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Richard Wagner was born on May 22, 1813, the ninth child of Carl Friedrich Wagner, a clerk in the Leipzig police service, and Johanna Rosine Wagner. Wagner's father died of typhus six months after Richard's birth, by which time Wagner's mother was living with the actor and playwright Ludwig Geyer in the Brühl, at that ...
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Death
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The frequent allegation that Wagner had an affair with the singer Carrie Pringle, and that an argument about this with his wife Cosima precipitated his fatal heart attack, is discussed and dismissed as invention by the Wagner scholar Stewart Spencer, who demonstrates that there is no first-hand or documentary evidence ...
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Antisemitism
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Prior to 1850 (when he was 37) there is no record of Wagner expressing any particular antisemitic sentiment. However, as he struggled to develop his career he began to resent the success of Jewish composers such as Felix Mendelssohn and Giacomo Meyerbeer. Meyerbeer later expressed hurt and bewilderment over Wagner's wr...
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In the conclusion to the essay, he wrote of the Jews that 'only one thing can redeem you from the burden of your curse: the redemption of Ahasuerus — going under!' Although this has been taken by some commentators to mean actual physical annihilation, in the context of the essay it seems to refer only to the eradicatio...
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The initial publication of the article attracted little attention, but Wagner wrote a self-justifying letter about it to Franz Liszt in 1851, claiming that his "long-suppressed resentment against this Jewish business" was "as necessary to me as gall is to the blood". Wagner republished the pamphlet under his own name i...
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Some biographers, such as Theodor Adorno and Robert Gutman have advanced the claim that Wagner's opposition to Jews was not limited to his articles, and that the operas contained such messages. In particular the characters of Mime in the Ring, Klingsor in Parsifal and Sixtus Beckmesser in Die Meistersinger are supposed...
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Other scholars dispute any antisemitic characterization in the operas. Katz opines that the antisemitism of Wagner should not be used as the key to interpret his arts, "In fact, without forced speculation, very little in the artistic work of Wagner can be related to his attitude toward Jews and Judaism." Milton E. Bre...
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Despite his published views on Jewishness, Wagner maintained Jewish friends and colleagues throughout his life. One of the most notable of these was Hermann Levi, a practising Jew and son of a rabbi, whose talent was freely acknowledged by Wagner. Levi's position as Kapellmeister at Munich meant that he was to conduct ...
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Racism
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Some biographers have asserted that Wagner in his final years came to believe in the Aryanist philosophy of Arthur de Gobineau. However the influence of Gobineau on Wagner's thought is debated. Wagner was first introduced to Gobineau in person in Rome in November 1876. The two did not cross paths again until 1880, well...
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Wagner's conversations with Gobineau during the philosopher's 5-week stay at Wahnfried in 1881 were punctuated with frequent arguments. Cosima Wagner's diary entry for June 3 recounts one exchange in which Wagner "positively exploded in favour of Christianity as compared to racial theory." Gobineau also believed that i...
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Wagner subsequently wrote three essays in response to Gobineau's ideas: Introduction to a Work of Count Gobineau, Know Thyself, and Heroism and Christianity (all 1881). The Introduction is a short piece written for the Bayreuther Blätter in which Wagner praises the Count's book:
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We asked Count Gobineau, returned from weary, knowledge-laden wanderings among far distant lands and peoples, what he thought of the present aspect of the world; to-day we give his answer to our readers. He, too, had peered into an Inner: he proved the blood in modern manhood's veins, and found it tainted past all heal...
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In "Know Thyself" Wagner deals with the German people, who Gobineau believes are the "superior" Aryan race. Wagner, in fact, rejects the notion that the Germans are a race at all and further proposes that we should look past the notion of race to focus on the human qualities ("das Reinmenschliche") common to all of us....
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Incomparably fewer in individual numbers than the lower races, the ruin of the white races may be referred to their having been obliged to mix with them; whereby, as remarked already, they suffered more from the loss of their purity than the others could gain by the ennobling of their blood [...] To us Equality is only...
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Wagner's concerns over miscegenation occupied him until the very end of his life; he was in the process of writing another essay, On the Womanly in the Human Race (1883), at the time of his death, in which he discusses the role of marriage in the creation of races: "it is certain that the noblest white race is monogami...
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Wagner's son-in-law Houston Stewart Chamberlain expanded on Wagner and Gobineau's ideas in his 1899 book The Foundations of the Nineteenth Century, a racist work extolling the Aryan ideal that later strongly influenced Adolf Hitler's ideas on race.
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Nazi appropriation
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About the time of Wagner's death, European nationalist movements were losing the Romantic, idealistic egalitarianism of 1848, and acquiring tints of militarism and aggression, due in no small part to Bismarck's takeover and unification of Germany in 1871. After Wagner's death in 1883, Bayreuth increasingly became a foc...
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Many scholars have argued that Wagner's views, particularly his antisemitism and purported Aryan-Germanic racism, influenced the Nazis. These claims are disputed. Recent studies suggest that there is no evidence that Hitler even read any of Wagner's writings and further argue that Wagner's works do not inherently suppo...
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The Nazi fascination with Wagner was largely inspired by Hitler, sometimes to the dismay of other high-ranking Nazi officials, including Joseph Goebbels. In 1933, for instance, Hitler ordered that each Nuremberg Rally open with a performance of the overture from Rienzi. He also issued one thousand free tickets for an a...
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In general, while Wagner's music was often performed during the Third Reich, his popularity actually declined in Germany in favor of Italian composers such as Verdi and Puccini. By the 1938–39 season, Wagner had only one opera in the list of fifteen most popular operas of the season, with the list headed by Italian com...
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As part of the regime's propaganda intentions of 'Nazifying' German culture, specific attempts were made to appropriate Wagner's music as 'Nazi' and pseudo-academic articles appeared such as Paul Bülow's "Adolf Hitler and the Bayreuth Ideological Circle" (Zeitschrift für Musik, July 1933). Such articles were Nazi attem...
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There is evidence that music of Wagner was used at the Dachau concentration camp in 1933/34 to 'reeducate' political prisoners by exposure to 'national music'. However, there seems to be no documentation to support claims sometimes made that his music was played at Nazi death camps.
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Wagner's music in Israel
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Wagner's operas have never been staged in the modern State of Israel, and the few public instrumental performances that have occurred have provoked much controversy.
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Despite Wagner's known writings against Jews, there was no opposition to his music in the early Zionist movement and its founders; Theodor Herzl, the founder of Zionism, was an avid admirer of Wagner's music. The Palestine Orchestra, founded in 1936 by Bronisław Huberman in what is now the state of Israel (and which be...
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Although Wagner's works are broadcast on Israeli government-owned radio and television stations, attempts to stage public performances in Israel have raised protests, including protests from Holocaust survivors. In 1981 Zubin Mehta, as an encore at an orchestral concert in Tel-Aviv, played extracts from Tristan und Iso...
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References
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Citations
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Sources
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Adorno, Theodor (2005). In Search of Wagner. Verso .
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Bruen, Hanan (1993). Wagner in Israel: A conflict among Aesthetic, Historical, Psychological and Social Considerations, Journal of Aesthetic Education, vol. 27 no. 1 (Spring 1993), pp. 99–103
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6ec4d25b5d3818fde9db79e2947c0655af6ae39ffcfb9a4a3555c21452520bab
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Deathridge, John (1984). The New Grove Wagner, London: Macmillan,
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Deathridge, John (2008). Wagner Beyond Good and Evil, Berkeley.
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Evans, Richard J. (2004). The Coming of the Third Reich, London
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Evans, Richard J. (2005). The Third Reich in Power, 1933-1939, The Penguin Press, .
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Gregor-Dellin, Martin (1983). Richard Wagner: his life, his work, his Century. William Collins,
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Gutman, Robert (1968, revised 1990). Richard Wagner : The Man, His Mind and His Music. Harcourt Brace Jovanovich (1990).
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97141d16ed05d95dd50a8b159226351b42c012dd0472b3fc778ec1b4999c3131
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John, Eckhardt (2004). La musique dans la système concentrationnaire nazi, in Le troisième Reich et la Musique, ed. Pascal Huynh, Paris
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a1d63fddf5c632a6ab16a9534bab2a2eed32f4c4e569d5473e656e3012bb740b
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Kershaw, Ian, (1998). Hitler 1889-1936: Hubris, London: Penguin.
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Magee, Bryan (2002). The Tristan Chord. New York: Owl Books. . (UK Title: Wagner and Philosophy, Publisher Penguin Books Ltd, ).
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Millington, Barry (Ed.) (1992). The Wagner Compendium: A Guide to Wagner's Life and Music. London: Thames and Hudson Ltd. .
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Rose, Paul Lawrence (1992). Wagner: Race and Revolution. Yale University Press. .
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Sheffi, Na'ama, tr. M. Grenzeback and M. Talisman (2013). The Ring of Myths: The Israelis, Wagner and the Nazis. Eastbourne: Sussex Academic Press. .
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Spencer, Stewart (2004). " "Er starb, - ein mensch wie alle": Wagner and Carrie Pringle", in Wagner vol. 25 no. 2.
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Spotts, Frederick, (1999). Bayreuth: A History of the Wagner Festival. Yale University Press .
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Teachout, Terry (2009). "Why Israel Still Shuts Wagner Out," Wall Street Journal, W1, 31 January – 1 February 2009
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Wagner, Richard. Mein Leben. (My Life) vol 1 available online at Project Gutenberg https://www.gutenberg.org/ebooks/5197.
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Wagner, Richard. Judaism in Music, on-line text
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Weiner, Marc A (1998). Richard Wagner and the Anti-Semitic Imagination, Lincoln and London.
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External links
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The FAQ for newsgroup humanities.music.composers.wagner
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The Wagner Library
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English translation of Wagner's article Judaism in Music
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Uzan, Elad (2012). "Wagner and Hitler: Active or passive influence?" (The Jerusalem Post Magazine)
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Antisemitism in Germany
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Judaism-related controversies
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Race-related controversies in opera
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Race-related controversies in music
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Wagner studies
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Peter Zummo (born 1948) is an American composer and trombonist. He has been described as "an important exponent of the American contemporary classical tradition." Meanwhile, he has been quoted as describing his own work as "minimalism and a whole lot more."
https://en.wikipedia.org/wiki/Peter%20Zummo
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Since 1967, Zummo's compositions exploring the rock, jazz, new- and electronic-music, disco, punk, and world-music idioms have been presented in venues including the Brooklyn Academy of Music, New York City Center, Experimental Intermedia Foundation, Dance Theater Workshop, and La MaMa Experimental Theatre Club, among ...
https://en.wikipedia.org/wiki/Peter%20Zummo
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Composing and performing career
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Writing in the British culture blog "The Ransom Note," Tim Wilson commented that some of Zummo's "most familiar" music was created with cellist Arthur Russell. Zummo played on most of Russell's recordings and produced several of them. Their collaborations in multiple musical styles included Russell's disco single, “Kis...
https://en.wikipedia.org/wiki/Peter%20Zummo
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Russell, in turn, played often for Zummo, notably on the Bessie Award–winning composition Lateral Pass, created for a dance by choreographer Trisha Brown, with a stage set by artist Nancy Graves. In 2014, Foom Music, in London, released an original recording of this 1985 piece. According to Piccadilly Records, the CD d...
https://en.wikipedia.org/wiki/Peter%20Zummo
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In the fall of 2014, Mikhail Barishnikov's Baryshnikov Arts Center, in New York City, awarded a residency for the creation of new work to Zummo and Brooks. Additional support over the years has come from the National Endowment for the Arts, the New York State Council on the Arts, Meet the Composer, the New York Foundat...
https://en.wikipedia.org/wiki/Peter%20Zummo
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Zummo appears as himself in Jonathan Demme's Accumulation with Talking Plus Water Motor, a film featuring Trisha Brown, and in Wild Combination: A Portrait of Arthur Russell, a documentary by Matt Wolf. Zummo contributed to the score of Tramas, Italian director Augusto Contento's cinematic portrait of São Paulo, Brazi...
https://en.wikipedia.org/wiki/Peter%20Zummo
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Performing for other bandleaders, Zummo has appeared in the Lounge Lizards, Gods and Monsters, Stephen Gaboury’s B-Twist Orchestra for the dance company Ballets with a Twist, Go: Organic Orchestra, Tilt Brass, Downtown Ensemble, Flexible Orchestra, The Necessaries, and Dinosaur L. He has also played in units put togeth...
https://en.wikipedia.org/wiki/Peter%20Zummo
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Education and training
https://en.wikipedia.org/wiki/Peter%20Zummo
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After Zummo's early classical-music education in his hometown, Cleveland, Ohio, he earned bachelor’s and master’s degrees in music and composition at Wesleyan University, in Middletown, Connecticut. There he studied with John Cage, Alvin Lucier, Ken McIntyre, Clifford Thornton, Daoud Haroon, Dick Griffin, and Sam River...
https://en.wikipedia.org/wiki/Peter%20Zummo
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In New York City, Zummo developed extended techniques for the trombone and other instruments and created many works, including several with his wife, then-choreographer and dancer Stephanie Woodard. For several years, he wrote music and performance reviews in the SoHo Weekly News. For a 2006 article by “Blue” Gene Tyra...
https://en.wikipedia.org/wiki/Peter%20Zummo
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Academic and other positions
https://en.wikipedia.org/wiki/Peter%20Zummo
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Zummo was senior faculty advisor with the New York Arts Program, a New York City-based project of Ohio Wesleyan University and the Great Lakes Colleges Association, and artistic director of The Loris Bend Foundation, a nonprofit presenter of music, dance, and media.
https://en.wikipedia.org/wiki/Peter%20Zummo
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Discography
https://en.wikipedia.org/wiki/Peter%20Zummo
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Selected works:
https://en.wikipedia.org/wiki/Peter%20Zummo
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Composer
https://en.wikipedia.org/wiki/Peter%20Zummo
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Lateral Pass (CD from Foom Music), 2014
https://en.wikipedia.org/wiki/Peter%20Zummo
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Zummo with an X (LP from Optimo Music), 2012
https://en.wikipedia.org/wiki/Peter%20Zummo
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Zummo with an X (CD), 2006
https://en.wikipedia.org/wiki/Peter%20Zummo
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Fast Dream on The Downtown Ensemble's Downtown Only, 2002
https://en.wikipedia.org/wiki/Peter%20Zummo
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Slybersonic Tromosome, with Tom Hamilton, 2000
https://en.wikipedia.org/wiki/Peter%20Zummo
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Experimenting with Household Chemicals (CD), 1995
https://en.wikipedia.org/wiki/Peter%20Zummo
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Zummo with an X (LP), 1985
https://en.wikipedia.org/wiki/Peter%20Zummo
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Travelers Through Days and Days on Sunship's Into the Sun, 1974
https://en.wikipedia.org/wiki/Peter%20Zummo
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(the) Who Stole the Polka? on Guy Klucevsek's Ain’t Nothin’ But A Polka Band, 1991; and on Polka From The Fringe, 2012
https://en.wikipedia.org/wiki/Peter%20Zummo
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Producer
https://en.wikipedia.org/wiki/Peter%20Zummo
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Arthur Russell's Arthur’s Landing, 2010
https://en.wikipedia.org/wiki/Peter%20Zummo
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Arthur Russell's World Of Echo (CD + DVD), 2005
https://en.wikipedia.org/wiki/Peter%20Zummo
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Arthur Russell's World Of Echo (LP), 2005
https://en.wikipedia.org/wiki/Peter%20Zummo
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Yvette Perez's H*E*R, 2002
https://en.wikipedia.org/wiki/Peter%20Zummo
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Arthur Russell's Disco Not Disco (CD), 2000
https://en.wikipedia.org/wiki/Peter%20Zummo
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Arthur Russell's Tree House/School Bell, 1986
https://en.wikipedia.org/wiki/Peter%20Zummo
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Performer
https://en.wikipedia.org/wiki/Peter%20Zummo
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Mitra Sumara's “Tahdig,” 2018
https://en.wikipedia.org/wiki/Peter%20Zummo
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Red Hot Organization's Master Mix: Red Hot + Arthur Russell, 2014
https://en.wikipedia.org/wiki/Peter%20Zummo
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Adam Rudolph's Go: Organic Orchestra, Sonic Mandala, 2013
https://en.wikipedia.org/wiki/Peter%20Zummo
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Adam Rudolph's Go: Organic Orchestra, Can You Imagine…The Sound of a Dream, 2011
https://en.wikipedia.org/wiki/Peter%20Zummo
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