| Volltext: | Index Page references to illustrations are in italic. Adams, John, 106 Adorno, Theodor: on Beethoven's last works, 5, 177n.4; on late style, 5; on Mahler, 208, 209, 210, 214; on Wagner, 159 Akalaitis, JoAnne, 106 Albert, Joseph: Richard Wagner, 144 Almerita Tasca, Countess d', 155 Alt, Rudolf von: Mozart's Zimmer auf dem Kahlenberg im 1791, 129, 130 Amadeus (Shaffer), 127 ambiguity/doubt: in Cézanne's work, 47, 55; in de Kooning's work, 42, 51n.29; in Mahler's music, 207; modern aesthetics and, 55; in Wittgenstein's work, 208 Ambros, August Wilhelm, 121-22 American Institute of Architects, 110 Anti-Illusion: Process/Materials (exhibition), 54, 56 architecture: Mondrian and, 20-22, 29; music and, 99; Rothko and, 56. See also Gehry, Frank Area (Hesse), 59, 78 Arendt, Hannah, 145-46 ARTnews (magazine), 22, 24, 25 Aufstieg und Fall der Stadt Mahagonny (Weill), 195 Aught (Hesse), 59, 76-77 Autodidactos, Amadeus, 122 Available Light (Childs), 106 Baltimore Museum of Art, 18 Barnett, Catherine, 50n.20 Barone, Anthony, 10n.7 Barr, Alfred H., Jr., 16, 19 Bayreuth Festival, 193 Becker, Carl Heinrich, 198, 201; and Schillings affair, 191-92 Beethoven, Ludwig van: Adorno on late works of, 5, 177n.4; centennial commemoration of, 134, 135; and cultural memory of Mozart, 117-20, 125, 131, 132, 135; and cultural nationalism, 135; death of, 119, 124, 131-32; Fidelio, 145, 194; last string quartets of, 6, 125, 167; late works of, 5, 8, 168, 177n.4; moral heroism of, 125; and nature, 124, 126, 129, 131-32, 139n.41; and romantic aesthetic, 119, 125; self-conscious late style of, 117; stylistic periodization to music of, 167; Symphony no. 2 in D major, 125; Symphony no. 3 in E-flat major ("Eroica"), Strauss's rendition of funeral-march theme of, 175; Symphony no. 5 in C minor, 126; Symphony no. 6 in A major ("Pastoral"), 131; Symphony no. 9 in D minor ("Choral"), 148, 161; Wagner on music of, 134-35, 150, 161, 168 "Bella mia fiamma addio" (Mozart), 140n.44 Bening, Annette, 107 Benjamin, Walter, 214 Berg, Alban: Wozzeck, 192 Berlin Philharmonie, 99, 108 Berlioz, Hector: Romeo et Juliette, 160 Bernard, Emile, 47, 48 Bernheimer, Martin, 106 Bie, Oscar, 203n,29 Biedermeier-era culture, 120 Biographie W. A. Mozarts (Nissen), 133 Bismarck, Otto von, 120, 186 Bizet, Georges: Carmen, 158 Blech, Leo, 189 Bloch, Ernst, 195 Boogie Woogie (Mondrian), 18 Borda, Deborah, 105, 108 Botstein, Leon, 106, 208 Boulez, Pierre, 99, 106, 107 Brahms, Johannes: First Symphony by, Wagner on, 146; melancholy in music of, 122, 133 2 2 5 I n d e x Brancusi + Mondrian (exhibition), 27 Braun, Otto, 184-85, 197, 200; and closing of the Kroll-Theatre, 198, 199 Brinckmann, A. E., 2-4 Broadway Boogie Woogie (Mondrian), 17, 18 Brooklyn Arena, 104, 109 Brooklyn Atlantic Yards, 89, 104 Bruckmann, Verlag Friedrich, 116 Brüning, Heinrich, 196, 200 Busoni, Ferruccio, 1, 189 Calatrava, Santiago, 108 Calder, Alexander, 22 California Aerospace Museum, Los Angeles, 102, 103 Campbell, Jill, lln.10 Capriccio (Strauss), 173 Carlyle, Thomas, 4 Carmen (Bizet), 158 Carpenter + Hochman Gallery, New York, 27 CATIA software, 110, 111 Cézanne, Paul: de Kooning and, 38, 45, 47, 48; doubt and ambiguity of late works of, 47, 55; Les grandes baigneuses, 46, 47; last thought of, 47-48; Picasso on, 47 Chamberlain, Eva, 153 Chan, Edwin, 110 Chapman, Robert, 41 Childs, Lucinda, 106 Chirico, Giorgio de, 194 Chopin, Frédéric, 2 Choral Symphony (Beethoven), 148 Christophe Colomb (Milhaud), 193 Composition with Red, Yellow, and Blue (Mondrian), 14 Contingent (Hesse), 59, 80; test piece for, 59, 79; wash study for, 59, 80 Conversation (de Kooning), 43, 69 Cooper, Harry, 18, 30 Cremer, Lothar, 99 cubism, de Kooning on, 45 Cummins, David, 102 Curjel, Hans, 194 Dabrovvski, Magdalena, 27 Danuser, Herrmann, 177n.5 Daphne (Strauss), 171-72 Dassault Systèmes, 110, 111 Davis, Ron, 100 Davis Studio and Residence, Malibu, California, 82, 100-101, 103 de Antonio, Emile, 37-38, 44 Degrés des ages (Georgin), 3 de Kooning, Elaine, 40, 48n.2 de Kooning, Willem, i, 36, 37-48; aesthetic theory of, 37-38; ambiguity ("doubt") in paintings of, 42, 51n.29; and Cézanne, 38, 45, 47, 48; on change and sameness, 38-39, 43, 44, 48n.2; Conversation, 43, 69; definition of "painting" 37, 38; identification with common people, 37, 48n.3; influences on, 44, 45-47; instability of works of, 39; last thought of, 48; mental deterioration of, 40, 47, 50n.20; and Mondrian's studio, 22; paintings of 1980s, 40-42; and Picasso, 38, 45, 47, 48; Quality of a Piece of Paper, 43, 68; repetition by, 38, 43, 44; revisions by, 39, 41; "slipping" effect in paintings of, 41-42; technique of, 41-42, 50n.25; titles of works of, 51n.35; Untitled, ca. 1980, 43, 69; Untitled XXX, 42, 67; Untitled XLI1, 39-40, 42, 66; vellum drawings of, 44-45, 70, 71 Del Mar, Norman, 168 Denis, Maurice, 47 Descartes, René, 207 Die deutsche Oper (Wagner), 160 Devarajan, Anand, 110 Diller, Barry, 109 Disney, Lillian, 99 Disney Hall. See Walt Disney Concert Hall Doesburg, Nelly van, 18, 19, 25 Doesburg, Theo van, 18 Don Giovanni (Mozart): natural beauty as inspiration for, 127-28; Wagner's conducting of, 160 Dreier, Katherine S., 18, 19, 20, 32n.l7, 33n.2 6 Dülberg, Ewald, 194 Dumesnil, Alfred, 123 Duschek, Franz Xaver, 127 Duschek, Josepha, 127, 140n.44 Ebert, Friedrich, 191 Eckermann, Johann Peter, 176 Edgemar Development, Santa Monica, California, 92, 105 Einstein, Alfred: on Klemperer, 203n.29; on Mozart, 133, 141n.62 Elgar, Edward, 169 The Embrace (Picasso), 46, 47 Empson, William: Some Versions of Pastoral, 211-14 2 2 6 I n d e x Eroica Symphony (Beethoven), 175 L'étreinte (Picasso), 46, 47 Expanded Expansion (Hesse), 54 Der Fall Wagner (Nietzsche), 158-59 Falstaff (Verdi), 6 fashion, Mondrian's works and, 22, 23, 24, 25 Faust (Goethe), 124, 147, 170, 173 Eine Faust-Ouvertüre (Wagner), 147, 161 Eine Faust-Symphonie in drei Charakterbildern (Liszt), 157 Fehling, Jürgen, 194 Feibleman, Peter, 107 Felsenstein, Walter, 184 Ferrara, Tom, 41, 48n.2, 51n.27, 51n.30; photograph of de Kooning by, 36 Fétis, François-Joseph, 123, 127, 131 Feuerbach, Ludwig, 160 Fidelio (Beethoven), 145; Krolloper production of, 194, 203n.28 Fine, Perle: copies of Mondrian's Victory Boogie Woogie by, 18-20, 31n.l6, 32n.l7, 32n.l8, 33n.28, 33n.30; relationship to Mondrian, 19, 33n.26; Tremaines' patronage of, 33n.27 Fleischmann, Ernest, 96, 100-112; biographical information on, 98-99 Der fliegende Holländer (Wagner), 160, 195 Fonssagrives, Fernand, 22, 33n.35; photograph of model in Mondrian's studio by,23 Fonssagrives, Lisa, 22, 23, 25 Fox, Connie, 51n.27 Die Frau ohne Schatten (Strauss), 169 Freeman, Betty, vi Freud, Sigmund: on death and erotic instincts, 211; Mahler's consultation with, 208, 210; use of verarbeiten, 125 Fried, Conrad, 40, 50n.l6, 51n.27, 51n.29 Friedrich, Otto, 183 Fritzsch, Ernst Wilhelm, 147 Gagosian Gallery, Los Angeles, 112 Galerie Tokoro, Tokyo, 29 Gay, Peter, 183, 191 Gehry, Alejandro, 111 Gehry, Berta, 112 Gehry, Frank, 96, 97-112; biographical information on, 97; Brooklyn Arena, Brooklyn, New York, 104, 109; Brooklyn Atlantic Yards, Brooklyn, New York, 89, 104; California Aerospace Museum, Los Angeles, 102, 103; on classical music, 107; collaboration with musicians and other performers, 106-7; Davis Studio and Residence, Malibu, California, 82, 100-101, 103; Edgemar Development, Santa Monica, California, 92, 105; evolution as architect, 100-102; fish sculptures of, 82, 101, 102; friendship with Fleischmann, 99; Goldstein Süd Housing, Frankfurt, Germany, 104; Hollywood Bowl, Los Angeles, acoustic renovation of, 85, 99; IAC/InterActiveCorp Headquarters, New York, 109; influences on, 97, 103; low-cost housing design by, 104; Maggie's Centre Dundee, Dundee, Scotland, 112; materials used by, 103-4; Merriweather-Post Pavilion, Columbia, Maryland, 107; Museo Guggenheim Bilbao, Bilbao, Spain, 88, 98, 103; Norton Simon Gallery and Guest House, Malibu, California, 101, 102; O'Neill Hay Barn, San Juan Capistrano, California, 100; partners of, 109-10; post-Disney Hall aesthetic of, 109; Pritzker Architecture Prize for, 97-98; product design by, 111-12; Ray and Maria Stata Center for Computer, Information, and Intelligence Sciences, Massachusetts Institute of Technology, 87, 103; residence of, Santa Monica, California, 83, 97, 102; residence of, Venice, California, 112; Richard B. Fisher Center for the Performing Arts, Bard College, 8, 93, 106; School of Fine Arts, University of Connecticut, Storrs, 94, 107; sculptures by, 82, 101, 102, 112; and software development, 98, 110-11; unfulfilled ambitions of, 112; urban design by, 104-5; Walt Disney Concert Hall, Los Angeles, 8, 84, 90, 91, 99, 102-8; Winton Guest House, Wayzata, Minnesota, 86, 102, 103 Gehry Design, 111-12 Gehry Partners, 110, 111 Gehry Residence, Santa Monica, California, 83, 97, 102 Gehry Residence, Venice, California, 112 Gehry Technologies, 110, 111 Geldzahler, Henry, 52n.39 Georgin, François: Degrés des ages, 3 Gibbon, Edward, 195 Glarner, Fritz: and Mondrian's studio, 22, 65; on Mondrian's Victory Boogie 2 2 7 I n d e x Glarner, Fritz (continued) Woogie, 17, 18-20, 21, 32n.l7 Glarner, Lucie, 17-18 Gluck, Christoph Willibald, 126, 134, 139n.39 Glymph, Jim, 110, 111 Goebbels, Joseph, 170, 173, 199 Goethe, Johann Wolfgang von: artistic maturation of, 2-4; Faust of, Mozart compared to, 124; Faust of, Wagner's settings of, 147; final poems of, 4-5; and late style, change in perception of, 2-4, 167; on metamorphosis, 175; and Mozart's music, 132; on old age, 6, 145, 146; as Strauss's model, 9, 168-70, 173, 174-75, 176; Xenion, 173 Goldstein Süd Housing, Frankfurt, Germany, 104 Gorky, Arshile, 44 Les grandes baigneuses (Cézanne), 46, 47 Greek art, stylistic periodization of, 1, 167 Greenberg, Clement, 49n.4 Gregor, Joseph, 171-72 Grimm, Jacob, 2, 134 Grimme, Adolf, 198, 200 Gropius, Walter, 194 Grosse Volksoper (People's Grand Opera), Berlin, 190 Gründgens, Gustav, 194 Grunsky, Hans Albert, 161 Haenisch, Konrad, 187 Hanslick, Eduard, 121 Haydn, Franz Joseph: last works of, 10n.3; maturation of style of, 117; nature and, 131, 133 Haym, Rudolf, 120 Heartz, Daniel, 140n.50 Hegel, G. W. F., 4, 5, 214; concept of Weltlauf, application to Mahler's music, 210; and idealism, 120; influence on Wagner, 160 Herder, Johann Gottlieb von, 126 Herwegh, Georg, 120-21 Heselhaus, Clemens, 175 Hess, Thomas B., 50n.l6 Hesse, Eva, 54, 55-60; Area, 59, 78; Aught, 59, 76-77; on color, 60; conceptual continuities with Rothko, 59-60; Contingent, 59, 80; Expanded Expansion, 54; layering in works of, 58; on merging of drawing, painting, and sculpture, 58, 59; parallels with Rothko's life and work, 56-57, 72-74; physical collapse of, 56; Right After, 57, 60n.3, 73; Test Piece for Contingent, 59, 79; wash study for Contingent, 59, 80; Woodstock works of, 56, 58 Heyworth, Peter, 194, 198, 203n.27 Hindemith, Paul: Neues vom Tage, 169, 195 Hindenburg, Paul von, 191, 193, 200 Hinkel, Hans, 170 Hitchcock, Henry-Russell, 19 Hitler, Adolf: assassination attempt on, 173; factors in rise of, 184, 191,195, 197 Hoffmann, Adolph, 187, 189 Hofmannsthal, Hugo von, 171, 185 Hokkaido Engineering Consultants, 102 Hollywood Bowl, Los Angeles: Fleisch-mann's oversight of, 98; Gehry's acoustic modifications to, 85, 99, 102 Holmes, Edward: on Mozart and nature, 127-28, 129, 132; on Mozart's last symphonies, 117-18; on Mozart's Quartet in D minor, 124; visits Mozart's family and friends, 133-34 Holty, Carl, 17 Holtzman, Harry: and copy of Mondrian's Victory Boogie Woogie, 19; as Mondrian's heir, 22, 25-26; as Mondrian's U.S. sponsor, 16, 21; and publication of Mondrian's collected writings, 26, 29; restoration of Mondrian's New York City 3, 26-27; "Wall Works" of, 27, 28, 29-30, 34n.47, 65 Holtzman, Jason, 29 Humboldt, Wilhelm von, 185 Hume, David, 207 IAC/InterActiveCorp Headquarters, New York, 109 Ibert, Jacques, 195 idealism, 120; musical, and Mozart, 9, 121-22, 134, 135; Weimar Republic and, 9, 186, 189, 200-201 Idomeneo (Mozart), 125 Ihlert, Heinz, 170 Intermezzo (Strauss), 169 Interpretation of Piet Mondrian's "Victory Boogie-Woogie" (1948) (Fine), 19, 32n.l8, 33n.28 Isherwood, Christopher, 183 Jahn, Otto, 136n.l0 James, Martin, 26 Janâcek, Leos, 195; Osud, 93, 106 Janis, Sidney, 26, 27, 29 2 2 8 I n d e x Jencks, Maggie, 112 jenseits des Lustprinzips (Freud), 211 Johns, Jasper, 97 Jones, Ernest, 210 Jones, Jennifer, 101 Joosten, Joop, 30 Junges Deutschland movement, 160 Jupiter Symphony (Mozart), 118, 123 Kafka, Franz, 214 Kant, Immanuel: and idealism, 120; idea of sublime, 131; on inner and outer freedom, 186; and skepticism, 207 Kemp, Barbara, 192 Kessler, Count Harry, 183 Kestenberg, Leo, 187, 188, 189; attacks by the Right on, 192, 197-98; and Krolloper, 187, 190, 193, 196; Landtag testimony of, 199; in ministry of culture, 187, 189, 200; and opera reform, 89-90, 193, 194; völkisch theory of, 189 Kienholz, Ed, 97 Kleiber, Erich, 189, 192, 193 Klemperer, Otto, 182, 189; campaign to save Krolloper, 198-99; after closing of Krolloper, 200; Krolloper under, 193, 194-95, 196, 203n.27 Koch, Karl, 198 Kohlschmidt, Werner, lln.16 Kok, Willy: copy of Mondrian's Victory Boogie Woogie by, 32n.24 Kokoschka, Oskar: Dr. Kestenberg, 188 Königlichen Hofoper, Berlin, 185, 201n.5. See also Staatsoper Unter den Linden Kraus, Karl, 208 Krauss, Clemens, 174 Krenek, Ernst, 169, 195 Krolloper (Kroll Opera), Berlin: alliance with Volksbühne, 190, 196-97, 198, 199; appeal of, 199-200; closing of, 197-200; Kestenberg's vision for opera reform and, 187, 190, 193, 196; under Klemperer, 182, 193, 194-95, 196, 203n.27; Klemperer's campaign to save, 198-99; lateness represented by, 195; Right's opposition to, 195, 197; repertory of, 194-95; Schillings's opposition to, 191; as symbol of cultural bolshevism, 196 Kroll-Theatre, Berlin, 190, 196; closing of, 197, 198. See also Krolloper; Volksbühne Das Kunstwerk der Zukunft (Wagner), 161 Lamartine, Alphonse de, 4 Lampedusa, Giuseppe Tomasi di, 9 Lange, Otto Wilhelm, 190 late style/lateness: decline associated with, 1-2, 167; diversity in, 7; fascination with, 1, 6; as historical phenomenon, 5, 9-10; historicism and interest in, 4; origins of concept of, 1, 167; in postwar Germany, 4-5; rejection of biographical perspective on, 5-6; rejection of construct of, 7; retrospective nature of definition of, 15; and return to tradition, 8; romanticism and interest in, 2-4, 117, 123 Laube, Heinrich, 160 Legal, Ernst, 194 Lenz, Wilhelm von, 167 Leonardo da Vinci, 145-46 Liberman, Alexander: photographs by, i, 54 Lichtenstein, Harvey, 106 Die Liebe der Danae (Strauss), 173-74 Lieder eines fahrenden Gesellen (Mahler), 209-10 Das Lied von der Erde (Mahler), 176, 212, 214 Life (magazine), 56 Liszt, Franz: daughter of, 145; Eine Faust- Symphonie in drei Charakterbildern, 157; "Mephisto Waltz" 158; and Wagner, 150, 155, 157-58 Lohengrin (Wagner), 145 Loos, Adolf, 208 Lorrain, Claude, 126, 129 Los Angeles Philharmonie: Fleischmann's oversight of, 98; Gehry's relationship with, 102. See also Walt Disney Concert Hall Ludwig (film), 153 Maggie's Centre Dundee, Dundee, Scotland, 112 Mahler, Gustav, 206, 207-14; last days of, 1; last works of, 4, 8-9; Lieder eines fahrenden Gesellen, 209-10; Das Lied von der Erde, 176, 212, 214; nostalgia in music of, 133; obsession with marches, 209; orchestral songs of, 176; preoccupation with death, 9, 211; skepticism of, 207; spiritual crisis of, 208, 210; Symphony no. 2 in C minor, 208; Symphony no. 3 in D minor, 211; Symphony no. 4 in G major, 210; Symphony no. 8 in E major, 209; 2 2 9 I n d e x Mahler, Gustav (continued) Symphony no. 9 in D major, 209, 213, 214 Mainzer, Joseph, 141 n.55 Mann, Thomas: on Mozart's music, 132-33; on Wagner's music, 159 Mann, William, 168 Mannino, Franco, 153 The Marriage of Figaro (Mozart), 117; Krolloper production of, 200 Marshall, Richard, 48n.2 Marx, A. B., 134 Marx, Karl, 160, 186 Massachusetts Institute of Technology (MIT), Gehry's design for building at, 87, 103 McMahon, John, 50n.l6 Mehta, Zubin, 99 Mendelssohn, Felix, 146, 147 Menil, Dominique de, 56 "Mephisto Waltz" (Liszt), 158 Merriweather-Post Pavilion, Columbia, Maryland, 107 Metamorphosen (Strauss), 172, 174 Milhaud, Darius, 195; Christophe Colomb, 193 Miller Company, 31n.l5 Moholy-Nagy, Ldszlö, 194 Mondrian: New York Studio Compositions (exhibition), 27, 28, 29 Mondrian, Piet, 14, 15-30; Boogie Woogie, 18; Broadway Boogie Woogie, 17, 18; Composition with Red, Yellow, and Blue, 14; conservation of works of, 19, 20, 26-27; copies of works of, 18-20, 32n.24, 33n.30; fashion and works of, 22, 23, 24, 25; instability of late oeuvre of, 15; move from London to New York, 16; nature shunned by, 25, 34n.39; New York City, 16-17, 18, 63; New York City 3, 26-27; No. 7, 14; posthumous handling of last works of, 26-30; revisions by, 17-18; studios of, 21-22, 27, 29-30, 65; tape pictures of, 16-17, 31n.7; taste in women, 25; Trafalger Square, 24; transatlantic paintings of, 16; Utopian thoughts of, 21, 22; Victory Boogie Woogie, 17-20, 22, 23, 27, 28, 64, 65; writings of, 15, 20, 21, 29. See also Victory Boogie Woogie; "Wall Works" Monet, Claude: de Kooning on, 38; late paintings of, 55 Morandi, Giorgio, 103 Mörike, Eduard: Mozart auf der Reise nach Frag, 125, 128, 129 Motherwell, Robert, 45, 52n.41 Mottl, Felix, 163n.8 Mozart, Constanze: birth of first son of, 124; as Mozart's advocate, 133; and Mozart's relation to nature, 127, 128; refusal to confirm anecdotes about Mozart, 138n.29, 139n.40 Mozart, Karl Thomas, 133, 140n.44 Mozart, Raimund Leopold, 124 Mozart, Wolfgang Amadeus, 116, 117-35, 130; and absolute music, 121-22; Beethoven's legacy and cultural memory of, 117-20, 125, 131-32, 134-35; "Bella mia fiamma addio" 140n.44; birth of first child of, 124; centennial commemoration of, 134, 135; consoling "presentness" of music of, 133, 135; Don Giovanni, 127-28, 160; feminization and domestication of music of, 124; ldomeneo, 125; last three symphonies of, 117-18; lawn bowling and, 128, 132, 140n.45; meaning attributed to name of, 134; and musical idealism, 9, 121-22, 133, 134, 135; and nature, 127-32; Le nozze di Figaro, 117, 200; as paragon of musical high culture, 122, 135; perceptions of death of, 2, 117, 123, 124; Piano Sonata in A minor, 124-25; Quartet in D minor, 124; Requiem, 8, 118, 123, 127; romanticism and réévaluation of, 123, 131-32, 135; as Strauss's model, 168, 175; suffering as artistic inspiration of, 123-25; summerhouse of, 127, 129; Symphony no. 40 in G minor, 123; Symphony no. 41 in C major ("Jupiter"), 118, 123; trio for clarinet, viola, and piano, K. 498, 140n.45; twelve horn duets, K. 487, 140n.45; in Vienna, 128, 129, 130; Wagner on music of, 134-35 Mozart auf der Reise nach Prag (Mörike), 125, 128, 129 Mozart's Zimmer auf dem Kahlenberg im 1791 (Alt), 129, 130 Müller, Wilhelm Christian, 126, 131 Mündt, Theodor, 160 Musée national d'art moderne, Centre Pompidou, Paris, France, 26 Museo Guggenheim Bilbao, Bilbao, Spain, 88, 98, 103 Museo Thyssen-Bornemisza, Madrid, Spain, 27 2 3 0 I n d e x Museum of Modern Art, New York: Mondrian's works exhibited at, 17, 20, 27, 28, 29 music: absolute, 121-22, 124; in age of idealism, 121; in age of realism, 121; application of stylistic periodization to, 167; and architecture, 99; skepticism expressed through, 207. See also individual composers and compositions Nagata, Minoru, 99 Nagata Acoustics, 102 Napoléon Bonaparte, 129, 135, 185 nature: Beethoven's relationship with, 124, 126, 129, 131-32, 139n.41; Mondrian's relationship with, 25, 34n.39; Mozart's relationship with, 127-33; romantic fascination with, 126 Nazi regime: "degenerate" music and, 195; "late style" and aftermath of, 4; Strauss during, 170-75; Weimar Republic and rise of, 9, 183-86, 196, 200 Neher, Caspar, 194 Nemoianu, Virgil, 126 Neue Musik (new music), 168, 177n.5 Neues vom Tage (Hindemith), 169, 195 Newman, Arnold: Portrait of Dutch Painter Piet Mondrian, 14, 21 Newman, Barnett, 45, 49n.l0 New York-New York City (Mondrian). See New York City 3 New York City (Mondrian), 16-17, 18, 63 New York City 3 (Mondrian), 26-27 New York School, Picasso in relation to, 45 Niemetschek, Franz Xaver, 129, 137n.22, 139n.40 Nietzsche, Friedrich, 167, 210; Der Fall Wagner, 158-59; Mahler's Das Lied von der Erde and, 214; Rothko's use of terminology of, 61n.8; Strauss's references to, 172; and Wagner, 158-60 Nissen, Georg Nikolaus von, 133 No. 7 (Mondrian), 14 No. 8 (Rothko), 59, 75 Nohl, Ludwig: on Beethoven, 119, 145; construction of Mozart as moral model, 122, 124-25; construction of Mozart's relation to nature, 128, 129; on Mozart's name, 134 Norton Simon Gallery and Guest House, Malibu, California, 101, 102 Le nozze di Figaro (Mozart), 117; Krolloper production of, 200 Nudes in Landscape (Cézanne), 46, 47 Ochs, Siegfried, 134 old age: appeal of Mozart's music in, 132, 133, 135; and creativity, 4, 6; Goethe on, 6, 145, 146; Grimm's defense of, 2; self-portraits in, 145-46; Wagner's Parsifal and, 145 Oldenburg, Claes, 97 O'Neill, Donna, 100 O'Neill Hay Barn, San Juan Capistrano, California, 100 Osud (Janâcek), 93, 106 Papen, Franz von, 183, 200 Paris-New York (exhibition), 26 Parsifal (Wagner), 8; "dedication page" for, 153; first performance of, 146; musical ideas for Kundry of, 150; on old age, 145; preoccupation with symphony and, 146, 148, 149, 150, 153, 159 Pastoral Symphony (Beethoven), 131 Pfitzner, Hans, 189 Piano Sonata in A minor (Mozart), 124-25 Picasso, Pablo: on Cézanne, 47; de Kooning and, 38, 45, 47, 48; L'étreinte, 46, 47; fear of dying, 47 Piet Mondrian: The Wall Works, 1943-44 (exhibition), 27 Pollock, Jackson, 44 Portrait of Dutch Painter Piet Mondrian (Newman), 14, 21 Pritzker Architecture Prize, 97-98 Quality of a Piece of Paper (de Kooning), 43, 68 Quartet in D minor (Mozart), 124 Ranke, Leopold von, 4 Ratner, Bruce, 104 Rattle, Simon, 99 Rauschenberg, Robert, 97 Ravel, Maurice, 195 Ray and Maria Stata Center for Computer, Information, and Intelligence Sciences, Massachusetts Institute of Technology, 87, 103 realism, age of, 120-21 Reichsmusikkammer (RMK), Strauss as president of, 170, 171 2 3 1 I n d e x Rembrandt van Rijn, 55, 145-46 Renan, Ernest, 4 Requiem (Mozart), 8, 118; place of composition of, 127; romande réévaluation of, 123 revisions: de Kooning's, 39, 41; Mondrian's, 17-18 Richard B. Fisher Center for the Performing Arts, Bard College, 8, 93, 106 Richter, Gerhard, 55 Richter, Heinrich Friedrich Wilhelm, 122 Right After (Hesse), 57, 60n.3, 73 Rochlitz, Friedrich: anecdotes about Mozart, 126-27, 129, 138n.29, 139n,40, 141n.58 Rockefeller, Mrs. John D., Sr., 43 romanticism: Beethoven as emblematic artist of, 119, 132; and fascination with late style, 2, 4, 117, 123-24; idealism and, 120, 121, 123; Mozart refashioned after ideals of, 123, 125, 131-32, 135; and nature, 126-27, 131-32; "realism" supplanting, 120 Romeo et Juliette (Berlioz), 160 Rosenberg, Harold, 44 Der Rosenkavalier (Strauss), 172, 185 Rothko, Mark, 54, 55-60; on color, 60; conceptual continuities with Hesse, 59-60; Houston chapel paintings of, 54, 56; last works on paper, 56, 60, 81; layering in works of, 58; No. 8, 59, 75; parallels with Hesse's life and work, 56-57, 72-74; physical collapse of, 56 Rousseau, Jean-Jacques, 126 Rückert, Friedrich: Strauss and texts by, 171, 172 Said, Edward, 6 Salonen, Esa-Pekka, 99, 105, 107, 108 Salzburg, Mozart in, 129 Sandberg, Willem, 32n.24 Sapporo Concert Hall, Sapporo, Japan, 102 Scharoun, Hans, 99 Schiller, Friedrich von, 124 Schilling, Gustav, 131-32 Schillings, Max von, 189-90, 191-92 Schindler, Anton, 118, 131 Schleicher, Kurt von, 183, 200 Schlemmer, Oskar, 194 Schlichtegroll, Friedrich, 138n.32 Schlosser, Johann Aloys: construction of Mozart's anguished creativity, 123; modeling of Mozart on Beethoven, 119, 127, 129; stylistic periodization of Beethoven's music, 138n.23, 167 Schoenberg, Arnold, 8, 189; Von Heute auf Morgen, 195 School of Fine Arts, University of Connecticut, Storrs, 94, 107 Schopenhauer, Arthur, 159, 168 Schreker, Franz, 189 Schröder-Devrient, Wilhelmine, 160 Seelig, Ludwig: appointed Referent, 187; Referent position abolished, 200; relationship to Becker, 191, 192; tenure as Referent, 187, 189, 199 Seidl, Anton, 146 Seuphor, Michel, 34n.39 Shaffer, Peter: Amadeus, 127 Sher, Abby, 105 Sibelius, Jean, 169 Sidney Janis Gallery, New York, 27 Siegfried Idyll (Wagner), 147-48, 159, 161 Simon, Norton, 101 Sketchbook No. 1: Three Americans — Willem de Kooning, Buckminster Fuller, Igor Stravinsky (Snyder), 38, 49n.ll, 50n.l7 Snell, Karl, 124, 134 Snyder, Robert, 38, 49n.ll Social Democratic Party of Germany. See Sozialdemokratische Partei Deutschlands Some Versions of Pastoral (Empson), 211-14 Sontag, Henriette, 160 Sozialdemokratische Partei Deutschlands (SPD), 184, 186; cultural policies of, 186-87; decline of, 198; and Volksbühne, 190 Spätstil (late style), 4-5 SPD. See Sozialdemokratische Partei Deutschlands Spieloper (Strauss), 169 Spranger, Eduard, 10n.7 Staatsoper Unter den Linden, Berlin: Klemperer at, 199, 200; vs. Krolloper, 190-97; name changes of, 201n.5; under Schillings and Kleiber, 189-90, 191, 193; under Tietjen, 193, 194, 195, 198 Städtische Oper (Municipal Opera), Berlin, 187, 193, 194, 197 Stedelijk Museum, Amsterdam, 32n.24 Steeves, Bill, 26 2 3 2 I n d e x Stendhal, 129 Stiedry, Fritz, 189 Still Life ofPiet Mondrian's "Victory Boogie Woogie" (1947) (Fine), 18-20, 31n.l6, 32n.l7, 32n.l8; and conserva-ton of Victory Boogie Woogie, 33n.28, 33n.30 Stirling, James, 102 Strauss, Alice, 169, 171, 173 Strauss, Franz, 167 Strauss, Pauline, 171 Strauss, Richard, 166, 167-76; atheism of, 169-70; Capriccio, 173; concept of transformation, 175; Daphne, 171-72; on end of Western culture, 174; Die Frau ohne Schatten, 169; Goethe as model for, 9, 168-70, 173, 174-75, 176; Handgelenksübungen (wrist exercises) of, 173, 176; Intermezzo, 169; last works of, 8, 9, 168; Die Liebe der Danae, 173-74; long compositional career of, 9, 168, 169, 176; Metamorphosen, 172, 174; Mozart as model for, 168; during Nazi regime, 170-75; orchestral songs of, 176; in postwar years, 175-76; Der Rosenkavalier, 172, 185; Spieloper, 169; Symphonia domestica, 169; Tod und Verklärung, 174; Vier letzte Lieder, 176 Stravinsky, Igor, 160, 195 Stresemann, Gustav, 197 Stuckenschmidt, H. H., 199-200 A Study (Gehry), 112 Sweeney, James Johnson, 17, 19, 20 Sylvester, David, 44, 52n.37 Symphonia domestica (Strauss), 169 Symphony in C major (Wagner), 146-47, 159 Symphony in E major (Wagner), 160 Symphony no. 1 (Brahms), 146 Symphony no. 2 in C minor (Mahler), 208 Symphony no. 2 in D major (Beethoven), 125 Symphony no. 3 in D minor (Mahler), 211 Symphony no. 3 in E-flat major ("Eroica") (Beethoven), 175 Symphony no. 4 in G major (Mahler), 210 Symphony no. 5 in C minor (Beethoven), 126 Symphony no. 6 in A major ("Pastoral") (Beethoven), 131 Symphony no. 8 in E major (Mahler), 209 Symphony no. 9 in D major (Mahler), 209, 213,214 Symphony no. 9 in D minor ("Choral") (Beethoven), 148, 161 Symphony no. 40 in G minor (Mozart), 123 Symphony no. 41 in C major ("Jupiter") (Mozart), 118, 123 Taine, Hippolyte, 4 Tappert, Wilhelm, 146 "Tempo di Porazzi" (Wagner), 155-57 Test Piece for Contingent (Hesse), 59, 79 Theater der Freie Volksbühne (People's Independent Theater), 186 Thomas, Michael Tilson, 107 Thyssen-Bornemisza, Hans Heinrich, 27 Tietjen, Heinz: closing of Kroll-Theatre and, 196, 197, 198; Staatsoper Unter den Linden under, 193, 194, 195, 198; Strauss and, 173 Timpanelli, Gioia, 58, 74 Titian, 4, 55 Tod und Verklärung (Strauss), 174 Tokoro, Akiyoshi, 29 Toscanini, Arturo, 153 Town and Country (magazine), 22, 23 Toyota, Yasuhisa, 99, 102 Trafalger Square (Mondrian), 24 Tremaine, Burton, 18, 19, 27, 31n.l5 Tremaine, Emily, 18, 19, 27, 31n.l5, 33n.28 Tristan und Isolde (Wagner), 145, 161, 162 Trunz, Erich, 4-5 Über die Anwendung der Musik auf das Drama (Wagner), 162 Ulybyshev, Aleksandr Dmitrievich, 133-34 Unabhängige Sozialdemokratische Partei Deutschlands (USPD), 186, 187, 189, 190 University of Connecticut, Storrs, Gehry's design for building at, 94, 107 Untitled, 1969 (Hesse), Baltimore Museum of Art, 57, 72 Untitled, 1969 (Hesse), collection of Gioia Timpanelli, 57, 74 Untitled, 1969 (Rothko), collection of Christopher Rothko, 57, 73 Untitled, 1969 (Rothko), collection of John and Mary Pappajohn, 60, 81 Untitled, 1969 (Rothko), collection of Kate Rothko Prizel, 57, 72 Untitled, ca. 1980 (de Kooning), 43, 69 Untitled (Study for Contingent) (Hesse), 59, 80 2 3 3 I n d e x Untitled XXX (de Kooning), 42, 67 Untitled XL II (de Kooning), 39-40, 42, 66 USPD. See Unabhängige Sozialdemokratische Partei Deutschlands Valentine Gallery, New York, 17 Verdi, Giuseppe: Falstaff, 6 Victory Boogie Woogie (Mondrian), 17-18, 64; copies of, 18-20, 32n.l8, 32n.24, 33n.28; in exhibition at Museum of Modern Art, New York, 27, 28, 29; in Mondrian's studio, 22, 23, 65; Mondrian's writings about, 20; preservation/conservation of, 19, 20, 21, 31n.l5, 33n.30; uncertainty about Mondrian's intentions in, 17, 18, 20 Vienna: Mozart in, 128-29, 130, 140n.48; Strauss in, 173 Vienna Secessionists, 208 Vier letzte Lieder (Strauss), 176 Visconti, Luchino, 153 Vitruvius, 98 Volksbühne, alliance with Krolloper, 190, 196-97, 198, 199 Von Heute auf Morgen (Schoenberg), 195 Voss, Egon, 159 Wagner, Cosima: diaries of, Wagner's remarks recorded in, 145, 146-47, 148-51, 153, 157-59, 161, 162; notation by, 154; Siegfried Idyll dedicated to, 147-48 Wagner, Richard, 8, 144, 145-62; on Beethoven's music, 134-35, 150, 161, 168; Die deutsche Oper, 160; on end of the symphony, 161; Eine Faust- Ouvertüre, 147, 161; Faust symphony planned by, 147, 157; Der fliegende Holländer, 160, 195; fragments of music intended for symphonies, 148-49; idea for one-movement symphony, 150; ideas for domestic symphony, 149-50; Das Kunstwerk der Zukunft, 161; last months before death of, 146-47; and Liszt, 150, 155, 157-58; Lohengrin, 145; on Mozart's music, 134-35; and Nietzsche, 158-60; Parsifal, 8, 145, 146; philosophical system of, 160-61; "Porazzi theme" of, 153, 154; preoccupation with symphonies in last years of, 8, 146, 148, 151, 155, 158, 161-62; Siegfried Idyll, 147-48, 159, 161; on spinning of melodic line, 150-51, 155; Strauss's allusions to, 174; Symphony in C major, 146-47, 159; Symphony in E major, 160; Tannhäuser, 110; "Tempo di Porazzi" 155-57; on symphony vs. music drama, 147, 159, 160, 162; theme in A-flat minor, 153; themes and melodies of, 151-57; Tristan und Isolde, 145, 161, 162; Über die Anwendung der Musik auf das Drama, 162; "Zukunftsmusik134-35 Wagner, Siegfried, 192 Wagner, Wieland, 184 Wagner, Winifred, 193 Walker Art Center, Minneapolis, Minnesota, Gehry exhibition at, 82, 101 "Wall Works" (Holtzman), 27, 28, 29-30, 34n.47, 65 Walt Disney Concert Hall, Los Angeles, 84, 90, 99; acoustics in, 108; competition design for, 91, 102; concert experience in, 107-8; evolution of ideas in, 102; inviting nature of, 105-6; materials for, 103-4; neighborhood concerns in design of, 91, 104-5; programming at, 105-6, 108 Walter, Bruno, 189, 193, 194 Warhol, Andy, 44, 51n.34 Webb, Craig, 110 Weber, Aloysia, 125 Weill, Kurt: Aufstieg und Fall der Stadt Mahagonny, 195 Weimar Republic, 183-201; culture of Berlin under, 183, 185, 191; dating of late period of, 184; failure of tactics of, 200-201; Neue Sachlichkeit (new objectivity) in art of, 194; opera during, 183-84, 189-94; vs. Roman Empire, 195; signs of decline of, 196-97; Strauss during, 170; and Zeitopern (topical operas), 169 Welsh, Robert, 26-27 Wertheim, Zacharius, 140n.53 West, Mae, 25 Wexler, Milton, 110 Whanger, Barbara, 32n.l7, 32n.21 Whitney Museum of American Art, New York, 54, 56 Wiegand, Charmion von, 17, 19, 20 Wilde, Oscar, 128 Wilhelm II (kaiser), 185 Winckelmann, Johann Joachim, 1, 5, 167 Winton Guest House, Wayzata, Minnesota, 86, 102 2 3 4 |
