“One day in 1948 or 1949, the Brentwood County Mart, a shopping complex in an upscale neighborhood of Los Angeles, California, was the scene of a slight disturbance that carried overtones of the most spectacular upheaval in twientieth-century music. Marta Feuchtwanger, wife of émigré novelist Lion Feuchtwanger, was examining grapefruit in the produce section when she heard a voice shouting German from the far end of the aisle. She looked up to see Arnold Schoenberg, the pioneer of atonal music and the codifier of twelve-tone composition, bearing down on her, with his bald pate and burning eyes. Decades later, in conversation with the writer Lawrence Weschler, Feuchtwanger could recall every detail of the encounter, including the weight of the grapefruit in her hand. “Lies, Frau Marta, lies!” Schoenberg was yelling. “You have to know, I never had syphilis!”

“Delaney." "What?" She stuck her key on the lock, then paused with her hand on the doorknob. "I lied to you yesterday." She looked over her shoulder, but she couldn't see him. "When?" "When I said you could have been anyone. I would know you with my eyes closed." His deep voice carried across the darkness more intimate than a whisper when he added, "I would know you, Delaney." Then the squeak of hinges followed by the click of a dead bolt and Delaney knew he was gone.”

“But the boredom of Frau Spatz had by now reached that pitch where it distorts the countenance of man, makes the eyes protrude from the head, and lends the features a corpselike and terrifying aspect. More than that, this music acted on the nerves that controlled her digestion, producing in her dyspeptic organism such malaise that she was really afraid she would have an attack.”

“He said, and his voice was strained as if he had had a mortal wound, 'Gwenhwyfar-' He so seldom spoke her formal name, it was always my lady or my queen, or when he spoke to her in play it was always Gwen. When he spoke it now, it seemed to her she had never heard a sweeter sound. 'Gwenhwyfar. Why do you weep?'Now she must lie, and lie well, because, she could not in honor tell him the truth. She said, 'Because-' and stopped, and then, in a choking voice, she said, 'because I do not know how I shall live if you go away.”

“What about you, Ellen?' he asked. 'What does music mean to you?'It was a while before she answered. 'When I was at school... quite little still... there was a girl there who had perfect pitch and a lovely voice and she played the piano. I used to hear people talking about her.' She paused, lacing her fingers together. '"She's musical," they used to say, "Deirdre's musical," and it was as if they'd said: "She's angelic." That's how it seemed to me to be musical: to be angelic.'Isaac turned to her. 'My God, Ellen,' he said huskily, 'it is you who are angelic. If there's anyone in the world who is angelic it is you.”

“Blake had his own idea. He didn’t lead her to the dancefloor. Blake took her deeper into the corner behind their table.With the pink rose cradled carefully in their combined hands, Blake and Livia began a slow dance to music only they could hear. Livia danced to the symphony she heard flowing out of the church window the night she found out he could play. She opened her eyes to see Blake’s serene face. She wondered if he danced to music he was composing in his head at this very moment—music that had not yet been played.”