Morton Feldman viewed Piano and String Quartet as his capstone work—the culminating example of the aesthetic that Feldman spent his life seeking. Written in 1985, the year before Feldman’s death, this single movement, roughly eighty-minute composition was heralded by Steve Reich as “the most beautiful work [of Feldman’s] I know.” Ray Fields presents a detailed analysis of the complete piece and examines the elements that contribute to its formal and expressive design. He discusses the sonic experience of the music itself and provides insights into Feldman’s aesthetic influences. The book also includes basic biographical information about Feldman; descriptions of the music of his early, middle, and late periods; and an overview of analyses of other Feldman works. In examining this beloved piece, the book addresses the question: what was everything Feldman wanted in his music? Also included are interviews with Kronos Quartet’s David Harrington about the origins of Piano and String Quartet and crucial information from pianist Aki Takahashi about performing the work.

Afterword by Frank O'Hara Morton Feldman (1926-1987) is among the most influential American composers of the 20th Century. While his music is known for its exteme quiet and delicate beauty, Feldman himself was famously large and loud. His writings are both funny and illuminating, not only about his own music but about the entire New York School of painters, poets and composers that coalesced in the 1950s, including his friends Jackson Pollack, Philip Guston, Mark Rothko, Robert Rauschenberg, Frank O Hara, and John Cage.

Morton Feldman was one of the most original and important American composeres of the 20th century. His work has never been analyzed in detail (nor systematically) until this book.

Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.

Alongside John Cage and Edgar Varese, Morton Feldman is regarded by many as one of the foremost American composers of the 20th century. Evidence of his lifelong passion for music can be found in the numerous interviews and lectures he gave about his life and work. But despite his reputation and creative output, very little has been published on this charismatic figure. In Morton Feldman Says, editor Chris Villars has collected two decades of interviews, many available here for the first time, illustrating Feldman's creative process and his wide range of cultural interests and references, especially to visual art. Morton Feldman Says contains the first English translation of Sebastian Claren's biographical notes as well as conversations with Gavin Bryars, Kevin Volans and Walter Zimmermann. There are also transcriptions of two of Feldman's lectures, held in Toronto (1982) and Johannesburg (1983).

The first book to examine fully the work of John Cage, leading figure of the post-war musical avant-garde.

A Publishers Weekly Top Ten Best Book of the Year An Amazon.com Top Ten Best Book of 2009 A Washington Post Book World’s Ten Best Book of the Year A California Literary Review Best Book of 2009 An L.A. Times Top 25 Non-Fiction Book of 2009 An NPR Best Book of the Year, Best Memoir With this stunning graphic memoir, David Small takes readers on an unforgettable journey into the dark heart of his tumultuous childhood in 1950s Detroit, in a coming-of-age tale like no other. At the age of fourteen, David awoke from a supposedly harmless operation to discover his throat had been slashed and one of his vocal chords removed, leaving him a virtual mute. No one had told him that he had cancer and was expected to die. The resulting silence was in keeping with the atmosphere of secrecy and repressed frustration that pervaded the Small household and revealed itself in the slamming of cupboard doors, the thumping of a punching bag, the beating of a drum. Believing that they were doing their best, David’s parents did just the reverse. David’s mother held the family emotionally hostage with her furious withdrawals, even as she kept her emotions hidden — including from herself. His father, rarely present, was a radiologist, and although David grew up looking at X-rays and drawing on X-ray paper, it would be years before he discovered the shocking consequences of his father’s faith in science. A work of great bravery and humanity, Stitches is a gripping and ultimately redemptive story of a man’s struggle to understand the past and reclaim his voice.

FINALIST FOR THE PULITZER PRIZE FINALIST FOR THE PEN/FAULKNER AWARD WINNER OF THE WHITING AWARD WINNER OF THE SAROYAN INTERNATIONAL PRIZE FOR WRITING WINNTER OF THE VCU CABELL FIRST NOVELIST AWARD WINNER OF THE NEW AMERICAN VOICES AWARD A PUBLISHERS WEEKLY TOP 10 BOOK OF THE YEAR The first novel by the Pulitzer Prize–winning author of Trust, an exquisite and blisteringly intelligent story of a young Swedish boy, separated from his brother, who becomes a legend and an outlaw A young Swedish immigrant finds himself penniless and alone in California. The boy travels east in search of his brother, moving on foot against the great current of emigrants pushing west. Driven back again and again, he meets criminals, naturalists, religious fanatics, swindlers, American Indians, and lawmen, and his exploits turn him into a legend. Diaz defies the conventions of historical fiction and genre, offering a probing look at the stereotypes that populate our past and a portrait of radical foreignness.

A rare volume dedicated entirely to scholarship on the genre of the concerto.

The long-awaited memoir from one of the most celebrated modern dancers of the past fifty years: the story of her own remarkable career, of the formative years of the Merce Cunningham Dance Company, and of the two brilliant, iconoclastic, and forward-thinking artists at its center—Merce Cunningham and John Cage. From its inception in the l950s until her departure in the l970s, Carolyn Brown was a major dancer in the Cunningham company and part of the vibrant artistic community of downtown New York City out of which it grew. She writes about embarking on her career with Cunningham at a time when he was a celebrated performer but a virtually unknown choreographer. She describes the heady exhilaration—and dire financial straits—of the company’s early days, when composer Cage was musical director and Robert Rauschenberg designed lighting, sets and costumes; and of the struggle for acceptance of their controversial, avant-garde dance. With unique insight, she explores Cunningham’s technique, choreography, and experimentation with compositional procedures influenced by Cage. And she probes the personalities of these two men: the reticent, moody, often secretive Cunningham, and the effusive, fun-loving, enthusiastic Cage. Chance and Circumstance is an intimate chronicle of a crucial era in modern dance, and a revelation of the intersection of the worlds of art, music, dance, and theater that is Merce Cunningham’s extraordinary hallmark.