by Alex Ross
“The phonograph record”: Albert Murray, Stomping the Blues (Da Capo, 2000), p. 183.
“I’d sing a melody”: Boyer, “The Hot Bach,” pt. 3, New Yorker, July 8, 1944, p. 29.
“You know you should go”: Ellington, Music Is My Mistress, p. 97.
“a rhapsody unhampered”: Tucker, Duke Ellington Reader, pp. 49–50.
Gershwin and Ellington: See Pollack, George Gershwin, pp. 165–68.
Boola: Mark Tucker, “The Genesis of Black, Brown, and Beige,” Black Music Research Journal 13:2 (Fall 1993), pp. 73–74.
churches outnumber: Howard Taubman “The ‘Duke’ Invades Carnegie Hall,” New York Times, Jan. 17, 1943.
Rattenbury points out: Ken Rattenbury, Duke Ellington, Jazz Composer (Yale UP, 1990), p. 106.
“That’s the Negro’s life”: Tucker, Duke Ellington Reader, p. 150.
“not a song of great Joy”: Tucker, “Genesis of Black, Brown, and Beige,” p. 78.
assist from Billy Strayhorn: On Strayhorn’s contribution, see van de Leur, Something to Live For, pp. 87–88.
“formless and meaningless”: Paul Bowles, “Duke Ellington in Recital for Russian Relief,” New York Herald Tribune, Jan. 25, 1943.
Hammond…complained: John Hammond, “Is the Duke Deserting Jazz?” in Tucker, Duke Ellington Reader, pp. 171–73.
“Anyone who writes music”: in the Road with Duke Ellington (NBC, 1967).
“I was struck by”: Tucker, Duke Ellington Reader, p. 209.
5: Apparition from the Woods
“Desperately difficult”: TMDF, p. 254.
“God opens his door”: James Hepokoski, Sibelius, Symphony No. 5 (Cambridge UP, 1993), p. 33.
“Isolation and loneliness”: ETS3, p. 283.
seven volumes: Kari Kilpeläinen, “Sibelius Eight: What Happened to It?” Finnish Music Quarterly 4 (1995), pp. 33–35.
“I suppose one”: ETS3, p. 328, with emendations by Jeffrey Kallberg.
“In the 1940s”: Ibid., p. 317.
“The small nations”: Milan Kundera, Testaments Betrayed, trans. Linda Asher (HarperCollins, 1995), pp. 192–94.
“I feel like a ghost”: Sergei Bertensson and Jay Leyda, Sergei Rachmaninoff: A Lifetime in Music (Indiana UP, 2001), p. 351.
“Not everyone”: Hepokoski, Sibelius, Symphony No. 5, p. 13.
“The simplest”: Carl Nielsen, Living Music, trans. Reginald Spink (Hutchinson, 1953), p. 75.
“could not grasp”: The Kalevala, trans. Francis Peabody Magoun Jr. (Harvard UP, 1963), p. 245.
“Kullervo, Kalervon”: Translation by William Forsell Kirby, included in the notes to Osmo Vänskä’s 2000 recording of Kullervo (BIS CD-1215).
“most broken-hearted protest”: ETS1, p. 244.
“severity of form”: ETS2, pp. 76–77.
Salome and Elektra: Santeri Levas, Sibelius: A Personal Portrait, trans. Percy Young (Dent, 1972), p. 74.
Debussy: ETS2, p. 107.
“my most faithful companion”: James Hepokoski, “Sibelius, Jean,” NG 23, p. 336.
“The Raven”: ETS2 pp. 195–201.
“People avoided our eyes”: ETS2, p. 170.
“A symphony is not”: ETS2, p. 159. Emendations by Jeffrey Kallberg.
“Freudvoll und leidvoll”: Ibid., p. 161.
“rotational form”: Hepokoski, Sibelius, Symphony No. 5, pp. 23–26.
“One of my greatest”: Ibid., pp. 36–37.
overtone series of a meadow: Matti Huttunen, “The National Composer and the Idea of Finnishness,” in The Cambridge Companion to Sibelius, ed. Daniel M. Grimley (Cambridge UP, 2004), p. 14.
“dissolution” and “decay”: James Hepokoski, “Rotations, Sketches, and the Sixth Symphony,” in Sibelius Studies, ed. Timothy Jackson and Veijo Murtomäki (Cambridge UP, 2002), esp. pp. 328 and 345.
“Where the stars dwell”: Hepokoski, “Sibelius, Jean,” p. 338.
“deep acoustic throbbing”: Julian Anderson, “Sibelius and Contemporary Music,” in Grimley, Cambridge Companion to Sibelius, p. 198.
“I have bedimmed”: William Shakespeare, The Tempest, ed. David Lindley (Cambridge UP, 2002), p. 200.
“It’s strange”: ETS3, p. 308.
“the last of the heroes”: Glenda Dawn Goss, Jean Sibelius and Olin Downes: Music, Friendship, Criticism (Northeastern UP, 1995), pp. 105 and 57.
“My mother and I”: Ibid., p. 202.
“boring Nordic dreariness”: ETS3, p. 293.
“could not afford”: Ibid., p. 291.
“vulgar, self-indulgent”: Virgil Thomson, Music Reviewed, 1940–1954 (Vintage, 1967), p. 4.
“The work of Sibelius”: “The Sibelius Problem,” subsection of “Memorandum: Music in Radio,” pp. 59–60, Princeton Radio Research Project, Paul Lazarsfeld Papers, Columbia University.
“the tone is more apt”: Selected Letters of Virgil Thomson, ed. Tim Page and Vanessa Weeks Page (Summit Books, 1988), p. 182.
correspondence with Koussevitzky: Letters dated Jan. 2, 1930, Aug. 16, 1930, Aug. 20, 1931, Jan. 15, 1932, June 6, 1932, June 14, 1932, Dec. 31, 1932, and Jan. 17, 1933, in Serge Koussevitzky Archive, Music Division, Library of Congress.
Sibelius Society: Árni Ingólfsson, “‘This Music Belongs to Us’: Scandinavian Music and ‘Nordic’ Ideology in the Third Reich,” paper delivered at the American Musicological Society New England Chapter meeting, March 23, 2002.
“I wish with all my heart”: Harold E. Johnson, Jean Sibelius (Knopf, 1959), p. 213.
“How can you”: ETS3, p. 327.
“The tragedy begins”: Jean Sibelius, Dagbok, 1909–1944 (Svenska litteratursällkapet i Finland, 2005), pp. 325 and 338. Translation by Jeffrey Kallberg.
“All the doctors”: Levas, Sibelius, p. 20.
“It is very painful”: Ibid., p. 123.
“Every day”: ETS1, p. 289.
“Here they come”: ETS3, p. 330.
Stravinsky and Sibelius: See SWS2, p. 443; Eric Walter White, Stravinsky: The Composer and His Works (University of California Press, 1979), p. 143; and RCSC, pp. 170 and 242.
“antimodern modernism”: Milan Kundera, “Die Weltliteratur,” trans. Linda Asher, New Yorker, Jan. 8, 2007.
New-music luminaries: See Brian Ferneyhough, Collected Writings (Harwood, 1995), p. 205; Hans Gefors, “Make Change Your Choice!” in The Music of Per Nørgård, ed. Anders Beyer (Scolar, 1996), p. 37; and, for many other examples, Anderson, “Sibelius and Contemporary Music.”
Lindberg: For Lindberg on Tapiola, see Peter Szendy’s interview in Magnus Lindberg (FMIC/IRCAM, 1993), p. 11.
“The people who you think”: MFS, p. 192.
6. City of Nets
“The blood stains looked”: Klaus Mann, The Turning Point (Fischer, 1942), pp. 257 and 260.
“Music is no longer”: Alexander Ringer, “Schoenberg, Weill, and Epic Theater,” Journal of the Arnold Schoenberg Institute 4:1 ( June 1980), p. 86.
“I’ve had indescribable”: David Farneth, Elmar Juchem, and Dave Stein, eds., Kurt Weill: A Life in Pictures and Documents (Overlook, 2000), pp. 20–21.
champagne reception: Klaus Kreimeier, The Ufa Story: A History of Germany’s Greatest Film Company, 1918–1945, trans. Robert Kimber and Rita Kimber (Hill and Wang, 1996), pp. 46–47.
Strauss had conducted: BGFI, p. 571.
four hundred political murders: Emil Julius Gumbel, “Four Years of Political Murder,” in The Weimar Republic Sourcebook, ed. Anton Kaes, Martin Jay, and Edward Dimendberg (University of California Press, 1994), pp. 100–104.
Gustav Landauer: See Joan Weinstein, The End of Expressionism: Art and the November Revolution in Germany, 1918–19 (University of Chicago Press, 1990), pp. 177–205. The film director Mike Nichols is Landauer and Lachmann’s grandson.
“Nothing was so mad”: Bernd Widdig, Culture and Inflation in Weimar Germany (University of California Press, 2001), pp. 10–11.
Rockwell has shown: John Rockwell, “The Prussian Ministry of Culture and the Berlin State Op
era, 1918–1931” (Ph.D. diss., University of California at Berkeley, 1972); and John Rockwell, “Kurt Weill’s Operatic Reform and Its Context,” in A New Orpheus: Essays on Kurt Weill, ed. Kim H. Kowalke (Yale UP, 1986), pp. 55–58.
“This is not the true”: Joseph Goebbels, “Around the Gedächtniskirche” (1928), in Kaes, Jay, and Dimendberg, Weimar Republic Sourcebook, p. 561.
Count von Kielmannsegg: Paul Hindemith, “Notizen zu meinen ‘Feldzugs-Erinnerungen,’” Hindemith Jahrbuch 18(1989), p. 88; and Andres Briner, Dieter Rexroth, Giselher Schubert, eds., Paul Hindemith: Leben und Werk im Bild und Text (Atlantis, 1988), p. 36; Selected Letters of Paul Hindemith, ed. and trans. Geoffrey Skelton (Yale UP, 1995), p. 21.
“neither Impressionistically”: Stephen Hinton, “Aspects of Hindemith’s Neue Sachlichkeit,” Hindemith Jahrbuch 14 (1985), p. 26.
Orff and Brecht: Kim H. Kowalke, “Burying the Past: Carl Orff and His Brecht Connection,” Musical Quarterly 84:1 (Spring 2000), pp. 58–83.
“hunger for wholeness”: Peter Gay, Weimar Culture: The Outsider as Insider (Harper and Row, 1968), p. 96.
Adorno and Hindemith: Theodor W. Adorno, “Kritik des Musikanten,” in Gesammelte Schriften (Suhrkamp, 1973), vol. 14, pp. 67–107.
photomontage: See the notes to the 1993 recording of Jonny spielt auf (London 436 631–2).
“Fiftieth Avenue,” Max Brand: NSM, pp. 304 and 311.
78-rpm recording: See Susan C. Cook, “Flirting with the Vernacular: America in Europe, 1900–45,” in The Cambridge History of Twentieth-Century Music, ed. Nicholas Cook and Anthony Pople (Cambridge UP, 2004), p. 179.
Sam Wooding’s jazz revue: John L. Stewart, Ernst Krenek: The Man and His Music (University of California Press, 1991), p. 81.
“Despite the infusions”: Hanns Eisler, Musik und Politik, ed. Günter Mayer (VEB, 1973), p. 35.
“relative stabilization”: Ibid., p. 80.
Scheindasein: Ibid., p. 33.
“The big music festivals”: Hanns Eisler, “On the Situation of Modern Music” (1928), in A Rebel in Music: Selected Writings, ed. Manfred Grabs (International Publishers, 1978), p. 29.
“Remember that”: Ibid., pp. 30–31.
“Hindemith has already”: Jürgen Schebera, Kurt Weill: An Illustrated Life, trans. Caroline Murphy (Yale UP, 1995), p. 46.
“pandering to the taste”: Ibid., p. 47.
“Do not be afraid”: Kurt Weill, Musik und musikalisches Theater: Gesammelte Schriften, ed. Stephen Hinton and Jürgen Schebera (Schott, 2000), p. 489.
Schlagwort: The debt to Busoni is detailed in Michael Morley, “‘Suiting the Action to the Word’: Some Observations on Gestus and Gestische Musik,” in Kowalke, A New Orpheus, pp. 187–88.
“in which pantomime”: Daniel Albright, Un-twisting the Serpent: Modernism in Music, Literature, and Other Arts (University of Chicago Press, 2000), p. 112.
“cool, withdrawn”: Ronald Taylor, Kurt Weill: Composer in a Divided World (Northeastern UP, 1992), p. 58.
“She can’t read music”: Speak Low (When You Speak Love): The Letters of Kurt Weill and Lotte Lenya, ed. and trans. Lys Symonette and Kim H. Kowalke (University of California Press, 1996), frontispiece.
“composer of atonal”: Morley, “‘Suiting the Action to the Word,’” p. 189.
“Is here no telephone?”: Taylor, Kurt Weill, pp. 115–16.
“ugly, brutal”: John Willett, ed. and trans., Brecht on Theatre: The Development of an Aesthetic (Hill and Wang, 1964), p. 3.
“Just as Wagner”: Walter Benjamin, Selected Writings, Volume 2, 1927–1934, ed. Michael W. Jennings, Howard Eiland, and Gary Smith, trans. Rodney Livingstone et al. (Harvard UP, 1999), p. 369.
“intimately the countermorality”: Walter Benjamin, Selected Writings, Volume 3, 1935–1938, ed. Howard Eiland and Michael W. Jennings, trans. Edmund Jephcott, Howard Eiland, et al. (Harvard UP, 2002), p. 257.
“style of willful”: Stephen Hinton, “Misunderstanding ‘The Threepenny Opera,’” in Kurt Weill, “The Threepenny Opera, ” ed. Stephen Hinton (Cambridge UP, 1990), p. 189.
twenty-three different instruments: Stephen Hinton, “Die Dreigroschenoper: The 1928 Full Score,” in Die Dreigroschenoper: A Facsimile of the Holograph Full Score, ed. Edward Harsh (Kurt Weill Foundation for Music, 1996), p. 8.
“When I tell you”: As recorded in Los Angeles on Oct. 30, 1986, released on Frank Sinatra: The Reprise Collection (9 26340-2)
Armstrong said: Will Friedwald, Stardust Melodies: The Biography of Twelve of America’s Most Popular Songs (Pantheon, 2002), p. 88.
“The audience was”: Bob Dylan, Chronicles, Volume 1 (Simon and Schuster, 2004), pp. 273–75.
direct quotation: The song in question is “Lied von der Moldau,” from Schweyk im zweiten Weltkrieg, a 1943 Brecht-Eisler revue. For more on the link between Brecht and Dylan, see Esther Quin, “Stumbling on Lost Cigars of Bertolt Brecht: Bob Dylan’s Rebellion,” PN Review 30:2 (Nov.–Dec. 2003), pp. 47–53.
“You have betrayed”: Translation by Allen Forte in the libretto to Pierre Boulez’s 1995 recording of Moses und Aron (DG 449 174-2), p. 63.
“method of composing”: ASSI, p. 218.
Pupils and friends: HMAW, p. 252.
“extreme emotionality”: ASSI, p. 217.
“The bourgeois God”: Josef Rufer, Das Werk Arnold Schönbergs (Bärenreiter, 1959), p. 101. See also Arnold Schoenberg, Texte (Universal, 1926), pp. 23–28.
twelve-tone patterns in Salome: At the end of the opera, after Herod shouts, “Kill that woman!,” the orchestra runs through eleven different tones in rapid, kaleidoscopic succession—a minatory chord in the brass (D, F, A), a skewy trumpet fanfare (C, G-flat, B-flat, D-flat, G), a rumbling trombone arpeggio (A-flat, C-flat, E-flat). See also a perfect twelve-tone aggregate at 3 before 255: arpeggiated chords of E-flat minor, D-flat major, G dominant seventh, and A minor. On quasi-twelve-tone writing in Elektra, see Tethys Carpenter, “The Musical Language of Elektra,” in Richard Strauss, “Elektra,” ed. Derrick Puffett (Cambridge UP, 1989), pp. 74–106.
“When all twelve notes”: Anton Webern, Path to the New Music, ed. Willi Reich (Universal, 1960), p. 51.
copied out rows: HMAW, pp. 309–10.
“used twelve tones”: HHS, p. 442.
“completely undifferentiated”: Joseph Auner, “Proclaiming the Mainstream: Schoenberg, Berg, and Webern,” in Cook and Pople, Cambridge History of Twentieth-Century Music, pp. 253–54.
next hundred years: HHS, p. 277.
“Recognition does one good”: ASL, pp. 117–18.
“Art is from the outset”: JASR, p. 212.
“But who’s this”: As translated in JASR, p. 188. For other terms of derision, see Leonard Stein, “Schoenberg and ‘Kleine Modernsky,’” in Confronting Stravinsky: Man, Musician, and Modernist, ed. Jann Pasler (University of California Press, 1986), p. 319.
“want to apply”: JASR, pp. 186–87.
“They betray their God”: ASSI, pp. 258–59.
“Jo-Jo-Foxtrot”: HHS, p. 306.
“one after the other”: From Susan Marie Praeder’s translation in the booklet for Michael Gielen’s 1997 recording of Von heute auf morgen (cpo 999 532-2), p. 35. See also Juliane Brand, “A Short History of Von heute auf morgen with Letters and Documents,” Journal of the Arnold Schoenberg Institute 14:2 (Nov. 1991), p. 259.
“wishes for only whores”: JASR, p. 196. For Krenek’s remark, see p. 194.
“Modern music bores me”: HHS, pp. 311–12.
“treason”: ASL, p. 120.
“who, filled with disdain”: Kurt Weill, “Verschiebungen in der musikalischen Produktion” (Oct. 1927), in Musik und musikalisches Theater, p. 61.
“understandable”: Ringer, “Schoenberg, Weill, and Epic Theater,” pp. 85–86.
“In the end”: Ibid., p. 89.
“I do not believe”: ASSI, p. 96.
Stresemann…attended: Wolfgang Stresemann, Zeiten und Klänge: Ein Leben zwischen Musik und Politik (Ullstein, 1994),
pp. 102–103.
“It’s the beginning of the end”: Mann, Turning Point, p. 230.
Beethoven’s Fifth: Thomas Phelps, “Stefan Wolpe: Eine Einführung,” in Stefan Wolpe, Lieder mit Klavierbegleitung, 1929–1933 (Peer, 1993). p. 5; Austin Clarkson, “Lecture on Dada by Stefan Wolpe,” Musical Quarterly 72:2 (1986), pp. 209–10.
Zeus und Elida: Austin Clarkson, “Stefan Wolpe: Broken Sequences,” in Music and Nazism: Art Under Tyranny, 1933–1945, ed. Michael H. Kater and Albrecht Riethmüller (Laaber, 2003), p. 222.
failed to satisfy: Ibid., p. 224.
postwar recordings: Ernst Busch, Lieder der Arbeiterklasse & Lieder aus dem spanischen Bürgerkrieg (Pläne CD 88 642).
400,000 members: Clarkson, “Stefan Wolpe: Broken Sequences,” p. 223.
balled-up fist: Jürgen Schebera, Hanns Eisler: Eine Biographie in Texten, Bildern, und Dokumenten (Schott, 1998), p. 68.
“Better to make music”: Stephen Hinton, “Lehrstück: An Aesthetics of Performance,” in Hindemith Jahrbuch 22 (1993), pp. 80–81.
“willingness to act”: Ibid., p. 88.
Gerhart Eisler: See Herbert Romerstein and Eric Breindel, The Venona Secrets: Exposing Soviet Espionage and America’s Traitors (Regnery, 2000), pp. 71–73 and 526; Raymond W. Leonard, Secret Soldiers of the Revolution: Soviet Military Intelligence, 1918–1933 (Greenwood, 1999), p. 41; and John Willett, “Production as Learning Experience: Taniko, He Who Says Yes, The Measures Taken” in Brecht and East Asian Theatre, ed. Antony Tatlow and Tak-Wai Wong (Hong Kong UP, 1982), pp. 157–58.
“What shall we do”: Bertolt Brecht, The Measures Taken and Other Lehrstücke, trans. Carl R. Mueller (Arcade, 2001), pp. 33–34.
“The I is disappearing”: Ludwig Bauer, “The Middle Ages, 1932,” in Kaes, Jay, and Dimendberg, Weimar Republic Sourcebook, p. 385.
“phony Richard Strauss”: John Fuegi, Brecht and Company: Sex, Politics, and the Making of Modern Drama (Grove, 1994), p. 267.
“Deutschland erwache!”: Farneth, Juchem, and Stein, Kurt Weill, p. 115; and NSM, p. 325.
“The great retaliation”: Karl Kraus, “Die Büchse der Pandora,” in Grimassen: Ausgewählte Werke, Band I, 1902–1914 (Langen Müller, 1971), p. 54. See also Patricia Hall, A View of Berg’s “Lulu” Through the Manuscript Sources (University of California Press, 1996), pp. 94 and 73–75.
