Authors: Alex Ross
Listen to This (46 page)
3. INFERNAL MACHINES
This chapter incorporates portions of two
NewYorker
articles: “The Record Effect,” June 6, 2005, and “The Well-Tempered Web,” October 22, 2007. In addition to the works cited below, I consulted Michael Chanan,
Musica Practica: The Social Practice of Western Music from Gregorian Chant to Postmodernism
(Verso, 1994); Timothy Day
A Century of Recorded Music: Listening to Musical History
(Yale University Press, 2000); Evan Eisenberg,
The Recording Angel: Music, Records, and Culture from Aristotle to Zappa,
2nd ed. (Yale University Press, 2005); Simon Frith,
Performing Rites: On the Value of Popular Music
(Harvard University Press, 1996); Roland Gelatt,
The Fabulous Phonograph: From Edison to Stereo
(Appleton-Century 1965); David Suisman,
Selling Sounds: The Commercial Revolution in American Music
(Harvard University Press, 2009); and Emily Thompson,
The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900–1933
(MIT Press, 2002).
NewYorker
articles: “The Record Effect,” June 6, 2005, and “The Well-Tempered Web,” October 22, 2007. In addition to the works cited below, I consulted Michael Chanan,
Musica Practica: The Social Practice of Western Music from Gregorian Chant to Postmodernism
(Verso, 1994); Timothy Day
A Century of Recorded Music: Listening to Musical History
(Yale University Press, 2000); Evan Eisenberg,
The Recording Angel: Music, Records, and Culture from Aristotle to Zappa,
2nd ed. (Yale University Press, 2005); Simon Frith,
Performing Rites: On the Value of Popular Music
(Harvard University Press, 1996); Roland Gelatt,
The Fabulous Phonograph: From Edison to Stereo
(Appleton-Century 1965); David Suisman,
Selling Sounds: The Commercial Revolution in American Music
(Harvard University Press, 2009); and Emily Thompson,
The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900–1933
(MIT Press, 2002).
55
“These talking machines”:
“Statement of John Philip Sousa,”
Arguments Before the Committee on Patents of the House of Representatives on H.R.
19853,
to Amend and Consolidate the Acts Respecting Copyright
(Government Printing Office, 1906), p. 24.
“These talking machines”:
“Statement of John Philip Sousa,”
Arguments Before the Committee on Patents of the House of Representatives on H.R.
19853,
to Amend and Consolidate the Acts Respecting Copyright
(Government Printing Office, 1906), p. 24.
55
“The time is coming”:
Emily Thompson, “Machines, Music, and the Quest for Fidelity: Marketing the Edison Phonograph in America, 1877—1925,”
Musical Quarterly
79:1 (Spring 1995), p. 139.
“The time is coming”:
Emily Thompson, “Machines, Music, and the Quest for Fidelity: Marketing the Edison Phonograph in America, 1877—1925,”
Musical Quarterly
79:1 (Spring 1995), p. 139.
55
“The nightingale’s song”:
John Philip Sousa, “The Menace of Mechanical Music,”
Appleton’s Magazine
8 (Sept. 1906), p. 279.
“The nightingale’s song”:
John Philip Sousa, “The Menace of Mechanical Music,”
Appleton’s Magazine
8 (Sept. 1906), p. 279.
56
Glenn Gould … predicted:
Glenn Gould, “The Prospects of Recording,” in
The Glenn Gould Reader,
ed. Tim Page (Vintage, 1990), p. 331. 1.
Glenn Gould … predicted:
Glenn Gould, “The Prospects of Recording,” in
The Glenn Gould Reader,
ed. Tim Page (Vintage, 1990), p. 331. 1.
57
“annihilate time and space”:
Thomas A. Edison, “The Phonograph and Its Future,”
The North American Review
262 (May–June 1878), p. 536.
“annihilate time and space”:
Thomas A. Edison, “The Phonograph and Its Future,”
The North American Review
262 (May–June 1878), p. 536.
57
“A friend may in a morning-call”:
Ibid., p. 533.
“A friend may in a morning-call”:
Ibid., p. 533.
57
“piano-finished”:
William Howland Kenney
Recorded Music in American Life: The Phonograph and Popular Memory,
1890-1945 (Oxford University Press, 1999), p. 51.
“piano-finished”:
William Howland Kenney
Recorded Music in American Life: The Phonograph and Popular Memory,
1890-1945 (Oxford University Press, 1999), p. 51.
58
“The difference between what we usually hear”:
Greg Milner,
Perfecting Sound Forever: An Aural History of Recorded Music
(Faber and Faber, 2009), p. 67.
“The difference between what we usually hear”:
Greg Milner,
Perfecting Sound Forever: An Aural History of Recorded Music
(Faber and Faber, 2009), p. 67.
58
“The orchestra’s tone is so lifelike”:
Howard Taubman, “Records: Kubelik Leads Modern Selections on Mercury Label,”
The New York Times,
Nov. 25, 1951. 1.
“The orchestra’s tone is so lifelike”:
Howard Taubman, “Records: Kubelik Leads Modern Selections on Mercury Label,”
The New York Times,
Nov. 25, 1951. 1.
58
“audience distraction”:
Colin Symes,
Setting the Record Straight: A Material History of Classical Recording
(Wesleyan University Press, 2004), p. 74.
“audience distraction”:
Colin Symes,
Setting the Record Straight: A Material History of Classical Recording
(Wesleyan University Press, 2004), p. 74.
58
“I wonder if pure tone”:
Milner,
Perfecting Sound Forever,
p. 54.
“I wonder if pure tone”:
Milner,
Perfecting Sound Forever,
p. 54.
59
Jack Mullin:
Ibid., p. 114.
Jack Mullin:
Ibid., p. 114.
59
Clinton Heylin points out:
Clinton Heylin,
Bob Dylan: The Recording Sessions, 1960–1994
(St. Martin’s, 1995), p. xi.
Clinton Heylin points out:
Clinton Heylin,
Bob Dylan: The Recording Sessions, 1960–1994
(St. Martin’s, 1995), p. xi.
60
“Listening to a CD”:
Milner,
Perfecting Sound Forever,
p. 195.
“Listening to a CD”:
Milner,
Perfecting Sound Forever,
p. 195.
60
As Jeff Chang recounts:
Jeff Chang,
Can’t Stop Won’t Stop: A History of the Hip-Hop Generation
(St. Martin’s, 2005), pp. 7-85.
As Jeff Chang recounts:
Jeff Chang,
Can’t Stop Won’t Stop: A History of the Hip-Hop Generation
(St. Martin’s, 2005), pp. 7-85.
61
Benjamin’s discussion of the loss:
Walter Benjamin, “The Work of Art in the Age of Its Technological Reproducibility,” second and third versions, in
Walter Benjamin: Selected Writings, Volume 3, 1935–1938,
ed. Howard Eiland and Michael W Jennings, trans. Edmund Jephcott, Howard Eiland, and others (Harvard University Press, 2002), p. 119; and
Walter Benjamin: Selected Writings, Volume 4, 1938–1940,
ed. Howard Eiland and Michael W Jennings, trans. Edmund Jephcott and others (Harvard University Press, 2003), p. 268.
Benjamin’s discussion of the loss:
Walter Benjamin, “The Work of Art in the Age of Its Technological Reproducibility,” second and third versions, in
Walter Benjamin: Selected Writings, Volume 3, 1935–1938,
ed. Howard Eiland and Michael W Jennings, trans. Edmund Jephcott, Howard Eiland, and others (Harvard University Press, 2002), p. 119; and
Walter Benjamin: Selected Writings, Volume 4, 1938–1940,
ed. Howard Eiland and Michael W Jennings, trans. Edmund Jephcott and others (Harvard University Press, 2003), p. 268.
62
“a more effective unity”:
Gould,
The Glenn Gould Reader,
pp. 334—35.
“a more effective unity”:
Gould,
The Glenn Gould Reader,
pp. 334—35.
62
“phonograph effects”:
Mark Katz,
Capturing Sound: How Technology Has Changed
Music (University of California Press, 2004), pp. 3-7, 146.
“phonograph effects”:
Mark Katz,
Capturing Sound: How Technology Has Changed
Music (University of California Press, 2004), pp. 3-7, 146.
62
Katz proposes:
Ibid., pp. 85—98. For more on the vibrato issue, see Styra Avins, “Performing Brahms’s Music: Clues from His Letters,” and Clive Brown, “Joachim’s Violin Playing and the Performance of Brahms’s String Music,” in
Performing Brahms: Early Evidence of Performance Style,
ed. Michael Musgrave and Bernard D. Sherman (Cambridge University Press, 2003), pp. 11–47, 48–98.
Katz proposes:
Ibid., pp. 85—98. For more on the vibrato issue, see Styra Avins, “Performing Brahms’s Music: Clues from His Letters,” and Clive Brown, “Joachim’s Violin Playing and the Performance of Brahms’s String Music,” in
Performing Brahms: Early Evidence of Performance Style,
ed. Michael Musgrave and Bernard D. Sherman (Cambridge University Press, 2003), pp. 11–47, 48–98.
63
“Musicians who first heard”:
Robert Philip,
Performing Music in the Age of Recording
(Yale University Press, 2004), p. 25.
“Musicians who first heard”:
Robert Philip,
Performing Music in the Age of Recording
(Yale University Press, 2004), p. 25.
63
“Freedom from disaster”:
Ibid., p. 17.
“Freedom from disaster”:
Ibid., p. 17.
63
“sways either side of the beat”:
Ibid., p. 110.
“sways either side of the beat”:
Ibid., p. 110.
64
“death-of-tradition”:
Will Crutchfield, “What Is Tradition?”
in Fashions and Legacies in Nineteenth-Century Italian Opera,
ed. Roberta Montemorra Marvin and Hilary Poriss (Cambridge University Press, 2010), p. 248.
“death-of-tradition”:
Will Crutchfield, “What Is Tradition?”
in Fashions and Legacies in Nineteenth-Century Italian Opera,
ed. Roberta Montemorra Marvin and Hilary Poriss (Cambridge University Press, 2010), p. 248.
67 “The machine is neither”:
Katz,
Capturing Sound,
pp. vii, 190.
Katz,
Capturing Sound,
pp. vii, 190.
67
“Members of the musical public”:
David Hajdu,
Heroes and Villains: Essays on Music, Movies, Comics, and Culture
(Da Capo, 2009), p. 166.
“Members of the musical public”:
David Hajdu,
Heroes and Villains: Essays on Music, Movies, Comics, and Culture
(Da Capo, 2009), p. 166.
67
“In music, as in everything”:
Benjamin Boretz, “Interface Part II: Thoughts in Reply to Boulez/Foucault: ‘Contemporary Music and the Public,”’ in
Perspectives on Musical Aesthetics,
ed. John Rahn (Norton, 1994), p. 123.
“In music, as in everything”:
Benjamin Boretz, “Interface Part II: Thoughts in Reply to Boulez/Foucault: ‘Contemporary Music and the Public,”’ in
Perspectives on Musical Aesthetics,
ed. John Rahn (Norton, 1994), p. 123.
68
“We could not know”:
Hans Fantel, “Sound: Poignance Measured in Digits,”
The New York Times,
July 16, 1989.
“We could not know”:
Hans Fantel, “Sound: Poignance Measured in Digits,”
The New York Times,
July 16, 1989.
4. THE STORM OF STYLE
This essay appeared in
The New Yorker
on July 24, 2006.
The New Yorker
on July 24, 2006.
71
“As touchy as gunpowder”:
Michael Kelly
Reminiscences of Michael Kelly, of the King’s Theatre, and Theatre Royal Drury Lane, Including a Period of Nearly Half a Century;
With Original Anecdotes of Many Distinguished Persons, Political, Literary, and Musical,
vol. 1 (Henry Colburn, 1826), p. 257.
“As touchy as gunpowder”:
Michael Kelly
Reminiscences of Michael Kelly, of the King’s Theatre, and Theatre Royal Drury Lane, Including a Period of Nearly Half a Century;
With Original Anecdotes of Many Distinguished Persons, Political, Literary, and Musical,
vol. 1 (Henry Colburn, 1826), p. 257.
71 “so rare
a genius”;
Derek Beales, “Joseph II, Joseph(in)ism,” in
The Cambridge Mozart Encyclopedia,
ed. Cliff Eisen and Simon P. Keefe (Cambridge University Press, 2006), p. 239.
a genius”;
Derek Beales, “Joseph II, Joseph(in)ism,” in
The Cambridge Mozart Encyclopedia,
ed. Cliff Eisen and Simon P. Keefe (Cambridge University Press, 2006), p. 239.
72
“the Viennese gentry”:
Emily Anderson, trans. and ed.,
The Letters of Mozart and His Family,
3rd ed. (Norton, 1985), p. 814.
“the Viennese gentry”:
Emily Anderson, trans. and ed.,
The Letters of Mozart and His Family,
3rd ed. (Norton, 1985), p. 814.
72
“the most extraordinary Prodigy”:
Stanley Sadie,
Mozart: The Early Years, 1756—1781
(Oxford University Press, 2006), p. 62.
“the most extraordinary Prodigy”:
Stanley Sadie,
Mozart: The Early Years, 1756—1781
(Oxford University Press, 2006), p. 62.
72
“the miracle whom God allowed”:
Ibid., p. 140.
“the miracle whom God allowed”:
Ibid., p. 140.
72
“Such people only come into the world”: Anderson, The Letters of Mozart and His Family,
p. 814.
“Such people only come into the world”: Anderson, The Letters of Mozart and His Family,
p. 814.
72
“as proud as a peacock,” “dreadfully conceited”: Ibid., p. 739.
“as proud as a peacock,” “dreadfully conceited”: Ibid., p. 739.
72 “I think that something is going on”:
Ibid., p. 532.
Ibid., p. 532.
72
John Rice’s biography:
John A. Rice,
Antonio Salieri and Viennese Opera
(University of Chicago Press, 1998).
John Rice’s biography:
John A. Rice,
Antonio Salieri and Viennese Opera
(University of Chicago Press, 1998).
72
“Salieri, that very gifted Kapellmeister”:
Anderson,
The Letters of Mozart and His Family,
pp. 938-39.
“Salieri, that very gifted Kapellmeister”:
Anderson,
The Letters of Mozart and His Family,
pp. 938-39.
72
“black thoughts”:
Ibid., p. 917. For sensations of coldness and emptiness, see pp. 943, 963-64.
“black thoughts”:
Ibid., p. 917. For sensations of coldness and emptiness, see pp. 943, 963-64.
72
“true goal of our existence”:
Ibid., p. 907.
“true goal of our existence”:
Ibid., p. 907.
73
“Two opposing elements”:
Ibid., p. 816.
“Two opposing elements”:
Ibid., p. 816.
73
“Other great composers have expressed”:
Nicholas Kenyon,
The Pegasus Pocket Guide to Mozart
(Pegasus, 2006), p. 283.
“Other great composers have expressed”:
Nicholas Kenyon,
The Pegasus Pocket Guide to Mozart
(Pegasus, 2006), p. 283.
73
“sound of the loss of innocence”:
Scott Burnham, “On the Beautiful in Mozart,” in
Music and the Aesthetics of Modernity: Essays,
ed. Karol Berger and Anthony Newcomb (Harvard University Press, 2005), p. 49.
“sound of the loss of innocence”:
Scott Burnham, “On the Beautiful in Mozart,” in
Music and the Aesthetics of Modernity: Essays,
ed. Karol Berger and Anthony Newcomb (Harvard University Press, 2005), p. 49.
74
“Mozart as a Working Stiff”:
Neal Zaslaw, “Mozart as a Working Stiff,” in
On Mozart,
ed. James M. Morris (Cambridge University Press, 1994), pp. 102-12.
“Mozart as a Working Stiff”:
Neal Zaslaw, “Mozart as a Working Stiff,” in
On Mozart,
ed. James M. Morris (Cambridge University Press, 1994), pp. 102-12.
74
“erotically tinged drive”:
Maynard Solomon,
Mozart: A Life
(HarperCollins, 1995), P. 11.
“erotically tinged drive”:
Maynard Solomon,
Mozart: A Life
(HarperCollins, 1995), P. 11.
74
“Your whole intent”:
Robert Spaethling, trans. and ed.,
Mozart’s Letters, Mozart’s Life: Selected Letters
(Norton, 2000), p. 192.
“Your whole intent”:
Robert Spaethling, trans. and ed.,
Mozart’s Letters, Mozart’s Life: Selected Letters
(Norton, 2000), p. 192.
74
Ruth Halliwell:
Ruth Halliwell,
The Mozart Family: Four Lives in Social Context
(Clarendon, 1998).
Ruth Halliwell:
Ruth Halliwell,
The Mozart Family: Four Lives in Social Context
(Clarendon, 1998).
74
“Where money is plentiful”:
Anderson,
The Letters of Mozart and His Family,
p. 545.
“Where money is plentiful”:
Anderson,
The Letters of Mozart and His Family,
p. 545.
74
“The best way to make”:
Ibid., p. 676.
“The best way to make”:
Ibid., p. 676.
75
“love, joy, physical and spiritual contentment”:
David Cairns,
Mozart and His Operas
(University of California Press, 2006), p. 68.
“love, joy, physical and spiritual contentment”:
David Cairns,
Mozart and His Operas
(University of California Press, 2006), p. 68.
75
“moving, terrifying, and altogether unusual”:
Anderson,
The Letters of Mozart and His Family,
pp. 666, 700.
“moving, terrifying, and altogether unusual”:
Anderson,
The Letters of Mozart and His Family,
pp. 666, 700.
75
“These concertos are a happy medium”:
Ibid., p. 833.
“These concertos are a happy medium”:
Ibid., p. 833.
76
“departure points”:
Ulrich Konrad, “Compositional Method,” in Eisen and Keefe,
The Cambridge Mozart Encyclopedia,
p. 107.
“departure points”:
Ulrich Konrad, “Compositional Method,” in Eisen and Keefe,
The Cambridge Mozart Encyclopedia,
p. 107.
77
“evolved along
sound
lines”:
Hermann Abert,
W A. Mozart,
ed. Cliff Eisen, trans. Stewart Spencer (Yale University Press, 2007), p. 45.
“evolved along
sound
lines”:
Hermann Abert,
W A. Mozart,
ed. Cliff Eisen, trans. Stewart Spencer (Yale University Press, 2007), p. 45.
78
“There is no real reason”:
Sadie,
Mozart,
p. 479.
“There is no real reason”:
Sadie,
Mozart,
p. 479.
79
Scott Burnham notes:
Burnham, “On the Beautiful in Mozart,” p. 44.
Scott Burnham notes:
Burnham, “On the Beautiful in Mozart,” p. 44.
79
“you see the trembling”:
Anderson,
The Letters of Mozart and His Family,
p. 769.
“you see the trembling”:
Anderson,
The Letters of Mozart and His Family,
p. 769.
80
“four completely different kinds”:
Charles Rosen,
The Classical Style: Haydn, Mozart, Beethoven,
rev. ed. (Norton, 1998), p. 286.
“four completely different kinds”:
Charles Rosen,
The Classical Style: Haydn, Mozart, Beethoven,
rev. ed. (Norton, 1998), p. 286.
80
“feelings of impending doom”:
Julian Rushton,
Mozart
(Oxford University Press, 2006), p. 220.
“feelings of impending doom”:
Julian Rushton,
Mozart
(Oxford University Press, 2006), p. 220.
81
“sensuous genius” ;
Daniel Herwitz, “Kierkegaard Writes His Opera,” in
The Don Giovanni Moment: Essays on the Legacy of an Opera,
ed. Lydia Goehr and Daniel Herwitz (Columbia University Press, 2006), p. 134.
“sensuous genius” ;
Daniel Herwitz, “Kierkegaard Writes His Opera,” in
The Don Giovanni Moment: Essays on the Legacy of an Opera,
ed. Lydia Goehr and Daniel Herwitz (Columbia University Press, 2006), p. 134.
82
“a bon vivant who loves wine”:
E.TA. Hoffmann, “Don Juan: A Fabulous Happening Which Befell a Traveling Enthusiast,” trans. Julian Rushton, in Rushton,
W A. Mozart, “Don Giovanni”
(Cambridge University Press, 1981), p. 128.
“a bon vivant who loves wine”:
E.TA. Hoffmann, “Don Juan: A Fabulous Happening Which Befell a Traveling Enthusiast,” trans. Julian Rushton, in Rushton,
W A. Mozart, “Don Giovanni”
(Cambridge University Press, 1981), p. 128.
82
“conflict between godly”:
Ibid., p. 128.
“conflict between godly”:
Ibid., p. 128.
82
as Michael Noiray observes:
Michael Noiray “Don Giovanni,” in Eisen and Keefe,
The Cambridge Mozart Encyclopedia,
pp. 145—47.
as Michael Noiray observes:
Michael Noiray “Don Giovanni,” in Eisen and Keefe,
The Cambridge Mozart Encyclopedia,
pp. 145—47.
82
“fate being underlined”:
Peter Williams,
The Chromatic Fourth During Four Centuries of Music
(Clarendon, 1997), p. 141.
“fate being underlined”:
Peter Williams,
The Chromatic Fourth During Four Centuries of Music
(Clarendon, 1997), p. 141.
83
“change from ignorance to knowledge”:
Jessica Waldoff,
Recognition in Mozart’s Operas
(Oxford University Press, 2006), p. 55.
“change from ignorance to knowledge”:
Jessica Waldoff,
Recognition in Mozart’s Operas
(Oxford University Press, 2006), p. 55.
83
“unflinching, unreflecting”;
Ibid., p. 178.
“unflinching, unreflecting”;
Ibid., p. 178.
83
“life without awe”:
Philip Kitcher and Richard Schacht, “Authority and Judgment in Mozart’s
Don Giovanni
and Wagner’s
Ring,”
in Goehr and Herwitz,
The Don Giovanni Moment,
p. 179.
“life without awe”:
Philip Kitcher and Richard Schacht, “Authority and Judgment in Mozart’s
Don Giovanni
and Wagner’s
Ring,”
in Goehr and Herwitz,
The Don Giovanni Moment,
p. 179.
5. ORBITING
This profile appeared in
The New Yorker
on August 20, 2001, under the title “The Searchers.” In the course of researching the article, I attended the following Radiohead shows: Vista Alegre, Bilbao, May 26, 2001; Théâtre antique, Vaison-la-Romaine, May 28; Arena di Verona, May 30; Red Rocks, Denver, June 20; The Gorge, George, Washington, June 23; and South Park, Oxford, July 7. I consulted Mac Randall,
Exit Music. The Radiohead Story
(Delta, 2000) and Jonathan Hale,
Radiohead: From a Great Height
(ECW Press, 1999).
The New Yorker
on August 20, 2001, under the title “The Searchers.” In the course of researching the article, I attended the following Radiohead shows: Vista Alegre, Bilbao, May 26, 2001; Théâtre antique, Vaison-la-Romaine, May 28; Arena di Verona, May 30; Red Rocks, Denver, June 20; The Gorge, George, Washington, June 23; and South Park, Oxford, July 7. I consulted Mac Randall,
Exit Music. The Radiohead Story
(Delta, 2000) and Jonathan Hale,
Radiohead: From a Great Height
(ECW Press, 1999).
6. THE ANTI-MAESTRO
The original version of this profile appeared in
The New Yorker
on April 30, 2007.
The New Yorker
on April 30, 2007.
105
“culture of performance” ;
Joseph Horowitz,
Classical Music in America: A History of Its Rise and Fall
(Norton, 2005), pp. 383-88.
“culture of performance” ;
Joseph Horowitz,
Classical Music in America: A History of Its Rise and Fall
(Norton, 2005), pp. 383-88.
106
“The gravitational center”
: Alex Ross, “A Parade of the Maverick Modernists, Joined by the Dead,”
The New York Times,
June 19, 1996.
“The gravitational center”
: Alex Ross, “A Parade of the Maverick Modernists, Joined by the Dead,”
The New York Times,
June 19, 1996.
107
“We don’t want a temple”:
Bernard Holland, “Los Angeles Plans New Concert Hall,”
The New York Times,
June 1, 1988.
“We don’t want a temple”:
Bernard Holland, “Los Angeles Plans New Concert Hall,”
The New York Times,
June 1, 1988.
112
“Somehow I’ve ruled out”:
Mark Swed, “Conductor in a Candy Store,”
Los Angeles Times,
Oct. 20, 1996.
“Somehow I’ve ruled out”:
Mark Swed, “Conductor in a Candy Store,”
Los Angeles Times,
Oct. 20, 1996.
7. GREAT SOUL
The original version of this chapter appeared in
The NewYorker
on February 3, 1997. In addition to the works cited below, I consulted Peter Clive,
Schubert and His World:
A
Biographical Dictionary
(Clarendon, 1997); Walter Frisch, ed.,
Schubert: Critical and Analytical Studies
(University of Nebraska Press, 1986); Christopher Gibbs, ed.,
The Cambridge Companion
to
Schubert
(Cambridge University Press, 1997); David Gramit, “The Intellectual and Aesthetic Tenets of Franz Schubert’s Circle” (PhD diss., Duke University 1987); Ernst Hilmar,
Franz Schubert in His Time,
trans. Reinhard G. Pauly (Amadeus, 1988); and Richard Kramer,
Distant Cycles: Schubert and the Conceiving of Song
(University of Chicago Press, 1994). More recent publications of interest include Charles Fisk,
Returning Cycles: Contexts for the Interpretation of Schuberts Impromptus and Last Sonatas
(University of California Press, 2001); Christopher Gibbs,
The Life of Schubert
(Cambridge University Press, 2000); Lawrence Kramer,
Franz Schubert: Sexuality, Subjectivity, Song
(Cambridge University Press, 1998); Scott Messing,
Schubert in the European Imagination,
2 vols. (University of Rochester Press, 2006—2007); and Susan Youens,
Schubert’s Late Lieder: Beyond the Song-Cycles
(Cambridge University Press, 2002).
The NewYorker
on February 3, 1997. In addition to the works cited below, I consulted Peter Clive,
Schubert and His World:
A
Biographical Dictionary
(Clarendon, 1997); Walter Frisch, ed.,
Schubert: Critical and Analytical Studies
(University of Nebraska Press, 1986); Christopher Gibbs, ed.,
The Cambridge Companion
to
Schubert
(Cambridge University Press, 1997); David Gramit, “The Intellectual and Aesthetic Tenets of Franz Schubert’s Circle” (PhD diss., Duke University 1987); Ernst Hilmar,
Franz Schubert in His Time,
trans. Reinhard G. Pauly (Amadeus, 1988); and Richard Kramer,
Distant Cycles: Schubert and the Conceiving of Song
(University of Chicago Press, 1994). More recent publications of interest include Charles Fisk,
Returning Cycles: Contexts for the Interpretation of Schuberts Impromptus and Last Sonatas
(University of California Press, 2001); Christopher Gibbs,
The Life of Schubert
(Cambridge University Press, 2000); Lawrence Kramer,
Franz Schubert: Sexuality, Subjectivity, Song
(Cambridge University Press, 1998); Scott Messing,
Schubert in the European Imagination,
2 vols. (University of Rochester Press, 2006—2007); and Susan Youens,
Schubert’s Late Lieder: Beyond the Song-Cycles
(Cambridge University Press, 2002).
124
“You consider yourselves artists?”:
Friedrich Dieckmann,
Franz Schubert: Eine An-näherung
(Insel, 1996), p. 286.
“You consider yourselves artists?”:
Friedrich Dieckmann,
Franz Schubert: Eine An-näherung
(Insel, 1996), p. 286.
125
“I am Schubert”:
Franz Grillparzer,
Sammtliche Werke,
vol. 1 (Cotta, 1887), p. 175.
“I am Schubert”:
Franz Grillparzer,
Sammtliche Werke,
vol. 1 (Cotta, 1887), p. 175.
125
“Their world-system is human”:
Otto Erich Deutsch, ed.,
Schubert: Die Dokumente seines Lebens
(Breitkopf & Härtel, 1996), p. 110.
“Their world-system is human”:
Otto Erich Deutsch, ed.,
Schubert: Die Dokumente seines Lebens
(Breitkopf & Härtel, 1996), p. 110.
125
“pure, powerful being”:
Ibid., p. 193.
“pure, powerful being”:
Ibid., p. 193.
125
“Enviable Nero”:
Ibid., p. 233.
“Enviable Nero”:
Ibid., p. 233.
125
“guileless child”:
Robert Schumann,
Schumann on Music: A Selection from the Writings,
trans. and ed. Henry Pleasants (Dover, 1988), p. 142.
“guileless child”:
Robert Schumann,
Schumann on Music: A Selection from the Writings,
trans. and ed. Henry Pleasants (Dover, 1988), p. 142.
128
Newbould has discovered:
Brian Newbould,
Schubert: The Music and the Man
(Gollancz, 1997), p. 13.
Newbould has discovered:
Brian Newbould,
Schubert: The Music and the Man
(Gollancz, 1997), p. 13.
128
“inner, unfathomable turmoil”:
Johann Wolfgang von Goethe,
The Sorrows of Young Werther and Selected Writings,
trans. Catherine Hutter (Signet, 1962), p. 107.
“inner, unfathomable turmoil”:
Johann Wolfgang von Goethe,
The Sorrows of Young Werther and Selected Writings,
trans. Catherine Hutter (Signet, 1962), p. 107.
129
John Reed suggests:
John Reed,
Schubert
(Schirmer, 1997), p. 143.
John Reed suggests:
John Reed,
Schubert
(Schirmer, 1997), p. 143.
129
“Beethoven does not lie here”:
Newbould,
Schubert,
p. 277.
“Beethoven does not lie here”:
Newbould,
Schubert,
p. 277.
129
“disorder of experience”:
Charles Rosen,
The Romantic Generation
(Harvard University Press, 1995), p. 95.
“disorder of experience”:
Charles Rosen,
The Romantic Generation
(Harvard University Press, 1995), p. 95.
131
as Youens observes:
Susan Youens,
Schubert’s Poets and the Making of Lieder
(Cambridge University Press, 1996), p. 189.
as Youens observes:
Susan Youens,
Schubert’s Poets and the Making of Lieder
(Cambridge University Press, 1996), p. 189.
131
“loving pair”:
Graham Johnson, “Schubert and the Classics,” notes to vol. 14 of the Hyperion Schubert Edition (Hyperion CDJ33014), p. 28.
“loving pair”:
Graham Johnson, “Schubert and the Classics,” notes to vol. 14 of the Hyperion Schubert Edition (Hyperion CDJ33014), p. 28.
132
“Schubert [is] half-sick”:
Maynard Solomon, “Franz Schubert and the Peacocks of Benvenuto Cellini,”
19th-Century Music
12:3 (Spring 1989), p. 201. For more on Schubert’s sexuality, see Rita Steblin, “The Peacock’s Tale: Schubert’s Sexuality Reconsidered,”
19th-Century Music
17:1 (Summer 1993), pp. 5—33; Maynard Solomon, “Schubert: Some Consequences of Nostalgia,”
19th-Century Music
17:1 (Summer 1993), pp. 34—46; Kristina Muxfeldt, “Political Crimes and Liberty, or Why Would Schubert Eat a Peacock?”
19th-Century Music
17:1 (Summer 1993), pp. 47—64; and contributions by Kogi Agawu, Susan McClary, James Webster, and Robert Winter in the same issue of
19th-Century Music.
“Schubert [is] half-sick”:
Maynard Solomon, “Franz Schubert and the Peacocks of Benvenuto Cellini,”
19th-Century Music
12:3 (Spring 1989), p. 201. For more on Schubert’s sexuality, see Rita Steblin, “The Peacock’s Tale: Schubert’s Sexuality Reconsidered,”
19th-Century Music
17:1 (Summer 1993), pp. 5—33; Maynard Solomon, “Schubert: Some Consequences of Nostalgia,”
19th-Century Music
17:1 (Summer 1993), pp. 34—46; Kristina Muxfeldt, “Political Crimes and Liberty, or Why Would Schubert Eat a Peacock?”
19th-Century Music
17:1 (Summer 1993), pp. 47—64; and contributions by Kogi Agawu, Susan McClary, James Webster, and Robert Winter in the same issue of
19th-Century Music.
132
“dominating aversion,” “indifferent to the charms”:
Solomon, “Franz Schubert and the Peacocks of Benvenuto Cellini,” p. 196.
“dominating aversion,” “indifferent to the charms”:
Solomon, “Franz Schubert and the Peacocks of Benvenuto Cellini,” p. 196.
133
“fashionable political ideologies”:
Rita Steblin, letter to the editors,
The New York Review of Books,
Oct. 20, 1994.
“fashionable political ideologies”:
Rita Steblin, letter to the editors,
The New York Review of Books,
Oct. 20, 1994.
133
“open, flexible sense of self”:
Susan McClary, “Constructions of Subjectivity in Schubert’s Music,” in
Queering the Pitch: The New Gay and Lesbian Musicology,
ed. Philip Brett, Elizabeth Wood, and Gary C. Thomas (Routledge, 1994), p. 223.
“open, flexible sense of self”:
Susan McClary, “Constructions of Subjectivity in Schubert’s Music,” in
Queering the Pitch: The New Gay and Lesbian Musicology,
ed. Philip Brett, Elizabeth Wood, and Gary C. Thomas (Routledge, 1994), p. 223.
133
“If Schubert fell” :
Elizabeth Norman McKay,
Franz Schubert: A
Biography (Clarendon, 1996), p. 219.
“If Schubert fell” :
Elizabeth Norman McKay,
Franz Schubert: A
Biography (Clarendon, 1996), p. 219.
133
“Schubert is much praised”:
Karl-Heinz Kohler and Dagmar Beck, eds.,
Ludwig van Beethovens Konversationshefte,
vol. 3 (VEB, 1983), p. 330.
“Schubert is much praised”:
Karl-Heinz Kohler and Dagmar Beck, eds.,
Ludwig van Beethovens Konversationshefte,
vol. 3 (VEB, 1983), p. 330.
133
“Kill it, kill me”:
Deutsch,
Schubert: Dokumente,
p. 193.
“Kill it, kill me”:
Deutsch,
Schubert: Dokumente,
p. 193.
134
“history of my feelings”:
August von Platen, Die
Tagebücher des Grafen August von Platen,
ed. Georg von Laubmann and Ludwig von Scheffler (Cotta, 1896), p. 487.
“history of my feelings”:
August von Platen, Die
Tagebücher des Grafen August von Platen,
ed. Georg von Laubmann and Ludwig von Scheffler (Cotta, 1896), p. 487.
135
“It’s sigh, it’s nostalgia”:
György Ligeti, coaching the Borromeo String Quartet in Schubert’s Quartet No. 15, New England Conservatory, March 10, 1993.
“It’s sigh, it’s nostalgia”:
György Ligeti, coaching the Borromeo String Quartet in Schubert’s Quartet No. 15, New England Conservatory, March 10, 1993.
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