The Rest is Noise

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Alex Ross. The Rest is Noise

Copyright

Note to Readers

Praise

Dedication

Epigraph

Contents

PREFACE

WHERE TO LISTEN

Part I - 1900–1933

1 THE GOLDEN AGE. Strauss, Mahler, and the Fin de Siècle

2 DOCTOR FAUST. Schoenberg, Debussy, and Atonality

3 DANCE OF THE EARTH. The Rite, the Folk, le Jazz

4 INVISIBLE MEN. American Composers from Ives to Ellington

5 APPARITION FROM THE WOODS. The Loneliness of Jean Sibelius

6 CITY OF NETS. Berlin in the Twenties

Part II - 1933–1945

7 THE ART OF FEAR. Music in Stalin’s Russia

8 MUSIC FOR ALL. Music in FDR’s America

9 DEATH FUGUE. Music in Hitler’s Germany

Part III - 1945–2000

11 BRAVE NEW WORLD. The Cold War and the Avant-Garde of the Fifties

12 “GRIMES! GRIMES!” The Passion of Benjamin Britten

13 ZION PARK. Messiaen, Ligeti, and the Avant-Garde of the Sixties

14 BEETHOVEN WAS WRONG. Bop, Rock, and the Minimalists

15 SUNKEN CATHEDRALS. Music at Century’s End

EPILOGUE

10 ZERO HOUR. The U.S. Army and German Music, 1945–1949

If you enjoyed The Rest is Noise: Listening to the Twentieth Centuty, check out this other great Alex Ross title

SUGGESTED LISTENING AND READING

NOTES

INDEX

ACKNOWLEDGMENTS

About the Author

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In 2013, a groundbreaking, year-long festival at the Southbank Centre will bring The Rest is Noise to life – with concerts, talks and other events inspired by the book

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The glowing optimism of the Eighth belied the fact that the composer was growing sick of Vienna, of the constant opposition of anti-Semites, of infighting and backstabbing. He announced his resignation in May 1907, conducted his last opera performance in October, and made his final appearance as a conductor in Vienna in November, bidding farewell with his own Second Symphony. To his ardent fans, it was as though he had been driven out by the forces of ignorance and reaction. When he left the city, at the end of the year, two hundred admirers, Schoenberg and his pupils among them, gathered at the train station to bid him farewell, garlanding his compartment with flowers. It seemed the end of a golden age. “Vorbei!” said Gustav Klimt—“It’s over!”

The reality was a bit less romantic. Throughout the spring of 1907, Mahler had been negotiating secretly with the Metropolitan Opera in New York, and not the least of the management’s enticements was what it called “the highest fee a musician has ever received”: 75,000 kronen for three months’ work, or, in today’s money, $300,000. Mahler said yes.

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