by Alex Ross
squealing rat: Theodor W. Adorno and Hanns Eisler, Composing for the Films (Athlone, 1994), pp. 27–28.
noted in wonder: “Copland Given Free Hand in Scoring Picture,” Los Angeles Times, Nov. 19, 1939. Milestone was a cousin of the violinist Nathan Milstein (HPAC, p. 340).
“absolutely clear”: HPAC, p. 347.
how many feet of film: Brendan Carroll, The Last Prodigy: A Biography of Erich Wolfgang Korngold (Amadeus, 1997), p. 240.
tried to have the film suppressed: Simon Callow, Orson Welles: The Road to Xanadu (Viking, 1996), pp. 530–59.
“50 percent responsible”: Steven C. Smith, A Heart at Fire’ Center: The Life and Music of Bernard Herrmann (University of California Press, 1991), p. 84.
“I am the forgotten composer”: Diane Peacock Jezic, The Musical Migration and Ernst Toch (Iowa State UP, 1989), p. 17.
“C’mon, Professor”: Oscar Levant, A Smattering of Ignorance (Doubleday, 1940), p. 65.
On four occasions: See Dorothy Lamb Crawford, Evenings On and Off the Roof: Pioneering Concerts in Los Angeles, 1939–1971 (University of California Press, 1995), p. 127; and SWS2, pp. 183 and 251.
Gershwins: Levant, Smattering of Ignorance, p. 187.
“frank and abrupt”: Sabine M. Feisst, “Arnold Schoenberg and the Cinematic Art,” Musical Quarterly 83:1 (Spring 1999), p. 110.
“Hi-yo, Silver!”: Dika Newlin, Schoenberg Remembered: Diaries and Recollections (Pendragon, 1980), p. 146.
“a peach-colored shirt”: Ibid., p. 58.
“upsurge of desire”: ASL, p. 255.
Sibelius and Shostakovich: ASSI, p. 136.
“That man is a composer”: Author’s interview with David Raksin, Feb. 23, 2001.
“there is still plenty”: Dika Newlin, “Secret Tonality in Schoenberg’s Piano Concerto,” Perspectives of New Music 13:1 (Fall–Winter 1974), p. 137; Roger Sessions, “Schoenberg in the United States” (1944), in Schoenberg and His World, ed. Walter Frisch (Princeton UP, 1999), p. 335.
“I still see”: Salka Viertel, The Kindness of Strangers (Holt, Rinehart, and Winston, 1969), pp. 207–208. For more, see www.therestisnoise.com/2007/07/schoenberg-thal.html
“I can not believe”: Schoenberg to Thalberg, Dec. 6, 1935, ASC.
Souls at Sea: Dorothy Lamb Crawford, “Arnold Schoenberg in Los Angeles,” Musical Quarterly 86:1 (Spring 2002), pp. 17 and 41.
Tom and Jerry cartoons: Daniel Goldmark, Tunes for ’Toons: Music and the Hollywood Cartoon (University of California Press, 2005), pp. 70–73; and Roy M. Prendergast, Film Music: A Neglected Art (Norton, 1992), p. 194.
male nurse: See JASR, pp. 313–14; and HHS, p. 479.
“as if in his delirium”: Allen Shaw, Arnold Schoenberg’s Journey (Farrar, Straus and Giroux, 2001), p. 265.
“My father was always”: Author’s interview with Ronald Schoenberg, Feb. 22, 2001.
Stravinsky and Disney: Charles M. Joseph, Stravinsky Inside Out (Yale UP, 2001), pp. 108–11. For more on Stravinsky’s attempts at film scoring, see ibid., pp. 100–31; and SWS2, pp. 143–44. For Stravinsky’s admiration for Kane, see Orson Welles and Peter Bogdanovich, This Is Orson Welles (HarperCollins, 1992), p. 175.
no record of his saying anything negative: Joseph, Stravinsky Inside Out, p. 111. Compare Igor Stravinsky and Robert Craft, Expositions and Developments (Doubleday, 1962), pp. 166–67.
“Igor appears”: Selected Letters of Paul Hindemith, ed. and trans. Geoffrey Skelton (Yale UP, 1995), p. 177.298 $100,000: Joseph, Stravinsky Inside Out, p. 117.
goose-stepping soldiers: Igor Stravinsky and Robert Craft, Dialogues and a Diary (Doubleday, 1963), pp. 83–84.
added an extra pulse: SWS2, p. 180.
“With composing like this”: Soma Morgenstern, Alban Berg und seine Idole: Erinnerungen und Briefe (Aufbau, 1999), p. 297.
“remind those who have not”: Giselher Schubert, preface to Paul Hindemith, Ludus tonalis (Schott, 1989), p. iii. On Bartók’s Shostakovich quotation, see Peter Bartók, My Father (Bartók Records), pp. 174–77.
“economic democracy”: John C. Culver and John Hyde, American Dreamer: A Life of Henry A. Wallace (Norton, 2000), pp. 291–92. For “century of the common man,” see ibid., pp. 275–78.
“The title was not meant”: Copland to Goossens, April 12, 1943.
“could have the feeling”: HPAC, p. 96. For Crane and Graham, see HPAC, p. 402. For Crane and Copland, see The Letters of Hart Crane, 1916–1932, ed. Brom Weber (Hermitage House, 1952), p. 195.
“Softer, very sul tasto”: Recording session of May 9–11, 1973, released on A Copland Celebration Vol. 1 (Sony Classical SM2K 89323).
9. Death Fugue
“tears in his voice”: AHRP I:1, p. 369.
“Wach’ auf!”: JGT I:2, p. 462. For more on Hitler’s citations of Meistersinger, see Hans Rudolf Vaget, “Hitler’s Wagner: Musical Discourse as Cultural Space,” in Music and Nazism: Art Under Tyranny, 1933–1945, ed. Michael H. Kater and Albrecht Riethmüller (Laaber, 2003), p. 27. For Hans Frank, see Leon Goldensohn, The Nuremberg Interviews, ed. Richard Gellately (Knopf, 2004), p. 19. For Heydrich, see Günther Deschner, Reinhard Heydrich: Statthalter der totalen Macht (Bechtle, 1977), p. 300; Lina Heydrich, Leben mit einem Kriegsverbrecher (Ludwig, 1976), p. 16; and Edouard Calic, Reinhard Heydrich: The Chilling Story of the Man Who Masterminded the Nazi Death Camps, trans. Lowell Bair (William Morrow, 1982), p. 16. For Mengele, see Robert Jay Lifton, The Nazi Doctors (Basic Books, 2000), p. 344.
“Thank God”: Paul Ehlers, “Die Musik und Adolf Hitler,” Zeitschrift für Musik, April 1939, p. 361.
“Beside the history”: From the title page of Palestrina (Schott score). For the Mussolini dedication, see Sabine Busch, Hans Pfitzner und der Nationalsozialismus (J. B. Metzler, 2001), p. 422.
“There is too much music”: RSRR, p. 215. For “hypnotism,” see p. 209.
“has a basically”: Thomas Mann, Reflections of a Nonpolitical Man, trans. Walter D. Morris (Ungar, 1983), p. 289.
Untergang: Jens Malte Fischer, Richard Wagners “Das Judentum in der Musik” (Insel, 2000), p. 173. For varying interpretations of “annihilation,” see Joachim Köhler, Wagner’s Hitler: The Prophet and His Disciple, trans. Ronald Taylor (Polity, 2000), p. 86–88; Paul Lawrence Rose, Wagner: Race and Revolution (Yale UP, 1992), pp. 78–88; and Fischer, Richard Wagners “Das Judentum in der Musik,” pp. 85–87.
“the born enemy”: Selected Letters of Richard Wagner, ed. and trans. Stewart Spencer and Barry Millington (Norton, 1988), p. 918.
“plastic demon”: Richard Wagner, “Erkenne dich selbst,” in Gesammelte Schriften und Dichtungen (Siegel’s Musikalienhandlung, 1907), vol. 10, p. 272. For Goebbels, see “Why Are We Enemies of the Jews?”(1930), in The Weimar Republic Sourcebook, ed. Anto Kaes, Martin Jay, and Edward Dimendberg (University of California Press, 1994), p. 138; and John Hallowell, Main Currents in Political Thought (Holt, 1950), p. 740 (quoting Nuremberg speech of 1937).
singled out for praise: See Annette Hein, “Es ist viel ‘Hitler’ in Wagner”: Rassismus und antisemitische Deutschtumsideologie in den “Bayreuther Blättern” (1878–1938) (Niemeyer, 1996), p. 120.
“characteristic traits”: LGM1, p. 482.
“Alberichs”: Richard Strauss, Max von Schillings: Ein Briefwechsel, ed. Roswitha Schlötterer (W. Ludwig, 1987), pp. 203–204.
Gobineau and Parsifal: Cosima Wagner’s Diaries, Volume II: 1878–1883, ed. Martin Gregor-Dellin and Dietrich Mack, trans. Geoffrey Skelton (Harcourt Brace Jovanovich, 1980), p. 666.
“4 Juden”: Hans Hinkel to Karl-Theodor Zeitschel, Sept. 24, 1935, memo, Richard Strauss file, BDC. On the friendship of Strauss and Wolfes, see Günther Wei`, “Richard Strauss und Felix Wolfes,” Jahrbuch der Bayerischen Staatsoper 1988/89 (Bruckmann, 1988), pp. 77–92.
“contaminated by”: Brigitte Hamann, Winifred Wagner; oder, Hitlers Bayreuth (Piper, 2002), p. 18.
“political operetta”: “Der Briefwechsel zwischen Alfred Kerr und Richard Strauss,” ed. Marc Ko
nhäuser, Richard Strauss–Blätter 39 ( June 1998), p. 38.
Billy Wilder: Kevin Lally, Wilder Times: The Life of Billy Wilder (Holt, 1996), p. 11. For Strauss’s admiration of Mussolini, see Robert Scherwatzky, Die grossen Meister deutscher Musik in ihren Briefen und Schriften (Deuerlichsche Verlagsbuchhandlung, 1939), p. 358. For his advocacy of dictatorship, see Harry Kessler, In the Twenties: The Diaries of Harry Kessler, trans. Charles Kessler (Holt, Rinehart, and Winston, 1971), p. 346.
“Hitler is apparently finished”: RSC, p. 531.
“I thank you”: Ibid., pp. 539–40.
postcards: Adolf Hitler, Sämtliche Aufzeichnungen, 1905–1924, ed. Eberhard Jäckel with Axel Kühn (Deutsche Verlags-Anstalt, 1980), pp. 44–45.
Hitler in Graz: See Manfred Blumauer, Festa teatrale: Musiktheater in Graz (Edition Strahalm, 1998), pp. 68–82, for a thorough discussion of the issue. Two other scholars conclude that Hitler did not go to Graz: see Brigitte Hamann, Hitler’s Vienna: A Dictator’s Apprenticeship (Oxford UP, 1999), p. 411; and Frederic Spotts, Hitler and the Power of Aesthetics (Overlook, 2003), p. 230. For Alice’s testimony, see Blumauer, Festa teatrale, p. 76. For the kissing of the hand, see Kurt Wilhelm, Richard Strauss persönlich: Eine Bildbiographie (Kindler, 1984), p. 311—although Hamann, Winifred Wagner, p. 285, says it was a “handshake.”
up to Roller’s door: Hamann, Hitler’s Vienna, pp. 38–40 and 61; John Toland, Adolf Hitler (Anchor Books, 1976), p. 31; and Adolf Hitler, Monologe im Führer-Hauptquartier, 1941–1944, ed. Werner Jochmann (Knaus, 1980), p. 200.
“the tower to the left”: Hamann, Hitler’s Vienna, p. 61.
Mahler conducting Tristan: Wiener Staatsoper to author, June 5, 1998.
“because [he] concerned himself”: Hamann, Hitler’s Vienna, p. 66. This is from the unpublished first draft of Kubizek’s memoir, which Hamann uses as a source in Hitler’s Vienna. That draft seems more reliable than the published version, which was concocted after the war, probably with the help of a ghostwriter, as Frederic Spotts points out in Hitler and the Power of Aesthetics, pp. xv–xviii. In the book, Hitler is said to have had “greatest admiration” for Mahler (August Kubizek, Adolf Hitler, mein Jugendfreund [Leopold Stocker, 1953], p. 229). The practically useless English translation, The Young Hitler I Knew, trans. E. V. Anderson (Tower, 1954), uses the first-person plural (p. 173), implying that Kubizek, too, heard Mahler, which was impossible.
“did not contest”: JGT I:9, p. 62.
Hitler and Rienzi: Henry Picker, Hitlers Tischgespräche im Führerhauptquartier, 1941–1942, ed. Percy Ernst Schramm (Seewald, 1963), p. 95.
“a couple of yammering Jews”: Hans Frank, Im Angesicht des Galgens (Friedrich Alfred Beck, 1953), p. 213. This is in 1935.
“Is this a Jewč”: Adolf Hitler, Mein Kampf (NSDAP, 1943), p. 59.
Bechstein and Bruckmann: David Clay Large, Where Ghosts Walked: Munich’s Road to the Third Reich (Norton, 1997), p. 152.
Schirach: Baldur von Schirach, Ich glaubte an Hitler (Mosaik, 1967), p. 27.
Germany’s savior: Friedelind Wagner, The Royal Family of Bayreuth (Eyre and Spottiswoode, 1948), p. 9.
“hour of highest need”: Hartmut Zelinsky, Richard Wagner—ein deutsches Thema (Zweitausendeins, 1976), p. 169.
“ruinous, indeed poisonous”: Ibid., p. 170.
“Parsifal nature”: Hamann, Winifred Wagner, p. 119.
“He obviously felt”: Albert Speer, Inside the Third Reich, trans. Richard Winston and Clara Winston (Macmillan, 1970), p. 149.
Glück: See Hamann, Winifred Wagner, pp. 86–87.
“in the line of march”: Hitler, Sämtliche Aufzeichnungen, pp. 1231–32. For recordings in Landsberg, see Henriette von Schirach, ed., Anekdoten um Hitler: Geschichten aus einem halben Jahrhundert (Türmer, 1980), p. 50. For Schmied, see Winifred’s Dec. 9, 1923, letter, reproduced in the illustrations to Toland’s Adolf Hitler. For domestic items, see Hamann, Winifred Wagner, p. 97. For paper, see Friedelind Wagner, Royal Family of Bayreuth, p. 17; and Toland, Adolf Hitler, p. 197. For the phonograph, see Hamann, Winifred Wagner, p. 98.
“Only a couple”: Hitler: Reden, Schriften, Anordnungen, Februar 1925 bis Januar 1933, II:2 (K. G. Saur, 1992–2003), p. 652.
“In Germany one lets”: Ibid., III:2, p. 267.
“alias Schlesinger”: Ibid., pp. 130 and 177–78.
“fünf Juden”: Ibid., p. 179. Erich Kleiber, the chief conductor of the Staatsoper, was not Jewish, but there were in fact five Jewish conductors on the staff of the St aatsoper and the Kroll: Leo Blech, Otto Klemperer, George Szell, Alexander Zemlinsky, and Fritz Zweig.
“spiritual development”: Alan E. Steinweis, Art, Ideology, and Economics in Nazi Germany: The Reich Chambers of Music, Theater, and the Visual Arts (University of North Carolina Press, 1993), p. 33.
“self-administration”: Ibid., pp. 39–40 and 42.
“there is no more glorious”: Hamann, Winifred Wagner, p. 256.
“it is totally impossible”: “Die grosse Kunstrede des Führers,” Völkischer Beobachter, Sept. 7, 1938.
no more music should be dedicated: Michael H. Kater, The Twisted Muse: Musicians and Their Music in the Third Reich (Oxford UP, 1997), p. 13.
paled in comparison to Bruckner: JGT I:3, p. 491. For Bruckner at the 1938 rally, see JGT I:6, p. 76. For Goebbels’s leitmotif metaphor, see JGT II:7, p. 53.
three thousand seats: AHRP I:2, p. 984.
mostly empty hall: See Speer, Inside the Third Reich, p. 60. For the Deutscher Hof, see Fritz Wiedemann, Der Mann, der Feldherr werden wollte (Blick + Bild, 1964), p. 207. For Hitler shaking concertgoers awake, see Traudl Junge, Until the Final Hour, tran. Melissa Müller (Arcade, 2002), p. 81.
Karajan’s arrogance: Nicolaus von Below, Als Hitlers Adjutant, 1937–45 (Hase and Koehler, 1980), p. 166. On Knappertsbusch, see Picker, Hitlers Tischgespräche, p. 303.
John Rockwell: Communication to author.
Hitler and Bruckner: See Christa Brüstle, “The Musical Image of Bruckner,” in The Cambridge Companion to Bruckner, ed. John Williamson (Cambridge UP, 2004), p. 258.
kind of rehearsal: See Bryan Gilliam, “The Annexation of Anton Bruckner: Nazi Revisionism and the Politics of Appropriation,” Musical Quarterly 78:3 (Fall 1994), p. 584.
“Say a big YES”: Fred K. Prieberg, Trial of Strength: Wilhelm Furtwängler 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.
“symphony of joy”: “Volk den Führer,” Völkischer Beobachter, April 5, 1938.
“mass hysteria”: Alfred Brendel, Me of All People: Alfred Brendel in Conversation with Martin Meyer, trans. Richard Stokes (Cornell UP, 2002), p. 8.
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.
“Jewish-international spirit”: Busch, Hans Pfitzner und der Nationalsozialismus, p. 73.
“the one acceptable Jew”: Hans Pfitzner, “Glosse zum II. Weltkrieg,” in Sämtliche 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.
“The Führer is very strongly”: JGT II:8, p. 448.
“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.
“the most ambitious program”: Selected Letters of Paul Hindemith, ed. and trans. Geoffrey Skelton (Yale UP, 1995), p. 77.
“It is obvious”: Ibid., p. 85.
“an opportunity”: Ibid., pp. 92–93.
J
ewish refugees: Ibid., p. 125.
“really great”: Michael H. Kater, Composers of the Nazi Era: Eight Portraits (Oxford UP, 2000), p. 10; JGT I:3, p. 567.
“Bavarian Niggermusik ”: Kim Kowalke, “Burying the Past: Carl Orff and His Brecht Connection,” Musical Quarterly 84:1 (Spring 2000), p. 70.
“extraordinary beauties”: Kater, Composers of the Nazi Era, pp. 122–25 and 132; and JGT II:13, p. 466.
“To my friends”: Kater, Composers of the Nazi Era, p. 89.
Party salute: Ibid., pp. 93–96.
“sometimes annoyed us”: Harvey Sachs, Music in Fascist Italy (Norton, 1987), p. 146.
“product of the Jewish spirit”: “Die Düsseldorfer Reichsmusiktage,” Völkischer Beobachter, May 27, 1938.
“the Reich Music Chamber cannot”: Kater, Twisted Muse, p. 19.
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.
“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.
“half-bitter, half-mischievous”: Prieberg, Musik im NS-Staat, p. 212.
“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.
Zillig’s Das Opfer: See Erik Levi, “Atonality, 12-Tone Music, and the Third Reich,” Tempo 178 (Sept. 1991), pp. 17–21.
“In the opera”: Paul von Klenau, “Zu Paul von Klenaus ‘Michael Kohlhaas,’” Zeitschrift für Musik, May 1934, p. 530.
“a living example”: ASSI, p. 173.
“a kind of dictator”: Alexander L. Ringer, Arnold Schoenberg: The Composer as Jew (Clarendon, 1990), p. 235.