffrey Skelton (Yale UP, 1995), p. 77.
348 “It is obvious”: Ibid., p. 85.
348 “an opportunity”: Ibid., pp. 92–93.
348 Jewish refugees: Ibid., p. 125.
349 “really great”: Michael H. Kater, Composers of the Nazi Era: Eight Portraits
(Oxford UP, 2000), p. 10; JGT I:3, p. 567.
349 “Bavarian Niggermusik”: Kim Kowalke, “Burying the Past: Carl Orff and His
Brecht Connection,” Musical Quarterly 84:1 (Spring 2000), p. 70.
349 “extraordinary beauties”: Kater, Composers of the Nazi Era, pp. 122–25
and 132; and JGT II:13, p. 466.
349 “To my friends”: Kater, Composers of theNazi Era, p. 89.
349 Party salute: Ibid., pp. 93–96.
350 “sometimes annoyed us”: Harvey Sachs, Music in Fascist Italy (Norton,
1987), p. 146.
350 “product of the Jewish spirit”: “Die Düsseldorfer Reichsmusiktage,”
Völkischer Beobachter, May 27, 1938.
350 “the Reich Music Chamber cannot”: Kater, Twisted Muse, p. 19.
350 poorly received: Albrecht Dümling and Peter Girth, eds., Entartete Musik:
Zur Düsseldorfer Ausstellung von 1938: Eine kommentierte Rekonstruktion
(Düsseldorf, 1988), pp. xxx-xxxi; JGT I:5, p. 323.
462
351 “negative attitude”: Peter Heyworth, Otto Klemperer, His Life and Times,
Volume 2: 1933–1973 (Cambridge UP, 1996),p. 13. For more, see Joan Evans,
“Stravinsky’s Music in Hitler’s Germany,” Journal of the American Musicological
Society 56:3 (Fall 2003), pp. 525–94.
351 “half-bitter, half-mischievous”: Prieberg, Musik im NS-Staat, p. 212.
351 “Even so-called atonality”: Herbert Gerigk, “Eine Lanze für Schönberg!,” Die
Musik 27:2 (Nov. 1934), p. 89. On Gerigk’s catalog of musical Jews, see
Pamela M. Potter, Most German of the Arts: Musicology and Society from the
Weimar Republic to the End of Hitler’s Reich (Yale UP, 1998), pp. 142–61.
351 Zillig’s Das Opfer: See Erik Levi, “Atonality, 12-Tone Music, and the Third
Reich,” Tempo 178 (Sept. 1991), pp. 17–21.
351 “In the opera”: Paul von Klenau, “Zu Paul von Klenaus ‘Michael Kohlhaas,‘”
Zeitschrift für Musik, May 1934, p. 530.
351 “a living example”: ASSI, p. 173.
352 “a kind of dictator”: Alexander L. Ringer, Arnold Schoenberg: The
Composer as Jew (Clarendon, 1990), p. 235.
352 “fascistic bent”: Mann to Schoenberg, Jan. 9, 1939, ASC.
352 “about which one can have”: Theodor W. Adorno, Alban Berg:
Briefwechsel, 1925–1935, ed. Henri Lonitz (Suhrkamp, 1997), p. 286.
352 “This is Germany today!”: HMAW, p. 527.
353 Strauss’s reform ideas: BGFI, p. 577; Kurt Wilhelm, Richard Strauss: An
Intimate Portrait, trans. Mary Whittall (Rizzoli, 1989), p. 220; and Michael
Kennedy, Richard Strauss: Man, Musician, Enigma (Cambridge UP, 1999), p.
284.
353 home of Walther Funk: RSC, p. 546.
353 gave Hitler a copy: Ibid., p. 544.
353 Bruno Walter affair: See Kater, Composers of the Nazi Era, pp. 220–25;
and Erik Ryding and Rebecca Pechefsky, Bruno Walter: A World Elsewhere
(Yale UP, 2001), pp. 220–23.
353 avoided signing papers: Steinweis, Art, Ideology, and Economics, p. 52.
353 Mahler should be performed: Wilhelm, Richard Strauss: An Intimate
Portrait, p. 219.
353 “Aryan French”: Ihr aufrichtig Ergebener, vol. 2 of Richard Strauss im
Briefwechsel mit zeitgenössischen Komponisten und Dirigenten, ed. Gabriele
Strauss and Monika Reger (Henschel, 1998), p. 286.
353 “total lack of interest”: Ibid., p. 285.
354 “terrible, ersatz”: Kater, Composers of the Nazi Era, p. 127.
354 “Do you believe”: Strauss to Zweig, June 17, 1935, BDC. See also Albrecht
Riethmüller, “Stefan Zweig and the Fall of the Reich Music Chamber President,
Richard Strauss,” trans. Sherri Jones, in Kater and Riethmüller, Music and
Nazism, pp. 277–78.
463
354 “Concentration camp!”: Gerhard Splitt, Richard Strauss, 1933–1935:
Ästhetik und Musikpolitik zu Beginn der nationalsozialistischen Herrschaft
(Centaurus, 1987), pp. 110–11.
354 Der Stürmer: Donald A. Prater, European of Yesterday: A Biography of
Stefan Zweig (Clarendon, 1972), p. 231.
354 “opponent of the regime”: Joachim Fest, Albert Speer: Conversations with
Hitler’s Architect, trans. Patrick Camiller (Polity, 2007), pp. 45–46.
354 “I consider … Jew baiting”: A Confidential Matter: The Letters of Richard
Strauss and Stefan Zweig, 1931–1935, trans. Max Knight (University of
California Press, 1977), p. 119.
355 “the great designer”: Josef Wulf, Musik im Dritten Reich: Eine
Dokumentation (Mohn, 1963), p. 184.
355 whose manuscript he presented to Hitler: Albrecht Dümling, “Zwischen
Autonomie und Fremdbestimmug: Die Olympische Hymne von Robert Lubahn
und Richard Strauss,” Richard Strauss-Blä tter 38 (Dec. 1997), p. 80; and RSC,
p. 559. For accounts of the performance, see Richard D. Mandell, The Nazi
Olympics (University of Illinois Press, 1987), p. 152; and Frederick T. Burchall,
“100,000 Hail Hitler; U.S. Athletes Avoid Nazi Salute to Him,” New York Times,
Aug. 2, 1936.
355 Richard and Christian: Kater, Composers of the Nazi Era, p. 253.
355 Franz and Alice interrogated: Ibid., p. 256.
355 Franz defends Nazis: Feb. 21, 1944, report, Franz Strauss file, BDC.
355 arguments in the house: Kater’s communication to author.
356 Friedenstag: Gerhard Splitt, “Oper als Politikum: ‘Friedenstag’ (1938) von
Richard Strauss,” Archiv für Musikwissenschaft 55:3 (1998), pp. 220–51, paints
Friedenstag as a political opera, but Gilliam gives a different picture in BGFI, p.
587, noting that Strauss described one political interpretation of the opera as an
example of a “kindergarten” mentality.
356 “Whoever lights”: AHRP I:2, p. 514. The playing of the Fanfare can be
heard on the Koch Schwann recording Edition Wiener Staatsoper Live, vol. 15
(3-1465-2), containing the entire performance of Friedenstag on June 10, 1939.
356 Strauss and Goebbels: RSC, p. 597.
356 “He is unpolitical”: JGT I:6, p. 375.
356 Strauss received assurances: BGRS, p. 160.
357 “I say a few sweet nothings”: JGT I:9, p. 165.
357 “Lehár has the masses”: Werner Egk, Die Zeit wartet nicht (R. S. Schulz,
1973), pp. 342–43.
357 “Posterity must cherish”: JGT I:6, pp. 244–45.
358 “Very often in my life”: AHRP II:1, p. 1058.
358 “The Jews in Germany”: AHRP II:2, p. 1920.
358 “I have always been scorned”: Ibid., p. 1937.
358 “The laughter of Kundry”: Otto Weininger, Über die letzten Dinge
(Braumüller, 1918), p. 91.
464
359 “The record player was pulled out”: Frank, Im Angesicht des Galgens, p.
213.
359 “design a timeless”: Hamann, Winifred Wagner, pp. 440–41.
359 “an orgy from hell”: Ibid., pp. 284–85.
359 Joachim Köhler: See his Wagner’s Hitler, pp. 230–31.
360 Paula Neumann: Wilhelm, Richard Strauss: An Intimate Portrait, p. 264;
Hamann, Winifred Wagner, p. 454.
362 “The last words”: Kennedy, Richard Strauss, p. 333.
362 August 3, 1941, … October 28, 1942:
www.holocaustchronicle.org/StaticPages/254.html and
www.holocaustchronicle.org/StaticPages/381.html (accessed Nov. 11, 2006).
363 Schulhoff’s Eighth: Josef Bek, Erwin Schulhoof: Leben und Werk (Bockel,
1994), p. 152.
363 Karel Ančerl: Viktor Ullmann, 26 Kritiken über musikalische
Veranstaltungen in Theresienstadt, ed. Ingo Schultz (Bockel, 1993), pp. 66–67.
For the “Ode to Joy” being sung by the children’s chorus of the Theresienstadt
family camp at Auschwitz, see Joža Karas, Music in Terezín, 1941–1945
(Beaufort, 1985), pp. 158–59. For the deportations, see Lubomír Peduzzi, Pavel
Haas: Život a dílo skladatele (Muzejní a vlastivědná společnost v Brně, 1993),p.
165.
364 biography of Rosé: See Richard Newman and Karen Kirtley, Alma Rosé:
Vienna to Auschwitz (Amadeus, 2000).
364 Rosé’s repertory: Ibid., pp. 249–55 and 262–66.
364 “She lived in another world”:Reminiscence of Manca Svalbova, in Hermann
Langbein, People in Auschwitz, trans. Harry Zohn (University of North Carolina
Press, 2004), p. 127. other recollections: Ibid., p. 128.
364 Rosé’s death: Newman and Kirtley, Alma Rosé, pp. 305–6.
364 Neumann’s death: Hamann, Winifred Wagner, p. 454, says that Neumann
was deported east in 1943.
365 “sympathy for death”: Thomas Mann, The Magic Mountain, trans. John E.
Woods (Knopf, 1995), p. 643.
365 “changed the discs”: Simon Sebag Montefiore, Stalin: The Court of the Red
Tsar (Weidenfeld and Nicolson, 2003), p. 73.
365 Berghof playlist: Junge, Until the Final Hour, pp. 80–81.
365 catalog of the Berghof: SchallplattenVerzeichnis, Third Reich Collection,
Rare Book and Special Collections, Library of Congress.
365 “Bruckner was the greatest”: Hitler, Monologe im Führer-Hauptquartier, p.
198 (Bruckner and Mozart) and p. 224 (Wesendonck).
366 “‘I would scrape‘”: Heinrich Hoffman, Hitler Was My Friend, trans. R. H.
Stevens (Burke, 1955), pp. 189–90.
366 “I had the impression”: G. M. Gilbert, Nuremberg Diary (Da Capo, 1995), p.
71.
366 Bruckner Orchestra: JGT II:7, p. 619.
465
366 Furtwä ngler’s bunker: Prieberg, Trial of Strength, pp. 307–9.
366 “No soldier needs to fall”: Wilhelm, Richard Strauss: An Intimate Portrait, p.
256.
366 “My achievements”: Strauss to Hitler, Jan. 15, 1944, BDC.
367 Furtwä ngler advised: Prieberg, Musik im NS-Staat, p. 214.
367 gifts from Hitler and Goebbels: John Deathridge, “Richard Strauss and the
Broken Dream of Modernity,” in Richard Strauss und die Moderne, ed. Bernd
Edelmann, Birgit Lodes, and Reinhold Schlötterer (Henschel, 2001), pp. 84–85.
367 “a total bystander”: Heinz Ihlert to Hans Hinkel, May 22, 1935, BDC.
367 “miserable”: JGT II:12, p. 527.
367 “completely second-rate”: Fest, Albert Speer, p. 45.
367 Jackson has suggested: See Timothy Jackson, “The Metamorphosis of the
Metamorphosen: New Analytical and Source-Critical Discoveries,” in Richard
Strauss: New Perspectives on the Composer and His Works, ed. Bryan Gilliam
(Duke UP, 1992), pp. 199–201.
369 cyanide capsules: Joachim Fest, Speer: The Final Verdict, trans. Ewald
Osers and Alexandra Dring (Harcourt, 2001), p. 261.
369 Tristan: Christa Schroeder, Er war mein Chef, ed. Anton Joachimsthaler
(Langen Müller, 1985), p. 189.
369 “Everything had to go down”: Goldensohn, Nuremberg Interviews, p. 99.
369 “experience its own annihilation”: Walter Benjamin, Selected Writings,
Volume 4, 1938–1940, ed. Howard Eiland and Michael W. Jennings, trans.
Edmund Jephcott et al. (Harvard UP, 2003),p. 270.
370 Hitler’s death: H. R. Trevor-Roper, The Last Days of Hitler (Macmillan,
1947).
10. Zero Hour
371 “We live in a time”: Interview with Charles Amirkhanian, Jan. 14, 1992,
quoted in Writings Through John Cage’s Music, Poetry, and Art, ed. David W.
Bernstein and Christopher Hatch (University of Chicago Press, 2001), p. 1.
373 bombing of Garmisch: See Ian Sayer and Douglas Botting, Nazi Gold
(Grove, 1984), p. 77.
374 Strauss’s meetings with Americans: See Peter Bloom, “History, Memory,
and the Oboe Concerto of Richard Strauss,” Pendragon Review 2 (2001), p. 4;
author’s interview with Milton Weiss, Aug. 7, 1997; Meyer Levin, “We Liberated
Who’s Who,” Saturday Evening Post, July 21, 1945 (on Kramers); Michael H.
Kater, “Jupiter in Hell,” New York Times, Jan. 6, 2002; and Walter Panofsky,
Richard Strauss: Partitur eines Lebens (Piper, 1965), p. 331.
374 “Hitler’s father”: Kurt Wilhelm, Richard Strauss persönlich: Eine
Bildbiographie (Kindler, 1984), p. 363.
466
374 several future leaders: See Stockhausen on Music, ed. Robin Maconie
(Marion Boyars, 1989), pp. 15–23; Michael Kurtz, Stockhausen: Eine
Biographie (Bä renreiter, 1988), p. 37; Hans Werner Henze, Bohemian Fifths:
An Autobiography, trans. Stewart Spencer (Princeton UP, 1999), pp. 43–45;
David Osmond-Smith, Berio (Oxford UP, 1991), p. 3; and Nouritza Matossian,
Xenakis (Taplinger, 1986), p. 26.
375 Britten at Bergen-Belsen: See DMBB2, pp. 1272–74. For the dates of Holy
Sonnets, see Benjamin Britten: A Catalogue of the Published Works, ed. Paul
Banks et al. (Britten-Pears Library, 1999), pp. 75–76. For Oppenheimer, see Kai
Bird and Martin J. Sherwin, American Prometheus: The Triumph and Tragedy of
J. Robert Oppenheimer (Knopf, 2005), p. 304.
375 “The people starve”: Bernstein to Helen Coates, May 5, 1948, Leonard
Bernstein Collection, Library of Congress. For a good description of Germany’s
“year zero,” see Patricia Meehan, A Strange Enemy People: Germans Under
the British, 1945–1950 (Peter Owen, 2001), pp. 31–43.
376 “inclined to be bolshevistic”: Jean Edward Smith, Lucius D. Clay: An
American Life (Holt, 1990), p. 42.
376 “We are trying”: Proceedings of the Berchtesgaden Conference, Oct. 8–12,
1948, Education and Cultural Relations (hereafter E&CR), OMGUS.
376 “He’s hep”: Nicolas Nabokov, Old Friends and New Music (Little, Brown,
1951), p. 258.
377 Music Branches: For more on OMGUS’s music officers, see David Monod,
Settling Scores: German Music, Denazification, and the Americans, 1945–1953
(University of North Carolina Press, 2005).
377 Moseley at Tanglewood: Humphrey Burton, Leonard Bernstein (Doubleday,
1994), p. 94. For Moseley’s report on Bernstein’s visit, see Monthly Summary,
May 24, 1948, E&CR, OMG Bavaria, OMGUS.
377 “It means so much”: Bernstein to Helen Coates, May 11, 1948, Leonard
Bernstein Collection, Library of Congress.
377 Moseley’s visit to Bayreuth: Author’s interview with Carlos Moseley, Aug.
30, 2002.
378 four exclamation points: Walter Schertz-Parey, Winifred Wagner: Ein Leben
für Bayreuth (Stocker, 1999), p. 181.
378 “It is above all”: “Music Control Instruction No. 1,” June 19, 1945, Supreme
Headquarters of the Allied Expeditionary Force, Psychological Warfare Division,
OMGUS.
379 “The rule of having”: Edward Kilenyi, Report to Chief, Theater and Music,
Aug. 10, 1945, E&CR, OMG Bavaria, OMGUS. For Kilenyi’s background, see
Monod, Settling Scores, pp. 21–22.
379 “I hear such nice”: Oct. 31, 1948, Civil Censorship Division, USFET
(GERMAN), OMGUS.
380 Newell Jenkins and Orff: See Monod, Settling Scores, p. 65; and Michael
H. Kater, Composers of the Nazi Era, pp. 133–40. Jenkins had the added
distinction of being the grandson of Richard Wagner’s dentist.
467
380 “a man of the utmost”: Arthur C. Vogler, “Daily Report,” June 15, 1945,
E&CR, OMG Bavaria, OMGUS.
380 “They are extremely shy”: Participation of Music Section in Reorientation
Activities, May 9, 1947, E&CR, OMG Bavaria, OMGUS.
380 Moseley’s patronage: Semi-annual Report, July 1-Dec. 31, 1948, E&CR,
OMG Bavaria, OMGUS.
381 piano on jeep:Amy C. Beal, New Music, New Allies: American Experimental
Music in Germany from Zero Hour to Reunification (University of California
Press, 2006), pp. 40 and 38.
381 “contemporary music only”: Everett Helm, “Letter from Germany,” undated
manuscript (apparently 1948), Theater and Music, E&CR, OMGUS.
381 “It would be both”: Evarts to Harrison Kerr, April 23, 1949, Theater and
Music, Education, Records of the Cultural Affairs Branch, E&CR, OMGUS.
381 “In my former army service”: Schoenberg to John Evarts, April 23, 1949,
ASC.
382 “acquired a reputation”: Ralph A. Burns, “Review of Activities for the Month
of June 1949,” Theater and Music, Education, Records of the Cultural Affairs
Branch, E&CR, OMGUS.
382 excitement over Leibowitz: Henze, Bohemian Fifths, p. 74.
382 “The Darmstadt Holiday Courses”: Burns, “Review of Activities for the
Month of July 1949.”
383 “segregation of the modern”: Monod, Settling Scores, p. 198.
384 “the prophet of a new”: Hans Moldenhauer, The Death of Anton Webern: A
Drama in Documents (Philosophical Library, 1961), p. 5. Moldenhauer notes
that the cook died of alcoholism in 1955 in Mount Olive, North Carolina, adding
that the Mount of Olives was “the scene of the agony and betrayal of Jesus
Christ” (p. 98).
384 “happens to be about”: See Klaus Mann, Briefe und Antworten, Band II:
1937–1949, ed. Martin Gregor-Dellin (Edition Spangenberg, 1975), p. 226. See
also Klaus Mann, Der Wendepunkt: Ein Lebensbericht (Nymphenburger, 1969),
p. 488; and Gertrud Maria Rösch, “‘I thought it wiser not to disclose my identity‘:
Die Begegnung zwischen Klaus Mann und Richard Strauss im Mai 1945,”
Thomas Mann Jahrbuch 14 (2001), pp. 233–48. For the unsent letter to Mann,
see Walter Thomas, Richard Strauss und seine Zeitgenossen (Langen Müller,
1964), p. 283; Richard Strauss, Briefwechsel mit Willi Schuh (Atlantis, 1969), p.
81; and Hans Rudolf Vaget, “The Spell of Salome: Thomas Mann and Richard
Strauss,” in German Literature and Music: An Aesthetic Fusion, 1890–1989, ed.
Claus Reschke and Howard Pollack (Fink, 1992), p. 46.
384 “Oh, yes”: Russell Campitelli to author, June 10, 2003.
385 photograph of Strauss: Included in John de Lancie’s letter to the author,
Dec. 23, 1999.
385 “Masters of the very first”: David Farrell Krell and Donald L. Bates, The
Good European: Nietzsche’s Work Sites in Word and Image (University of
Chicago Press, 1997), p. 217. Originally in The Gay Science,sec. 281.
468
11. Brave New World
386 “Everything begins”: Charles Péguy, Notre jeunesse (Gallimard, 1933), p.
30.
386 “for most people”: Morton Feldman, “An Interview with Robert Ashley,
August 1964,” in Contemporary Composers on Contemporary Music, ed. Elliott
Schwartz and Barney Childs (Da Capo, 1998), pp. 363 and 365.
387 “it was like the defection”: Leonard Bernstein, The Unanswered Question:
Six Talks at Harvard (Harvard UP, 1976),p. 419.
387 “Before the end”: Allen Edwards, Flawed Words and Stubborn Sounds: A
Conversation with Elliott Carter (Norton, 1971), p. 61.
388 Adorno on Copland: Theodor W. Adorno, Minima Moralia: Reflections from
Damaged Life, trans. E.F.N. Jephcott (Verso, 1978), p. 207.
388 “has taken upon itself”: Theodor W. Adorno, Philosophie der neuen Musik
(Suhrkamp, 1976), p. 126.
389 “My adoption”: Ernst Krenek, “A Composer’s Influences,” Perspectives of
New Music 3:1 (Fall—Winter 1964),p. 38.
389 “uncompromising”: René Leibowitz, Schoenberg and His School: The
Contemporary Stage of the Language of Music, trans. Dika Newlin (Da Capo,
1975), p. xvi.
389 “I do not compose principles”: ASL, pp. 236–37. On Adorno, see JASR, p.
335.
389 “Schbrg clique”: Robert Craft, Stravinsky: Glimpses of a Life (St. Martin’s,
1993), p. 40.
389 “The second half”: JASR, p. 333. For the original utterance, see ibid., p. 66.
389 “I cannot deny”: ASSI, p. 286.
390 “Abyss of the Birds”: Nigel Simeone, Olivier Messiaen: A Bibliographical
Catalogue of Messiaen’s Works (Schneider, 1998), p. 72; and Rebecca Rischin,
For the End of Time: The Story of the Messiaen Quartet (Cornell UP, 2003), pp.
9–12.
390 Rebecca Rischin reveals: Rischin, For the End of Time, pp. 27–31 and 72–
73. For other details, see Antoine Goléa, Rencontres avec Olivier Messiaen
(Juilliard, 1960), p. 62.
391 steady beat: Claude Samuel, Olivier Messiaen: Music and Color, trans. E.
Thomas Glasow (Amadeus, 1986), p. 68.
391 rhythmic cells: Olivier Messiaen, The Technique of My Musical Language,
trans. John Satterfield (Leduc, 1956), p. 14.
391 “implacable destiny”: Olivier Messiaen, “Le rythme chez Igor Strawinsky,”
La Revue musicale 191 (1939), pp. 91–92.
391 “M. Boulez”: Nigel Simeone’s communication to author. See also NSPHM,
p. 138.
469
392 “like a young cat”: Jean-Louis Barrault, “Travailler avec Boulez,”
Résonance 8 (1995), reprinted at
mediatheque.ircam.fr/articles/textes/Barrault95a (accessed Dec. 17, 2006).
392 Peyser on Tézenas: Joan Peyser, Boulez: Composer, Conductor, Enigma
(Schirmer Books, 1976), pp. 54 and 246.
392 “The Germans virtually”: Ibid., p. 25.
392 “When he first entered”: Ibid., p. 31.
392 “like a lion”: “Entretien avec Claude Samuel,” booklet included with the
1988 Erato box-set recording of Messiaen’s works (ECD 75505), p. 27.
393 booing, shouting: See Antoine Goléa, “La Musique,” Esprit, May 1945; Guy
Bernard-Delapierre, “Musique d’un autre monde,” Confluences, April 1945; Guy
Bernard-Delapierre, “Postscriptum: Le Cas Strawinsky,” Confluences, May
1945, p. 439; Antoine Goléa, Rencontres avec Pierre Boulez (Julliard, 1958),
pp. 9–10; Peyser, Boulez, p. 33; Peter Heyworth, “Taking Leave of
Predecessors,” pt. 1, New Yorker, March 24, 1973, p. 45; and, for the most
thorough account, SWS2, pp. 175–77.
393 “pseudo-youths”: Francis Poulenc, “Vive Strawinsky,” Le Figaro, April 7,
1945. For “fanatic sect,” see Francis Poulenc, Correspondance, 1910–1963, ed.
Myriam Chimènes (Fayard, 1994), p. 585.
393 “dry and inhuman”:NSPHM, p. 153.
393 “Vous êtes merde!”: Peyser, Boulez, p. 39.
393 turning his back: Henri Dutilleux: Music—Mystery and Memory:
Conversations with Claude Glayman, trans. Roger Nichols (Ashgate, 2003), p.
36.
394 “I believe that music”: Pierre Boulez, Notes of an Apprenticeship, trans.
Herbert Weinstock (Knopf, 1968), p. 71.
394 “false discoveries”:Ibid., p. 244.
394 “schematic, arbitrary”:Ibid., p. 250.
394 “to enclose classic”: Ibid., pp. 255–56.
394 “more virulent”: Ibid., p. 264.
394 “The Schoenberg ‘case”: Ibid., pp. 268–76.
395 “develop timbres”: NSPHM, p. 169.
395 Seeger and Cowell: Henry Cowell, New Musical Resources (Cambridge
UP, 1996), pp. 98–108 and 83.
395 Structures 1a: For the classic analysis, see György Ligeti, “Pierre Boulez:
Decision and Automatism in Structures 1a,” trans. Leo Black, Die Reihe 4
(Presser, 1960), pp. 36–62. The duration series at the opening are RI(5) and
R(12).
396 “They represented”: James Miller, “Michel Foucault: The Heart Laid Bare,”
Grand Street 39 (1991), p. 60.
396 “I am going toward violence”: Calvin Tomkins, The Bride and the Bachelors:
Five Masters of the Avant-Garde (Penguin, 1976), p. 144.
397 “inclusive rather than exclusive”: JCS, p. 13.
470
397 Cage and Schoenberg: For an account of Cage’s studies with Schoenberg,
the extent of which is sometimes exaggerated, see Michael Hicks, “John Cage’s
Studies with Schoenberg,” American Music 8:2 (1990), pp. 125–40. See also
David Revill, The Roaring Silence: John Cage: A Life (Arcade, 1992), pp. 47–
49.
397 “phonograph concert”: See Mark Katz, Capturing Sound: How Technology
Has Changed Music (University of California Press, 2004), pp. 99–113.
398 “I believe that the use”: JCS, pp. 3–4.
398 “stupefied by its activism”: For the Birds: John Cage in Conversation with
Daniel Charles, trans. Richard Gardner, Tom Gora, and John Cage (Boyars,
1995), p. 180.
399 “interchangeability of sound”: James Pritchett, The Music of John Cage
(Cambridge UP, 1993), p. 71.
400 Black Mountain: Martin Duberman, Black Mountain: An Exploration in
Community (Dutton, 1972), pp. 348–62.
401 “Music is lagging”: Quoted in Douglas Kahn, Noise Water Meat: A History
of Sound in the Arts (MIT Press, 1999), p. 168.
401 fiveÉtudes of Noises: Pierre Schaeffer, A la Recherche d’une musique
concrète (Seuil, 1952), pp. 18–23. For Schaeffer under the German occupation,
see Peter Manning, Electronic and Computer Music (Oxford UP, 2004), p. 20.
402 Williams Mix: See Larry Austin, “John Cage’s Williams Mix (1951–3),” in A
Handbook to Twentieth-Century Musical Sketches, ed. Patricia Hall and
Friedemann Sallis (Cambridge UP, 2004), pp. 189–213.
402 “We have no music”: JCS, p. 126.
403 “performing monkey,” “fascist tendencies”: The Boulez-Cage
Correspondence, ed. Jean-Jacques Nattiez, trans. Robert Samuels (Cambridge
UP, 1993), p. 23.
403 “Nicolas de Staël”: Pierre-Michel Menger, Le Paradoxe du musicien: Le
compositeur, le mélomane, et l‘État dans la société contemporaine
(Flammarion, 1983), p. 223. For Cocteau in a cape, see Dominique Jameux,
Pierre Boulez, trans. Susan Bradshaw (Faber, 1991), p. 67.
403 “hyperactive chic”: MFS, p. 226.
403 “compulsion neurosis”: See Ligeti, “Pierre Boulez”; and Ligeti,
“Metamorphoses of Musical Form,” in Die Reihe 7 (Presser, 1965), p. 10.
404 “My intention”: From Cage’s notes to The 25-Year Retrospective Concert of
the Music of John Cage, May 15, 1958 (Wergo 6247–2).
404 “Any attempt”: JCS, p. 62.
404 “We are producing”: Virgil Thomson, Music Reviewed, 1940–1954 (Vintage,
1967), p. 170.
405 “the main premises”: Charles Harrison and Paul Wood, eds., Art in Theory,
1900–2000: An Anthology of Changing Ideas (Blackwell, 2003), p. 579.
405 “the greatest American… too busy”: “Copland’s Third,” Time, Oct. 28, 1946,
p. 55.