1.Adams, John. Hallelujah Junction: Composing an American Life. New York: Farrar, Straus and Giroux, 2008.
Adams’s autobiography is an important source for scholars of minimalist music and musicians wishing to explore the composer’s life and works. The layout and content are intended to be autobiographical in nature, and to that aim, the book represents the most comprehensive source available. Adams’s memoir details his family history, recounting his earliest musical experiences as a child in his family’s Winnipesaukee Gardens, where they had a dance hall that was frequented by touring musicians and other important figures such as Duke Ellington. Adams’s personal anecdotes reveal his love of jazz and classical music from an early age. He gives accounts of learning to play the clarinet under the tutelage of his father. He contemplates a transformative moment at an early age when his third-grade teacher read a biography of Mozart to his class. That moment planted the seed that would blossom into a life of musical composition.
During his college years as a music major at Harvard University, he experienced a dialectical opposition between his love of popular music and the academic avant-garde that pervaded universities across the country. Adams recalls corresponding with Leonard Bernstein about his frustrations over the state of contemporary classical music. This conflict of musical forces proved pivotal in the formation of Adams’s compositional style, rooted in the continuum of classical or art music, though with a popular, minimalist aesthetic that appealed to the composer. Adams pinpoints the composers who were most influential to his own development, among them the American modernist Charles Ives and one of the pioneers of musical minimalism, Steve Reich.
Adams’s autobiography details how, upon graduating from college, he made the decision to relocate to the West Coast. He elaborates on all of the menial jobs he worked at until he was serendipitously sought out by the San Francisco Conservatory to teach music composition classes. Working as a composer and directing the New Music Ensemble at the conservatory helped Adams nurture his career and lead to an important commission with the San Francisco Symphony.
In the remainder of his autobiography, Adams discusses the personal history and motivation for writing each composition from beginning stages to completion. He provides an insight into the creative process and the development of his compositional style. Overall, Adams gives readers a glimpse into his career and his thoughts on music in a way that no other writer could.
2.____. John Adams Official Website. Accessed December 21, 2018. www.earbox.com.
Adams’s official website offers extensive notes on his musical works in greater detail than his publisher, Boosey & Hawkes. In addition to program notes, one can hear sample audio clips of his works, view portions of opera productions on video (from Nixon in China and Doctor Atomic), find featured recordings for sale, and for select works, hear video interviews with the composer. Adams’s website has undergone notable changes in layout and content over the years. For about a year circa 2010, Adams wrote a series of posts on a wide range of musical subjects in a blog format, and readers added comments and expressed their views. The posts had a light and humorous nature, and their subjects were often about Adams’s neighbor as well as the French novelist Marcel Proust. These posts no longer appear in Adams’s website. At present, the composer features news items on his Twitter and Facebook accounts. Recent updates to the website have resulted in less content along with an updated list of Adams’s works, though readers can access previous versions of his official website through the online internet archive Wayback Machine (https://archive.org/web).
3.____. “Three Weeks to Go for Doctor Atomic.” NewMusicBox (September 9, 2005). http://www.newmusicbox.org/articles/Three-Weeks-to-Go-for-Doctor-Atomic.
Adams writes a reflection piece on his impressions of Doctor Atomic rehearsals in anticipation of the world premiere. This article is not duplicated in Adams’s official website. Adams explains the process of revising the score after hearing baritone Gerald Finley sing musical selections. Adams composed the opera using detailed MIDI mockups of the instrumental parts before finalizing the work. The composer touches on many issues related to vocal composition and shows an aversion toward the operatic tradition that uses loud orchestration and makes text largely unintelligible. Instead, Adams opts for some amplification of the voices with the aid of sound designer Mark Grey. He brings to attention a major scene that was left out of the final opera, consisting of a phone conversation between General Groves and an army doctor. Adams believes the dramatic and musical form was complete without this scene (Alice Miller Cotter provides additional information on this scene in her 2016 dissertation). Additionally, Adams discusses text setting and being loyal to a librettist’s artistic aims while reflecting on his previous collaborations with Alice Goodman and June Jordan. Last, Adams reveals plans for a Doctor Atomic symphony, not with the structure of a suite or musical extracts, but rather recomposing the opera into a symphony in the same vein as Hindemith’s Mathis der Mahler symphony.