”Huomiota herättävää Glassissa on myös se, kuinka luontevasti ja arkisesti hän puhuu myös rahasta. Glass ei mystifioi säveltäjän roolia vaan muistuttaa, että kysymys myös elinkeinosta, käytännön toimeentulosta.”
In 1945, Arnold Schoenberg’s application for a grant was turned down by the Guggenheim Foundation. The hostility of the music committee to Schoenberg
and to his work was undisguised. The seventy-year-old composer had hoped for support in order to finis two of his largest musical compositions, the opera
Moses und Aron and the oratorio Die Jakobsleiter (Jacob’s Ladder), as well as several theoretical works. Schoenberg had just retired from the University of
California at Los Angeles; since he had been there only eight years, he had a pension of thirty-eight dollars a month with which to support a wife and three children
aged thirteen, eight, and four. He was obliged, therefore, to spend much of his time taking private pupils in composition. This enforced teaching enabled him to complete
only one of the theoretical works, the Structural Functions of Harmony. The opera and oratorio were still unfinished at the composer’s death six years later.
(from Charles Rosen: Arnold Schoenberg (1996)