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MUSIC AND MUSIC INDUSTRY
'She was never very clear about what gripped her'
Anthony Tommasini (LitHub, 9/10/26), "Beauty in Ambiguity: On Marian Anderson's Lifelong Love For Schubert": "When selecting songs ... she always looked first to Schubert, 'the composer I love best,' who wrote 'hundreds of them,' each 'more beautiful than the last.'" E.g.: Ständchen (No. 4 in D. 957); Der Tod und das Mädchen (D. 531); Ave Maria (D. 839); and Erlkönig (D. 328) i.e. Goethe's poem based on a ballad also adapted in Benedikte Naubert's 1792 "The Erl-King's Daughter." Classical Voice North America on Tommasini: Anderson "feared she would be remembered for breaking barriers rather than for her artistry." At LitHub, Tommasini discusses "Wohin?" and "Ungeduld" from D. 795, but also "Sometimes I Feel Like a Motherless Child." He mentions Roland Hayes singing Schubert as an influence. At Largehearted Boy, he makes more suggestions.
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MUSIC AND MUSIC INDUSTRY

A world gone in hours

Full disintegration He finished the recordings on the morning of September 11, 2001, a few hours before he was due at a job interview in the World Trade Center. In August 2001, William Basinski was digitizing some old tape loops of easy listening music he'd recorded back in the 80s. In the process, the ferrite coating on the tape started flaking off, so each pass of the loop came out a bit more degraded than the last. Instead of fixing it, he let the tape deck run and captured the whole decay live, which became The Disintegration Loops. He finished the recordings on the morning of September 11, 2001, a few hours before he was due at a job interview in the World Trade Center. That evening he sat on the roof of his apartment in Williamsburg with friends and neighbors, filmed the smoke over Manhattan as the light faded, and the loop played as an accidental soundtrack to the whole thing. Stills from that footage became the covers for the four albums, released 2002–2003.
WILLIAMSBURG