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471
405 “Nothing can persuade”: HPAC, p. 411.
405 “the speeches of Henry Wallace”: Elizabeth Crist, Music for the Common
Man: Aaron Copland During the Depression and War (Oxford UP, 2005), p.
193.
406 “new international style”: Thomson, Music Reviewed, p. 183.
406 “were rebuked”: HPAC, p. 283.
406 Broadwood Hotel: New York Herald Tribune, March 25, 1949.
407 “SHOSTAKOVICH, WE UNDERSTAND”: New York Herald Tribune, March
27, 1949.
407 “SHOSTAKOVICH!JUMP”: “Red Visitors Cause Rumpus,” Life, April 4,
1949.
407 “It’s hot in here”: Peter W. Goodman, Morton Gould: American Salute
(Amadeus, 2000), p. 196.
407 Wallace rally: “Tumult at the Waldorf,” Time, April 4, 1949, p. 23. For
Copland’s seating, see Aaron Copland and Vivien Perlis, Copland Since 1943
(St. Martin’s, 1989), p. 183.
408 Hoover and Nabokov: Peter Coleman, The Liberal Conspiracy: The
Congress for Cultural Freedom and the Struggle for the Mind of Postwar Europe
(Free Press, 1989), pp. 43–44, says that J. Edgar Hoover’s FBI evidently had
files on the composer’s “bohemian private life.”
408 Office of Policy Coordination: Frances Stonor Saunders, The Cultural Cold
War: The CIA and the World of Arts and Letters (New Press, 1999), pp. 45–56.
408 wad of cash: Saunders, Cultural Cold War, pp. 47 and 54–55.
408 “His beginnings were promising”: “Shostakovich Hits Stravinsky As
‘Betrayer,’” New York Herald Tribune, March 28, 1949, and “Shostakovich Bids
All Artists Lead War on ‘New Fascists,‘” New York Times, March 28, 1949.
409 “I am going to start”: ACR, pp. 128–29.
409 “The present policies”: “Shostakovich Bids All Artists.”
409 “culture generalissimo”: SSC2, p. 365.
409 “naively stupid”: Ibid., p. 376.
410 “absolute and immediate”: Nicolas Nabokov, “The Case of Dmitri
Shostakovich,” Harper’s, March 1943, p. 423.
410 “Throughout the tumultuous”: Nicolas Nabokov, Old Friends and New
Music, expanded ed. (Hamish Hamilton, 1951), p. 204.
410 “I fully agree”: Nicolas Nabokov, Bagázh: Memoirs of a Russian
Cosmopolitan (Atheneum, 1975), pp. 237–38.
410 “God knows what”: Arthur Miller, Timebends (Grove, 1987), p. 239.
410 “slipped quietly”: “Bartok’s Modern Music Soothes Shostakovich,” New York
Times, March 29, 1949.
410 “standout fellow traveler”: “Red Visitors Cause Rumpus.”
411 “strange rogues’ gallery”: Thomas Mann, Tagebücher, 1949–1950, ed. Inge
Jens (Fischer, 1991), pp. 45 and 657.
472
411 “ferreting out”: Copland to Irving Fine and Verna Fine, June 6, 1949, ACLC.
411 “Mais oui”: “European Diary,” 1949, ACLC.
411 “stuck it out”: Ned Rorem, Knowing When to Stop (Simon and Schuster,
1994), p. 283. In Setting the Tone: Essays and a Diary (Limelight, 1984), p. 168,
Rorem repeats the anecdote of Boulez playing the Second Sonata at his
apartment, adding that the music caused Shirley Gabis (now Shirley Perle) to
throw up. In a conversation with the author on May 17, 2004, Perle vigorously
denied throwing up, although she may have wanted to.
412 “You cannot change”: Schoenberg’s attack was printed in Thomson’s
Sunday column in the New York Herald Tribune, Sept. 11, 1949. Copland’s
protest appeared in the Herald Tribune on Sept. 25.
412 “Alias: Aaron Copeland”: Copland’s FBI file was released in May 2003
under the Freedom of Information Act. The Hoover memo is dated July 13,
1951.
412 “Copland has been abroad”: Hoover to director of CIA, ibid., p. 10.
412 “is no longer writing”: Aaron Copland, Music and Imagination (Harvard UP,
1952), p. 75.
413 Evarts’s fate: Amy C. Beal, New Music, New Allies: American Experimental
Music in Germany from Zero Hour to Reunification (University of California
Press, 2006), p. 31.
413 Busbey read: Congressional Record, 83rd Cong., 1st sess., app. A169.
See also Congressional Record, 83rd Cong., 1st sess., July 30 and 31, 1953,
pp. 2793, 3609, 3680.
413 “I say unequivocally”: “Statement of Aaron Copland,” box 427, House Un-
American Activities, ACLC.
413 “YOU ARE HEREBY”: The telegram can be found in ACLC. The date was
subsequently changed to May 26.
414 “My impression”: “Impressions (May 27, 1953) of the Hearing Before the
Senate Subcommittee on Investigations,” ACLC. For Copland’s claims in his
testimony, see Executive Sessions of the Senate, Permanent Subcommittee on
Investigations of the Committee on Government Operations, Congressional
Record, 83rd Cong., 1st sess., pp. 1288 and 1283. The one-dollar check can be
found in Copland’s personal file on the Un-American Committee experience.
414 “one of America’s”: Martin Merson, “My Education in Government,”
Reporter, Oct. 7, 1954. Clipping in ACLC.
414 Pollack declares: HPAC, pp. 446–47.
415 fee from Rodgers: HPAC, p. 470.
415 CBS audience: Edgar Young, Lincoln Center, the Building of an Institution
(NYU Press, 1980), p. 170.
415 “Oh, Mr. Copland”: Copland and Perlis, Copland Since 1943, p. 136.
415 Copland’s decline: HPAC, pp. 409–10.
416 “It was exactly”: Ibid., p. 516.
417 “serious composer”: Goodman, Morton Gould, p. 210.
473
417 multiple reports: SSC2, p. 347.
417 “It seems that once”: Ibid.
417 read with annoyance: RCSC, p. 42.
417 “a Mozart”: Peyser, Boulez, p. 66.
417 “worn out invention”: SWS2, p. 271.
417 “What ugliness!”: Boulez-Cage Correspondence, p. 118.
418 Craft and Stravinsky: Craft produced six books of “conversations” with
Stravinsky. Charles Joseph, who has studied differences between the raw
material of these volumes and the finished product, concludes, as many always
suspected, that the books are an erratic mix of Stravinsky’s own voice and
Craft’s approximation of it. See Joseph, Stravinsky Inside Out (Yale UP, 2001),
p. 262: “The charges [that Craft scripted Stravinsky] are frequently
unsubstantiated or exaggerated, yet in other places justified.” I have chosen to
rely mostly on Craft’s diaries and firsthand recollections.
418 Schoenberg’s death mask: RCSC, p. 54.
418 “three times!”: Ibid., pp. 66–67.
419 “For a moment”: Ibid., pp. 72–73.
419 “To-Morrow Shall Be”: Vera Stravinsky and Robert Craft, Stravinsky in
Pictures and Documents (Simon and Schuster, 1978), p. 422.
420 “a hermetic cult”: Nicolas Nabokov, “The Atonal Trail: A Communication,”
Partisan Review, May 1948, p. 581.
420 “the liberty to experiment”: Nicolas Nabokov, “Introduction à l’oeuvre du
XXe siècle,” La Revue musicale 212 (April 1952), p. 8. For the funding, see
Saunders, Cultural Cold War, pp. 125–28.
420 “Comrade Picasso”: SSC2, p. 381.
420 youths walk out: RCSC, p. 82.
421 Stravinsky at Structures 1a: RCSC, p. 77; Mark Carroll, Music and Ideology
in Cold War Europe (Cambridge UP, 2003), pp. 1–3.
421 “folklore of mediocrity”: Saunders, Cultural Cold War, p. 224.
421 “Eventually …”: Pierre Boulez, “Éventuellement …,” La Revue musicale
212 (April 1952), p. 119: “Que conclure? L’inattendu: affirmons, à notre tour,
que tout musicien qui n’a pas ressenti—nous ne disons pas compris, mais bien
ressenti—la nécessité du langage dodéca-phonique est INUTILE.” Compare
Stravinsky, Poetics of Music in the Form of Six Lessons, trans. Arthur Knodel
and Ingolf Dahl (Harvard UP, 1970), p. 98: “Le bon artisan, dans ces époques
bénies, ne songe lui-même qu’à atteindre le beau à travers les catégories de
l’utile.” There would appear to be other references to the Poetics in the first
section of Boulez’s essay.
421 he dutifully noted: Joseph, Stravinsky Inside Out, p. 251.
422 Shreffler has assembled: See Anne C. Shreffler, “Ideologies of Serialism:
Stravinsky’s Threni and the Congress for Cultural Freedom,” in Music and the
Aesthetics of Modernity, ed. Karol Berger and Anthony Newcomb (Harvard UP,
2005), p. 229. Information about Movements comes from Shreffler’s
474
communication to the author, with reference to Nabokov’s letter to Stravinsky of
March 11, 1958. Shreffler does not believe that Karl Weber, the industrialist in
question, was a “front.”
422 Boulez meets Stravinsky: Virgil Thomson, Virgil Thomson (Dutton, 1985),
pp. 402–3. For Stravinsky reading Boulez’s essay, see SSC2, p. 348. For the
Tropicana, see ibid., p. 350. For Stravinsky’s visit to the garret, see RCSC, p.
167.
422 “unforgivable condescension”: Martin Bernheimer, “Igor Stravinsky Has
Another Tiff with the Times,” Los Angeles Times, July 5, 1970.
423 “like so many changes”: Stephen Walsh, The Music of Stravinsky
(Clarendon, 1988), p. 233.
423 “a ballet which would seem”: SSC1, p. 287.
423 François de Lauze: Charles M. Joseph, Stravinsky and Balanchine: A
Journey of Invention (Yale UP, 2002), pp. 228–30.
424 the devil: Ibid., pp. 233–34.
424 “Someone has said”: SWS2, p. 440.
425 octatonic scale: See RTS2, p. 1674.
425 “He wanted”: SWS1, p. 53.
425 autographs: For Sinatra, see Stravinsky and Craft, Stravinsky in Pictures
and Documents, p. 476; for the Pope, see RSC, p. 280.
426 Schaeffer noted: Schaeffer, Á la Recherche d’une musique concrète, p.
198.
427 Sonatine, Scherzo, Concertino: These titles belong, respectively, to works
by Teuscher, Françaix, Jarnach, Roussel, Maderna, Maderna again, Herbert
Brün, Bernd Alois Zimmermann, Boulez, Nilsson, Heiss (and Zimmermann),
Hambraeus, Pousseur, Nilsson again, and Mayuzumi. See “Neue Musik in
Darmstadt, 1946–1958,” in Darmstä dter Beiträ ge zur neuen Musik (1959), pp.
75–94.
427 “Schoenberg’s great achievement”: Anders Beyer, The Voice of Music:
Conversations with Composers of Our Time, ed. and trans. Jean Christensen
and Anders Beyer (Ashgate, 2000), p. 178.
427 “Everything had to be stylized”: Hans Werner Henze, Music and Politics:
Collected Writings, 1953–81, trans. Peter Labanyi (Faber, 1982), pp. 40–41.
428 “my dear”: Hans Werner Henze, Bohemian Fifths: An Autobiography, trans.
Stewart Spencer (Princeton UP, 1999), p. 140.
428 Nocturnes and Arias: Ibid., p. 146.
428 He described himself: These terms can be found at the composer’s
website, www.stockhausen.org.
429 Glenn Miller’s band: Robin Maconie, Other Planets: The Music of Karlheinz
Stockhausen (Scarecrow, 2005), pp. 18–19.
430 “This music sounds”: Robin Maconie, The Works of Karlheinz Stockhausen
(Clarendon, 1990), pp. 51–53.
475
430 “showers of impulses”: Karlheinz Stockhausen, “Music and Speech,” Die
Reihe 6 (Presser, 1964), p. 59.
432 “composed the text”: Stockhausen, “Music and Speech,” p. 48.
432 gas cloud: For more, see James Harley, Xenakis: His Life in Music
(Routledge, 2004), pp. 10–18.
432 “The listener must be gripped”: Notes to 40 Jahre Donaueschinger
Musiktage, 1950–1990 (col legno AU-031800), p. 130.
433 “the perfect rhythm”: Iannis Xenakis, Formalized Music: Thought and
Mathematics in Composition (Pendragon, 1992), p. 9. See also Nouritza
Matossian, Xenakis (Kahn and Averill, 1986), p. 58, where similar images are
used and the connection to the anti-Nazi demonstration is made explicit.
433 “Their freedom”: Luigi Nono, “Geschichte und Gegenwart in der Musik von
heute,” Darmstä dter Beiträ ge zur neuen Musik (1960), p. 47.
434 “indiscipline”: Lev Koblyakov, Pierre Boulez: A World of Harmony
(Harwood, 1990), p. 117.
434 “Total but Totalitarian”: Peyser, Boulez, p. 102.
434 “I’ve often found”: Wolfgang Fink’s interview with Boulez, in the liner notes
to Pli selon pli (DG 289 471–2).
435 “New Frontier for American art”: John F. Kennedy to Theodate Johnson,
Sept. 13, 1960, Musical America, Oct. 1960, p. 11.
435 “The only music he likes”: Donna M. Binkiewicz, Federalizing the Muse:
United States Arts Policy and the National Endowment for the Arts, 1965–1980
(University of North Carolina Press, 2004), p. 49.
435 composers at White House: Harold C. Schonberg, “Casals Plays at White
House; Last Appeared There in 1904,” New York Times, Nov. 14, 1961.
435 “Nice kids”: RCSC, p. 285.
436 “Everyone started writing”: Rorem, Knowing When to Stop, p. 283.
437 “This is the best”: Kurt List, “Music Chronicle: The State of American
Music,” Partisan Review, Jan. 1948, p. 90.
437 “No art at all”: Theodor W. Adorno, Aesthetic Theory, ed. Gretel Adorno
and Rolf Tiedemann, trans. C. Lenhardt (Routledge, 1984), p. 79.
437 “A lie for a lie”: Milton Babbitt, “Battle Cry,” politics, Nov. 1945, p. 346.
438 “absolutely different world”: Milton Babbitt, Words About Music, ed.
Stephen Dembski and Joseph N. Straus (University of Wisconsin Press, 1987),
p. 31.
438 “abandon resolutely”: Roger Sessions, “Vienna—Vale, Ave,” Modern Music
15:4 (May—June 1938), pp. 207–8.
438 “complex, advanced”: Milton Babbitt, “The Revolution in Sound: Electronic
Music,” in The Collected Essays of Milton Babbitt, ed. Stephen Peles et al.
(Princeton UP, 2003), pp. 74–75.
439 trichords: See Andrew Mead, An Introduction to the Music of Milton Babbitt
(Princeton UP, 1994), pp. 55–123.
476
440 “I decided for once”: David Schiff, The Music of Elliott Carter, 2nd ed.
(Cornell UP, 1998), p. 55.
440 Art Tatum: Michael Hall, Leaving Home: A Conducted Tour of Twentieth-
Century Music with Simon Rattle (Faber, 1996), p. 70.
440 “Thy hand”: Schiff, Music of Elliott Carter, p. 240.
440 Piano Concerto in Berlin: Ibid., p. 254.
442 “I dare suggest”: Milton Babbitt, “Who Cares If You Listen?,” High Fidelity
8:2 (Feb. 1958), p. 126.
443 “We are in”: Leonard Bernstein, “American Musical Comedy,” Oct. 7, 1956,
reprinted in The Joy of Music (Simon and Schuster, 1959), p. 179.
445 “Don’t forget”: Humphrey Burton, Leonard Bernstein (Doubleday, 1994), p.
102.
445 “It is only after fifty”: Leonard Bernstein, Findings (Simon and Schuster,
1982), p. 257.
12: “Grimes! Grimes!”
447 “A bleak little place”: E. M. Forster, “George Crabbe: The Poet and the
Man,” in Benjamin Britten: Peter Grimes, ed. Eric Crozier (John Lane/Bodley
Head, 1946), p. 9.
447 “I had not a single”: W G. Sebald, The Rings of Saturn, trans. Michael
Hulse (New Directions, 1998), pp. 234 and 237.
448 childhood home: Beth Britten, My Brother Benjamin (Kensal Press, 1986),
illustrations.
448 “I believe in roots”: Benjamin Britten, “On Winning the First Aspen Award,”
in Contemporary Composers on Contemporary Music, ed. Elliott Schwartz and
Barney Childs (Da Capo, 1998),p. 122.
449 “The dark warm flood”: The Poetical Works of George Crabbe (Oxford UP,
1932), p. 198.
449 “gift and personality”: Britten, “On Winning the First Aspen Award,” p. 118.
449 Nono refused to shake: John Amis, Amiscellany: My Life, My Music (Faber,
1986), p. 199.
450 Tippett: For one of Michael Tippett’s commentaries on his sexuality, see his
memoir, Those Twentieth Century Blues (Hutchinson, 1991), p. 52.
450 “Is he musical?”: Philip Brett, “Musicality, Essentialism, and the Closet,” in
Queering the Pitch: The New Gay and Lesbian Musicology, ed. Philip Brett,
Elizabeth Wood, and Gary C. Thomas (Routledge, 1994), p. 11.
451 The Love Songs of Hafiz: See Stephen Downes, Szymanowski, Eroticism,
and the Voices of Mythology (Ashgate, 2003); and Stephen O. Murray and Will
Roscoe, Islamic Homosexualities: Culture, History, and Literature (NYU Press,
1997).
477
452 glass of whiskey: Humphrey Carpenter, Benjamin Britten: A Biography
(Faber, 1992), pp. 3–4.
452 “the fourth B”: DMBB1, p. 12.
452 harmonize before he could spell: Imogen Holst, Britten (Crowell, 1965), p.
19.
452 Victor Hugo setting: David Matthews, Britten (Haus, 2003), p. 10.
452 School Boy’s Diary: John Bridcut, Britten’s Children (Faber, 2006), pp. 1–8.
453 BBC: For more on the early history of the BBC’s modern-music
programming, see Humphrey Carpenter, The Envy of the World: Fifty Years of
the BBC Third Programme and Radio 3, 1945–1996 (Weidenfeld and Nicolson,
1996); and Jennifer Doctor, The BBC and Ultra-Modern Music, 1922–1936:
Shaping a Nation’s Tastes (Cambridge UP, 1999).
453 Schoenberg soiree: DMBB1, pp. 127–28.
453 Wozzeck on radio: Carpenter, Benjamin Britten, p. 51.
453 study with Berg: DMBB1, p. 395; Carpenter, Benjamin Britten, p. 52. It
seems possible that Britten’s parents thought that Berg was homosexual and
would corrupt their son; see DMBB1, p. 506.
453 “Stand up and fold”: The English Auden: Poems, Essays, and Dramatic
Writings, 1927–1939, ed. Edward Mendelson (Faber, 1977), pp. 160–61.
453 literary taste: See Paul Kildea, “Britten, Auden, and ‘Otherness,‘” in The
Cambridge Companion to Benjamin Britten, ed. Mervyn Cooke (Cambridge UP,
1999), pp. 38–39.
454 enharmonic change: Carpenter, Benjamin Britten, p. 16.
454 Snape: DMBB1, pp. 495–96.
454 “thin-as-a-board juveniles”: Ibid., pp. 1015–16.
455 “waspishness, bitterness”: Carpenter, Benjamin Britten, p. 501.
455 “corpses”: Ibid., p. 243.
455 Britten traveled to America: On the decision to leave, see DMBB1, pp. 619
and 634.
456 “Holywood”: Ibid., p. 610.
456 Milestone: Ibid. and DMBB2, pp. 692–95.
456 “It would be nice”: DMBB1, p. 567.
456 7 Middagh: Paul Bowles, Without Stopping (Ecco, 1985), pp. 233–35.
456 “Everything here”: DMBB2, p. 794.
457 Violin Concerto and Spanish Civil War: Matthews, Britten, p. 52.
458 “He’d now the power”: Poetical Works of George Crabbe, p. 197.
459 “accidental murder”: Peter Grimes materials, Britten-Pears Library,
Aldeburgh. See Draft Scenario (Brett’s L5), Johnson Line notes (L6), and
Pears’s list of scenes (L7).
478
459 “Once we’d decided”: Philip Brett, “‘Peter Grimes‘: The Growth of the
Libretto,” in The Making of “Peter Grimes”: Notes and Commentaries, ed. Paul
Banks (Boydell, 2000), p. 67.
459 “The queerness”: DMBB2, p. 1189.
459 “You will soon forget”: Peter Grimes materials, Britten-Pears Library.
460 “dramaticportrayal”: Philip Brett, “‘Peter Grimes‘: The Growth of the
Libretto,” p. 73; Philip Brett, “Salvation at Sea: Billy Budd,” in The Britten
Companion, ed. Christopher Palmer (Faber, 1984), p. 136.
460 “The more vicious”: “Opera’s New Face,” Time, Feb. 16, 1948, p. 63.
461 “Why did you do this?”: For more on Britten’s use of conversational
rhythms, see Philip Rupprecht, Britten’s Musical Language (Cambridge UP,
2001).
462 Porgy and Bess: DMBB2, pp. 637–38.
465 Passacaglia’s programmatic indications: Banks, Making of Peter Grimes, p.
205.
468 “Sadler’s Wells!”: DMBB2, p. 1264.
468 “not a bore”: Thomson’s review of Feb. 13, 1948, reprinted in DMBB3, p.
378.
469 Scotland Yard interview: Carpenter, Benjamin Britten, p. 335.
469 FBI file: Donald Mitchell, “Violent Climates,” in Cooke, Cambridge
Companion to Benjamin Britten, pp. 211–16.
469 homosexuality and Billy Budd: The erotic implications of the scenario had
already been noticed by the critic F. O. Matthiessen, who in 1941 took note of
Claggart’s “soft yearning” for Billy and the “sexual element in Claggart’s
malevolence.” See Matthiessen, The American Renaissance: Art and
Expression in the Age of Emerson and Whitman (Oxford UP, 1941), pp. 506–7.
Matthiessen, incidentally, committed suicide in 1950, just as Britten was starting
work on Billy Budd.
470 interview chords: For a discussion of their erotic implications, see Clifford
Hindley, “Eros in Life and Death in Billy Budd and Death in Venice,” in Cooke,
Cambridge Companion to Benjamin Britten, pp. 151–53.
471 David Hemmings: Carpenter, Benjamin Britten, p. 357.
471 Harry Morris: Bridcut, Britten’s Children, pp. 46–53. The two authors who
have studied Britten’s relationships with boys come to different conclusions.
Humphrey Carpenter portrays a would-be pedophile who plies boys with
martinis and encourages them to swim nude in his swimming pool (Benjamin
Britten, pp. 350–58). Bridcut tells the same stories but puts them in a less
sinister light, concluding that “whatever shadows may have lurked in Britten’s
mind, his effect on these boys was benign, wholesome, and inspiring” (Britten’s
Children, p. xii). The truth is probably somewhere in between, or unknowable.
472 A Child of Our Time: For more, see Kenneth Gloag, Tippett, “A Child of Our
Time” (Cambridge UP, 1999).
473 Shostakovich and Britten meeting: LFS, p. 219.
474 “great works of the human spirit”: IGSF, p. 114.
479
474 “You great composer”: Michael Oliver, Benjamin Britten (Phaidon, 1996), p.
170.
474 “They’ve been pursuing me”: IGSF, pp. 91–92.
474 “I am scared”: EWS, p. 377.
475 “Our disappointment”: Ibid., p. 348.
475 “The title page”: IGSF, p. 91.
477 “a chain of metamorphoses”: Lyudmila Kovnatskaya, “Shostakovich and
Britten: Some Parallels,” in Shostakovich in Context, ed. Rosamund Bartlett
(Oxford UP, 2000), p. 187.
477 “peculiar glow”: “Editor’s Note,” Symphonies nos. 14 and 15 (State
Publishers “Music,” 1980).
477 “gloomy, introverted”: EWS, p. 305.
478 “I didn’t”: Ibid., p. 470.
478 “Now has struck”: IGSF, pp. 165 and 306–7.
478 Donald Mitchell speculated: See his notes to Britten’s live recording of
Symphony No. 14 and his own Nocturne (BBC 8013-2).
478 Lou Gehrig’s disease: EWS, pp. 441–42.
478 “very tense”: Carpenter, Benjamin Britten, p. 541.
479 Władysław Moes: “‘I Was Thomas Mann’s Tadzio,‘” in Benjamin Britten:
Death in Venice, ed. Donald Mitchell (Cambridge UP, 1987), pp. 184–85.
479 Mann’s unfinished works: Donald Prater, Thomas Mann: A Life (Oxford UP,
1995), p. 88.
480 “He talked quite calmly”: Carpenter, Benjamin Britten, p. 543.
480 “Ben is writing”: Ibid., p. 546.
480 gamelan scale: Mervyn Cooke, “Britten and the Gamelan,” in Mitchell,
Benjamin Britten: Death in Venice, pp. 122–23. See also Mervyn Cooke, Britten
and the Far East: Asian Influences in the Music of Benjamin Britten (Boydell,
1998); and Mervyn Cooke, “Distant Horizons: From Pagodaland to the Church
Parables,” in Cooke, Cambridge Companion to Benjamin Britten, pp. 167–87.
481 known from McPhee: Cooke, Britten and the Far East, pp. 27–28.
481 “it was as if”: Thomas Mann, Death in Venice and Other Stories, trans.
David Luke (Bantam, 1988), p. 263.
482 Alexander Dunkel: Author’s interview, July 19, 2004.
482 “I was so taken aback”: IGSF, p. 193.
482 salute at Met: David J. Baker, “‘It Vas Premiere: The Night Shostakovich
Came to the Met,” Opera News, Dec. 10, 1994, p. 17.
482 Viola Sonata: EWS, pp. 528–32; LFS, p. 286.
482 “I want to say”: DMBB2, p. 1154.
480
13. Zion Park
483 “I have found”: Thomas Mann, Doktor Faustus (Fischer, 1971), p. 477.
484 “Adrian Leverkühn might”: Letters of Thomas Mann, 1889–1955, trans.
Richard Winston and Clara Winston (Knopf, 1971), pp. 549–50. Golo Mann
once wrote to Britten: “My father, incidentally, used to say, that if it ever came to
some musical illustration of his novel, Doctor Faustus, you would be the
composer to do it.” See Patrick Carnegy, “The Novella Transformed: Thomas
Mann as Opera,” in Benjamin Britten: Death in Venice, ed. Donald Mitchell
(Cambridge UP, 1987), p. 168. Britten and Leverkühn both set William Blake’s
“The Sick Rose” and Verlaine’s “Chanson d’automne”; both had a taste for
archaic folk poetry and medieval subjects; both composed a Shakespeare
comedy. Doctor Faustus can be seen on the shelves of the library of the Red
House in Aldeburgh, but, according to Donald Mitchell, Britten probably never
read it.
484 “black masterpieces”: “Entretien avec Claude Samuel,” booklet included
with the 1988 Erato box-set recording of Messiaen’s works (ECD 75505), p. 16.
484 Pousseur: Paul Griffiths, Modern Music: The Avant Garde Since 1945
(Braziller, 1981), p. 258. There are also references to the fictional composer in
Henze’s Third Violin Concerto; Peter Maxwell Davies’s Resurrection (see John
Warnaby, “Peter Maxwell Davies’s Recent Music, and Its Debt to His Earlier
Scores,” in Perspectives on Peter Maxwell Davies, ed. Richard McGregor
[Ashgate, 2000], pp. 76–77; and notes to recording of Resurrection [Collins
Classics 70342]); Poul Ruders’s Corpus cum figuris; Bengt Hambraeus’s
Apocalipsis cum figuris secundum Dürer; and Alfred Schnittke’s Historia von D.
Johann Fausten, among others.
484 “the century of death”: Leonard Bernstein, The Unanswered Question: Six
Talks at Harvard (Harvard UP, 1976), p. 313.
484 “Grand Hotel Abyss”: Georg Lukács, The Theory of the Novel, trans. Anna
Bostock (MIT Press, 1971), p. 22.
485 Resurrection as Hiroshima: NSPHM, p. 337.
486 playing Messiah: Ibid., p. 333.
486 “Visited Messiaen”: “European Diary,” 1949, ACLC.
486 communal bathroom: NSPHM, p. 340.
486 Esa-Pekka Salonen: Author’s interview, March 25, 2003.
486 Kent Nagano: Author’s interview, Oct. 8, 2002.
486 “The tonic triad, the dominant”: Claude Samuel, Olivier Messiaen: Music
and Color, trans. E. Thomas Glasow (Amadeus, 1986), pp. 51–52.
487 “remote overtones”: Arnold Schoenberg, Theory of Harmony, trans. Roy E.
Carter (University of California Press, 1983),p. 318.
487 “the chord of resonance”: Olivier Messiaen, The Technique of My Musical
Language, trans. John Satterfield (Leduc, 1956), p. 50 and ex. 208.