| Contents |
Early years in Vienna and Berlin: 1874-1906. Autobiographical documents and reminiscences ; Schoenberg's resume ; Key terms of a life ; A life story in encounters ; On Schoenberg's home life and musicality among his relatives ; On his early musical life and friendships ; On his beginnings as a composer ; Documents: 1891-1906 ; On essence and appearance ; Concerning the Bible and the modern world ; On socialism and aesthetics ; On the imitation of nature and stylization ; Fragment of an opera libretto ; Draft of an opera libretto ; On program music and Transfigured Night ; Two statements on Pelleas und Melisande, op. 5, 1903 ; Reforming concert life ; On program music and Mahler's Third Symphony ; A recollection of Mahler ; On the First String Quartet, op. 7, 1905 ; On program music and the First String Quartet -- "Air from another planet": Vienna, 1906-1911. A style of concision and brevity ; A marital crisis: the Gerstl affair ; Notes on the Second String Quartet in F-sharp minor, op. 10, 1908 ; On modern music, audiences, and critics ; Concerning music critics ; A challenge to a critic ; "Great art must proceed to precision and brevity" ; Life in Vienna ; A new style of expression ; On variegation, expression, and illogicality ; Breaking through every restriction of a bygone aesthetic ; On painting, technique, and education ; "Making music with the media of the stage" ; On Die Gluckliche Hand ; Art and the unconscious ; On order and aesthetic laws ; On Mahler's final illness ; Concerning an essay on Mahler -- "War clouds": Berlin and Vienna, 1911-1918. The move to Berlin, publication plans ; On theory and painting ; On the artist's relationship to the world ; On his life, works, and relationships in Berlin ; On Vienna, composition, and "construction" ; On Vienna and teaching ; On life in Berlin and Pierrot ; On the performance of Sprechstimme ; On modern man and religion ; Preparations for a concert ("Skandalkonzert") ; On repetition, art, and kitsch ; Plans for a symphony, relations with Universal Edition ; A choral symphony ; Reactions to the war ; A "belief in higher powers" ; Concerns about the war, more on the symphony ; A text from the symphony ; "A new path toward salvation" ; On text and music, brevity, and expressionism ; New teaching activities ; On comprehensibility, coherence, and the audience ; Text for an oratorio ; On the war and the idea of progress -- "The path to the new music": Mödling, 1918-1925. After the war ; The society for private musical performances ; An opera parody ; On creativity and compositional developments ; Anti-semitism on the Mattsee ; On German music ; On the music of other nations ; On religion and reactions to the war ; On intellect and intuition ; Concerning the Bach orchestrations ; On revolution and evolution in art ; On his new compositions ; On anti-semitism and politics ; On twelve-tone composition and tonality ; On science, art, and the idea ; The death of Mathilde Schoenberg ; Communications from the other side ; The serenade at Donaueschingen, on the aristocracy ; On brevity and the heathen ; Schoenberg marries for a second time ; "Not 'Thou shalt,' 'Thou must'" ; On contemporary musical trends ; "At the crossroads" ; An invitation to Moscow -- |
| Contents |
Prussian Academy of the Arts: Berlin, 1926-1933. The Berlin master class ; Opera and film ; Polemics against Krenek ; On film and art ; Two statements on the Third String Quartet, op. 30, 1927 ; Concerning rehearsals for a performance of the Gurrelieder ; On national styles ; A play about the formation of a Jewish state ; On his creative process ; On contemporary developments, fashion, and radio ; "O word, thou word, that I lack!" ; Recommending new members to the Prussian Academy ; A note to Gertrud ; Schoenberg and Zeitoper ; Schoenberg writes for a workers' chorus ; On the individual and the majority ; On nationalism, racism, and Wagnerians ; On politics and human nature ; On Webern, Hauer, and the origins of twelve-tone composition ; His final European composition ; On racism and the idea ; A farewell to his critics -- "Driven into paradise": Boston, New York, and Los Angeles, 1933-1943. Zionism, democracy, and Jewish unity ; On program music, tradition, and the public ; Foreword to a Jewish unity party ; Concerning a music institute in Russia ; On life in the United States ; On the duty of the listener ; On tonality and the Suite for string orchestra ; On conservatism, progress, and pedagogy ; On atonality, modernism, and counterpoint ; On conservatism in the arts ; On modernism, conservatism, and the passing of the old guard ; Notes on the Fourth String Quartet, op. 37, 1936 ; On sacred music and tradition ; Standing alone ; On Vienna ; Comments on his students ; On recognition and royalties ; Reactions to World War II ; On composers and music history ; On growing older ; Publications and recordings available in 1943 ; Rejecting a cut in Transfigured Night -- Final years: Los Angeles, 1944-1951. A Schoenberg lullaby ; On his character, contemporary composers, and conducting ; On a record-of-the-month club ; On the String Trio, op. 45, 1946 ; On the performance of new music ; On those who stayed in Germany ; "A small anti-Semitic tarnish" ; On his enemies ; On the Holocaust ; On the premiere of A Survivor from Warsaw ; A controversy with Thomas Mann ; More on the Doctor Faustus controversy ; On inspiration and construction ; Art, science, and the idea ; On abstract art, politics, and the audience ; On the founding of the state of Israel ; Open letter on his seventy-fifth birthday ; On the non-performance of his works ; On Schenker's theories ; On Adorno's Philosophy of Modern Music ; On Adorno and composition with twelve tones ; On a Jewish national music ; A controversy with Copland ; A political affair ; A peace offering ; On twelve-tone composition and various activities in 1950 ; Concerning a performance of A Survivor from Warsaw ; On his health from childhood to 1950 ; Draft for a preface to Style and Idea ; On his appointment as honorary president of the Israel Academy of Music ; On prayer, superstition, and the child's faith. |
| Abstract |
Schoenberg's close involvement with many of the principal developments of twentieth-century music, most importantly the break with tonality and the creation of twelve-tone composition, generated controversy from the time of his earliest works to the present day. This authoritative new collection of Schoenberg's essays, letters, literary writings, musical sketches, paintings, and drawings offers fresh insights into the composer's life, work, and thought. The documents, many previously unpublished or untranslated, reveal the relationships between various aspects of Schoenberg's activities in composition, music theory, criticism, painting, performance, and teaching. They also show the significance of events in his personal and family life, his evolving Jewish identity, his political concerns, and his close interactions with such figures as Gustav and Alma Mahler, Alban Berg, Wassily Kandinsky, and Thomas Mann. Extensive commentary by Joseph Auner places the documents and materials in context and traces important themes throughout Schoenberg's career from turn-of-century Vienna to Weimar Berlin to nineteen-fifties Los Angeles. |
| Bibliography note | Includes bibliographical references (pages 353-409) and index. |
| LCCN | 2002154114 |
| ISBN | 0300095406 (cloth : alk. paper) |
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