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Virgil Thomson had already established himself as one of the nation's leading composers when he published The State of Music (1939), the book that made his name as a writer and won him a fourteen-year stint as chief music reviewer at the New York Herald Tribune. This feisty, often hilarious polemic, presented here in the extensively revised edition of 1962, surveys the challenges confronting the American composer in a hide-bound world where performance and broadcast outlets are controlled by institutions shocked by the new and suspicious of homegrown talent. For Aaron Copland, The State of Music was not just “the most original book on music that America has produced,” but “the wittiest, the most provocative, the best written.”
First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.
Perhaps the oddest and most influential collaboration in the history of American modernism was hatched in 1926, when a young Virgil Thomson knocked on Gertrude Stein's door in Paris. Eight years later, their opera Four Saints in Three Acts became a sensation--the longest-running opera in Broadway history to date and the most widely reported cultural event of its time. Four Saints was proclaimed the birth of a new art form, a cellophane fantasy, "cubism on stage." It swept the public imagination, inspiring new art and new language, and defied every convention of what an opera should be. Everything about it was revolution-ary: Stein's abstract text and Thomson's homespun music, the all-black c...
This essential reader includes Thomson's essays on making a living as a musician; his articles on classic composers; his relation to his contemporaries; his articles on newcomers in the music world, including John Cage and Pierre Boulez; his autobiographical writings and commentary on his own works.
Thomson's memoirs provide an eyewitness account of artistic life in Europe and America during the uneasy decades that bridged World Wars I and II. These amazing decades - and the important political and musical developments that marked them - are brilliantly evoked through Thomson's running commentary on his own immensely busy and productive life.
The Holding Room is the fictional space between heaven and hell. It is where we all go to be judged. Sometimes humorous, sometimes serious, The Holding Room follows the journey of eight people whose ashes got mixed up at a crematorium. An elderly church woman awakens with her soul inside the body of a skinhead, a Klansman awakens inside the body of an angry black rapper and a minister who burned the Koran wakes up in the body of a Muslim. With the help of a God who is both sarcastic and scolding each person must confront their past to determine whether their future will be in heaven or hell. Soon the holding room will become part of our everyday language.
When Henry receives a letter from an elderly taxidermist, it poses a puzzle that he cannot resist. As he is pulled further into the world of this strange and calculating man, Henry becomes increasingly involved with the lives of a donkey and a howler monkey--named Beatrice and Virgil--and the epic journey they undertake together.
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Tchelitchew was gay and so was the biographer Tyler.--Haggerty, p. 866, 902.--dm.