Composer Virgil Thomson was a long time resident of the Hotel Chelsea. He resided here from 1934 until he died in 1989.
Out in Berkeley, CA, The Mark Morris Dancers are performing "Four Saints in Three Acts," which is set to a score composed by Virgil Thomson and Gertrude Stein.
Interviews from the Chelsea:
"The Saint Theresa Incident," from Virgil Thomson: Composer on the Aisle.
Reflections of an American Composer
Hotel Chelsea -- The Last Years (From: http://www.schirmer.com/composers/thomson/essay3.html
In 1934 Thomson became a resident at the Hotel Chelsea in New York, a Victorian building that opened in 1884. Many literary people -- Arthur Miller, Dylan Thomas, Thomas Wolfe, Tennessee Williams -- have lived there. Despite its regal elegance, it always had a slightly randy, seedy appearance.
Entering his apartment on the 9th floor, you walked into a past era which was very European, and which left contemporary obstreperous New York far below. Every object in it was a significant part of his history and revealed the cultural milieu of a man whose life for more than half a century was spent interacting with the international avant-garde, particularly the Paris of the 1920s. The enormous sitting room, because of pictures hung on its red and blue walls, made the apartment seem larger than it was. Book cases contained works of his friends old and new -- first editions of Stein, Cocteau, Cummings, Joyce, Gide, Faulkner, William Carlos Williams, James Merrill, Edward Albee, and Truman Capote. Photographs, periodicals of the 20s, paintings and sculpture by Maurice Grosser, Jean Arp, Florine Stettenheimer, Leonid Berman, Christian Berard, Yves Tanguy, Paul Tchelitchew, every one an irreplaceable visual memoir of a lasting friendship. A grand piano, a fireplace, his favorite armchair, and a large cupboard dominated the room. Conspicuous on the top of the cupboard was a set of Vuitton luggage. This was both a pretentious display of vanity and a constant reminder of his hasty retreat from France with Man Ray in 1940. That's all he could manage to take with him.
As far as the Chelsea Hotel goes, Arnold was the sage godfather of the hotel and all its sweet little freaks and geniuses. Having been there a long time, he had seen every aspect of humanity in the raw. Little could surprise him, and though he had a bemused cynicism, he was never jaded and rarely judgmental of the people around him. (Political leaders were another matter.) As a result, his friends spanned generations and temperaments, from Arthur Miller to Dee Dee Ramone to 20-something artists just starting out. If he didn’t like someone, however, he could be very blunt. His was often the dissenting opinion about someone everyone else liked, and he always turned out to be right. He was very independent and wise in that regard.
Arnold was that rare artist who did absolutely no self-promotion and avoided outside publicity too. Instead, he put that energy into his work and into his play. He always had time to play and had a great generosity of spirit, sense of mischief, and enjoyment of the world. He seemed to know everyone on 23rd street intimately, from Harry, Larry and Jerry at the Custom Art Laundry to Carlos, senior waiter at the 24 hour “Donuts” shop on the corner where we used to go for coffee sometimes. The last time I saw him, we went for fried shad roe at the Oyster Bar under Grand Central and he told me a story about spontaneously jumping a train one day to go see his friend William Eastman out west. Then he lamented that younger artists didn’t have that spirit, things had grown too business-like and people were too scheduled. I had just come from living with young artists who had that same spirit, and he was very interested in them and cheered that gypsies could still thrive in the 21st century -- outside the Chelsea Hotel, which has always been a kind of wildlife refuge for them.
He had two words taped to his computer, one an acronym of the other: Silent and Listen. He was a good listener, but thank God he only took his own advice about half the time, because he was a wonderful storyteller too. Two of his many stories can be found here.
He brought so much buoyancy, wit and optimism to the dance. It’s impossible right now to imagine the Chelsea without him."