Tim Rutherford-Johnson - Music After the Fall: Modern Composition and Culture Since 1989

Throughout this books gestation and creation, many people gave generously of their time, ideas, and materials, both in formal interviews and informal conversations, virtually and in meatspace. I hope I can catch at least the most important ones here.

Among the composers, Richard Barrett, Aaron Cassidy, Evan Johnson, and Liza Lim have provided endless conversations, materials, and inspirations. Chaya Czernowin, Cassandra Miller, Alwynne Pritchard, James Saunders, Charlie Sdraulig, and Carl Stone were all generous with time, conversations, and materials. Philipp Blume, Daniel James Wolf, and Alistair Zaldua have proved excellent online companions, introducing me to more revelatory musical experiences than I thought possible. Michel van der Aa provided opportunities to write. Among the performers, I owe a particular debt of thanks for conversations, perspectives, and kickass musicianship to Daryl Buckley and the players of ELISION, as well as to Mark Knoop, Anton Lukoszevieze, Ian Pace, Heather Roche, Carl Rosman, and Philip Thomas.

Among the writers and scholars, Paul Griffiths and Alex Ross have provided both inspiration and encouragement. As a mentor, Keith Potter has provided support and direction for nearly two decades. An early conversation with Adrian Thomas strengthened my resolve to turn my ideas into a book. Seth Brodsky, Roddy Hawkins, and Lauren Redhead generously shared unpublished research. I have had invaluable conversations with Lawrence Dunn, John Fallas, Stephen Graham, Martin Iddon, and Tom Perchard. Andreas Engstrm, Larry Goves, and Nick Reyland all provided opportunities to present some of my work in public. Jennie Gottschalk bravely read my early drafts and has been an invaluable co-conspirator throughout. Christopher Fox, Will Robin, Chris Swithinbank, and Jennifer Walshe also read chapters and saved me from embarrassment on several occasions. (Any remaining errors are all mine.) David Mendoza made valuable criticisms of articles I published on NewMusicBox, and which I later incorporated into chapter 5 of this book. Vincenzo Donato suggested some architectural examples for chapter 8. Finally, I am grateful to the various reviewers of this books proposal and manuscript, whose comments have improved the book immeasurably.

Among the editors, the enthusiasm and support of Mary Francis at University of California Press from this books formal beginning and into its afterness has been awe-inspiring. I am indebted also to Marys successor at UC Press, Raina Polivka, who guided the book over the finishing line, and to my copyeditor, Genevieve Thurston, who seemed to improve almost every line. Laura Macy, John Tyrrell, and Charles Wilson, as editors at the New Grove, gave me an old-fashioned and irreplaceable education in the written word and an unrivalled opportunity to learn about living composers. Molly Sheridan of NewMusicBox never turned down a pitch. Edward Bhesania at the BBC gave me opportunities to write about countless works in the form of program notes, many elements of which have found their way into the present text. Malcolm MacDonald and Bob Gilmore were supportive editors at Tempo and great servants to new music writing in the United Kingdom. Both passed away while this book was being written; both are very sadly missed.

I will be forever grateful to John and Sue for providing writing sanctuaries, in both Sussex and Suffolk, and to my White Crane instructor, Richard Wagstaff, for keeping my mind and body on track. A generous grant from the Hinrichsen Foundation helped see the book through its final few months. And nothing would have been possible without the limitless support and encouragement of my parents, Linda and Martin Johnson.

Finally, with endless love, I thank Elizabeth for throwing down this particular gauntlet and being my ideal reader ever since.