^{page 49 note 1} I refer readers to Seppo Heikinheimo's Interview with Khrennikov, Tempo 173.

^{page 49 note 2} Valery Gergiev, in interesting contrast, knows how to court the system in the promotion of his marvellous Kirov/ Maryinsky Company.

^{page 49 note 3} Eri Klas, in private conversation.

^{page 49 note 4} But see Ivashkin's essay in the recently published Shostakovich Studies. See Tempo 199.

^{page 50 note 1} I refer to the composer throughout as Ruth Crawford because she retained this as her professional name, and in order to distinguish her from her husband, Charles Seeger. See Crawford, Ruth, ed. Tick, Judidi and Schneider, Wayne Music for Small Orchestra (1926) And Suite no. 2 forfour strings and piano (1929) (Madison: A–R Editions 1993), p.ix n.l Google Scholar.

^{page 51 note 2} Gaume, Matilda: ‘Ruth Crawford Seeger: Her life and Works’ (Ph.D. dissertation: Indiana University, 1973)Google Scholar; Ruth Crawford Seeger: Memoirs, Memories, Music (Metuchen, NJ: Scarecrow Press, 1987)Google Scholar; ‘Ruth Crawford Seeger’ in Women Making Music – The Western Art Tradition, 1150–1950 ed. Bowers, Jane and Tick, Judith (London: Macmillan Press, date?)Google Scholar; Tick, Judith: Ruth Crawford Seeger: An American Woman's Life in Music (Oxford: Oxford University Press, forthcoming)Google Scholar.

^{page 51 note 3} See the list of works and publishers appended to this review.

^{page 51 note 4} Deutsche Grammophon have recorded a CD of her music under the artistic supervision of Oliver Knussen.

^{page 51 note 5} Interestingly, Seeger ‘offered to name [Crawford‘rsqb; as its coauthor, an honour she declined’. See Crawford’s letter to Seeger (September 20, 1930) cited in Gaume, Memoirs, Memories, Music, 152.

^{page 51 note 6} Tick, Judith, ‘“Spirit of me…Dear rollicking far-gazing straddler of two worlds”: The “Autobiography” of Ruth Crawford Seeger’ (Paper presented at Gender and Music Conference, King's College, London, 07 1991)Google Scholar.

^{page 51 note 7} Crawford, ed. Tick and Schneider, ibid. p.x.