Ross Alex. The rest is noice

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491

Twenty More

Panorama: Claude Debussy (DG)

Mahler, Sixth Symphony, Abbado / Berlin Philharmonic (DG)

Strauss, Salome, Karajan / Vienna Philharmonic (EMI)

Berg, Wozzeck, Abbado / Vienna Philharmonic (DG)

Prokofiev and Ravel, Piano Concertos, Argerich / Abbado / Berlin Philharmonic

(DG)

Stravinsky, Symphonies, Stravinsky / Columbia Symphony (Sony)

Ives: An American Journey, Tilson Thomas / San Francisco Symphony (RCA)

Gershwin, Porgy and Bess, Rattle / Glyndebourne Opera (EMI DVD)

Weill, The Threepenny Opera (“Berlin 1930” edition, Teldec)

Shostakovich, String Quartets Nos. 3, 7, 8, St. Lawrence Quartet (EMI)

Strauss, Metamorphosen and Four Last Songs, Karajan / Berlin Philharmonic

(DG)

Xenakis, Orchestral Works and Chamber Music (col legno)

Stockhausen, Elektronische Musik, 1952–1960 (Stockhausen Edition No. 3)

Cage, The Seasons (ECM)

Feldman, Rothko Chapel (New Albion)

Pärt, Tabula Rasa (ECM)

Adams, Harmonielehre, de Waart / San Francisco Symphony (Nonesuch)

Lutoslawski, Third Symphony, Salonen / Los Angeles Philharmonic (Sony)

Golijov, Ayre, and Berio, Folk Songs, Dawn Upshaw (DG)

Saariaho, L’Amour de loin, Salonen conducting the Finnish National Opera (DG

DVD)

For assistance with research I would like to thank Therese Muxeneder and Eike

Fess at the Schoenberg Center in Vienna; Pia Hadl and Alexander Moore at the

Graz Opera; Nancy Shawcross at the Rare Book and Manuscript Library at the

University of Pennsylvania; Werner Grünzweig at the Akademie der Künste,

Berlin; Maria Wilflinger at the Austrian National Library in Vienna; Gabi

Hollender at the Thomas Mann Archive in Zurich; Sven Friedrich at the Richard

Wagner Museum; Noëlle Mann at the Sergei Prokofiev Archive; John Bewley at

the Music Library of the State University of New York at Buffalo; Suzanne

Eggleston Lovejoy at the Yale University Music Library; and staff members of

the Britten-Pears Library in Aldeburgh, the Music Division and the Rare Book

ACKNOWLEDGMENTS

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and Special Collections Division of the Library of Congress, the Wiener Library

at Columbia University, the Music Division of the New York Public Library for

the Performing Arts, and, especially, National Archives II in College Park,

Maryland.

Thomas Adès, Milton Babbitt, Osvaldo Golijov, the late György Ligeti, Arvo Pärt,

Steve Reich, and the late Alfred Schnittke generously spoke to me about their

music. John Adams served both as a subject of the book and as an inspiration

for its style. Judge Ronald Schoenberg, of Brentwood, California, and Dr.

Christian Strauss, of Garmisch-Partenkirchen, Germany, graciously showed me

the homes of their forebears. Donald Mitchell, Carlos Moseley, the late David

Raksin, the late John de Lancie, Russell Campitelli, and Milton Weiss told

stories of a fading century. Frances Stonor Saunders guided me toward

documents in the National Archives. Sylvia Kahan shared the Princesse de

Polignac’s correspondence with Stravinsky. Douglas Yeo of the Boston

Symphony answered questions about the trombone glissando.

I leaned heavily on the scholarly advice of Amy Beal, Marva Griffin Carter,

Donald Daviau, Chris Dempsey, Richard Giarusso, Lydia Goehr, Chris Grogan,

Donald Meyer, Simon Morrison, Severine Neff, Rebecca Rischin, Malcolm

Rowat, and Marc Werner. Walter Frisch at Columbia, Mark Katz at Peabody,

Karen Painter at Harvard, Steven Stucky at Cornell, Jeffrey Kallberg at the

University of Pennsylvania, and Peter Bloom at Smith let me road-test sections

of the book in academic settings. I am desperately grateful to a brilliant group of

scholars and experts who read and commented on parts of the manuscript:

Joseph Auner, Michael Beckerman, Peter Burkholder, Louise Duchesneau,

Laurel Fay, Robert Fink, Kyle Gann, Bryan Gilliam, James Hepokoski, Peter

Hill, Ethan Iverson, Gilbert Kaplan, Michael Kater, Kim Kowalke, Howard

Pollack, James Pritchett, Anne Shreffler, Judith Tick, Hans Rudolf Vaget, and

Pamela Wheeler. Christopher Hailey, Eric Bruskin, and Charles Maier went

through the entire manuscript with great care, writing mini-essays on each

chapter. Richard Taruskin, a major influence on my writing, performed merciless

surgery to merciful effect.

I owe more than I can say to my piano teacher, the late Denning Barnes, who

indoctrinated me into modernity by way of Berg’s Piano Sonata, and also to my

teachers Paul Barrett, Paul Piazza, Ted Eagles, Robert Kiely, and Alan Lentz.

For help of all kinds I thank Charles Amirkhanian, William Berger, Björk, Will

Cohen, Alvin Curran, the Goldstines (Danny, Hilary, Josh), Colin Greenwood

and Molly McGrann, Dave Grubbs, Bob Hurwitz, Laura Kuhn of the John Cage

Trust, Chris Lovett, Raphael Mostel, Kent Nagano, Esa-Pekka Salonen, Barry

Shiffman, Michael Tilson Thomas, and John McLaughlin Williams. Part of the

book was written under the auspices of the American Academy in Berlin, where

Gary Smith created a Café Museum atmosphere and Yolande Korb braved an

ice storm to bring me nineteen volumes of the diaries of Goebbels. Some late-

stage work was done courtesy of a Fleck Fellowship at the Banff Centre in

Canada. The precocious Patrick “Pack” Bringley fetched documents from all

over Gotham and offered astute advice. Tiffany Kuo spent a long hot summer

checking every page of the manuscript in its monster incarnation, bringing to

bear her own deep knowledge of the field. Jens Laurson commented incisively

493

on German matters. Alex Abramovich took time off from his own massive music

history to make some translations from the Russian. Nigel Simeone kindly

supplied the photograph of Messiaen in Utah.

The book grew out of fifteen years of work as a music critic. For the chance to

practice that peculiar calling I thank David Elliott at WHRB; the great Leon

Wieseltier at The New Republic; Edward Rothstein and James Oestreich at the

New York Times; Joel Flegler at Fanfare; Louis Menand and Henry Finder at

The New-Yorker; and Tina Brown, who brought me to The New Yorker full time.

Much of this material emerged from richly meandering conversations with

Charles Michener, my longtime New Yorker editor. Daniel Zalewski, my

virtuosic current editor, was hugely helpful in the later stages and somehow

read the book in his nonexistent spare time. Martin Baron is the greatest fact-

checker that ever was and ever will be. (Leave on author.) Aaron Retica, Liesl

Schillinger, Dan Kaufman, and Marina Harss also checked parts of this book

over the years. David Remnick, the Mahler/Strauss of magazines, gave me

permission to pilfer my New Yorker

Tina Bennett, my agent, pushed me to write this book when the twentieth

century was not yet dead and gave me hope whenever I felt lost. Eric Chinski,

another recovering teenage

articles, time to finish the book, and freedom

to indulge my passions.

Doctor Faustus

None of the above would have happened as it did without the generosity of Alex

Star. Jason Royal, Jack Ferver, Sean O’Toole, Paula Puhak, Michael Miller,

and various friends around New York kept me on the road toward sanity.

Malcolm and Daphne Ross gave me, with so much else, their love of music; I

owe them everything. My brother, Christopher, has been my expert listening

companion for as long as I can remember. Penelope and Maulina, my personal

assistants, lent feline expertise. My wonderful husband, Jonathan Lisecki, has

been with me from the beginning of this saga to the end, enduring seven years

of distraction with love, and I dedicate the book to him and my parents together.

addict, bushwhacked through the

manuscript countless times; without his precision-targeted editing and moral

support it would never have assumed readable form. In a phrase, he and Tina

brought the noise. The project first took shape at Houghton Mifflin, and I am

extremely grateful for their interest. Jonathan Galassi honored me by acquiring

the book for Farrar, Straus and Giroux when Eric moved there. Christopher

Potter, while at Fourth Estate, showed keen sympathy. David Michalek did me a

great favor by taking the author’s photo. Various people at FSG labored

zealously on my behalf: Gena Hamshaw smilingly took care of innumerable

hassles, especially with respect to the photos; Zachary Woolfe affably handled

text permissions; Ingrid Sterner copyedited the manuscript with brilliant attention

to detail; John McGhee oversaw production (and a panicky author) with a

punctilious eye, knowledge of the avant-garde, and vast patience; Laurel Cook

vigorously and enthusiastically undertook the intricate task of publicizing the

book; Charlotte Strick designed a beautiful cover.

494

INDEX

(To consult the index you must buy the book)