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481
487 Messiaen’s modes generate: See Paul Griffiths, Olivier Messiaen and the
Music of Time (Cornell UP, 1985), pp. 38–39. See also Messiaen, Technique of
My Musical Language, ex. 366.
487 “rainbows of chords”: Antoine Goléa, Rencontres avec Olivier Messiaen
(Julliard, 1960), p. 30.
488 Fêtes des belles eaux: See Nigel Simeone, Olivier Messiaen: A
Bibliographical Catalogue of Messiaen’s Works (Schneider, 1998), pp. 192 and
194.
489 “ever splashier paroxysms”: Griffiths, Olivier Messiaen and the Music of
Time, p. 110.
489 “an angel wearing lipstick”: NSPHM, p. 151.
489 “to open up”: Virgil Thomson, Music Reviewed, 1940–1954 (Vintage, 1967),
p. 160.
489 “She had to be put”: “Interview with Yvonne Loriod,” in The Messiaen
Companion, ed. Peter Hill (Faber, 1995), p. 294.
490 “Tristan trilogy”: Griffiths, Olivier Messiaen and the Music of Time, p. 124.
491 “We are all in a profound”: NSPHM, p. 214.
491 “Messiaen is developing”: The Boulez-Cage Correspondence, ed. Jean-
Jacques Nattiez, trans. Robert Samuels (Cambridge UP, 1993), p. 126.
491 “Birds are my first”: Goléa, Rencontres avec Olivier Messiaen, pp. 218–19.
492 “I’m anxious”: NSPHM, p. 208.
493 Johnson has observed: See Robert Sherlaw Johnson, Messiaen (University
of California Press, 1975), p. 135.
493 Dingle notes: See Christopher Dingle, “‘La statue reste sur son piédestal’:
Messiaen’s La Transfiguration and Vatican II,” Tempo 212 (April 2000), pp. 8–
11.
494 “an immense cake”: Samuel, Olivier Messiaen: Music and Color, p. 160.
494 “immense solitude”: Catherine Massip, ed., Portrait(s) d’Olivier Messiaen
(Bibliothèque National de France, 1996), pp. 20–21.
497 “I am here”: JCS, pp. 109 and 126.
497 “Do you agree”: Ibid., p. 48.
498 boxing gloves: David Osmond-Smith, “Bussotti, Sylvano,” in NG 4, p. 678.
498 “We cannot”: Paul Attinello, “Imploding the System: Kagel and the
Deconstruction of Modernism,” in Postmodern Music, Postmodern Thought, ed.
Judy Lochhead and Joseph Auner (Routledge, 2002), p. 271.
499 Berio would criticize: See, for example, his Harvard lectures of 1993–94,
collected in Luciano Berio, Remembering the Future (Harvard UP, 2006), esp.
p. 21.
499 “field composition”: Karlheinz Stockhausen, “… how time passes …,” Die
Reihe 3 (Presser, 1959), pp. 32–33.
499 propellers vibrating: Robin Maconie, The Works of Karlheinz Stockhausen
(Clarendon, 1990), p. 94.
482
500 sonorism: See Adrian Thomas, Polish Music Since Szymanowski
(Cambridge UP, 2005), pp. 83–109.
500 “Composers often”: Charles Bodman Rae, The Music of Lutosławski, 3rd
ed. (Omnibus, 1999), p. 75.
500 “I could start”: Bernard Jacobson, A Polish Renaissance (Phaidon, 1996),
p. 92.
500 from a great height: Ibid., p. 99.
501 “Play a vibration”: Jonathan Harvey, The Music of Stockhausen (University
of California Press, 1975), p. 113.
501 an incendiary essay: Cornelius Cardew, Stockhausen Serves Imperialism
(ubuclassics, 2004), pp. 47–75.
501 “an intellectualist”: TMDF, p. 253. Other quotations are on pp. 256–57 and
395.
502 “metacollage”: Jonathan Cott, Stockhausen: Conversations with the
Composer (Picador, 1974), p. 174.
504 in search of drinks: Humphrey Carpenter, Benjamin Britten: A Biography
(Faber, 1992), pp. 482–83.
504 “witch hunts”: Bernd Alois Zimmermann: “Du und Ich und Ich und die Welt”:
Dokumente aus den Jahren 1940 bis 1950, ed. Heribert Henrich (Wolke, 1998),
p. 72.
504 “O Germany”: Ibid., pp. 74–75.
504 “Watch with me”: TMDF, p. 516.
504 looked askance: “Kompositionstechnik und Inspiration” (1949), in “Du und
Ich und Ich und die Welt,” pp. 124–25.
504 steadily scrubbing out: Archives of the Akademie der Künste, Berlin.
506 “When you are accepted”: György Ligeti, lecture at the New England
Conservatory, March 10, 1993.
506 Ligeti’s wartime experiences: Richard Toop, György Ligeti (Phaidon, 1999),
pp. 19–22; “Interview with the Composer,” in Paul Griffiths, György Ligeti
(Robson Books, 1983), pp. 16–18; Richard Steinitz, György Ligeti: Music of the
Imagination (Northeastern UP, 2003), pp. 19–21; György Ligeti, “Trä umen Sie
in Farbe?”: György Ligeti im Gesprä ch mit Eckhard Roelcke (Paul Zsolnay,
2003), pp. 46–60.
507 Ligeti reads Mann: Wolfgang Burde, György Ligeti: Eine Monographie
(Atlantis, 1993), p. 43.
507 “a knife in Stalin’s heart”: Steinitz, György Ligeti, p. 57.
507 escape from Hungary: Ibid., pp. 70–71.
507 Stockhausen broadcast: Griffiths, György Ligeti, p. 22.
508 “I don’t like gurus”: Richard Dufallo, Trackings: Composers Speak with
Richard Dufallo (Oxford UP, 1989), p. 333.
508 “True, there were”: Ligeti, “Trä umen Sie in Farbe?”, p. 98.
483
508 “event - pause - event”: Ligeti, “Metamorphoses of Musical Form,” in Die
Reihe 7 (Presser, 1965), p. 10.
509 moves “through all the shades”: TMDF, p. 393.
511 “peasant devotion”: Francis Poulenc, Entretiens avec Claude Rostand
(Julliard, 1954), p. 109.
513 Aquinas wrote: Vincent P. Benitez, “Simultaneous Contrast and Additive
Designs in Olivier Messiaen’s Opera, Saint François d’Assise,” Music Theory
Online 8:2 (Aug. 2002), note 45.
513 “Certain people are annoyed”: Interview with Jean-Christophe Marti, in
notes to Kent Nagano’s recording of Saint François d’Assise (DG 445 176-2).
513 refusal to “play God”: Anthony Pople, “Messiaen’s Musical Language: An
Introduction,” in Hill, Messiaen Companion, p. 46.
14. Beethoven Was Wrong
515 Sgt. Pepper’s at the Schlosskeller: Richard Toop, György Ligeti (Phaidon,
1999), p. 155.
515 “A Day in the Life”: Allan Kozinn, The Beatles (Phaidon, 1995), p. 153;
Mark Hertsgaard, A Day in the Life: The Music and Artistry of the Beatles
(Delacorte, 1995), pp. 7–8; Mark Lewisohn, The Beatles Recording Sessions
(Harmony, 1988).
515 “Tomorrow Never Knows”: See Ian MacDonald, Revolution in the Head:
The Beatles’ Records and the Sixties (Pimlico, 1998), p. 169; April 6 and 7,
1966, entries, in Lewisohn, Beatles Recording Sessions; and Bob Spitz, The
Beatles: The Biography (Little, Brown, 2005), p. 601.
516 Grateful Dead and Stockhausen: Derek Beres, Global Beat Fusion: The
History of the Future of Music (iUniverse, 2005),p. 32.
516 Zappa calls Varèse: Frank Zappa, “Edgard Varèse: Idol of My Youth,”
Stereo Review 26:6 (June 1971), pp. 62–63.
516 “Listening to Bengt”: Recording of Hambraeus’s Constellations II and
Interferences (Limelight 86052).
517 “Schoenberg gives”: Edward Strickland, American Composers: Dialogues
on Contemporary Music (Indiana UP, 1991), p. 46.
517 “a drift away from narrative”: Brian Eno, foreword to Mark Prendergast, The
Ambient Century: From Mahler to Trance—the Evolution of Sound in the
Electronic Age (Bloomsbury, 2000), p. xi.
518 Young and Dolphy: Interview with Young in Strickland, American
Composers, pp. 56–57.
518 Glass and jazz: Ev Grimes, “Interview: Education,” in Writings on Glass:
Essays, Interviews, Criticism, ed. Richard Kostelanetz (University of California
Press, 1999), p. 16.
484
518 “serious musicians”: LeRoi Jones [Amiri Baraka], Blues People: Negro
Music in White America (Quill, 1999), p. 188.
519 Bartók’s chords of fourths: Lewis Porter, John Coltrane: His Life and Music
(University of Michigan Press, 1998), p. 125.
519 “We had some fundamental”: Dizzy Gillespie, with Al Fraser, To Be, or Not
… to Bop (Da Capo, 1985), pp. 140–41.
519 “pedal point”: From Mingus’s notes to The Black Saint and the Sinner Lady
(Impulse!/MCA IMPD-174).
519 “You play what you want”: Grover Sales, Jazz: America’s Classical Music
(Da Capo, 1992), p. 127.
520 “It is a way”: Gunther Schuller, “Third Stream” (1961) and “Third Stream
Revisited” (1981), in Musings: The Musical Worlds of Gunther Schuller (Oxford
UP, 1986), pp. 114–20. The quotation comes from the second essay, p. 119.
For Schuller and Free Jazz, see Whitney Balliett, Collected Works: A Journal of
Jazz, 1954–2000 (St. Martin’s, 2000), pp. 114–17.
520 “The music just comes out”: Author’s interview with Reich, April 14, 2003.
521 “smelly old house”: Ann M. Pescatello, Charles Seeger: A Life in American
Music (University of Pittsburgh Press, 1992), p. 53.
521 “an undefiled Eden”: Michael Hicks, Henry Cowell, Bohemian (University of
Illinois Press, 2002), p. 13.
521 “There is a new race”: Carol J. Oja, Making Music Modern: New York in the
1920s (Oxford UP, 2000), p. 128. See also Hicks, Henry Cowell, p. 39.
521 Native American thundersticks: See Cowell’s Ensemble, composed
1924/56.
522 Nancarrow: Cowell’s suggestion about the player piano is found in his New
Musical Resources (Cambridge UP, 1996), p. 65. For more, see Kyle Gann,
The Music of Conlon Nancarrow (Cambridge UP, 1995), esp. pp. 5–7.
522 “find a way outside”: Bob Gilmore, Harry Partch: A Biography (Yale UP,
1998), p. 21.
522 Gilmore’s biography: See ibid., p. 18.
523 Ramon Novarro: Ibid., p. 47.
523 “Faustian” strain: Harry Partch, Genesis of a Music: An Account of a
Creative Work, Its Roots and Its Fulfillments, 2nd ed. (Da Capo, 1974), pp. 8
and 16.
524 “There is, thank God”: Philip Blackburn, ed., Harry Partch: Enclosure 3
(American Composers Forum, 1997), p. 93.
525 a reading of Partch’s: Leta E. Miller and Fredric Lieberman, Lou Harrison:
Composing a World (Oxford UP, 1998), pp. 44–45.
525 “Use only the essentials”: Ibid., p. 23.
525 Cage and Cowell: Leta E. Miller, “Henry Cowell and John Cage:
Intersections and Influences, 1933–1941,” Journal of the American
Musicological Society 59:1 (Spring 2006), pp. 47–111.
526 “vogue of profundity”: JCS, p. 130.
485
526 Beethoven had misled: Calvin Tomkins, The Bride and the Bachelors: Five
Masters of the Avant-Garde (Penguin, 1976), p. 102. See also Martin
Duberman, Black Mountain: An Exploration in Community (Dutton, 1972), p.
288.
526 “Beethoven was wrong!”: John Ashbery, discussion at Guggenheim
Museum, May 14, 2001.
526 Vexations performance: Harold C. Schonberg, Richard Shepard, Raymond
Ericson, Brian O’Doherty, Sam Zolotow, Anon., Howard Klein, and Marjorie
Rubin, “A Long, Long, Long Night (and Day) at the Piano,” New York Times,
Sept. 11, 1963.
526 Warhol: Steven Watson, Factory Made: Warhol and the Sixties (Pantheon,
2003), pp. 108 and 136.
527 Feldman’s height and weight: B. H. Friedman, “Morton Feldman: Painting
Sounds,” in Give My Regards to Eighth Street: Collected Writings of Morton
Feldman, ed. B. H. Friedman (Exact Change, 2000), p. xi.
527 “Wasn’t that beautiful?”: Morton Feldman Essays, ed. Walter Zimmermann
(Beginner, 1985), pp. 36–37. See also Tomkins, The Bride and the Bachelors,
p. 107; MFS, p. 30; and “Hisses, Applause for Webern Opus,” New York Times,
Jan. 27, 1950.
527 “an absolutely unforgettable”: SRW, p. 202.
528 Wolpe, Varèse: MFS, pp. 31 and 257.
529 “more direct, more immediate”: Zimmermann, Morton Feldman Essays, p.
38.
529 “Music seems to have”: Wilfrid Mellers, Music in a New Found Land:
Themes and Developments in the History of American Music (Knopf, 1965), p.
191.
529 “silent protest”: MFS, p. 152.
530 “Can’t you hear”: Alvin Curran’s communication to author, May 14, 2006.
530 “There’s an aspect”: “Morton Feldman, Earle Brown, and Heinz-Klaus
Metzger in Discussion” (1972), as heard on the LP set Music Before Revolution
(German EMI/Odeon 1C 165–28954/57Y).
531 kabbalistic thought: For informed speculation on this topic, see Raphael
Mostel, “The Tale of a Chance Meeting That Set the Music World on Its Ear,”
Forward, Feb. 2, 2001.
531 “wipes everything out”: MFS, p. 136.
531 “Western civilization music”: “Morton Feldman, Earle Brown, and Heinz-
Klaus Metzger in Discussion.”
532 “He writes a piece”: Give My Regards To Eighth Street, p. 48.Sibelius
assignment: See Morton Feldman Papers, Music Library, SUNY Buffalo. One
exam question reads as follows: “By means of a Schenkerian sketch or other
method familiar to you, analyze the first movement of the Sibelius Symphony
No. 5. In a brief essay, comment on Sibelius’s use of orchestration to highlight
aspects of the formal and harmonic structures of this composition.”
486
532 “Would that I had known”: Milton Babbitt, “On Having Been and Still Being
an American Composer,” in Perspectives on Musical Aesthetics, ed. John Rahn
(Norton, 1994), pp. 146–47.
532 colorful testimonials: See Michael Broyles, Mavericks and Other Traditions
in American Music (Yale UP, 2004), pp. 169–71. Discussion of the alleged
atonal, twelve-tone, and/or serialist domination of American composition
departments in the fifties and sixties can be found in Joseph N. Straus, “The
Myth of Serial ‘Tyranny’ in the 1950s and 1960s,” Musical Quarterly 83:3 (Fall
1999), pp. 301–43; and Anne C. Shreffler, “The Myth of Empirical
Historiography: A Response to Joseph N. Straus,” Musical Quarterly 84:1
(Spring 2000), pp. 30–39.
533 trenchant commentaries: See Kyle Gann, Music Downtown (University of
California Press, 2006), pp. 1–15.
534 Fluxus: For documentation of the works and manifestos mentioned, see the
websites www.medienkunstnetz.de and www.artnotart.com.
534 ONCE Festival: For the definitive account, see Leta E. Miller, “ONCE and
Again: The Evolution of a Legendary Festival,” essay included with the box set
Music from the ONCE Festival, 1961–1966 (New World 80567-2). See also
Kyle Gann, “I-80 Avant-Garde,” Village Voice, Nov. 17, 1987.
534 “took matters”: Gordon Mumma, “The ONCE Festival and How It
Happened” (1967), reprinted at brainwashed.com/mumma/writing.html
(accessed July 17, 2006).
535 Music for Solo Performer: See N. B. Aldrich, “What Is Sound Art,” at
emfinstitute.emf.org/articles/aldrich03/lucier.html (accessed July 17, 2006).
535 “dancers went around”: Kyle Gann, American Music in the Twentieth
Century (Schirmer Books, 1997), p. 262; see also Joel Chadabe, Electric
Sound: The Past and Promise of Electronic Music (Prentice Hall, 1997), p. 86.
536 Young’s childhood: William Duckworth, Talking Music: Conversations with
John Cage, Philip Glass, Laurie Anderson, and Five Generations of American
Experimental Composers (Schirmer Books, 1995), p. 218. See also Keith
Potter, Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich,
Philip Glass (Cambridge UP, 2000), p. 23.
536 “sense of space”: Potter, Four Musical Minimalists, p. 23.
537 In a 1989 performance: See Edward Strickland, Minimalism: Origins
(Indiana UP, 1993), p. 119. The description of the Trio is also based on a
performance of the just-intonation version at Young’s MELA Foundation on
Sept. 24, 2005. See also Potter, Four Musical Minimalists, p. 39.
537 Terry Jennings and Dennis Johnson: Strickland, Minimalism, p. 129; and
Michael Nyman, Experimental Music: Cage and Beyond (Cambridge UP, 1999),
pp. 140–41.
537 Young’s Composition and Piano Piece: Potter, Four Musical Minimalists,
pp. 51–52.
537 according to legend: Strickland, Minimalism, p. 137.
487
538 “the best drug connection”: Testimony of Billy Name, in Legs McNeil and
Gillian McCain, Please Kill Me: The Uncensored Oral History of Punk (Penguin,
1996), p. 4.
538 Indian influence: Strickland, American Composers, p. 65. See also Terry
Riley, “The Trinity of Eternal Music,” in Sound and Light: La Monte Young and
Marian Zazeela, ed. William Duckworth and Richard Fleming (Bucknell UP,
1996), pp. 98–103.
538 “To be held”: Dave Smith, “Following a Straight Line: La Monte Young,”
Contact 18 (Winter 1977–78), p. 5.
538 Cale’s drones: Victor Bockris and Gerard Malanga, Up-Tight: The Velvet
Underground Story (Omnibus, 2002), p. 13; Potter, Four Musical Minimalists, p.
71.
539 “What La Monte”: Duckworth, Talking Music, p. 282.
539 marijuana and mescaline: Ibid., p. 269.
539 “I want this kind”: Interview with Riley in notes to the recording Music for
The Gift, Bird of Paradise, Mescalin Mix (Organ of Corti 1).
539 “a very straight guy”: Strickland, American Composers, p. 112.
540 “So What”: Ibid., p. 113.
540 “the sun coming up”: K. Robert Schwarz, Minimalists (Phaidon, 1996), p.
39.
540 “Climaxes of great sonority”: Alfred Frankenstein, “Music Like None Other
on Earth,” San Francisco Sunday Chronicle, Nov. 8, 1964.
540 chiming Cs: Strickland, American Composers, p. 113.
541 “the Pentagon was turned”: Riley’s notes to the recording of A Rainbow in
Curved Air (CBS MK7315).
541 “REICH”: The composer moved out of Manhattan in 2006.
541 wheels on rails: Author’s interview with Reich.
541 “If I had been”: SRW p. 151.
542 Reich’s favorite records: Reich’s communication to author, May 4, 2006.
542 “If you want”: SRW, p. 203.
542 Coltrane fifty times: Strickland, American Composers, p. 38.
542 A. M. Jones: SRW, p. 10.
542 Event III/Coffee Break: Phil Lesh, Searching for the Sound: My Life with the
Grateful Dead (Little, Brown, 2005), pp. 37–38.
543 “It’s an acoustical reality”: Author’s interview with Reich.
544 Mahler blows Lesh’s mind: See Dennis McNally, A Long Strange Trip: The
Inside History of the Grateful Dead (Broadway Books, 2002), p. 69; and Lesh,
Searching for the Sound, p. 35.
544 “In the group of people”: Potter, Four Musical Minimalists, p. 170.
544 Michael Nyman: See his Experimental Music, pp. 1–9.
545 “I am interested”: SRW, p. 34.
488
546 “All music turns out”: Ibid., p. 35.
546 commented to Strickland: Strickland, Minimalism, pp. 222–23.
547 Four Organs scandal: For various accounts, see ibid., p. 222; Schwarz,
Minimalists, pp. 70–71; Alan Rich, “Surging Forward by Standing Still,” LA
Weekly, March 15, 2006; and Harold C. Schonberg, “Concert Fuss,” New York
Times, Jan. 20, 1973.
548 “a wasteland”: John Rockwell, All American Music: Composition in the Late
Twentieth Century (Knopf, 1983), p. 111.
549 Chelsea Light Moving: Potter, Four Musical Minimalists, pp. 260–61.
549 Robert Hughes: Schwarz, Minimalists, pp. 122–23.
550 twelve-tone row: Tim Page, “Music in 12 Parts,” in Kostelanetz, Writings on
Glass, p. 101.
551 ninety thousand dollars: Tim Page, “Philip Glass,” in ibid., p. 7; Philip Glass,
Music by Philip Glass (Harper and Row, 1987), p. 54.
552 “The music danced”: Rockwell, All American Music, pp. 109–10.
553 “poetic justice”: Author’s interview with Reich.
553 Cale and Young: Smith, “Following a Straight Line,” pp. 4 and 7.
553 Cale shocks Mme Koussevitzky: John Cale and Victor Bockris, What’s
Welsh for Zen: The Autobiography of John Cale (Bloomsbury, 1999), p. 53.
554 “six ounces of opium”: Ibid., p. 64.
554 MacLise quit: Bockris and Malanga, Up-Tight, p. 28.
555 Eno’s early musical loves: Prendergast, The Ambient Century, pp. 116–18.
555 greeting him: Author’s interview with Reich.
556 techno, house, and rave: See Simon Reynolds, Generation Ecstasy: Into
the World of Techno and Rave Culture (Routledge, 1999), pp. 36 and 200, for
this crossover.
556 turntable lineage: For more, see Mark Katz, Capturing Sound: How
Technology Has Changed Music (University of California Press, 2004).
556 “Repetition is a form”: Brian Tamm, Brian Eno: His Music and the Vertical
Color of Sound (Da Capo, 1995), p. 25.
557 “Repetitive musicking”: Robert Fink, Repeating Ourselves: American
Minimal Music as Cultural Practice (University of California Press, 2005), pp.
21–22.
15. Sunken Cathedrals
558 Adams at Brushy Ridge: This description is based on the author’s visit in
June 2000. A new house has since been built.
560 Mahler’s temperature: “Das Befinden Gustav Mahlers,” Neue Freie Presse,
May 18, 1911.
489
563 “Parlez-moi d’amour”: Peter Burt, The Music of Toru Takemitsu (Cambridge
UP, 2001), p. 22; and Toru Takemitsu, “Contemporary Music in Japan,”
Perspectives of New Music 27:2 (1989), pp. 199–200.
563 “picture scroll unrolled”: Yoko Narazaki, “Takemitsu, Toru,” in NG 25, p. 23.
564 “No, this piece”: Sheila Melvin and Jindong Cai, Rhapsody in Red: How
Western Classical Music Became Chinese (Algora, 2004), p. 333.
564 Jiang Qing’s musical tastes: Ibid., pp. 254, 266–67, 252.
564 He Luting’s interrogation: Ibid., pp. 236–39.
565 “Who’s Mozart?”: Ibid., p. 293; and “Tan Dun on the International Stage,”
Sinorama, July 2001.
568 “We had the simplicity”: www.redpoppy music.com/artists.html (accessed
Jan. 16, 2007).
569 Ferneyhough: The bar described is II/40.
571 IRCAM budget: Georgina Born, Rationalizing Culture: IRCAM, Boulez, and
the Institutionalization of the Musical Avant-Garde (University of California
Press, 1995), p. 85.
571 “Well, perhaps”: Stephen Johnson, “When the Wall Came Down,” BBC
Music Magazine, Nov. 2002, p. 20.
572 “twelve very different”: Malcolm Ball, “Licht aus Stockhausen,”
www.stockhausen.org/licht_by_malcolm _ball.html (accessed Aug. 13, 2006).
572 In C at Darmstadt: Richard Toop, György Ligeti (Phaidon, 1999), p. 146.
572 Andriessen: For more, see Maja Trochimczyk, ed., The Music of Louis
Andriessen (Routledge, 2002).
573 “I have to acknowledge”: David Bundler, 1996 interview with Gérard Grisey,
www.angelfire.com/music2/davidbundler/grisey.html (accessed Aug. 13, 2006).
574 “My music has been concerned”: Andrew Clements, “Helmut Lachenmann:
Truth, Beauty, and Relevance,” notes to recording of Streichtrio, TemA, Trio
fluido (Auvidis Montaigne MO 782023).
574 “uncontaminated”: Ulrich Mosch, “Lachenmann, Helmut,” in NG 14, p. 93.
575 Ilya Musin and Shostakovich: Martin Anderson, obituary for Ilya Musin,
Independent, June 10, 1999.
576 “I set down”: Alex Ross, “The Connoisseur of Chaos,” New Republic, Sept.
28, 1992.
577 “had an incredible influence”: Author’s interview with Schnittke, Feb. 5,
1994.
577 Shostakovich and Schnittke: See Alexander Ivashkin, Alfred Schnittke
(Phaidon, 1996), pp. 60–72.
577 “I want you”: Karen Campbell, “A Russian Composer’s Path to Freedom,”
Christian Science Monitor, Aug. 27, 1997.
577 “transfigurations”: Laurel E. Fay, program notes for a concert of
Gubaidulina’s music at Carnegie Hall, Dec. 6, 2006.
578 Pä rt’s study of polyphony: Paul Hillier, Arvo Pä rt (Oxford UP, 1997), p. 65.
490
578 ECM sales: Tina Pelikan’s communication to the author.
579 Pä rt in AIDS ward: Patrick Giles, “Sharps & Flats,” Salon, Nov. 18, 1999.
583 Adams’s childhood and college experiences: Details from the author’s
interviews with Adams in June 2000 and from a forthcoming memoir by Adams.
Epilogue
591 “imaginary country”: Debussy Letters, ed. François Lesure and Roger
Nichols, trans. Roger Nichols (Harvard UP, 1987), p. 118.
SUGGESTED LISTENING
Ten Recommended Recordings
Schoenberg, Berg, and Webern, Pieces for Orchestra, Levine / Berlin
Philharmonic (DG/ArkivMusic.com)
Stravinsky, Rite of Spring and Petrushka, Stravinsky / Columbia Symphony
(Sony)
Bartók, Concerto for Orchestra and Music for Strings, Percussion, and Celesta,
Reiner / Chicago Symphony (RCA)
Sibelius, Symphonies Nos. 4–7, Karajan / Berlin Philharmonic (DG)
Britten, Peter Grimes, Davis / Royal Opera House (Philips)
Copland the Populist, Tilson Thomas / San Francisco Symphony (RCA)
Shostakovich, Symphonies Nos. 5 and 9, Bernstein / New York Philharmonic
(Sony)
Messiaen, Quartet for the End of Time, Tashi (RCA)
Ligeti, Atmosphères and Lontano, Nott / Berlin Philharmonic (Teldec)
Reich, Music for 18 Musicians (ECM)