Schoenberg's Early Corresponden - Ethan Haimo PDF

i
SCHOENBERG’S
E ARLY
CORRESPONDENCE
ii
S c h o e n be rg i n Wor d s
G e n e ra l E d ito r s
S a bi ne Fei s s t a nd S e ver i ne Ne f f
Volume 1: Schoenberg on Form, including Fundamentals of Musical

Composition, edited by Áine Heneghan
Volume 2: Schoenberg’s Models for Beginners in Composition,

edited by Gordon Root
Volume 3: Schoenberg on Counterpoint, including Preliminary

Exercises in Counterpoint, edited by Severine Neff
Volume 4: Schoenberg on Performance, edited by Avior Byron
Volume 5: Schoenberg’s Program Notes and Musical Analyses,

edited by J. Daniel Jenkins
Volume 6: Schoenberg’s Correspondence with Anton Webern,

edited and translated by Benjamin Levy
Volume 7: Schoenberg’s Correspondence with Alma Mahler, edited

and translated by Elizabeth L. Keathley and Marilyn McCoy
Volume 8: Schoenberg’s Early Correspondence, edited and translated

by Ethan Haimo and Sabine Feisst
Volume 9: Schoenberg’s Correspondence with American Composers,

edited and translated by Sabine Feisst
iii
SCHOENBERG’S
E ARLY
CORRESPONDENCE
1891—M ay 19 07
E D I T E D A N D T R A N S L AT E D B Y E T H A N H A I M O
AND SABINE FEISST
1
iv
1
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Library of Congress Cataloging-in-Publication Data

Names: Schoenberg, Arnold, 1874–1951, author. | Haimo, Ethan, 1950—editor, translator, writer
of added commentary. | Feisst, Sabine, 1962—editor, translator, writer of added commentary.
Title: Schoenberg’s early correspondence : 1891–May 1907 / edited, translated, and with
commentary by Ethan Haimo & Sabine Feisst.
Description: New York: Oxford University Press, 2016. | Series: Schoenberg in words | Includes
bibliographical references and index.
Identifiers: LCCN 2015050037 | ISBN 9780195383720 (hardcover : alk. paper)
Subjects: LCSH: Schoenberg, Arnold, 1874–1951—Correspondence. |
Composers—Austria—Correspondence.
Classification: LCC ML410.S283 A413 2016 | DDC 780.92—dc23
LC record available at http://lccn.loc.gov/2015050037
1 3 5 7 9 8 6 4 2
Printed by Sheridan Books, Inc., United States of America
v
Contents
Preface and Editorial Notes vii

Acknowledgments xvii
Frequently Used Abbreviations xix
I. Let ter s before 190 0 1
II. Let ter s, 190 0 –1 901 17
III. Let ter s, 1902 61
IV. Let ter s, 1903 156
V. Let ter s, 1904 223
VI. Let ter s, 1905 295
VII. Let ter s, 1906 320
VIII. Let ter s, t h rough May 1907 367
v
vi
vi C o n t e n t s
Appendix 1: Undatable Letters 399

Appendix 2: Items Not Included 405
Select Bibliography 409
Index 413
vii
Preface and Editorial Notes
Notwithstanding Arnold Schoenberg’s central importance for the music of

the twentieth century, relatively little of his early correspondence has been
published in German transcription, let alone translated into English. The
present book addresses that scholarly gap. By presenting English transla-
tions of and commentary on all known (and available) letters to and from
Schoenberg beginning with the first surviving letters (1891) and continuing
to the end of May 1907, this book sheds new light on Schoenberg’s early biog-
raphy and career.
The rationale behind the starting date may seem obvious, but our decision
to include all available letters and to stop at the end of May 1907 requires some
explanation. Since an edition of all the approximately 20,000 surviving letters
is well beyond the capacity of any single, or even, as here, pair of editors, prior
editions of Schoenberg’s letters have presented some subset of the total. Erwin
Stein was the first to prepare a volume of Schoenberg’s letters, Ausgewählte
Briefe (1958). For that volume he selected letters and excerpts thereof that he
found to be particularly interesting and important. He tended to choose let-
ters that Schoenberg wrote to prominent figures (Ferruccio Busoni, Richard
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viii P r e f a c e a n d Ed i t o r i a l N o t e s
Dehmel, Vasili Kandinsky, Alban Berg, Thomas Mann, Anton Webern, and
so forth) or that addressed compositional or biographical issues he deemed
important. Moreover, he included only letters written by Schoenberg, not by
his correspondents. Other publications have dealt with Schoenberg’s com-
munication with a specific figure such as Berg, Busoni, Heinrich Schenker,
Alexander Zemlinsky, and so forth. In the Schoenberg in Words set (of which
the present book is a part), other subsets are chosen: Schoenberg’s correspon-
dence with Alma Mahler, Webern, and American composers.
In this volume we decided to take an alternative approach, one which
we found particularly advantageous. We present the complete text of every
available letter, both to and from Schoenberg, within the designated time
frame, including letters not only to and from famous figures but also let-
ters to and from less well-k nown correspondents. We believe that a full pic-
ture of Schoenberg and his milieu is best achieved by seeing not only what
Schoenberg wrote but what others conveyed to him.
Since the nineteenth century, one of the most popular (and enduring)
historiographical models has been Thomas Carlyle’s “Great Man Theory,” the
idea that history can largely be explained by the impact and influence of the
acts, decisions, and ideas of great figures. Books featuring only Schoenberg’s
correspondence with the leading lights of his day fit comfortably into Carlyle’s
historiographical model. But a competing model quickly emerged: Herbert
Spencer’s argument that great men and women are products of their
societies and cultures and that their actions flow out of the prevailing social
and cultural context. By presenting all the surviving letters, from both
prominent figures and far less well-k nown correspondents, we anchor our
work firmly in Spencer’s model of thought. These documents give us some
inkling of what it was like to be a young, aspiring, but controversial com-
poser in Vienna and Berlin just after the turn of the twentieth century. We
see Schoenberg’s interactions with musicians, publishers, contest commit-
tees, writers, family, benefactors, friends, and foes. We discover his reaction
to criticism, how he worked with (or against) his publisher, how he tried to
promote his works, how he earned his daily bread, and countless other bio-
graphical and historical details.
ix
P r e f a c e a n d Ed i t o r i a l N o t e s ix
Starting with the first extant letters is obvious, but why did we include
correspondence only through the end of May 1907? The period of time cov-
ered by this book begins with Schoenberg as an unknown, unpublished, and
untested composer who had few compositions in his catalogue, no publications
to his credit, and almost no public performances of his works. Schoenberg
was someone who, at the beginning of our story, was compelled to take a job
at a cabaret in order to support himself and his family. But within six years,
he had become famous, primarily as a result of the extraordinary reactions to
the premieres of his String Quartet, Op. 7, and his Chamber Symphony, Op. 9.
By the end of May 1907, the reactions to these premieres had tapered off. Thus
the end of May 1907 seemed like a logical point in time to stop, marking as
it did the end of one phase of his career and the beginning of the next. Any
ending point may seem arbitrary, halting the story in media res, but stopping
after the hubbub died down following the controversial concerts in early 1907
gave us as reasonable an endpoint as we were likely to find.
There is an added reason that an edition of the early letters is particularly
attractive. One of the consequences of Schoenberg’s early anonymity is the
frankness with which he and his correspondents could write, not suspect-
ing that the letters would ever be read by anyone else. Thus there is a fresh-
ness to the dialogue that is not often matched in the correspondence of later
years. From 1909 onward, Schoenberg made it a regular practice to create
carbon copies of all the letters he wrote. (By contrast, in the period covered
here, he made almost no copies, and thus letters of his survived only if the
recipients saved them.) When someone is famous and makes copies of his
letters, saving them for posterity, it is reasonable to assume that the author
is self-consciously aware that his words are no longer private. It follows that
letters can take on the feel of public manifestos, not private communications.
The same is true for Schoenberg’s correspondents. Before 1907, few of those
who wrote to Schoenberg could have imagined that their words would be
published (let alone translated) more than a century later. This too permitted
his correspondents to write with a directness that is unusual to find in the
correspondence of later years when his correspondents knew they were writ-
ing to a famous man.
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x P r e f a c e a n d Ed i t o r i a l N o t e s
Our approach has been to publish every letter from the period, in full, no
matter how quotidian the subject. But what exactly is the definition of a letter?
This became an issue because a number of items preserved in various archives
and listed in various catalogues are presented as “letters” of, or to, Schoenberg
but we do not regard them as such. We have adopted a narrow definition of
a letter, restricting it to a handwritten (or typed) verbal message directed to
a specific recipient. This definition thus excludes items like insurance forms,
contracts, printed wedding invitations, membership cards, and so forth, all
of which have been included in catalogues of Schoenberg’s correspondence.
Any item listed in the Preliminary Inventory published in the last issue of the
Journal of the Arnold Schoenberg Institute or found in the Arnold Schönberg
Center correspondence database that does not appear in our book is listed in
Appendix 2 and the reasons for its exclusion are explained.
We wish to be as comprehensive as possible and have tried to include
every letter from the period. Fortunately, with few exceptions (letters sold
at auctions and now in private hands), we were able to get access to nearly
all of the surviving letters from our chosen time frame. Insofar as was pos-
sible, we consulted the letter itself or, if that was not possible, a photocopy
thereof. Sometimes, however, it was neither possible to see the letter itself nor
to obtain a photocopy, and we had to use an available transcription. We iden-
tify in the commentary all cases where we were unable to consult the original
or a photocopy and worked instead from a transcription.
As we found, however, there are substantive problems with the catalogues
of Schoenberg’s letters. Many letters are misdated, misattributed, or undated.
It follows that we cannot guarantee that we have identified all the letters
from the relevant period. Even excepting letters that are in private hands and
unknown to scholarship, there very well may be letters in the archives that
belong to our period but are either misdated or undated. We have done our
best to identify all the relevant letters, but we are under no illusions that we
have found everything there is.
The extant letters are most certainly only a fraction of those written to
and by Schoenberg in his early career. It is clear that many letters have been
lost (although previously unknown letters still surface from time to time).
Statistically, a higher percentage of letters to Schoenberg have survived than
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P r e f a c e a n d Ed i t o r i a l N o t e s xi
letters from Schoenberg—not surprising in light of his relative anonymity

at the time. And although Schoenberg did seem to save many of the letters
that were sent to him, there are surprising lacunae. For example, the emi-
nent musicologist Guido Adler saved Schoenberg’s letters to him, but Adler’s
letters to Schoenberg from this period have disappeared. So too, theorist
Heinrich Schenker kept the letters and cards Schoenberg wrote, but there
is not a single surviving letter from Schenker to Schoenberg. There are also
multiple cases where Schoenberg’s half of an exchange is gone. Thus we have
numerous letters from Max Marschalk (of Dreililien Verlag) to Schoenberg,
but Schoenberg’s letters to Marschalk have not survived. There are many let-
ters from Zemlinsky, but Schoenberg’s letters to Zemlinsky have disappeared.
All the more reason why it makes sense for us to publish all the surviving let-
ters: often one can deduce from a letter to Schoenberg what he had said in his
half of the exchange even in the absence of that letter, and vice versa.
To the extent possible, our translations are literal, but not to the point that
the resultant English would be incomprehensible or notably awkward. Also,
we have attempted to capture the feel of the text. Schoenberg (like everyone)
writes in different styles to different people—we have tried to distinguish
between the style he uses when writing to flatter a performing musician (e.g.,
Arnold Rosé or Gustav Mahler), or the style he uses when he writes to friends,
or the style he adopts in writing to his publisher. We also had to face one
of the perennial problems of translating from German to English: German
sentences are often far longer and more complex than is usual in English. We
decided that rather than break long German sentences into multiple, shorter,
English sentences, we would retain the complex, compound sentences and
not break them into shorter groups of sentences. Incomplete sentences in
German are retained in English. On the other hand, German tends to use for-
mal terms of address in a way that sounds strange and excessively pompous in
English. Rather than making literal translations of quintessentially German
salutations such as “Herr Professor Doktor,” we have elected to translate this
to the more typically English, “Professor.” And in addresses from envelopes
(and sometimes, salutations in letters) we omit “Herrn,” and “Wohlgeboren.”
Sometimes the authors of the letters forgot to add necessary punctuation
such as question marks or commas. We have tacitly supplied any missing
xii
xii P r e f a c e a n d Ed i t o r i a l N o t e s
punctuation. We also tacitly add punctuation to conform to English prac-

tice. Throughout, we retain the division into paragraphs of the original. Some
words (particularly words beginning with the letter “C”) have alternate spell-
ings (e.g., Carl, Karl) and appear both ways in the letters. At the price of some
inconsistency, we leave the spelling of such words as is.
As a rule, in the texts of the letters (but not the commentary), we have
elected to leave all proper names in their original spelling. Thus when
Schoenberg’s name appears in the text of the letter, we leave it in the spell-
ing used at that time (“Schönberg”). But in the commentary, we revert to
the English spelling that he himself decided on after his immigration to the
United States in 1933 (“Schoenberg”). Similarly, in these letters Zemlinsky’s
name appears as “Zemlinszky” which we retain in the texts and addresses,
reverting only to its more common form (“Zemlinsky”) in the commentary.
So too, in the addresses, street and city names are not translated and retain
their original spelling (e.g., “Wien”), but in the translation and the commen-
tary we use the accepted English version (e.g.,“Vienna”).
For all the letters we have adopted a consistent format and order (unlike
the letters and envelopes themselves which have a wide variety of formats and
orders). We start with the date of the letter followed by the correspondent’s
name and address (if known) and the name and address (if known) of the
recipient of the letter. Thereafter the text of the letter, from the salutation to the
signature (or through the postscript, if any) and our commentary (“Notes”)
are presented. Some further detail about each of those categories follows.
Date
When the date of the letter is written somewhere on the letter itself, we pres-
ent the date without square brackets: e.g., “1 January 1900.” If the letter itself
is undated (a common occurrence), but there is a surviving (and reliably asso-
ciated) envelope with a legible postmark, we identify it as postmark date, a
necessary distinction because the date of posting could be different from the
date of writing. When a date is uncertain, we place it in square brackets with
a question mark following. When a letter has no date and no postmarked
envelope, we give it an approximate date based on the contents of the letters
xiii
P r e f a c e a n d Ed i t o r i a l N o t e s xiii
and provide a rationale for our decision in the notes. When a correspondent
provided the day of the week, we include that after the date, month, and year.
When the given day of the week contradicts the letter’s date, we explain in the
notes which of the two dates is more likely to be correct.
We estimate that we have corrected approximately 10 percent of
the dates for the letters (from 1891 to May 1907) listed in the Preliminary
Inventory. Unfortunately, a very bad archival decision was made at the
Library of Congress, which houses most of the original Schoenberg letters,
and that decision has hampered attempts to provide a reliable chronology for
Schoenberg’s early correspondence. In most cases, the librarians discarded
the original envelopes and wrote the date of the postmark in pencil in the
upper right margin on the letter’s first page. Thus it is not possible to check
and confirm the evidence for dates when the letter itself is undated and the
date was assigned on the basis of an envelope that is no longer extant. This
would not be an issue were it not the case that when postmarked envelopes
have survived, the dates assigned by the librarians at the Library of Congress
are sometimes manifestly wrong. Common errors are misreading the dates,
transposing the numbers (calling 1.5.1900 January 5, 1900 and not 1 May
1900), and confusing the originating postmark with the delivery postmark
(“bestellt”). In our commentary we address these issues.
Name and Address of the Author
We include the name (as it appears in the letter, or as it appeared at the time)
of the author of the letter, followed by the street address, the city, and what-
ever additional address information was provided on the envelope, in the let-
terhead, or written out in the letter itself and in whatever order. Regardless
of the source and regardless of the order in the original, this information is
presented in the standardized order described above. If information is not
provided in the original, it is omitted from our listing entirely or provided
with square brackets if we are sure what the address or city was. If address
information was included in the letter itself (for example, following the sig-
nature), that information appears only in the address section of the letter and
not in the text of the letter.
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xiv P r e f a c e a n d Ed i t o r i a l N o t e s
Name and Address of the Recipient
Here too we regularize the information, presenting it in the order of name,

street address, city, and additional information, regardless of how it appeared
on the envelope or the letter itself. If the address was prefixed or appended
to the text of the letter, we present it here and do not repeat it in the text of
the letter. It was customary for the name of the addressee on an envelope to
be prefaced with “Herrn” or “an Herrn” and sometimes “Wohlgeboren.” For
simplicity, we have omitted all such honorifics for the recipient’s name. Thus
while the original might be “Herrn Arnold Schönberg,” we record this simply
as “Arnold Schönberg.” In a few cases, Schoenberg’s correspondents added
“Componist” or “Kapellmeister” after his name and we have retained all such
designations. The details included for a particular address often differ from
letter to letter. Rather than attempting to regularize the information included
for addresses, we have let them stand as written.
Text
In this section we include a translation of the complete surviving or available

text of the letter from the salutation to the signature and the postscripts, if any.
Dates and addresses are not included here (as discussed above). Postscripts
are designated with “p.s.” only if the author used it. Passages or individual
words underlined in the original are represented by italics in our translation.
Titles of works are also italicized.
Our translations are based on the transcriptions we made of the German
texts. Most of the letters are handwritten, not typed. The handwriting of many
of the correspondents (including Schoenberg) was often very difficult to deci-
pher. (Interested readers are invited to look at scans of the original letters on
the website of the Arnold Schönberg Center, Vienna, to see for themselves
just how difficult it is. We particularly recommend the examination of Max
Marschalk’s handwriting.) Transcriptions of some letters are available in the
Schönberg Center database, but they are of varying quality and often contain
multiple errors or omissions. The editors (with the extensive help of Therese
Muxeneder) made fresh transcriptions of every letter (when the original or an
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P r e f a c e a n d Ed i t o r i a l N o t e s xv
image thereof was available) and those transcriptions served as the basis for
the texts of the translations.
Notes
Problems with, or questions about, the date are discussed first. Next, a brief
biographical note on the author of the letter is supplied (if written by some-
one other than Schoenberg), or the recipient (if written by Schoenberg). We
then have a running commentary on any issue that arises from the letter’s
text. If the topics under discussion are not clear, we provide context. We sup-
ply brief biographical notes or other background information for every name
or organization mentioned in the text. (In the relatively few cases where
we were unable to identify someone, we state that in the notes.) Generally
speaking, biographical or background information is provided at the first
mention of a name. Sometimes, however, if the name is mentioned only in
passing, we defer the biographical note to a later letter where the person in
question plays a more central role. Biographical notes are not repeated, so
readers will need to use the index to find the earliest mention of a person and
the associated note.
One unexpected consequence of our biographical research on all of
Schoenberg’s early correspondents and on every person mentioned in these
letters was the sobering discovery that many of them were directly affected
by the spread of Nazism in Europe in the 1930s and 1940s and the resul-
tant Holocaust—and this in spite of the fact that these letters were written
more than thirty years before the beginning World War II. A number of
Schoenberg’s correspondents died in the ghettos or concentration camps,
including Elsa Bienenfeld, James Rothstein, and Louis Treumann; many oth-
ers (not to mention Schoenberg himself) were forced to flee for their lives,
scattering to the four winds—Palestine, the United States, Great Britain, the
Soviet Union, Brazil, Switzerland, and elsewhere. Given that Holocaust denial
still persists, we have found that without even trying or intending to docu-
ment its devastating implications, it was impossible to ignore the omnipres-
ence of this crime on the lives (and in some cases, premature deaths) of a
significant proportion of the professional music community in Europe.
xvi
xvi P r e f a c e a n d Ed i t o r i a l N o t e s
In many letters, there are references to sums of money, expressed in

Florins, Gulden, Kronen, and Marks. When a currency is cited, we convert it
into its 2013 value in US dollars so as to give the reader an approximate sense
of the sums involved. However, it is important to recognize that translating
historical currency into modern equivalents is, at best, an inexact science,
and that the results can vary widely depending on the method used. Before
World War I, all the currencies involved were on the gold standard, so it is
possible to give a fairly precise equivalent in US dollars from the period in
question. The principal challenge is deciding exactly what US dollars from
the early twentieth century are worth today. We have used a Cost Price Index
calculator that assigns a multiplier of 29.48 for 1901 and 26.08 for 1902–7
dollars versus 2013 dollars. However, there are other methods of calculating
conversion rates: GDP per capita, relative share of GDP, consumer bundle,
and so forth. The results achieved by using these methods can differ markedly
from those using the Cost Price Index.
The “Notes” section concludes with citations of published English trans-
lations of complete letters (but not of excerpts) and of previous editions in
German that include commentary.
In Appendix 1 we have included a few letters that are undated but may
very well belong to our period. In the commentary to those letters, we explain
why we feel they might belong in our period.
All told, there are more than 300 letters in this book. It is hoped that the
broad range of topics and issues covered in those letters will help readers of
this volume gain a fresh impression, not only of the young Schoenberg and
his character, but also of the many interesting and important figures with
whom Schoenberg corresponded. Taken as a whole, these letters paint a vivid
portrait of Schoenberg and his times.
xvii
Acknowledgments
The authors wish to thank all those copyright holders who kindly granted
permission for us to publish the letters for which they hold the rights. We are
grateful that they made it possible for us to present a comprehensive view of
Schoenberg’s correspondence. Special thanks are due to Arnold Schoenberg’s
children, Nuria, Ronald, and Lawrence, and to his grandson, Randol, for
their support and encouragement, and for granting us permission to publish
Schoenberg’s letters.
It is almost impossible for us to express the extent of our thanks and grat-
itude to Therese Muxeneder, chief archivist of the Arnold Schönberg Center,
Vienna—our debt to her is too great to describe in a few words. She promptly,
expertly, and efficiently answered our many questions, provided us with
material, helped us with transcriptions, identified puzzling abbreviations and
references, and caught some of our mistakes. Without her help, this book
would never have been completed, or if completed, would be riddled with
errors. Many thanks are also due to archivist Eike Fess and the rest of the
staff at the Arnold Schönberg Center, which not only makes research possible
xvii
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xviii A c k n o w l e d g m e n t s
but does everything in its capacity to help Schoenberg scholars accomplish

their goals.
Thanks to the following libraries and their staffs for their assistance: Music
Division, Library of Congress; Oswald Jonas Collection, University of
California, Riverside; Special Collections Library, University of Michigan,
Ann Arbor; Hargrett Library, University of Georgia; Music and Hayden
Libraries, Arizona State University; Goethe—und Schiller-Archiv, Klassik
Stiftung Weimar; Musikabteilung mit Mendelssohn-Archiv, Staatsbibliothek
Berlin—Preußischer Kulturbesitz; and the archive of the Gesellschaft der
Musikfreunde, Vienna.
In the process of deciphering letters written in Sütterlin and Kurrentschrift,
we also received assistance from Gerhard Bär, Hermann Feißt, Ursula Huber-
Feißt, and Ute Steinam. Additional thanks are also due to Michael Beckerman
of New York University and David Hunter at the Fine Arts Library, University
of Texas at Austin, for making their facilities available to us. Special thanks to
Severine Neff, Elizabeth Keathley, J. Daniel Jenkins, R. Wayne Shoaf, Bar-Ilan
University (for research support), and Arizona State University (for research
support).
We are indebted to Suzanne Ryan, Editor in Chief of Humanities and
Executive Editor of Music for Oxford University Press in New York, who
inspired the Schoenberg in Words series and who together with her team
enthusiastically and expertly guided our project through production and
publication.
Last, but not least, we express much gratitude to our families.
Ethan Haimo, Bar-Ilan University, Ramat-Gan, Israel
Sabine Feisst, Arizona State University, Tempe, Arizona, USA
November 2015
xix
Frequently Used Abbreviations
ASC Arnold Schönberg Center, Wien

ASJ Therese Muxeneder, “Arnold Schönbergs Jugendkreise,” Journal of the
Arnold Schönberg Center 12 (2015), 264–329.
ASLS Rudolf Jung, “Arnold Schönberg und das Liszt-Stipendium,” Beiträge
zur Musikwissenschaft 8, no. 1 (1966), 56–63.
ASSW Arnold Schönberg, Sämtliche Werke, ed. Josef Rufer et al. (Mainz and
Vienna: Schott and Universal, 1966–).
BWS Alexander Zemlinsky: Briefwechsel mit Arnold Schönberg,
Anton Webern, Alban Berg und Franz Schreker. Briefwechsel der
Wiener Schule I, ed. Horst Weber (Darmstadt: Wissenschaftliche
Buchgesellschaft, 1995).
Ennulat Egbert Ennulat, Arnold Schoenberg Correspondence: A Collection
of Translated and Annotated Letters Exchanged with Guido Adler,
Pablo Casals, Emanuel Feuermann, and Olin Downes (Metuchen,
NJ: Scarecrow Press, 1991).
Eybl Martin Eybl, ed., Die Befreiung des Augenblicks: Schönbergs
Skandalkonzerte 1907 und 1908 (Vienna: Böhlau Verlag, 2004).
xix
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xx Fr e q u e n t l y U s e d A b b r e v i a t i o n s
EYBL-WEG Martin Eybl, “Der Weg in die Öffentlichkeit: Frühe Interpreten

Schönbergs,” Journal of the Arnold Schönberg Center 10 (2015),
240–254.
JASI-PI “Preliminary Inventory of Schoenberg Correspondence,” ed. Paul
Zukofsky et al., Journal of the Arnold Schoenberg Institute 18–19, nos.
1–2 (1995–6), 13–752.
SCHS Charlotte E. Erwin and Bryan R. Simms, “Schoenberg’s
Correspondence with Heinrich Schenker,” Journal of the Arnold
Schoenberg Institute 5, no. 1 (1981), 23–43.
Weindel Martina Weindel, “Busonis ‘Berliner Orchesterabende’: Eine
Nachlese unveröffentlichter Briefe von Schönberg, Mahler, Bartók
und Sibelius,” Schweizer Jahrbuch für Musikwissenschaft 23, ed.
Schweizerische Musikforschende Gesellschaft (Frankfurt am
Main: Peter L Lang 2003), 315–324.
xxi
SCHOENBERG’S
E ARLY
CORRESPONDENCE
xxii
I
Letters before 1900
19 May 1891
From: Arnold Schönberg
[Wien]
To: Malvina Goldschmied
[Nikolsburg]
Dear Malvina!
Even though you did not take leave of me in the manner that I, as a cousin,
have a right to expect, nonetheless, I do not wish to take offense and with
the present letter open what hopefully will be a really lively correspon-
dence between us. First of all, I must ask of you not to pay attention to
the shape and type of writing paper, because unless I break into Ottilie’s
drawer, nothing else is available. As for your letter to mama, I must
admit that I was completely surprised by it. Although I always thought
very highly of you, I would not have expected this kind of letter from
you. It displays very good style, great formal elegance, and richness of
thought. You should know that I am no flatterer, but your letter has much
to recommend it.
1
2
2 S choenberg’s E a r ly C or r e sp ondence
I am happy to hear that you feel well in Nikolsburg, but it would

make me even happier to hear that you are bored in Nikolsburg—you
see that my old evil side shows up again. The thought suddenly occurs to
me that I really have not yet written anything new to you. So I really am
at my wit’s end. Is there something in the life of your cousin that would
interest you; perhaps it would interest you to know that today (Vienna,
19 May 1891) I finally began to work in the office at the bank (I of course
mean the book); could it be useful for you to know that yesterday, after
a long pause, I composed something new—a song without words—and
that I hope that, from this point forward, an epoch of happy creativity has
begun again? No, my modesty does not permit this at all. But nonetheless,
I wish to try to pique your interest for a question that I have in mind to
pose to you.
Ottilie recently remarked that you (like me/editorial note/) do not
believe in the existence of a higher being. Could you explain to me what
blows of fate caused you to abandon this idea which comforts millions?
Could it perhaps be the blows of fate that you read about in novels? Are
they perhaps the thoughts to which the lack of work and the inactivity of
the winter season have brought you? Is it, actually, like many other fash-
ions, an idea that one follows only for a single season? Tell me in more
detail.
In this letter, that I am writing at 11:30 p.m., I am sending to you,
enclosed, several flowers, with the request to follow the principle of
“a tooth for a tooth” in the form of “a flower for a flower.” Obviously,
I picked these flowers myself this morning, when I was with Grün at
the Prater, before I went to work. You would be surprised that I, who
previously was not known as a lover of flowers, now search for flowers.
I believe, however, that it is better to be the friend of the one who sends
the flowers or of the lovely female sender, so that upon seeing the flower,
one remembers the kind sender, upon smelling it, one recalls the sound of
her bright voice. And since I now have nothing more to write, that is, no
more space, because I must leave some space for important postscripts,
3
L e t t e r s b e f o r e 19 0 0 3
so I close my letter for now in the expectation that soon it will not be an
orphan, and I send you my most friendly and most cousin-like greetings
Arnold Schönberg
p.s. I If you answer me, I ask that you send your answer to me at work:
Arnold Schönberg
Firma Werner & Co.
Wien I
Wipplingerstrasse 39
p.s. II It seems to me that my prophesies about the weather during your

stay in Nikolsburg will not come to pass.
p.s. [III] Could you let me know if Nikolsburg is connected to Vienna by

telephone?
Notes
The editors were unable to consult the original. At one time the letter was in
Rio de Janeiro (Malvina’s residence after 1938). More recently it was in the
possession of one of her heirs and said to be in Italy. The editors used the
transcription held at the Arnold Schönberg Center, Vienna (ASC).
For a summary of Schoenberg’s employment at the bank, see ASJ, 276–9.
Malvina Goldschmied (1877–?), Arnold’s first cousin on his mother’s side.

She emigrated to Brazil during the Nazi era. Schoenberg addresses Malvina
with “Du.”
Ottilie Kramer Blumauer (née Schönberg,1876–

1954), Arnold’s younger
sister.
Nikolsburg is the German name for Mikulov, a town in the Czech Republic,
approximately 85 kilometers north of Vienna.
It is not clear what Schoenberg meant by “I of course mean the book.”

4
The composition to which Schoenberg alludes (a “song without words”) has

not survived.
Toward the beginning of the third paragraph Schoenberg was probably trying
to be humorous when he stated “dass Du (wie ich/Anmerkung der Redaction/)”
[“that you (like me/editorial note/)”].
“Grün” could not be identified.
Firma Werner & Co was a private bank where Schoenberg was an apprentice
from 1891 to 1895.
26 May 1891
[Wien]
To: Malvina Goldschmied
[Nikolsburg]
Ma chére cousin!
I received your letter. I cannot, however, put one pressing question out
of my mind. I believe I wrote in my letter that hopefully our correspon-
dence would become quite lively. Why, in your first letter, did you have
to undermine this presupposition in its very essence? Not only did your
letter arrive after much delay, but also, it is very short. What reason did
you have to cause me to wait so long for your answer until you “came
to the opinion that” finally it was time to write? Please be so good as to
clarify this point for me as soon as possible.
Actually, your letter did not satisfy me in any way. You say, for exam-
ple, that I was too quick to rejoice that you were not having a good time.
Now that is a nice phrase, but it is badly used here. Because, first of all,
as far as I remember I wrote that it was my evil side that wished that you
5
L e t t e r s b e f o r e 19 0 0 5
would not have a good time; second of all, I did not rejoice at all. You
write further that you take issue only with some of the nonsense that is
found in the Bible; now here, as an unbeliever, I must oppose you and
state that nowhere in the Bible is there any nonsense. For the most dif-
ficult questions, regarding morality, lawgiving, the economy, [and] medi-
cine, are resolved in it in the simplest form, admittedly often from the
contemporary perspective, such that the Bible is, in general, the founda-
tion of all of our modern state institutions (excepting only the railroads
and the telephone). When you state that when you revere in God only
Nature, it is somewhat unclear to me what you mean by that.
Should you perhaps revere both of them, and place the one higher
than the other, as perhaps one could conclude from the following sen-
tence: “and it cannot [achieve] everything that is ascribed to God.” In
general, these two theses are completely obscure to me from your letter.
You say further that you are not yet able to form an opinion [Urteil] and
then you add: “perhaps it would happen, but then you would laugh at
me.” I must however refute this for you. When you form an opinion on
a matter, then you may consider it to be correct. It is correct in that it is
valid for you as long as it remains within you. But as soon as you express
it to someone else, it is no longer a correct opinion, but merely a subjec-
tive opinion. Generally speaking, and particularly so with this question,
no one can say that his opinion is the correct one, for everyone has views,
that for him, are correct. Then I would not laugh at you in any event, were
you to make your opinion known regarding these points, since I, as you
ought to know, have never held a subjective opinion in contempt, even if
it were very different from my own.
Regarding the flowers which I sent you, I thank you for the basket
which you sent to me because I will keep the flowers that I will send you in
the future in it.
You write that you have not become a late sleeper there. This time
you are right, because you did not become a late sleeper there, you were
already one before you arrived.
I should say to Ottilie that she should write to you; it will not hurt
me. You might perhaps say to me what benefit is it for me? Since you have
6
not shown me what the resultant benefits are (probably because of a lack
of room), I will not carry out this assignment. (By the way, I know that
Ottilie already wrote you on Monday.)
You write at the end of your letter: “Since I have no more news to
write, I remain yours truly, M.”
Tell me, do you remain yours truly Malvina, so that I should forgive
you that you have no more news to write, or that you would otherwise
remain also yours truly Malvina? Or do you have some other reason for
joining together these two unrelated sentences?
You see that with this letter I am trying to create a lively correspon-
dence between us by writing immediately and at length. I really cannot
understand you in this at all. Why did you make me wait so long? I have
to think that you write me only unwillingly, although up to now, perhaps
from vanity, I have known no reason why. I believe that my writing is not
especially boring; I presume from our prior correspondence that you have
not honored me with your hatred. So why have you caused me to wait so
long? It is extremely painful for me. If you do not want to write to me,
please tell this to me as soon as possible, because I do not like to remain in
doubt for long and I also do not want any letters written out of a sense of
duty. I ask you to give me an explanation of this as soon as possible.
Hopefully you are really healthy in Nikolsburg. Do you have red
cheeks already; don’t you want to get rid of the paleness?
In that I look forward to your prompt reply, I remain, yours truly, your
cousin, Arnold Schönberg. (I l … y . . !)
p.s. You must, however, read my letter with somewhat more attention, for
in every sentence I very consciously alluded to something very special.
Read it perhaps the way I read your letter. Should it seem to you perhaps
that the surface is smooth, then the water is, however, very deep, and
often the smoother the surface, the deeper the water. For I must confess,
as I walked in the Prater, I have considered carefully what I would write
7
L e t t e r s b e f o r e 19 0 0 7
to you and in response to every point of your letter, which I now almost
know by heart.
Now, however, I close and remain yours truly, your cousin, Arnold.
p.s. II Now something else occurs to me. Did you get a letter from Miss
Grethe? Did she perhaps say something negative because I told her that
she probably would arrive happily in Cz. Write soon. Arnold.
p.s. III For now I know nothing more, for it is 11:30 p.m. and my head is
buzzing. Therefore, thank the end (as one says on the telephone) and the
departure bell rings ting-a-ling ding ling.
(I l … y . .!) (I l … y . .!)
Arnold Ily
c/o Firma Werner & Co.
Wipplingerstr. 39
Wien, on the 25th of May 1891, 11:30 p.m.
I recently had a new waltz theme—a green envelope—I am already

asleep—(I l … y . . !)
Notes
The editors were unable to consult the original. See the note to the previous
letter.
The editors have translated the phrase “danke ich Dir bestens für den Korb”
literally as “I thank you for the basket.” However, the phrase “jemandem
einen Korb geben” means to turn someone down. Thus this may be one of
the deeper meanings Schoenberg implied and embedded in his letter (see the
first postscript).
Schoenberg abbreviates “ich liebe Dich!” [I love you!] as “I . . l … D . . !” using

one dot for each missing letter. We have translated this as “I l … y . . !” After
8
his signature, he appended “ild” (ich liebe dich) without dots; we have trans-
lated this as “ily.”
“Grethe” could not be identified.
The German of the third sentence of p.s. II is awkward [“Hat sie sich nicht
vielleicht etwas abfällig darüber geäussert dass ich ihr anzeigte, dass sie
wahrscheinlich glücklich in Cz. angekommen ist”].
“Cz” might refer to Czech territory, but the meaning is uncertain.
Figure 1.1
Arnold Schönberg, 1890s (photographer: unknown). Courtesy of the
Arnold Schönberg Center.
9
L e t t e r s b e f o r e 19 0 0 9
25 July 1895
Leopoldgasse 9
Wien II
To: David Josef Bach
Dear Dunjo!
Before I begin, I would like, as you demand, to make a fawning bow.
I don’t exactly know why, because if I am not mistaken, you have the
honor of speaking reasonably with a reasonable man. But never mind;
when you demand it, I do it. You know my good nature: that it is hard for
me to say “no” when somebody else is saying “yes.” Therefore, it will also
not be easy for me to hold back your letters from your family, particularly
since I have promised to read excerpts from them aloud. I will just pass
on to them the extracts of those passages that are indisputable even for
them. To the disputable parts belong those which you cite to prove that
you are no lyric poet, right? (dreadful transition) That nature must take
on active relations with the poet is certainly a very nice idea. I believe,
however, that you have taken the concept of the modern lyric poet in
somewhat too narrow a manner when you demand from him that he
must draw his associations only from nature. It had been the concern of
the Romantics to find relationships to their soul and feelings in nature.
We, however, who live under the banner of the recognition of social con-
ditions, have distanced ourselves somewhat from these sentiments. To
be sure, we are still capable of feeling the sentiments of nature of the
Romantics, but obviously, this feeling does not extend to self-creation. In
this respect, one must distinguish between the sentiments derived from
reading and those derived from one’s own life. The former is not suf-
ficient for self-creation and it is thus also misleading if you wish to use
it as a means of testing your abilities. The latter certainly can suffice. It
alone can provide us with the foundation for unique and contemporary
self-creation. And in our life, the recognition of the social battle plays a
decisive role. But nothing is gained here by the one-sided faulting of the
10
one viewpoint. Rather, just as the movement of the social relationships is

the product of class warfare, the aesthetic must present itself as a product
of the battle of the idealistic and materialistic viewpoints, in order that
art should not show the features of the battle from which these artis-
tic sentiments were derived. What nature is to us and what it is to the
romantics are two different things. Our task, however, is to see that what
we gain from the basis of these experiences is also true art.
I doubt that you will be able to draw that which I intend from this
twaddle. I certainly lack elegance of expression. Discussion will have to
clarify the rest.
I have also received your postcard. The necessary steps will be taken.
Besides, we will talk it out when I come to you. That will be Sunday, the
28th at 1:41 p.m. I am taking the same train you are and will follow your
instructions.
With warmest greetings,
Your
Arnold Schönberg
In the future, don’t write to the office, but to II. Leopoldgasse 9.
Notes
David Josef Bach (1874–1947), journalist, socialist, music critic, and ama-
teur musician. He was a childhood friend of Schoenberg. Bach emigrated to
London in 1939. The two remained close throughout their lives. Schoenberg
addresses Bach with “Du.” See ASJ, 284–5.
The “office” to which Schoenberg refers in the postscript was the bank where
he worked until 1895. He quit this job to dedicate himself to music.
See Joseph Auner (ed.), A Schoenberg Reader: Documents of a Life (New

Haven, CT: Yale University Press, 2003), 15–17.
11
L e t t e r s b e f o r e 19 0 0 11
3 December [1896 or before]?

3 a.m.
From: Leo Hirschfeld and a group of friends
Café Griensteidl
Wien
To: “Thilde”
From the happy Champagne-guild
To the sweet, dear, Thilde

A thankful, roaring, toast!
Regarding Heine’s youthful sorrows
One would envy him today for many things
If he would have had Thilde, if he just would have had Thilde.
Cheers!
Leo Hirschfeld
[signatures in left hand column]
[illegible]
A[rnold] Korff
[Felix] Dörmann
Arthur Kahane
[signatures in middle column]
Freiherr Karl v[on] Levetzow
Jakob Wassermann
Alfred Gold
Edw[ard] Falck
Arnold Schönberg
Felix Adler
Hermann Simon
Emil Goldmann
Dr. Emil Lemberger
12
[statement and signatures in right hand column]

A separate letter follows.
Oskar Friedmann
Willi Handl
Alex[ander] v[on] Zemlinsky
S[amuel Siegfried] Theumann
Hugo Frey
Walter Pieau
Richard Glück
Adolf Loos
Eugen Stössler
Notes
The signatories of this and the following card point to Schoenberg’s early
circle of friends, artists, and intellectuals with whom he socialized in such
Viennese cafés as the Griensteidl and Glattauer.
“Thilde” (a common nickname for Mathilde) could not be identified.

Schoenberg’s first wife (Zemlinsky’s sister) was named Mathilde and was
sometimes called “Thilde,” but there is no evidence she was (or was not) the
Thilde of this postcard.
Arnold Korff (born Arnold Kirsch, 1870–1944), Viennese-born actor and

director, active in Germany and the United States.
Felix Dörmann (born Felix Biedermann, 1870–1928), Viennese writer, libret-

tist, and film director and producer.
Arthur Kahane (1872–1932), German poet, novelist, and theater dramaturge.

13
L e t t e r s b e f o r e 19 0 0 13
Jakob Wassermann (1873–1934), German-born writer and novelist known

for his autobiography Mein Weg als Deutscher und Jude (1921).
Alfred Gold (wrote under the names Fin de Siècle and Alwin Goldeck,
1874–1958), Viennese writer, theater critic, and art collector.
Edward Falck (1874–1922), Brooklyn-born performer and composer. In the

1890s Falck was the violist in a string quartet that included Artur Bodansky
and Hugo Riesenfeld on violin and Schoenberg on cello. ASJ, 308.
Felix Adler (1876–1927), Viennese-born music and art critic.
Carl Hermann Simon (1873–1917).
Emil Goldmann (1872–1942), Karlsbad-born legal historian.
Emil Lemberger (1872–1946), Austrian lawyer.
Willi Handl (born Siegmund Handel, 1872–

1920), Austrian writer and
theater critic.
Hugo Frey (1873–1951), medical doctor.
Richard Glück (1879–?), lawyer.
Adolf Loos (1870–1933), Moravia-born architect and pioneer of modern

architecture, famous for his essay “Ornament and Crime” (1908).
Eugen Stössler (1876–?), Czech-born writer.
Biographies of Oskar Friedmann, Leo Hirschfeld (Leo Feld), Karl von

Levetzow, Walter Pieau, Samuel Siegfried Theumann, and Alexander von
Zemlinsky follow below.
See ASJ, 307–8.
14
2 December 1898
From: Edward Falck and a group of friends
Wien
To: William Clarke Rice
New York
[signatures in left hand column]

Leo Hirschfeld dram. Author
Eugen Stössler Journalist
[Jacques] Fränkel Philosopher!!
Rudolph Stephan Hoffmann Musician
Walter Pieau Singer
Arthur Kahane Critic and Literateur [sic]
[signatures in right hand column]
Felix Dörmann Dram. Author
Oskar Friedmann Novellist [sic]
Paul Wertheimer Poet
Richard Wengraf Journalist
Arnold Schönberg Composer
Jakob Wassermann Poet & Novellist [sic]
My dear Will,
You’ll receive a letter very soon. Above are some of my companions
here to whom my letter contains references.
Yours
Ed. F.
Notes
Edward Falck wrote (in English) to his friend, visual artist William Clarke
Rice (1875–1928), in New York. His twelve companions each signed the
15
L e t t e r s b e f o r e 19 0 0 15
postcard. Falck then added the professions (italicized) of the twelve friends.
Spellings and abbreviations are Falck’s.
Falck initially wrote “about whom” but crossed off “about” and replaced it
with “to.”
Paul Wertheimer (1874–1937), Viennese-born lawyer, journalist, and poet.
Richard Leo Wengraf (1875–1923), Viennese writer, translator, and publisher.
Biographies for Jacques Fränkel, Oskar Friedmann, Leo Hirschfeld (Leo

Feld), and Walter Pieau follow below.
See ASJ, 306–7.
14 May 1899
To: Editor, Neues Wiener Tagblatt
Dear Editor,
With respect to the Friedmann-Kraus affair, in which my name was also
mentioned, I request that you accept the following clarification: Upon
hearing of the sudden attack on Mr. Kraus when we were in the cof-
fee house, Mr. Pieau and I hurried to the police station to testify, that,
as the patrons and waiters had told us, he had been attacked by seven
men. We did this because we had felt ourselves obligated to do so given
the particular sympathy we had felt for him and, understandably, were
angry about such an obvious attack. It was from us and from no other
source that the police, and then also the public, learned that the attacker
had been accompanied by seven men. Now however, I have been assured
most definitely that Mr. Friedmann was accompanied by only two men,
and since I have no reason to doubt the reliability of the gentlemen, I ask
16
you to take note that we ourselves were not eyewitnesses, and that the
guests and waiters, who had given us the number seven, may have gone
too far in their statements.
Respectfully, Arnold Schönberg
Notes
Oskar Friedmann (1872–1929), author, librettist, director, and actor.
Karl Kraus (1874–1936), writer, journalist, satirist, essayist, playwright, poet,

and sometime actor. In 1899 he founded the journal Die Fackel which he pub-
lished until his death in 1936. Die Fackel was one of the central venues for
the discussion of artistic matters in Vienna in the first third of the twentieth
century.
Enraged by merciless criticism of his play Das Dreieck in the April 1899 issue
of Die Fackel, Oskar Friedmann physically attacked and beat Kraus at the
Café Imperial in Vienna in the evening of 10 May 1899. In the ensuing legal
proceedings, four people were convicted and sentenced: Friedmann and Felix
Adler were sent to jail and Willi Handl and Arthur Kahane were fined. Kraus
addressed the incident in the May 1899 issue of Die Fackel. See EYBL-WEG,
252–3 and ASJ, 326–8.
Walter Pieau (1878–?), opera singer and close friend of Schoenberg. Pieau
served as Schoenberg’s godfather when he converted to Protestantism on 25
March 1898. He also performed Schoenberg’s music: together with Alexander
Zemlinsky, he performed some of Schoenberg’s songs at an Ansorge Society
concert in Vienna on 11 February 1904.
II
Letters, 1900 to 1901
[1900]?
Porzellangasse 53
Wien IX
with postscript by Alexander von Zemlinsky
To: Karl Redlich
Dear Mr. Redlich!

I believe it would be best to write you about what I have just learned.
Mr. Léon seems to be setting out on a completely wrong path with respect
to the production of the operetta. As Zemlinsky and others have con-
firmed, he is, for example, demanding the engagement of a completely
unqualified singer—Miss Naday—who it seems is completely capable of
driving a work into the ground. Also in other ways, his preconditions
are so inappropriate that Dir[ector] Müller does not even want to hear
anything more about a performance.
I consider it important, therefore, to let you know what Zemlinsky
thinks about this. He thinks that it would be absolutely important and
17
18
necessary that the piece be performed this year (because of its topical con-
tent*) and that its premiere performance must be in Vienna (because of the
quite Viennese character of the work). Given the stubbornness with which
Mr. Léon apparently acts, however, one might worry that he will completely
break with the management and then this year there will be no performance
after all. Whether we will have an operetta theater in Vienna next year is,
however, not certain, just as it is uncertain that it will have better [perform-
ing] forces. Mr. Léon is of the opinion that much is dependent on the singer
for the Princess, but this is nonsense since this is a smaller role and in any
event can be filled respectably. By contrast, he has superb [performing]
forces for the other principal roles: Dirkens, Bauer (the hunter), Meister (the
Prince) who is excellent. Greißenegger as Faun, certainly excellent, and the
part of Serenissimus could also be filled. Besides, he can rely on the qual-
ity of his work. An inferior work cannot be saved even by the best perfor-
mance: however, a strong work cannot be overly harmed, even by the failure
of one or another part. He also should not forget that it is his first work and
that after all he immediately found a first class theater that will perform it
in a first class city. That is no small matter and not every composer has that
good fortune.
I hope you will appreciate these reasons and that your influence can
be brought to bear so that he will not miss a good chance because of fool-
ish obstinacy.
With warm greetings,

Compliments to your wife,
Your,
Arnold Schoenberg
* thoughts about the Serenissimus character are in the air

[Postscript by Alexander von Zemlinsky]
If I might also give advice: exert all of your considerable influence on
Mr. V Léon that without qualification he grants permission for the
performance of the operetta. The performance will be splendid; I will
do everything possible to contribute to that; he will never get better
19
L e t t e r s , 19 0 0 –19 01 19
performers for a first performance. The operetta can and must be per-
formed first only in Vienna. Push for this, and soon! If the premiere is
over on Sunday, it is already too late for influence of this sort. It must
happen in the coming days. You can count on certain success.
With sincere greetings,

v. Zemlinszky
Notes
Under discussion is the operetta Die verwunschene Prinzessin, music by

Eduard Gärtner, libretto by Viktor Léon. Schoenberg may have been involved
in the production of this work as an orchestrator. The operetta was premiered
at the Carl Theater, Zemlinsky conducting, on 4 January 1901. Given the
date of the premiere, it is likely that this letter was written sometime in 1900.
Redlich had good relationships with both Gärtner and Léon. See Schoenberg’s
letter to Josefine Redlich of 18 September 1902; EYBL-WEG, 246–7, and ASJ,
299–301.
Carl Redlich (1860–1918), government architect and advisor, and art patron,
to whom Schoenberg dedicated his Six Songs, Op. 3. Redlich is featured
in an amusing photograph (PH 1386 in the ASC photo archive) entitled
“Schrammel-Quintett.” Pictured are Louis Savant (horn), Fritz Kreisler (vio-
lin), Arnold Schoenberg (cello), Eduard Gärtner (violin), and Carl Redlich
(wind instrument) (see Figure 2.1).
Eduard Gärtner (1862–1918), Vienna-based singer, voice teacher, and com-

poser. He performed songs of Schoenberg in a number of concerts. See
EYBL-WEG, 247–50.
Viktor Léon (born Victor Hirschfeld, 1858– 1940), librettist. His credits
include more than fifteen libretti, including co-authorship of the libretto to
Franz Léhar’s Die lustige Witwe (1905).
Leopold Müller (1844–1912), director of the Carl Theater in Vienna.

20
The makeup of the cast for for the operetta differed considerably from the
recommendations of Schoenberg and Zemlinsky. See Die Neue Freie Presse,
4 January 1901 (morning edition), 13.
Katharina von Naday, opera singer. She was not included in the cast.
“Greiβenegger” could not be identified.
Karl Meister (1875–1945), tenor at the Theater an der Wien. He sang the role
of “Jäger” in the performance.
“Dirkens” may be Annie Dirkens (1869–1942), German-born operetta singer

who was active at the Carl Theater. She was not included in the cast.
Willi Bauer (1863–1931), Austrian-born tenor, who sang at the Carl Theater.
He sang the role of “Der Prinz” in the performance.
The footnote (“thoughts about the Serenissimus character …”) and the aster-
isk are written in pencil (the rest of the letter is written in ink).
Alexander von Zemlinsky (also spelled Zemlinszky, 1871– 1942), Austrian-

born composer, conductor, and pianist, and (as of 18 October 1901) Schoenberg’s
brother-in-law. (A more extended biographical note appears below.)
The theater under discussion was the Carl Theater where Zemlinsky was the
conductor and Leopold Müller the director. The Carl Theater was founded
in 1847, located in the Leopoldstadt, and over the years saw many impor-
tant premieres including works by Franz von Suppé, Franz Lehár, and Johann
Strauss Jr. At the time of this letter, it was the favored location in Vienna for
performances of operettas. Closed in 1929 for financial reasons, the building
was largely destroyed in a bombing raid in 1944.
21
L e t t e r s , 19 0 0 –19 01 21
Figure 2.1
“Schrammel” Quintet. From left to right: Louis Savant (horn), Fritz Kreisler
(violin), Arnold Schönberg (cello), Eduard Gärtner (violin), and Carl Redlich (wind
instrument) in Payerbach, 8 July 1900. Courtesy of the Arnold Schönberg Center.
29 May 1901
From: R. v. Waldheim, Jos. Eberle & Co.
Seidengasse 3-9
Wien VII/1
To: [Arnold S]chönberg
Wien
We confirm, with thanks, the receipt of your letter of the 27th of this
month, and respond respectfully, that the production of only the 100
sheets of music paper that you request would be much too expensive. In
order to introduce this type of paper, it would be absolutely necessary to
have a minimum run of several thousand sheets, and we do not believe
that customers would be found for that amount.
Yours truly,
[illegible signature]
R. v. Waldheim Jos. Eberle & Co. [handstamp]
22
Notes
The upper left quadrant of the page has been cut away, leaving only the Jos.
Eberle & Co. half of the letterhead. On the back of the letter, Schoenberg
wrote out a list of instruments (4 pic., 4 Fl., 3 Ob., 2 Engl. H., etc.). This is a
preliminary list of the instrumentation for Gurrelieder and the present letter
is an answer to Schoenberg’s attempt to order special music paper for it. See
ASSW, Vol. 16, part 3, 82–3. On the front of the letter, there are some doodles
and exercises in calligraphy in Schoenberg’s hand.
Waldheim-
Eberle, Viennese printing, lithography, and music engraving
company.
[2 June 1901]?
From: Felix Salten
Jung-Wiener Theater
Wien
To: Arnold Schönberg
Honored Sir,
I await you tomorrow (Wednesday) between 4:30 and 5:00 p.m. at the
Theater an der Wien.
Most sincerely,
Felix Salten
Notes
The letter is dated; however, the date given is in contradiction to the text of the
letter. 2 June 1901, was a Sunday, not a Tuesday.
23
L e t t e r s , 19 0 0 –19 01 23
Felix Salten (born Siegmund Salzmann, 1869–1945), author, critic, and libret-
tist, active in the Young Vienna [Jung-Wiener] Theater movement. His best-
known work is Bambi (1923), which became the basis of the animated film by
Walt Disney (1942). Salten fled Vienna in 1938 after the Anschluss, moving to
Switzerland where he lived until his death in 1945.
There are drawings, doodles, and sketches by Schoenberg on both sides of

Salten’s card.
7 June 1901
From: Ernst von Wolzogen
Savoy Hotel
Dresden
Dear Sir!
With many thanks I confirm the receipt of your compositions. Although we
have already performed Falke’s “Nachtwandler” in a setting by Rot[h]‌stein,
I would very much like to acquire yours—which I find to be highly original
and musically attractive—for our winter season. According to our remu-
neration plan, for each performance you would receive 5% of the authors’
portion for the evening which constitutes 10% of the gross receipts, with
the account being settled each month—in exchange for which you must
grant us exclusive performing rights for 1 year.
If you agree with this, I will send you immediately the signed
contract form.
I also find the two trifles by Hugo Salus to be musically very well
done, but I do not believe that much effect is to be gotten from them.
24
Nevertheless, I would be grateful if you would leave the scores with me for
some more time so that I might try them out with our singers.
With deep respect I look forward to further submissions,
Sincerely,
Ernst von Wolzogen
NB Would you be interested in the enclosed poem? But please return the
manuscript, as it is the only copy.
Notes
Ernst von Wolzogen (1855–1934), critic and author. He wrote the libretto
for Richard Strauss’s Feuersnot. He was also the founder of the Buntes
Theater (Überbrettl) and hired Schoenberg as its music director beginning in
December 1901.
Gustav Falke (1853– 1916), German writer. Much of his literary output
was lyric poetry inspired by Detlev von Liliencron, Richard Dehmel, and
Paul Heyse.
James Rothstein (1871–1941), German composer and choral conductor. Born

in Königsberg (today, Kaliningrad), he studied composition in Berlin with Max
Bruch. He was involved in the Jüdische Kulturbund in the 1930s. In 1941 he
was deported to the Ghetto in Lodz where he died soon after his deportation.
Hugo Salus (1866–1929), Czech-born writer and physician of Jewish origins.

He was one of the most prominent exponents of German literature in Prague.
The “trifles” (“Kleinigkeiten”) to which Wolzogen refers are Schoenberg’s

songs “Der genügsame Liebhaber” and “Einfältiges Lied,” which are settings
of poems by Hugo Salus and which are included in Schoenberg’s Brettllieder.
Schoenberg was eventually sent a contract for the songs “Nachtwandler” and
“Jedem das Seine” but not for the Salus settings.
It is not known what poem von Wolzogen sent Schoenberg together with this
letter; no extant work of Schoenberg uses a text by von Wolzogen.
25
L e t t e r s , 19 0 0 –19 01 25
22 July 1901 [postmark]?

From: Karl von Levetzow
Buntes Theater
(Überbrettl)
G. m. b. H.
Alexanderplatz
Berlin
Porzellangasse 53
Wien IX
Dear Mr. Schönberg!

Acting on behalf of Wolzogen, who will be at the seashore for 14 more
days, I have opened your letter and was very surprised to infer from it
that you had not received an answer. Please ascribe this negligence to the
disruptions of the trip and forgive us. W[olzogen] very much likes your
beautiful, interesting compositions and they will be performed in the fall
for the new season.
In any event, I am very happy that in this way I have once again
received a sign of life from you and am with
Warmest greetings,
Your,
v[on] Levetzow
Notes
The letter itself is undated. There is an envelope associated with this letter
and it has a postmark of 4 August 1901. However, there is another letter
from von Levetzow which is also undated, and which has an envelope with
a postmark of 22 July 1901 (see the letter dated 4 August 1901, below). On
the basis of those envelopes the present letter was assigned the date 4 August
26
1901 and the other letter was given the date 22 July 1901. We believe that the
two envelopes were mistakenly switched. The internal contents of these two
letters as well as the content of Wolzogen’s letter of 7 June 1901 give strong
support to this hypothesis. In his letter Wolzogen states that if Schoenberg
agrees with the terms he outlined, a contract will be sent immediately. In the
present letter Levetzow apologizes for having failed to answer Schoenberg’s
letter and indicates that Wolzogen very much likes Schoenberg’s “beautiful,
interesting compositions” which he states “will be performed in the fall for
the new season.” But if the contract had already been sent, why would he
mention this?
Karl Freiherr von Levetzow (1871–1945), German writer. Levetzow held a

position in the management of the Buntes Theater and wrote cabaret texts.
Schoenberg had used poems by Levetzow as the texts for his Two Songs, Op. 1
(1898). Schoenberg met Levetzow in 1898.
Written on E. v. Wolzogen Buntes Theater stationery.

27
L e t t e r s , 19 0 0 –19 01 27
2 August 1901
From: Felix Salten
Jung-Wiener Theater
Theater a. d. Wien
Wien
Porzellangasse 53
Wien IX
Dear Sir,
I regret to have to inform you that I cannot fulfill your request at this
time. Because of our circumstances, requests of this sort can be consid-
ered only on the day on which the rehearsals begin.
Respectfully,
Most sincerely yours,
Felix Salten
Notes
No evidence exists as to the nature of Schoenberg’s request.
Theater an der Wien, an important cultural landmark in Vienna. Built in

1801 for Emanuel Schikaneder (Mozart’s librettist for Die Zauberflöte) and
his troupe, it has been the site of many important premieres. Perhaps the most
notable premieres were of Beethoven’s Fidelio, his Symphonies 2, 3, 5, and 6,
as well as the Violin Concerto and the Choral Fantasy. At the time of the pres-
ent letter, the Theater an der Wien was used for the performance of operettas.
28
4 August 1901 [postmark]?

From: Karl von Levetzow
Buntes Theater
Überbrettl
Berlin
Componist
Porzellangasse 53
Wien IX

Since Mr. von Wolzogen is currently on a trip to Berlin again, I have
taken care of your affairs. Enclosed is the contract for “Nachtwandler”
and “Jedem das Seine.” Since you probably also would prefer to have
the other two back for [the Theater an der] Wien and Salten, Mr. von
Wolzogen asks that you excuse the belated resolution of this matter.
While on his trip he long ago gave instructions to write to you, and it
is due to the forgetfulness of the secretary at that time that you have
remained so long without news.
I have only belatedly heard of our fiasco in the Bösendorfersaal. If
you have the reviews, I would be very interested to see them. You are quite
right that the public is a dumb animal. But I am sufficiently detached
from this so that I cannot get upset about the sympathies and antipathies
of the good little animal.
To the contrary, I just enjoy myself and I recommend that you do
the same.
Otherwise, warm greetings to you and our

common friends from your
v. Levetzow
29
L e t t e r s , 19 0 0 –19 01 29
p. s. At the moment, the two songs, “Einfält[iges] Lied” und “[Der]
gen[ügsame] Liebhaber,” are at the copyist, but we will arrange for them
to be returned to us today, and will then rush them directly to you.
p. s. II With regards to the publishing of the two pieces we accepted, we

ask you to wait for a while because we intend to found our own publish-
ing company!
Notes
This letter had been assigned the date 22 July 1901. See the previous letter by
Levetzow for the editors’ rationale for changing the chronology of the two
letters.
The letter is written on E. von Wolzogen’s/ Buntes Theater/ Ü berbrettl/

G.m.b.H. stationery, with a logo in the upper left corner of a person playing
the guitar under an anthropomorphized sleeping moon. Schoenberg made a
doodle on the back of the envelope.
The letter suggests that Schoenberg’s “Nachtwandler” and “Jedem das Seine”
(based on texts from Deutsche Chansons, edited by Otto Julius Bierbaum,
Berlin and Leipzig, 1900) were originally composed for Salten’s Jung-Wiener
Theater “Zum lieben Augustin” and not for Wolzogen’s Buntes Theater. See
ASJ, 313.
30
28 August 1901
From: Josefine Redlich
Reichenau [an der Rax]
N[ieder]Ö[sterreich]
Porzellangasse 53
Wien IX
Esteemed Mr. Schönberg!

Since I am already out of bed again and feel better, I would be happy if
you would visit me. It does not matter when, since I do not yet leave the
house and only sit in the garden.
With best greetings,

Josefine Redlich
Notes
Josefine Redlich (née Berger, 1868—1954), wife of government architect Carl

Redlich. The Redlichs were among Schoenberg’s earliest supporters.
Reichenau, an der Rax, Niederösterreich, a popular summer resort for

Viennese nobility and government officials, approximately fifty miles south-
west of Vienna.
31
L e t t e r s , 19 0 0 –19 01 31
30 September 1901
Monday
From: Adalbert von Goldschmidt
Porzellangasse 53
Wien IX

Indeed yesterday with Wolzogen everything was properly arranged once and
for all. I am working every day on trimming and the like, and will be able
to invite you to come to see me in the first days of the coming week or even
Saturday of this week so that I can give you the piano reduction and the score.

Respectfully,
Adalbert von Goldschmidt
Notes
The letter is not dated, but the envelope was postmarked 30 September 1901
by both the originating and receiving post offices. Although von Goldschmidt
did not date the letter, he did write “Montag” at the top of the letter and 30
September 1901 was indeed a Monday. Thus it appears that the letter was
written, mailed, and received all on the same day. This was possible because
the letter was sent by pneumatic post.
Adalbert von Goldschmidt (1848–1906), Viennese composer. He supported

young composers and often hosted musical salons at his parents’ home. A fer-
vent Wagnerian, von Goldschmidt composed over 100 songs, several operas, and
the operetta Die fromme Helene (1897) after Wilhelm Busch. Under discussion is
Schoenberg’s arrangement of Die fromme Helene for Wolzogen’s Buntes Theater.
Schoenberg made some doodles on the address side of the letter.

32
1 October 1901 [postmark]

Wien
Porzellangasse 53
Wien IX
Dear Sir,
Your brief absence came in handy. The work, trimming and refining of
many pieces etc., is huge, and I need a few more days.
Therefore, I will write you a letter on Wednesday or Thursday of next
week in order to request that you kindly take the finished work from me.
With warmest greetings,

2 October 1901
From: Jacques Fränkel
Hotel Wande
Petersplatz
Wien I
To: Arnold Schönberg,
Tonkünstler
Porzellangasse 53
Wien IX
Dear Arnold,
Having received, as of today, no further communication regarding the
trip to Pressburg, hopefully I can conclude that you do not need my
33
L e t t e r s , 19 0 0 –19 01 33
testimony. I would, of course, keep my promise, if it were absolutely

necessary. But it would be very difficult for me to travel to Pressburg
next Monday, because I have very much to do on Monday and Tuesday
for Karl Kraus whose magazine is appearing again. If I cannot work on
Monday, it would cost me a lot of money, and because of my diminished
income in the summer, I need that money very badly just now. Thus
if you can do without me coming along with you, I beg your pardon
for this belated cancellation. In any event, write me your answer before
Friday.
Warm greetings,
Fränkel
Notes
Jacques (or Jaques) Fränkel (1871–1945), writer. He was a friend of Karl Kraus
and contributed articles on criminology, pedagogy and sexual pathology
among other topics to Die Fackel.
Fränkel addresses Schoenberg with “Du” and he is included in Schoenberg’s

address book.
Pressburg is the German name for Bratislava, 60 km east of Vienna.
At issue is Arnold and Mathilde’s civil wedding (standesamtliche Trauung)

on Monday, 7 October 1901. Fränkel was invited to be the best man. The
religious ceremony was held on 18 October 1901 at the Lutheran Church,
Dorotheengasse, Vienna. See ASJ, 312.
The letter was sent registered mail via pneumatic post.
Schoenberg made some doodles on the bottom right of Fränkel’s letter.

34
2 October 1901
From: Waldemar Wendland
Hotel Neuhausen
Brünn
To: [Arnold Schönberg]
Dear Sir!
Regrettably, it was not possible for me to meet you personally in Vienna,
and to ask you whether you might possibly be willing to orchestrate my
pantomime Die beiden Pierrots which was performed in Vienna. I know
that you are an expert in this field and I know of no one else to whom
I would rather entrust this task. Unfortunately, I do not have the time
to do this myself as I have received various new commissions and these
compositions need to be finished in a relatively short time.
If you were to fulfill my request, if you were able to get the work ready
by the end of this month (you have already heard it), and if you were to
be satisfied with a fee, then, in consequence, I could stipulate that for this
orchestration I could pay you 10% of my receipts for all the performances
at home and abroad (for example, the Pantomime has been accepted for
performance by Severin in Paris).
Please write immediately upon receipt of this to me in Brünn, Hotel
Neuhausen, whether you are willing to accept my conditions and whether
you can hold to the time limit. I would then send you the piano-vocal
score immediately.
In the hopes of a positive response from you as soon as possible, I am
with many greetings,
Most sincerely,
Waldemar Wendland
Notes
Waldemar Wendland (1873–1947), German composer. He studied composi-

tion with Engelbert Humperdinck. He was one of the composers active at the
Überbrettl Theater.
35
L e t t e r s , 19 0 0 –19 01 35
It is not known whether Schoenberg accepted the job of orchestrating Die

beiden Pierrots, but in any event this letter provides some interesting back-
ground to the history of Schoenberg’s Pierrot Lunaire.
The text for Die beiden Pierrots was by Karl von Levetzow. See the review
of the performance at the Überbrettl Theater in Neues Wiener Tagblatt,
26 September 1901, p. 8.
Brünn is the German name for Brno, Czech Republic.
7 October 1901 [postmark: 8 October 1901]

Monday
Opernring 6
Wien
Porzellangasse 53
Wien IX
Dear Sir!
I am now done with my cutting and arranging and look forward to your
kind visit in order to hand over all of the material to you and to look
over the piano score arrangement with you once again. I expect you then
Wednesday or Thursday when you return from your trip. I am available
daily after 3:00 p.m. and request that you let me know a day in advance
so that we do not miss each other.
With kind regards,

Sincerely yours,
36
Notes
In JASI-PI, the date for this letter is incorrectly given as 8 July 1901. However,
the postmark is clearly 8 October 1901 (and appears twice). Von Goldschmidt
did not date the letter, but he did write “Montag” at the top of the letter. In
1901, 7 October was a Monday. Therefore, it appears that von Goldschmidt
wrote the letter on Monday, 7 October 1901, and posted it the following day.
He sent it by a very fast method of delivery (pneumatic post) to make it pos-
sible for Schoenberg to meet with him that same week (“I expect you then
Wednesday or Thursday.”)
Under discussion is Schoenberg’s arrangement of Die fromme Helene for

Wolzogen’s Buntes Theater.

From: Walter Pieau
Villach
Tonkünstler
Porzellangasse 53
Wien IX
My dear Arnold!
May one congratulate you already? All is very well with me. Greet Miss
or Mrs. Mathilde, the Zemlinskys, Bodanzki, and Weigl, and so forth,
Theumann.
Greetings to you.
Your,
Pieau
37
L e t t e r s , 19 0 0 –19 01 37
Tomorrow I sing Sylvio [Silvio] in Bajazzo [Pagliacci by Ruggero

Leoncavallo]. This is my 68th appearance.
Notes
In JASI-PI, this letter was mistakenly given the date 9 October 1901. There
is a postmark with the date 9 October 1901 in the lower left-hand corner,
but that is the “bestellt” postmark applied in Vienna when it was dispatched
for delivery. The Villach Bahnhof cancellation, though smudged, is certainly
8 October 1901.
The letter is written on a picture postcard depicting the central square of

Villach. Schoenberg drew a small doodle on the picture.
Pieau’s congratulations were in response to Schoenberg’s civil wedding

ceremony on 7 October 1901.
Artur Bodanzky (also spelled Bodansky, 1877–1939), conductor.
Karl Weigl (1881–1949), composer.
More detailed biographical notes for Bodanzky and Weigl appear later.
Samuel Siegfried Theumann (1872–1940), violinist and conductor. As a mem-

ber of the Fitzner Quartet, Theumann performed on the viola in the premiere
(on 20 December 1898) of Schoenberg’s D major String Quartet (1897) at the
Tonkünstlerverein in Vienna. See EYBL-WEG, 242–3.
38
14 October 1901
From: Rudolf Goldschmied
Gr[osse] Sperlg[asse] 31
3 St[oc]k. Thu. 31
Wien II
Dear Arnold!
I have just received the announcement of your upcoming wedding and
ask that you accept my and my wife’s warmest congratulations.
Our congratulations are not, however, mere obligations of etiquette,
but rather, originate from a genuine warm concern, which as far as my
person is concerned, I probably do not need to affirm, and therefore I will
not let myself be put off merely with a few printed words. I have in mind
that, without fail, you and your dear wife will come to see me and I will
not be dissuaded by any of the customary excuses. If I know you, you will
carry this letter in your pocket for a few days before you gather yourself
together to say yes or no, therefore I appeal to the certainly better insight
of your dear wife in that I request that you respond by postcard confirm-
ing when you will come to us. It would be best for us if you would choose
to come on Sunday afternoon, but, of course, I would agree to any other
day from 7 p.m. and only request timely notice.
With warm greeting,

Your,
Rudolf
Notes
Rudolf Goldschmied (1875–1944), Arnold’s first cousin on his mother’s side

(Malvina’s brother). After the Anschluss, Goldschmied escaped to New York
where he lived until his death.
Goldschmied addresses Schoenberg with “Du.”

39
L e t t e r s , 19 0 0 –19 01 39

From: Walter Pieau
Stadttheater
Klagenfurt
To: Arnold Schönberg, Componist

Porzellangasse 53
Wien IX
Dear friend!
My most heartfelt congratulations to you and your dear wife on the
occasion of your upcoming wedding. Unfortunately I could not write
earlier, since, because of the rehearsals, I almost do not leave the theater.
I am on stage today for the twelfth time. All is well with me; I only hope
the same for you. I am keeping a letter in reserve. Greetings to you and
your dear wife.
Yours
Pieau
Also give greetings for me to Mrs. von Zemlinsky, Mrs. Walfisch, Miss
Norden, Mr. Zemlinsky, Walfisch, Bodanzki [sic], Theumann, Weigl,
Hofmann, Heller, and so forth. But just send me a postcard as a sign that
you have not completely forgotten me.
Notes
In JASI-PI this letter is incorrectly dated 15 October 1901. The postmark is

clear: 14 October 1901.
The letter is written on a picture postcard, showing a scene of Klagenfurt’s

central square.
No biographical details are available for Norden, Walfisch, and Heller.

40
The “Hofmann” [sic] mentioned by Pieau could be Rudolf Stefan Hoffmann

(1878–1938). For a biographical sketch of Hoffmann, see the notes to the letter
dated 25 March 1902.
Clara Zemlinszky (née Semo, 1848–1912), mother of Alexander Zemlinsky

and Mathilde Schoenberg; mother-in-law of Arnold Schoenberg.
Karoline Walfisch, née Enzinger (1849–1937), either a friend or relative of

Zemlinsky’s mother.
16 October 1901
Porzellangasse 53
Wien IX
Dear Mr. Schönberg,

I look forward to your visit on Monday with pleasure; I ask only that
instead of at 4:30 p.m. we meet at 5:30 p.m. because I am busy until then.
Sincerely yours,
Notes
16 October 1901 was a Wednesday. Thus Goldschmidt was proposing that

they meet on 21 October 1901.
41
L e t t e r s , 19 0 0 –19 01 41
20 October [1]‌901
From: Friedrich Eichberg
Ingenieur
Wien
Porzellangasse 50 [sic]
Wien IX
Dear Schönberg!
I have been in possession of the announcement of your wedding for a num-
ber of days, and would have extended my best wishes long ago, had I not
been prevented from writing you myself by an injury to my right hand.
I hope that even in this way you accept my wishes that everything
would go quite well for you and I remain with best wishes
Your old
Fritz Eichberg
Regards!
p. s. Since I have written this letter for my brother, I also do not want to
neglect to extend to you my warmest congratulations.
Elsa Eichberg
Notes
Friedrich Eichberg (1874–1941), railroad and electrical engineer and a child-

hood friend of Schoenberg. See ASJ, 272–3.
He addresses Schoenberg with “Du”; Elsa Eichberg addresses him with “Sie.”
After the Nazis took power, Friedrich Eichberg succeeded in escaping to the
United States where he lived until his death in 1941.
Elsa Karras (née Eichberg, 1881–?) was Friedrich’s sister.

42
22 October 1901
From: Alexander Rosé
Concessionirtes Concertbureau
Kärntnerring 11
Wien I
Dear Sir!
Your sextet is being rehearsed today and has neither been accepted nor
rejected.
Before he decides, my brother must speak with you, in order to give
you his opinion in person. I believe that it will then be possible to come
to a good result.
If it is agreeable to you, I would ask you to visit my brother in the
coming days (8–9 a.m.) in his residence, III district, Metternichgasse 5,
third floor.
With respect
Sincerely,
Alexander Rosé
Notes
Alexander Rosé (born Rosenblum, 1858–1904), concert agent. He was the

elder brother of Arnold Rosé.
Arnold Rosé (born Rosenblum, 1863–1946), Romanian-born violinist. Rosé

was one of the most important performing musicians in Vienna. He was the
concertmaster of the Vienna Philharmonic and the lead violinist of the Rosé
Quartet, which he founded with his brother, Eduard. In 1902 he married
Gustav Mahler’s sister Justine. In 1938, after the Anschluss, he fled to London
where he remained until his death in 1946. His daughter, Alma, was also a
professional violinist. She is, perhaps, best known for the orchestra she led in
the Auschwitz concentration camp.
43
L e t t e r s , 19 0 0 –19 01 43
23 October 1901
From: Ernst von Wolzogen
To: [Arnold] Schönberg
Porzellangasse 53
Wien [IX]
[telegram]
Ressner is sending you two hundred marks tomorrow by wire.

Wolzogen
Notes
Franz Ressner (1864–1948), Austrian playwright, author, and actor. He wrote

under the pseudonym “Carl Roessler.”
In 1901 there were 4.198 Marks per US dollar. Thus 200 Marks were equiva-
lent to $47.60 US. In 2013, that would be approximately equivalent to $1,400
(but see the Preface and Editorial Notes for cautions on this topic).
25 October [1]‌901
From: Josefine Redlich
Wien
Porzellangasse 53
Wien IX
Esteemed Mr. Schönberg!

I would very much like to get to know your wife, and I am certainly
at home Sunday before noon or Wednesday and Thursday the 31st the
44
whole afternoon. I hope to see you soon, with best greetings to your
young wife and you.
Your,
Josefine Redlich
Notes
25 October 1901 was a Friday. Thus the invitation was for Sunday, 27 October
1901 or the following Wednesday or Thursday (30 or 31 October 1901).
25 October 1901
From: Felix Salten
Jung-Wiener Theater
Wien
Porzellangasse 53
Wien IX
Dear Sir!
I thank you very much for your most instructive lines, and request that
you do something more, and send me the addresses of Mr. Schenker, and
Mr. Posa.
Sincerely,
Felix Salten
Notes
The condescending tone of Salten’s letter prompted a furious response from

Schoenberg. At some point after the receipt of this letter, Schoenberg wrote a
draft of an angry reply (see below).
45
L e t t e r s , 19 0 0 –19 01 45
Schoenberg was involved in the preparations for the first show at Salten’s Jung-
Wiener Theater “Zum lieben Augustin” on 1 November 1901. See ASJ, 314–15.
Oskar C. Posa (1873–1951), Austrian composer. A more extended biographi-

cal note appears later.
Heinrich Schenker (1868–1935), Austrian musician and theorist. A more

extended biographical note appears later.
after 25 October 1901
To: Felix Salten
I can understand the tone of your letter only if I assume that either in your
circles in the theater and in editorial offices this is how one behaves; or,
what seems more likely, that you alone don’t know how one interacts with
other people. It is however also possible, third, that you are not accus-
tomed to distinguish yourself from the authors with whom you interact
in artistic confidentiality or fourth, that for you, artistic motives can never
influence business. In the last two cases my naïve trust is at fault; in the
first two cases, your education. You, however, confuse the third for the
fourth case; I have, to this point, let my artistic reasons be the guide. You,
however, assume that I, like you, make no significant distinction between
the third and fourth cases and answer my letter in an ill behaved manner.
Notes
Schoenberg wrote this draft in response to the letter dated 25 October 1901
that he received from Salten (see above). Schoenberg wrote his text on one of
the blank pages of Salten’s letter. It is not known whether he completed and
mailed the letter.
46
31 October 1901
Kärntnerring 11
Wien I
Porzellangasse 53
Wien IX
Dear Sir!
Your sextet is scheduled for 18 March (the last evening), but without
printing of the poem. That is totally impossible!
Alexander Rosé
Notes
The Rosé Quartet’s final concert of the 1901–2 season was on 18 March 1902 and
included the premiere of Schoenberg’s Verklärte Nacht. Evidently Schoenberg
asked for Richard Dehmel’s poem to be printed with the concert program.
[October–November 1901]?

I forgot to ask you that, before sending the music, you might check the
page numbering again to see if perhaps here or there a group of pages
47
L e t t e r s , 19 0 0 –19 01 47
[Bogen] is missing or split up. And the [rehearsal] letters must also con-
tinue on into the 2nd act. Thus, whether the pages continue in order
from page 1—etc., etc.
You understand me, right? Therefore, Monday, 4:00 p.m. I have just
written Violin on your behalf.
Best greetings,
Your Adalbert Goldschmidt
Please keep the receipt from the post office and send the package so that
it does not go to Violin through customs, but rather by post. Otherwise
it will take 14 days. One has to decide the details at the post office and tell
them. Greetings and thanks.
Notes
There is no date on the letter and the envelope has not survived. But from
the context of other letters from Goldschmidt (see the letters dated 16
October 1901 and 8 November 1901), it seems likely that this letter dates from
late October or perhaps early November 1901. In this letter, it is clear that
Schoenberg had finished the work of arranging von Goldschmidt’s operetta
Die fromme Helene and is preparing to send it from Vienna to Moriz Violin
at Wolzogen’s Buntes Theater in Berlin. That the letter was to be sent from
one country (Austria) to another (Germany) is clear from the discussion in
the postscript about customs [Zollamt]. That Schoenberg was still in Vienna
is also clear from the context and thus confirms that this letter precedes his
departure for Berlin in December 1901.
Moriz Violin (1879–1956), Austrian-born pianist. He was a close friend of

Heinrich Schenker. At the time of this letter, he held a position at the Buntes
Theater. He emigrated to the United States during the Nazi era. The proper
spelling of his first name, though unusual, is as here: “Moriz.”
48
[November 1901]?

Violin wrote me today on behalf of Wolzogen [stating that] if you would
consider an engagement with a salary of 300 Marks per month and with
larger sums of money through royalties, then under those conditions he
would be ready for an engagement.
Greetings.
Adalbert [von] Goldschmi[dt]
Notes
In the absence of either a date on the letter or a postmark (no envelope sur-
vives), we have assigned a date of November 1901 based on the contents of
the letter. Compare the present letter with the letter from Moritz Muszkat
dated 27 November 1901 in which Muszkat formally offers the engagement
at the Buntes Theater to Schoenberg at a salary of 300 Marks per month. This
was approximately $71.40 per month. In 2013 dollars this would be roughly
equivalent to $2,104 per month.
49
L e t t e r s , 19 0 0 –19 01 49
4 November 1901
11 Kärntnerring
Wien I
Dear Sir!
As I anticipated, an alteration of our program is not possible, as much
as we want to take your wishes into account. Your sextet cannot be per-
formed before 18 March. I request now your prompt response by return
mail as to whether you agree with this date. In the expectation that you
will respond favorably,
I am most sincerely yours,
Alexander Rosé
Notes
Given his imminent departure for Berlin to take up his post at the Buntes
Theater, Schoenberg realized that he would not be able to be present for
the scheduled premiere of Verklärte Nacht on 18 March 1902 in Vienna.
Therefore, he apparently asked Rosé to change the date of the performance
so he could be present.
50
8 November 1901 [postmark]

From: [Adalbert von] G[oldschmidt]
Porzellangasse 53
Wien IX
D[ear] M[r]‌. S[choenberg]!

I believe it is a good idea to hire a copyist. He should tell you approxi-
mately what the total cost is, and I am writing Violin about it, so that he
gets his money in the middle of the work. I am sending another letter to
W[olzogen].
Greetings,
G[oldschmidt]
Notes
This letter (a postcard) is held in the Special Collection at the University of

Michigan. In their catalogue it is mistakenly attributed to Heinrich Jalowetz
(1882–1946). In JASI-PI this letter is misattributed or misdated in two places
(p. 25). In one entry it was given the incorrect date of 11 August 1901 and
incorrectly attributed to Jalowetz. Further down on the same page the same
letter was given the correct date, 8 November 1901, but no author was identi-
fied because the writing was judged to be illegible. We assign this letter to
Goldschmidt both because of the contents (compare this letter with the let-
ter from Moritz Muszkat to Schoenberg dated 27 November 1901) and the
handwriting. The topic of discussion here is Schoenberg’s arrangement of
Goldschmidt’s operetta Die fromme Helene for Wolzogen’s Buntes Theater.
Apparently Schoenberg needed the assistance of a copyist to complete his
work on time.
51
L e t t e r s , 19 0 0 –19 01 51
The salutation of the letter is the abbreviation: “L. H. S.” which stands for
“Lieber Herr Schönberg.”
10 November 1901
From: [David] J[osef] Bach
Karajangasse 27
Wien XX
To: Arnold [Schönberg]
Dear Arnold,
I would have visited you long ago, but I waited for an announcement
from you. As I apparently would have to wait even longer, I herewith ask
that you send me a little wish list of the things that you would like the
most. In the meantime, I send you my warmest greetings.
Yours,
J Bach
Notes
Bach may be referring to a wedding gift for Schoenberg and his wife Mathilde.
52
[after 10 November 1901]?
Friday
Porzellang[asse] 53
[Wien] IX
To: David Josef Bach
Dear Bach,
We will be here until the end of December since my engagement begins
on 1 January 1902. We are using a shipping company for the move; there-
fore it doesn’t matter if we take one more or one less item with us. Thus
if both of us take part in this silliness of gift-giving (= accepting, respec-
tively), then I would prefer it here, rather than in Berlin, so that I won’t
arrive there similarly obligated. Besides, it is probably all the same to
you, what reasons I give. You see that I have no idea how one conducts
oneself vis à vis d’une belle situation. Perhaps you can still visit me one
more time, since I would like to learn much more about Berlin. Perhaps
you can set some kind of rendez-vous. But tell me, when it would be pos-
sible for you to come visit us at midday?
Best wishes,
Arnold Schönberg
p.s. regarding Rosé’s admission ticket, I will see.
Notes
The letter is undated. Much of the letter seems to be a response to Bach’s letter
of 10 November 1901 in which Bach asked what gift he might give the newly
married couple.
53
L e t t e r s , 19 0 0 –19 01 53
27 November 1901
From: Moritz Muszkat
E. v. Wolzogens Buntes Theater
Köpenickerstrasse 67/68
Berlin
Porzellangasse 53
Wien IX
Dear Sir!
In response to the esteemed letters from you and Mr. von Goldschmidt
to Music Director Violin, we are sending you herewith 220 Marks in
bank notes; in so doing, we are paying the fee for the copyist as well as
the rest of your own fee, which includes the 200 Marks you have already
received. We request prompt confirmation of receipt.
As far as your appointment is concerned, we are ready to engage you
for a salary of 300 Marks per month, as per your agreement with Mr. von
Goldschmidt, beginning, however, on 1 January 1902. Nonetheless, you
must be ready, from the middle of next month, for a possible early begin-
ning of your engagement, should we need you earlier for rehearsals.
Kindly let us know by return mail of your agreement with the above.
With respect we sign,

E. v. Wolzogens Buntes Theater [this and the following two lines,
handstamped]
Ueberbrettl
G. m. b. H.
Moritz Muszkat [signed]
Director [handstamped]
[Enclosed] 220 Marks
54
Notes
The letter is typed on E. v. Wolzogens Buntes Theater stationery.
Moritz Muszkat was the co-director, with Wolzogen, of the Buntes Theater.
In 1901, 220 Marks was approximately equal to $52.40. In 2013 dollars that is
roughly equivalent to $1,545.
13 December 1901
From: Signatories of pledge: [Artur] Bodansky, Rudolf Hoffmann,

Walter Pieau, Hugo Riesenfeld, Otto Schick, Arnold Schönberg, Karl
Weigl, [Erich] Jacob Wolff, A[lexander] v[on] Zemlinsky, et al.
To: One another.
We here, the undersigned, today pledge to reconvene in three years—

that is, in December 1904, around Christmas—in the small loge at the
inn on Praterstrasse, 2nd District, in which place we are together today
on the occasion of the farewell party for our friend, Arnold Schönberg.
In the event of inability to attend, we pledge to give written notice of
absence (to President Weigl, Köllnerhofgasse 4, 1st District) and like the
other participants to contribute an expensive bottle of sparkling wine.
Vienna, 13 December 1901
[Signed]
Bodansky, Otto Schick, Jacob Wolff, A. v. Zemlinsky, Karl Weigl,
Arnold Schönberg, [illegible],
Rudolf Hoffmann, Hugo Riesenfeld, Walter Pieau, [illegible]
55
L e t t e r s , 19 0 0 –19 01 55
Notes
Pledge signed by participants at the farewell party for Schoenberg shortly

before his departure for Berlin. Where applicable, biographical notes are
found elsewhere.
Otto Schick could not be identified.
18 December 1901 [postmark]

From: Alexander v[on] Zemlinszky
Obere Weissgärberstrasse 16
Wien III
To: Mathilde Schönberg [salutation in the letter]

[and] Kap[ellmeister] Arnold Schönberg [address on envelope]
Wolzogens Buntes Theater
(Ueberbrettl)
Köpenickerst[rasse] 67–68
Berlin, S. O.
Dear Mathilde,
We have received your letter and your postcard; we are happy that up to
now everything has gone well. Now we are curious about how it is going
for Schönberg in his new exalted position, if he has begun already, when
and what he conducts for the first time. The boredom is not to be taken
too seriously; in a week one will find oneself in everything.
Since you have not yet told us very much about your stay in B[erlin],
the answer this time also is short because there is absolutely nothing new
to say about us. Mother is quite healthy; so is her son. The day after your
departure, Mrs. Kramer and mother visited us, also Mrs. Weigl, probably
a “condolence call”! On Saturday evening, Mrs. Kramer and her husband
will come for a visit.
56
Bogimann the “Elder” misses you so far—not! Otherwise, I know

absolutely nothing more.
I am sending Schönberg the letter for R[ichard] Strauss today. Why
were the Julihexen dropped and are now being rehearsed again? (ruined).
Schönberg should not forget to give W[olzogen] my works that you took
with you and report back to me.
Best wishes from mother, Mrs. Walfisch, and me to you both.

Alex.
What is happening with Schönberg’s compositions for W[olzogen]??
Notes
Although we have not included other letters addressed to Mathilde Schoenberg,

we include this one because the envelope is addressed to Schoenberg and
because Zemlinsky directs a question to him (“Why were the Julihexen
dropped and are now being rehearsed again?”).
Alexander von Zemlinsky (also spelled Zemlinszky, 1871–1942), Austrian-

born composer, conductor, and pianist. Zemlinsky was Schoenberg’s only
composition teacher, although the exact nature and duration of his compo-
sitional instruction has never been completely clarified. Zemlinsky was an
important figure in Austrian musical life. He held several prominent conduct-
ing positions (Carl Theater, Theater an der Wien, Volksoper, Mahler’s assistant
at the Hofoper, and Neues Deutsches Theater, Prague). He was also an active
teacher; among his students (other than Schoenberg) were Alma Schindler
(Mahler), Rudolf Stefan Hoffmann, and Karl Weigl. Although his works have
been eclipsed by those of his brother-in-law, in recent years, more and more of
his many compositions have been revived, performed, and recorded. After the
Anschluss he fled to the United States where he lived until his death in 1942.
Julihexen was a cabaret piece by Zemlinsky based on a text of Otto Julius

Bierbaum. Unfortunately, this work is lost.
“Mrs. Kramer” is probably Ottilie, Schoenberg’s sister, then married to Emil

Kramer.
57
L e t t e r s , 19 0 0 –19 01 57
“Mrs. Weigl” is probably Gabriella (Ella) Weigl (1859–1938), the mother of the
composer Karl Weigl.
Bogimann the “Elder” was probably the family dog.
Richard Strauss (1864–1949), one of the most important German composers

and conductors of the twentieth century. When Schoenberg started to interact
with him, Strauss already held leadership roles in German musical life. In 1903
Strauss helped initiate the Genossenschaft Deutscher Tonsetzer to protect the
copyrights of German composers. In 1901 he presided over the Allgemeiner
Deutscher Musikverein and became the conductor of the influential Berliner
Tonkünstlerverein to advance the music of such contemporary composers as
Mahler. He was also active as editor of the book series Die Musik.
See BWS, 1–2.

From: Alexander Zemlinszky
Wien III
To: Arnold Franz Schönberg

Kapellmeister
Ueberbrettl
Köpenick[er]strasse
Berlin S. O.
Dear friend,
Herewith I begin the Zemlinszky-Schönberg Letters, Volume 1. That the
title doesn’t sound better is not my name’s fault. But one could certainly
add a †, and even if you aren’t dead yet at least your baptismal name,
Franz, could have some appeal. I say that I begin because your 2 letters
58
are not well suited; in this exchange of letters we have to speak a bit much
of the good things that are happening for us—even though others don’t
do it—but we have to cover up megalomania, to the extent that is pos-
sible. Thus, even admitting that my Julihexen is a significant work for the
Brettl, the conducting of its performance, along with completely wrong
tempi, was not quite so striking an achievement that one could fill two
printed pages about it. We must leave the dissemination of experiences
of this sort to the Young Vienna poets.
So: great joy in the Zemlinszky household that your debut turned out
so well, that you apparently find yourself happy in your new position, and
that you already find yourself so comfortable in B[erlin].
I have long thought that W[olzogen] does not understand very much
about being the director of a theater. But this disorder in the th[eater],
W[olzogen’s] inability, has not been so bad for you. So, what is the next
thing you rehearse? When does the grand opera, Die fr[omme] Helene,
appear?
So how has it come about that you have not yet shown W[olzogen]
my pieces that you took with you? Or does he want to have nothing to
do with them? All right. The newest news: Mahler is engaged to Alma
Schindler.—

Here everything is somewhat like it was: I am orchestrating the 3rd
piece [of Der Triumph der Zeit], the Süsse Mädel could have 100 per-
formances, we’re already rehearsing Heuberger[’s operetta Das Baby].
Christmas brought me the small Walküre score from Weigl—but also
from Alma Schindler. For one of the copies I am getting the small score
of Siegfried from Hoffmann, the small score of the 4 Brahms symphonies,
among other things.
For Christmas Eve we were at home with Riesenfeld, Bodanzky,
Wolf[f]‌, Fr[au] Walf[isch]. We played Polnische Bank with big profits. It
was great fun.
Otherwise, I know nothing more. Would W[olzogen] have some
stage text for me to set to music?
59
L e t t e r s , 19 0 0 –19 01 59
Letter to Rich. Strauss upcoming—I was not yet in the mood for this.
It is also better to begin the New Year with it: the old one is already over
anyway. I’ve totally departed from the opening style of my letter. That
happens because I continued page 2 a day later.
However, to add something more in the style of our letter project—
what do you say about the luck of that lousy Jewboy Reinh[ardt] recte
Stern? In B[erlin] the same great success as in Vienna!
For the sake of some fun, go see it and report to me about the
performance, etc.
From home I can report only that mother and I are both well.
Yesterday my mother was at your mother’s. They are waiting for the card
for the maid to send her, or something along these lines.

Have you been to the opera?
On 4 May I will be in Dresden, that is to say, the whole theater will be.
I will probably come to Berlin either before then or after 4 June. However
there still is time—but the guest performance is perfect. Now I am totally
at the end.
Greetings to Mathilde from mother and me.
Now you can also use a part of this.
Write more often—yes, right.
Trust that my name, without the Ziem. will be famous in B[erlin].
Warmly
Alex Zeml.
Notes
This letter is on stationery with a letterhead that uses the spelling

“Zemlinszky.”
Alma Schindler (1879–1964). Married first to Gustav Mahler, then Walter

Gropius, and finally Franz Werfel. She was a composition student of Zemlinsky
who was also an unsuccessful suitor for her hand (as is suggested in this letter).
60
The “3rd piece” is from Zemlinsky’s ballet Der Triumph der Zeit (1902) after
von Hofmannsthal.
Das süsse Mädel was a popular operetta by Heinrich Reinhardt (1865–1922).
Zemlinsky is suggesting that Reinhardt’s original family name was “Stern”

and that he changed it in order to hide his Jewish origins.
Richard Heuberger (1850–1914), critic and composer, wrote the operetta Das
Baby; Zemlinsky conducted the premiere on 3 October 1902.
Hugo Riesenfeld (1879–1939), Austrian-born composer. A pioneer in music

for film, he immigrated to the United States in 1907.
“Wolf” may be Erich Jacob Wolff.
Polnische Bank is a card game, called Polish Red Dog or Stitch in English.
Schoenberg’s mother: Pauline Schönberg (née Nachod, 1848–1921).
See BWS, 2–6.
III
Letters, 1902
11 January 1902
To: Josefine Redlich
Notes
This letter was sold at public auction (Sotheby’s) in 1986. Its current location
is unknown and no transcript is available.
Although its text is unknown, it is likely that Schoenberg was updating the
Redlichs on his move to Berlin and his first days of work at the Buntes Theater.
61
62
[28 January 1902, postmark]?

Wien
Kapellmeister
Lettestrasse 9
Berlin N
Dear friend!
I very much liked your detailed, charming letter and now Wolzogen’s
personality, in particular, is very amusing. You seem to have your job
firmly under control, and that is really splendid. One must not take seri-
ously the scoundrels who bring every theater to full-blown bankruptcy.
That is how things are.
Is the original arrangement being kept that the soloists who are not
occupied will form the chorus? The chorus must be sung very energetically;
incidentally I feel that you have done everything superbly. I probably will not
come to the performance—I am very superstitious and think that my pres-
ence brings bad luck—that is why in my whole life things have gone badly,
because I could not separate my presence from my existence. However,
before the premiere I must, in all secrecy, attend the last rehearsals.
Warm greetings and friendly devotion from your

Adalbert Goldschmidt
Notes
The letter is undated. The date of 28 January 1902 was assigned to the letter,
probably on the basis of an envelope which no longer survives. The dating
seems plausible and is in harmony with the chronology of the other letters
from von Goldschmidt.
Under discussion is the upcoming performance at the Buntes Theater of

Schoenberg’s arrangement of Goldschmidt’s Die fromme Helene.
63
L e t t e r s , 19 0 2 63
[2 February 1902]?
From: Alexander Zemlinsky
Dear friend,
Attached, finally, a deeply felt and enthusiastic letter to [Richard]
Strauss. What it says ought to support you, helping, etc. for the perfor-
mance of your compositions; there is also a bit about me (Es war ein-
mal). One of these days you can speak with him about my ballet. I also
wrote to him about his Feuersnot whose premiere I attended. He will
get the impression that we are the most enthusiastic young supporters
of his Muse.
What is the situation with Wolzogen regarding my works?
How is the theater going and how are you?
Are you already the top conductor? Write in detail soon.
Today, after a long time, I am conducting Das süsse Mädel, a festive
event marking its 101st performance. The day before yesterday I con-
ducted the Stefi Geyer concert:
Beethoven, Violin Concerto

Saint-Saëns, Piano Concerto in c minor
Hubay, Carmen-Fantasie
Soon I will go to Mahler regarding my ballet. The orchestration is

complete for the three pieces.
Greetings to Mathilde.
Warm greetings from
Alex.
Notes
The letter is undated. The date of 2 February 1902 was assigned to the letter,
probably on the basis of an envelope which no longer survives.
64
Zemlinsky’s opera, Es war einmal, was premiered at the Vienna Hofoper on

22 January 1900.
The ballet to which Zemlinsky refers is Drei Ballettstücke: Suite from Der
Triumph der Zeit (1902).
“Singgedicht” Feuersnot, Op. 50, by Richard Strauss; libretto by Ernst von

Wolzogen. The world premiere was 21 November 1901 at the Dresden Hofoper.
The Vienna premiere was 29 January 1902 at the Hofoper. Zemlinsky is
undoubtedly referring to the Vienna premiere.
Stefi Geyer (1888–1956), Hungarian violinist. At the time of the concert she
was only thirteen years old. Her career as a violinist continued far past her
child prodigy days. Both Béla Bartók and Othmar Schoeck wrote concertos
for her.
See BWS, 7.
[5 February 1902, postmark]?

Hotel Bristol
Kärnthnerring 5
Wien I

I confirm the receipt of the score of the piano reduction and the libretto
of Die fromme Helene.
With best regards,

Your
Adalbert v[on] Goldschmidt
65
L e t t e r s , 19 0 2 65
Notes
[18 February 1902, postmark]?

From: Alexander von Zemlinszky
Wien III
Lettestrasse 9
II. S[tock]; I. R[echt]
Berlin, N.
Dear friend,
So, first business, then immortality.
Pfann is out of the question! Every other second he has to substitute
for Bauer and besides he has afternoon performances: in any event he
does not get vacations. The tenor of your opera is called: canceled!
For a few weeks, at the same time as you, I had the score—the big
one—of Strauss’s Heldenleben, here at home. I studied it most carefully! I
certainly had a different impression than listening to it one-time only. But
what does that mean—to us? We should expect the minimally educated
dilettante or the uneducated critic to look at something of that sort over
and over, only to reach no judgment, but rather, to be knocked onto his
ass from astonishment (in the published version of this letter this should
be printed: A-ss); we can be all the more amazed at the daring (mixed
with some frivolity), the incredible technique of the counterpoint and the
orchestration. Admittedly, one encounters relatively simple forms, but is
that something special? Nevertheless, I keep saying: a great artist who has
66
everything, must remain within the boundaries of the beautiful in order to

say the most significant things, even if he wishes to take them much fur-
ther than has been done before. That is, where our ear, for example, yours
and mine, hears ugliness, where the art of tone painting—the sharpest
characteristics turn into caricatures and parodies—operettas, the tone
painting of the Ueberbrettel—even if with the greatest technique—there
the borders have been crossed. The phrase: “the adversaries” is not to be
taken seriously anymore! In my opinion the obsession lies within, venting
his spite upon “the adversaries”: Do you hear?! You are so repulsive! Only
in this way can I understand it and that is not art, certainly not music.
There the highest refinement becomes naïveté. This type reminds one a
little of tone painting before Beethoven—sometimes even a little Traum
des Reservisten. That is only between us. All those who have said or say
the same thing are, in spite of this, fools. This would have gone better in
person. But you certainly understand me.
About Feuersnot another time. After three badly attended perfor-
mances it was already canceled—great resentment against Mahler because
of the performance of the opera. Not effective on the stage.
I am urging mother to travel to B[erlin]. Perhaps I will succeed.—
How are things with your theater? Are they satisfied with you? How
is your relationship with Oskar Strauss [sic]? Have you already been to see
Richard II? And above all, Gurrelieder?
I am working hard on a symphonic poem, Das Meerfräulein by
Andersen; it will be the preparatory work for my symphony Vom Tode. I am
very happy with it. Almost all of its themes have come to me, and above all,
good ones. I am already in the middle of it. Read the story. The sections are:
Part Ia: At the bottom of the sea (the whole exposition) b: the mer-
maid in our world, the storm, the saving of the prince.
Part IIa: the mermaid’s longing; with the witch. b: the wedding of the
prince and the end of the mermaid. Thus, two parts with four sections.
Greetings from all of us to you and Mathilde.
Cordially,
Alex
67
L e t t e r s , 19 0 2 67
I heard Haussegger’s [sic] Barbarossa: a highly gifted fellow; I also got to

know him slightly.
Notes
The second paragraph probably refers to finding singers for the performances
of Schoenberg’s arrangement of von Goldschmidt’s Die fromme Helene for the
Buntes Theater.
“Pfann” may be Karl Pfann (1874–1928), Austrian-born operetta singer and

actor who sang at the Carl Theater.
The phrase “the tenor of your opera is called: canceled!” [“Der Tenor Eurer
Oper heisst: Absetzen!”] is probably a pun playing on the two meanings of
“tenor” (high male voice and mood).
Traum eines österreichischen Reservisten was a potpourri by Carl Michael

Ziehrer (1843–1922) with melodies by Mendelssohn, Wagner, Sioly, and
others.
Oscar Straus (1870– 1954) was a popular composer of operettas who,

around the time of this letter, worked at the Buntes Theater as a pianist and
composer.
Richard II refers to Richard Strauss. (Richard I was a nickname for Richard

Wagner.)
Zemlinsky’s symphonic poem (based on a text by Hans Christian Andersen)

was performed under the name Die Seejungfrau. He does not seem to have
completed the symphony Vom Tode.
Siegmund von Hausegger (1872–1948), conductor and composer, particularly

of symphonic program music.
See BWS, 7–10.
68
22 February 1902 [postmark]

From: Eduard Gärtner
Wien
Capellmeister
Lettestrasse 9
Berlin, N.
Dear friend,
The main reason why only now I am giving a sign of life is: my small fam-
ily has had scarlet fever for 4 weeks. I am living and teaching at Redlich’s.
As you can imagine, my mind was full of all possibilities. Fortunately,
everything has worked out. Because of a 3-week long inflammation of
my throat, I wanted to defer my contract until the 19th of March. I was
unable to accommodate your songs because I am singing a whole cantata
of Bach. I hope soon to hear something good from you.
Your,
Gärtner
Notes
Gärtner addresses Schoenberg with “Du.”
At his recital on 19 March 1902 Gärtner sang Bach’s cantata “Ich will den
Kreuzstab gerne tragen” BWV 56 as well as songs by Rudolf Braun, Heinrich
Schenker, Eugen d’Albert, Oscar C. Posa, Ignaz Brüll, Hugo Wolf, Richard
Strauss, and Edvard Grieg. See EYBL-WEG, 242 and 251.
Gärtner appears in the “Schrammel-Quintet” photograph (PH 1386 in the

ASC photo archive). See Figure 2.1, Chapter 2.
69
L e t t e r s , 19 0 2 69
3 March 1902
From: Zemlinsky et al.
Wien
Köpenickerstrasse
(Wolzogen “Buntes Theater”)
Berlin
Warmest greetings,
Lilly Hoffmann.
We are just playing it! Alex

I already stole it, Karl W[eigl].
We have a friendly group, you are missing! Warmest greetings! the
elder Weigl.
I cry, cry, cry for you. Greetings to you and your whole group, the
Grieving Cello.
Paul Hoffmann, Ella Kunwald, Hedy Kunwald, Elsa Bienenfeld
[signatures].
Wolff sends you warmest greetings, what is “Der Schüler” doing, why
no answer?
Notes
Postcard from a group of friends. They include Alexander von Zemlinsky,

Karl Weigl, the “elder Weigl” (identity unknown), the Grieving Cello (iden-
tity unknown), Paul Hoffmann, Lilly Hoffmann, Gabriele (“Ella”) Kunwald,
Hedwig Kunwald, Elsa Bienenfeld, and Erich Jacob Wolff.
Lilly Hoffmann and Paul Hoffmann were the parents of Rudolf Stefan
Hoffmann.
70
Gabriele Kunwald (1871–

1957), soprano; sister of the conductor Ernst
Kunwald.
Hedwig Kunwald (1883–1954), sister of Gabriele Kunwald and Ernst Kunwald.

Her son, Peter Stadlen was a pianist; he premiered Webern’s Variations for
Piano, Op. 27.
Elsa Bienenfeld (1877–1942), Austrian musician and critic. She was the first
woman to get a doctorate in musicology from the University of Vienna. She
studied privately with Zemlinsky and with Schoenberg. She taught courses
at the Schwarzwald School in Vienna and was a prominent music critic. She
perished in a concentration camp in 1942.
Erich Jacob Wolff’s biography appears later.
Zemlinsky wrote out a melody from Gurrelieder: Part I, the seventh song
(after rehearsal number 58).
See BWS, 10.
4 March 1902
Kärntnerring 11
Wien I
Lettestrasse 9
Berlin
Dear Sir!
On the 18th of March, as long promised.
Yours truly,
Sincerely yours,
Alexander Rosé
71
L e t t e r s , 19 0 2 71
Notes
Rosé is confirming the date for the premiere of Verklärte Nacht.
5 March 1902 [postmark]

From: Alexander Zemlinsky et al.
Café J. Nimpfer
Wien
Köpenickerstraße 67/69 [sic]
(Wolzogens Buntes Theater)
Berlin
[quotation from Tristan und Isolde] Alex[ander Zemlinsky]
[quotation from Das süße Mädel by Heinrich Reinhardt] [Artur]

Bodanzky
[another quotation from Tristan und Isolde] [Erich Jacob] Wolff
Otti [Kramer] greets you.
Warm greetings [illegible] the bald singer.
Many warm greetings from Emil [Kramer?]

72
[lost text] you can see that for such [lost text] I would feel so good in
your former [lost text] fellowship. Mella.
Notes
A picture postcard of Café J. Nimpfer in Vienna. In the text section of the card is
a printed inscription: “Gruss aus dem Café J. Nimpfer” after which Schoenberg’s
friends wrote their individual messages. However, not all the messages fit into
the space provided and one message was written in the left margin. Since the
upper left corner of the postcard has been torn off, some of the text from “Mella”
(perhaps Melanie Rice, née Guttmann, 1872–1961) has been lost.
See BWS, 11 for a discussion of the possible identities of the signers.
8 March 1902
Kärntnerring 11
Wien I
Lettestrasse 9
Berlin N
Dear Sir!
Please send the score to my address, or better yet, to my brother, III
Metternichgasse 5. Please tell me to whom you want tickets sent; to the
extent that I am able, I will gladly take care of this. We very much regret
that you cannot be present at the performance. There is no dress rehearsal.

Respectfully,
Alexander Rosé
73
L e t t e r s , 19 0 2 73
Notes
At issue are arrangements regarding the upcoming performance of

Verklärte Nacht.
9 March 1902
To: Capellmeister Moriz Violin
Köp[e]‌ni[c]kerstrasse 67/68
Berlin S.O.
Dear Violin,
I have a searing toothache and headache and therefore, if the studios have
to be straightened up, I ask you to do it for me. If a rehearsal for orchestra
and Miss Abarbanell is necessary tomorrow, I ask you to schedule it at
11:30 and inform me by pneumatic post. What is happening with Röhr?
Has he answered? Please answer if possible.
Warmest greetings,
Schönberg
Notes
Sent by pneumatic post.
In the upper left-hand corner of the address side of the postcard, Schoenberg
wrote “dringend” [urgent].
Lina Abarbanell (1879–1963), soprano. In 1902 she was active in Berlin and at
the Theater an der Wien in Vienna.
74
Röhr might be Hugo Röhr (1866–1937), composer and conductor. Röhr is also
mentioned in Schoenberg’s letter of 18 March 1902.
18 March 1902
Tuesday
From: Eduard Gärtner
Metternichgasse 7
[Wien] III/3
Dear Schönberg!
Still completely under the impression of the simply outstanding perfor-
mance of your sextet, I hasten to send to you the warmest congratula-
tions for the great success, which, as you would suspect, has extended
only to part of the public. Zemlinsky and comrades were assembled in
full force in order to celebrate your success. Your truly talented brother-
in-law has really outdone himself. How do you feel as a young father? If
I can help you in any way, I am at your disposal. Just let us hear some
good news from you!
Warm greetings to you, to your dear wife and Isolde—is that the little
one’s name?
From your
Gärtner and family
Notes
Gertrud Schoenberg (1902–1947), Schoenberg’s daughter, born on 8 January.

Karl von Levetzow was chosen as her godfather. Diminutives include Trude,
75
L e t t e r s , 19 0 2 75
Trudl, Trudel, Trudi, and Trudie. Not to be confused with Schoenberg’s sec-
ond wife whose first name was also Gertrud. See ASJ, 313.

From: Adalbert [von] Goldschmidt
Wien
To: Kapellmeister [Arnold] Schönberg

Köp[e]‌nickerstr[asse] 67.68
Berlin
Dear Schönberg!
Since I have been suffering from a sore throat for some time, I cannot
attend your interesting performance, but today I heard the best reports
from the dress rehearsal. It ought to sound magnificent and be a splen-
did piece. Congratulations. Now I am enclosing the letter to Muszkat.
I believe you should read it verbatim to Röhr, read it aloud to him, and
send it back to Wolzogen’s theater.
The opportunity in London is still embryonic, but another plan has
already arisen. In any event, I hope that you will not follow maestro Violin
and leave Berlin and return back to this filthy nest, Vienna. If you don’t
want to remain with Wolzogen, then seek another position in Berlin. I am,
obviously, ready to support your efforts to the best of my limited abilities
and also hope that something will yet come of our project. However, be
patient, and wait, and stay abroad, and don’t return to Vienna.
It is a lost life here. Write me and let me hear more from you. I have
not yet seen Violin.
Your faithful
Goldschmidt
76
Notes
In JASI-PI, the date was mistakenly given as 19 March 1902.
The letter was sent by registered mail from Vienna to Berlin. Goldschmidt
addressed the letter to Schoenberg at the Buntes Theater. However, the letter
was forwarded to Schoenberg’s home address in Berlin (Lettestrasse 9, N. 58).
19 March 1902
Dear friend,
Our telegram has already given you a foretaste of my impression about
the success of your Verkl[ärte] Nacht. Now a little more detail. With the
exception of several lengthy and drawn out passages in the middle of
the work, I had a great impression. There are places of real beauty and
the deepest feeling, as well as of true, great, exceptional artistry! You
absolutely have to revise, publish, and send it around. There is still much
Tristan to hear—but you know what I think of that. We, our true friends,
were enthusiastic. I also spoke with [Heinrich] Reinhard[t]‌and Robert
Schönaich; they both had the impression of a work of significance, “even
if with some excesses.” What Heuberger thinks about it, I don’t know
yet. Probably, no different than before. That would be too “embarrass-
ing” for him.
The performance defies any description: there were sounds—
amazing!! You must write Rosé one of your warmest letters. I have already
done so.
The success was exactly as you would have wanted. Repeated cur-
tain calls mixed with opposition. We really countered the few voices of
opposition.
77
L e t t e r s , 19 0 2 77
Rosé had to appear six times.

Weigl, Hoffmann, Bodanzky, Wolff, my admirer Steiner, Gärtner,
Redlich, and me at the head, were frenzied in our applause.
All in all: I am proud of you—it will be, that which must be!
As soon as possible, try to give the sextet to Rich[ard] Strauss and to
get a performance in B[erlin]. You will absolutely derive a benefit from
that. The time comes for all of us!! and the Heubergers and his compan-
ions I see brought down in the slaughtering yard. From everyone the
warmest congratulations.
Mother could not attend; she is suffering from an upset stomach—it
is already better. I am the same as always—
Warmest greetings to you and Mathilde from your,

Alex Z.
Notes
Gustav Schönaich (1840–1906), music critic of the Wiener Allgemeine Zeitung

during the years 1897–1905. It is not clear why Zemlinsky refers to him as
“Robert” instead of “Gustav” Schönaich. Schönaich’s review appeared in the
Wiener Allgemeine Zeitung on 21 March 1902. Reprinted in ASSW, 22/B, 86.
Heuberger wrote two reviews of the concert. The first appeared in the Neue
Freie Presse, Abendblatt on 24 March 1902. Reprinted in ASSW, 22/B, 88. The
second was in the Münchener Allgemeine Zeitung on 11 April 1902. Reprinted
in ASSW, 22/B, 90.
“Steiner” might be Hugo Steiner (1862—1942), composer, arranger, or Arnold

Steiner (1874–1951).
See BWS, 12–13.
78
20 March 1902
From: Herr und Frau Ludwig Weigl
[Köllnerhofgasse 4
Wien I]
To: Arnold Schönberg, [Kapellmeister

Köpenickerstrasse 67/68
Berlin]
Mr. and Mrs. Ludwig Weigl also congratulate you most cordially and
send many regards to you and your dear wife.
Notes
The message is written on a stationery card on which is printed “Herr und

Frau Ludwig Weigl.” The printed line was used as the first part of the message
(“Mr. and Mrs. Ludwig Weigl also …”)
The address details are not in the message itself. They were probably on the
envelope which has since been discarded.

From: Karl Weigl
Köllnerhofg[asse] 4
Wien I
Kapellmeister an Wolzogens “Buntes Theater”
Berlin
Hearty congratulations for the beautiful performance of your sextet

from your younger contemporary,
Karl W[eigl]
79
L e t t e r s , 19 0 2 79
Notes
Karl Weigl (1881–1949), Austrian-born composer and conductor. He stud-

ied composition with Alexander von Zemlinsky and musicology with Guido
Adler. After the Nazis took power, he fled to the United States in 1938.

From: Rudolf Stefan Hoffmann
Elisabethstrasse 22
Wien I
Lettestrasse 9
Berlin N 58
Dear Schönberg!
Although I am pressed for time, and although many other things are
monopolizing my attention—(it is right before my final examinations),
nonetheless I must write a few lines to you. To thank you sincerely for
having thought to send me a ticket. To tell you that your work has left a
deep, warm impression—I would almost like to thank you for that too.
One has heard a language that speaks directly to one’s heart. And—say
no more about it—in the first movement of the Brahms we left, Karl and
I. You must forgive us. I wish you well, Schönberg, you and your wife.
And success for your Gurre Lieder. This is the purest egotism: I would
like to hear them soon.
Many warm greetings,

Your,
Rudy Hoffmann
80
Notes
Rudolf Stefan Hoffmann (1878– 1938), physician and longtime friend of

Schoenberg. He was also an amateur musician, studying composition with
Zemlinsky and was a founding member of the Vereinigung schaffender
Tonkünstler. After the rise of the Nazis he fled to Palestine. He addresses
Schoenberg with “Du.”
In addition to Schoenberg’s Verklärte Nacht, the program included Hermann

Grädener’s String Quartet, in D minor, Op. 33, and Brahms’s Quintet in F
major, Op. 88.
26 March 1902
From: Moriz Violin
Clementineng[asse] 28
Wien XV
Dear friend!
In practice, the devil foils even the best-laid plans. I wanted to write
you immediately after the performance of your sextet; my adjustment
to Vienna has been difficult and has taken all of my spare time. I was
very happy about your really great success (even taking into consider-
ation the strong but tasteless hissing) and at that moment felt strongly
that you were wrong when you left for Berlin. I have no doubt that such
a success is very useful and that you could easily come back. As far as
my own situation is concerned, I anticipate a possible reunion with you
soon. Hopefully you remember that we agreed upon some news (subjec-
tive objective), otherwise I would not get involved if I was not asked and
not wanted. So what is new? I am in the dark, and you would do me a
81
L e t t e r s , 19 0 2 81
great favor if you would tell me something about Mrs. d’Estrée in par-
ticular and would let me know about all the other garbage. I did not want
to permit those scoundrels, abusers of their positions, and miscreants to
get pure pleasure from getting rid of me; if possible, I want to frustrate
them vigorously. With respectful regards to your wife and a thousand
cordial greetings to you from your
M. Violin
Please do not give my regards to anybody on the board! Otherwise as you

like, it is all the same to me anyway!
Notes
It appears that Violin was fired from his position at Wolzogen’s Buntes Theater
but was anxious for news about what was happening.
Olga d’Estrée, singer; associated with Wolzogen’s Buntes Theater.
26 March 1902
Lettestrasse 9
Berlin N 58
Rudolf Hoffmann and Carl Weigl have suddenly become your admir-
ers now that R. Heuaff praises you. For the same reason, I must doubt
your talent and to that I lift my (eye)glass and since I must have my
right hand free to do so, I close with the cry: “I’m going for it—who is
coming along?”
82
Alex
Many greetings from the two “roaring lions” Rud[olf Stefan]

Hoff[mann]. and K[arl] Weigl.
ditto: Paul Hoffmann
Warmest greetings Bodanzky
Lilly Hoffmann
Notes
Postcard signed by several friends.
R. Heuaff is a play on “Richard Heuberger” and “Affe” (ape). In the Neue

Freie Presse review (which appeared 24 March 1902), Heuberger praised
Schoenberg’s abilities (“the young, extremely talented artist”) but criticized
his use of program music.
In his review Heuberger described some of the enthusiastic concertgoers as

“roaring lions” (“im Stehparterre brüllte ein Paar junge Leute … wie die
Löwen”).
See BWS, 13.
83
L e t t e r s , 19 0 2 83
27 March 1902
“On the day of the resurrection of our

Lord and Savior!”
Dear friend,
The enclosed 1st shipment of reviews—Mr. Weigl is sending it to you!
Regarding R[ichard] H[euberger], you will be somewhat astonished. Is he
coming around? By contrast Mr. Wallascheck—he seems to have an hon-
est need to contribute to our immortality. The most magnificent one Mrs.
(N) Abel—Montags Revue!! On the other hand [Neue] Mus[ikalische]
Presse: Botstieber!! [sic]
Rosé will perform the sextet again next year. I will write you more
about the performance in the next letter.
I am stopping at the end of the 1st part of my symphonic poem, so
that I can compose the storm at sea: tough work, if one does not want to
be cheap and common.
My pieces will be performed only in the coming season—if I want!
On the 1st of May I will probably be in Dresden, afterward, that is, in
June, with you.
I have not yet decided about next year. What are you starting to do?
Have they renewed your contract? Who is going to Russia? Violin has told
me that not everything is going well for you.
Thank Weigl when you have a chance and congratulate him: Piccolo’s
Psalm for Chorus and Orchestra was performed at the Conservatory
concert.
For today, greetings for Mathilde and you from Mother and

Alex.
84
Notes
The religious reference after the date of the letter is puzzling. The date of the
letter, 27 March 1902, was Maundy Thursday, not Easter.
See Heuberger’s letter dated 21 April 1902.
Richard Wallaschek (1860– 1917), musicologist and critic. Wallaschek’s

review appeared on 22 March 1903 in Die Zeit. Wallescheck is quite blunt.
After stating that Schoenberg’s work made a less positive impression than
the piece that preceded it (Hermann Grädener’s String Quartet), Wallaschek
goes on to describe Schoenberg’s piece with two words: “Simply ghastly”
[“Einfach scheußlich”]. Wallaschek also castigates Schoenberg’s supporters
for their enthusiastic applause, which is probably why Zemlinsky states that
Wallaschek has “an honest need to contribute to our immortality.” The review
is printed in ASSW, 22/B, 88.
Hedwig von Friedländer-Abel (1871–?), music critic. Her review appeared in

Montags-Revue on 24 March 1902. Zemlinsky describes her review as “the
most magnificent one.” But he is being sarcastic. She states: “In the whole
endlessly long movement, there is not a single musical idea.” [In dem ganzen
endlos langen Satz kommt kein einziger musikalischer Gedanke vor.”] The
review is printed in ASSW, 22/B, 88.
Hugo Botstiber (1875– 1941), musicologist and critic. Botstiber’s review

appeared on 23 March 1902 in Neue Musikalische Presse. Botstiber partic-
ularly praises the great variety of colors Schoenberg created using six string
instruments. The review is reprinted in ASSW, 22/B, 87. After the Anschluss,
Botstiber fled to England where he lived until his death in 1941.
“Piccolo” seems to be a nickname for Karl Weigl. See BWS, 14. Weigl’s 71st
Psalm for Chorus and Orchestra was performed on 15 March 1902 at the
Conservatory of the Gesellschaft der Musikfreunde in Vienna.
See BWS, 13–14.
85
L e t t e r s , 19 0 2 85
28 March 1902
From: Theodor Hämmerle
Fr[anz] Jos[ef] Quai 39
Wien I
Honored Mr. Schönberg!

In response to your esteemed letter of 26 March, I am happy at the outset
to inform you that I very much liked your sextet in its excellent pre-
miere performance by Rossé [sic] & colleagues. Although the opposition
between [the advocates of] the old & the new was expressed in a quite
trenchant manner after the final chord, even a complete conservative
would have to admit that the opposition—a ll of it—would soon recede &
that the work would receive a very nice, sincere success which, given the
risks that you undertook with this work, should say quite a lot.
I found the sextet to be very interesting & I liked it very much in many
places on account of its originality and daring.
If I am to tell you frankly, as I have already been doing, what I liked
less about the work, it would be its length. In any event, a tone painting
or a mood picture for a poem could also have been made available (!) but
was not. According to my preferences, [the piece] should not have to be
too long and drawn out, even if it is very interesting—and transfigurations
come to an end!!
I do not want to judge the validity of only writing chamber music in
the daring forms that you want.
I am a conservative music lover, but am, nevertheless, always very
tolerant, and accept the good & beautiful in any form; in addition I think
that nowadays extravagant experiments also have a certain justification.
In general, I believe that a talented person is more likely to achieve a
practical success when he does not strive too strongly to develop off the
beaten path.
I truly wish you many new and general successes and will be glad to
get to know a work from your Muse once again.
86
Hopefully the negotiations with your publisher have developed fur-

ther & you will soon be in the situation that you will reduce your depen-
dence on them. My best wishes on your behalf,
Respectfully yours,
Theod[or] Hämmerle
Notes
Theodor Hämmerle (1859–1930), wealthy industrialist, patron of the arts, and

collector of rare string instruments (Stradivarius et al.).
10 April 1902
Lettestraße 9
Berlin
To: Moriz Violin
Dear Violin,
Please forgive me that I am writing to you only now. But hopefully the
delay will not bother you too much, since, in any event, you will not be
able to learn from me that which interests you the most. I come to the
[Buntes] Theater extremely rarely and only for a moment and thus know
absolutely nothing about what is going on there. For the most part, it is
my intention to know as little as possible about this pestilence-bunch.
Besides, I don’t like to be disturbed while working. The only thing I know
is that those on tour may not return and that Mrs. d’Estrée is with them.
The only ones from the Theater with whom I speak now and then are
87
L e t t e r s , 19 0 2 87
Levetzow and Wendland. In places, your last post card was unintelligi-
ble. In particular the sentence in which you write of a ranking that Rosé
and the educational institution need for my sextet. What do you mean
by this? Please explain it to me more fully. I have had no news from Rosé,
thus know nothing at all about what that should mean, and can therefore
not understand the allusion.
I cannot release you from your promised letter with a full report
about my sextet. You still have to write me about it. And then also “objec-
tive issues” that you have heard from the opponents. But in this regard
one can conclude nothing from the critics. Babbling about artistic forms,
program music, and the like, does not interest me at all. To the contrary,
I would like to hear a few musical things about it. There was nothing to
read about that in the reviews. I have, of course, no intention of better-
ing myself by following the advice of the critics and also did not expect a
comprehensive analysis. But I would indeed like to know what objection
my opponents, musically—objectively, have against my work. So please
write. Also in detail your relationship to this.
Beside these things that are no longer new, I don’t know a number
of other things that are also no longer new. Thus I can report nothing
further to you. But best greetings and I can say to you that I will be happy
to get your letter.
Your
Arnold Schönberg
88
15 April 1902 [postmark]

From: Richard Strauss
Lettestrasse 9
I. Portal, 1. Treppe, rechts
Berlin N.
Dear Sir!
You may call upon me daily between 3 and 4 o’clock at home.
Sincerely,
Richard Strauss
16 April 1902
From: Universal Edition Actiengesellschaft
Maximilianstrasse 11
Wien I
To: Arnold Schönberg, Kapellmeister

Lettestrasse 9
Berlin N. 58
Dear Sir,
In receipt of your most valued letter of the 13th, we have the honor of
informing you that we will present it to our executive committee, which
has the responsibility of deciding in cases of this sort, at its next meeting,
and afterward will not fail to provide you with a report.
Until then, we sign with the greatest respect,

Universal-Edition Actiengesellschaft
Josef Weinberger
Adolf Robitschek
89
L e t t e r s , 19 0 2 89
Notes
Adolf Robitschek (1853–1934) and Josef Weinberger (1855–1928) together

with Bernhard Herzmansky founded Universal Edition in 1901.
Most likely, Schoenberg submitted Verklärte Nacht to Universal Edition for

consideration for publication.
17 April [1902]
From: Theodor Hämmerle
Wien
[Theodor Hämmerle] takes the liberty of sending you a review by

Rich[ard] Heuberger from the Münchener Allgem[eine] Z[ei]t[ung] and
of congratulating you on the same.
Best wishes!
Notes
The letter is written on a correspondence card with the following printed

inscription in the center of the card: THEODOR HÄMMERLE/ K.K.
COMMERCIALRATH.
At the bottom right of the card is the printed inscription WIEN. Hämmerle wrote
what appears to be the day and month (but not the year): 17/4. To the right of the
date he wrote two more numbers that appear to be “90.” Their meaning is unclear.
The Heuberger review (dated 11 April 1902) to which Hämmerle refers has
been reprinted in ASSW Vol. 22/B, 90.
90
21 April 1902
From: Richard Heuberger
Wien
Capellmeister
Lettestrasse 9
I. Portal, I. Treppe rechts
Berlin N/58
My dear friend Schönberg!

That is quite a problem!! It is frightfully hard to find a position and
I myself have much to tell about that. For many years I have wanted a
regular conducting position, and it simply has not happened. Also posi-
tions as a professor are very hard to come by, unless one becomes a
member of a clique—and that does not work for everyone!—(it might
interest you to hear that I, who had worked with and been friendly with
Brahms for more than 20 years, would also have been counted as part of
the Brahms clique. He himself never really belonged to it, since he never
made a secret of his reverence for Wagner’s genius; after all, he simply
was not a Philistine!)
I have thought about your situation. To whom should I recommend
you? I could introduce you to Friedländer, but he has nothing to offer.
To write to Joachim is—as far as I understand—completely useless. He
is like Liszt was in his old age: warm-hearted, says “yes” to everyone,
however sponsors—as Liszt also did—highly unqualified people. He has
already recommended a number of terrible pianists, composers, and
singers to me. Jenner, for example, is one of his protégés. That says quite
enough!—
I could recommend you to Capellmeister Schuster (the editor of
Musik)—but I do not know if he can do anything. I ask you, therefore, to
look around to see to whom I can write something. I also know [?]‌illu-
cek, Senior Director Mödlinger (Hofoper), Robert Kahn (Hochschule).
Perhaps with the last one (as you probably suspect, his real name is Cohn)
91
L e t t e r s , 19 0 2 91
you might get something started. To be sure, he is also a Philistine of the

strictest kind. But unbelievably talented—
I ask you to tell me to whom I should recommend you.
I just now thought of DeWelti (he is one of the singers in Herzog), a
gifted, pleasant person.
Warm greetings to you and give my best regards to your wife who
probably scarcely remembers me.
Yours,
R. Heuberger
Notes
See Zemlinsky’s remarks about Heuberger in his letters dated 19, 26, and
27 March 1902.
“Friedländer” may be Max Friedländer (1852–1934), German musicologist.
Joseph Joachim (1831–1907), Hungarian violinist, conductor, composer, and

teacher.
Gustav Jenner (1865–1920), German composer and conductor. He studied

composition with Brahms (1889–95).
Bernhard Schuster (1870–1934), German composer and editor.
“Mödlinger” may be Josef Mödlinger, German singer.
Robert Kahn (1865–1951), German-born composer and pianist. His compo-

sition students included Artur Rubinstein, Nikos Skalkottas, and Wilhelm
Kempff. After the rise of the Nazis he emigrated to England.
DeWelti could not be identified.

92
21 April 1902
From: David Popper
Budapest
Lettestrasse 9
1. Portal.
1. Treppe rechts.
Berlin N. 57
Honored Sir,
Many thanks for your friendly letter and the willingness expressed
therein to entrust your interesting sextet to us for a performance. You
should not be overly surprised at my great interest in the work—from
many sides I have heard it praised as a most singular, and, in terms
of its sonority, surprising creation. Those are characteristics that—
unfortunately!—one does not encounter very often.
Now May is, so to speak, at the door, and all music making is being
left to our feathered friends. If your kind intentions to us—to Hubay and
me—will remain until then, we request that at the beginning of the fall
you send us the score and parts. If you would be so kind, approximately
around the middle of September, send me both—score and parts—and
we will immediately begin to get acquainted with your work!
Until then with repeated warm thanks,
Your most sincere

David Popper
Notes
David Popper (1843–1913), cellist and composer, and Jenő Hubay (1858–1937),
violinist and composer, were founding members of the Budapest Quartet.
We found no evidence of a performance of Verklärte Nacht by the Budapest
Quartet.
93
L e t t e r s , 19 0 2 93
27 April 1902
[Berlin]
[Wien]
Most gracious lady,
My warmest thanks for your dear letter and the nice enclosure whose
arrival was so very timely. I would have been very happy about your letter,
even if the enclosure had not been included. With regret I understand that
Mr. Redlich, whom I thank most warmly, is not well. What happened to
him? Has he already gotten better? What has he said about the success of
my sextet? I am sure that you were happy about that; and I am very glad
that an opportunity presented itself so quickly that has shown that I was
correct in my assertion that one could have success, even when one contin-
ues on his own individual path. It surely must have made you happy that
already this year the second of your protégés has found artistic recognition
in public. And I am also happy about that. You know that Rosé will repeat
my sextet next year. Likewise, David Popper in Budapest (the Hubay-
Popper Quartet) intends to play it and has asked that I send him the music
in September. Also here [in Berlin] I hope to be successful with it, because
Richard Strauss, with whom I visited recently, has said that I should men-
tion his name when I am with Waldemar Meyer. Richard Strauss has
found my things to be very interesting; he wants to hear the sextet when
it is performed, and says that when I have something for orchestra I may
bring it to him and he will perform it. On the other hand, he thinks that
because of their great demands on the number of performers and players,
my Gurrelieder could only be done at a music festival. Never mind; per-
haps the time is also coming for my music festival. Besides I am still not
so far along; I still have to work on it for a somewhat long time. Otherwise
things are going very well for me and my wife. To be sure I cannot say that
I like it here very much, and if it were somehow possible, I would rather be
in Vienna. But there is nothing one can do about that.———
94
I thank you and Mr. Redlich again from the bottom of my heart and
hope that Mr. Redlich is already feeling better. With the warmest greet-
ings to you and your dear children
Your most sincere

Arnold Schönberg
Best regards from my wife. Also to Gärtner, Mrs. Gärtner, and the little
ones.
Notes
Waldemar Meyer (1853–1940), violinist and the leader of a string quartet in

Berlin.

Lettestrasse 9
Berlin N. 58
Dear friend,
You will receive an answer to your letter only after I get to Dresden. Today
I am letting you know that, if all goes well, mother will depart Tuesday
on the Vienna-Berlin Express train which leaves at 8:36 a.m. from the
North West Train Station—thus arrives toward 10 p.m. in Berlin. Find
out which train station so that you can be sure to fetch her.
Many greetings,
Alex.
95
L e t t e r s , 19 0 2 95
Notes
See BWS, 14.
[2 May 1902]?
Hotel Bristol
Kärnthnerring 5
Wien I
Dear Schönberger! [sic]
The receipt is enclosed. Unfortunately I am sick now and am going today
to Karlsbad; for the time being, I am staying in bed at the hotel. Prospects
for better days are either not apparent or scarcely so. Obviously it would
be very good if W[olzogen] really would perform Fr[omme] H[e]‌l[ene];
wouldn’t that be an opportunity to extend your engagement? But negoti-
ate with another theater about this; I would then condition the perfor-
mance on your engagement. If W[olzogen] presents my work in violation
of my contract there will be a penalty. I do not trust the bank anymore.
Write me what you think about a performance elsewhere in Berlin;
speak about it with Nikisch in connection with this engagement; or with
Tappert. I am sending a recommendation to Tappert.
In Karlsbad I am staying at the “3 Lerchen.” For the time being, my
address remains Hot[el] Bristol, Vienna.
Best wishes,
Adalbert Goldschmidt.
96
Notes
The date of 2 May 1902 was assigned to the letter, probably on the basis of an
envelope which no longer survives.
Karlsbad is the German name for Karlovy Vary, a spa town in Western
Bohemia, today in the Czech Republic.
Goldschmidt is probably referring to additional performances of Schoen

berg’s arrangement of Die fromme Helene; it had already been performed in
February.
With the phrase “I do not trust the bank anymore,” Goldschmidt may be
indicating that he does not trust Wolzogen to give an accurate accounting of
the royalties due for the performance of Die fromme Helene.
Arthur Nikisch (1855–1922), Austrian-born conductor. In 1902 he held sev-

eral positions: he was the conductor of the Berlin Philharmonic and of the
Leipzig Gewandhaus Orchestras.
“Tappert” may refer to Wilhelm Tappert (1830–1907). See below (23 July
1902) for a fuller biography.
13 May 1902
Dresden
Lettestrasse 9
Berlin N. 58
Dear friend,
I have not written to you because I would never be ready to write about
the many important things that I would say to you. The trivial things,
97
L e t t e r s , 19 0 2 97
the news of the day, however, are not worth the trouble. The only thing
that was truly interesting was your visit to R. Strauss; he wrote to me
that I should submit my opera to the management! That is not what
I wanted.—The only thing that makes me happy now is my work and
I cannot do that at all in Dresden. My job and everything related to it is
horrible. I cannot describe it; no one else can feel it except for me. Don’t
tell my mother anything about it. She has no inkling how terrible that is
for me. Besides, you know about my pessimism—perhaps it too is very
much at fault.
I have taken on the task of revising the Zauberflöte and the Die lusti-
gen Weiber von Windsor for Weinberger and I am working on that. I have
to be done by the 15th of June; therefore I cannot take it easy too much.
On average 10 pages a day.
It is not much, but I have been wasting a lot of time here eating out.
Also because of that, if I come to Berlin I will only be there for two or
three days. I do not yet know when. As of yet, Müller—the gentleman, has
made no mention that Bodanzky is coming here to give me a little relief.
I will wait until Thursday; then I will remind him of his promise.
I did not understand what mother meant about being here. I have
no room; obviously she must stay in a hotel, and then it is entirely her
decision how long she will stay. There is still time for that and everything
will work out. Mother ought to see a doctor, in order finally to be able to
follow the instructions that the Viennese doctor gave her. Since this letter
is also for her from page 2, also tell her that, without making sacrifices,
I barely need 10 Marks a day; one could do very well with 15 Marks; that
is, I am still saving—
What are you working on, and what are you doing in the summer,
and next season? Has Weinberger already sent something to you? If not,
remind him again. He is thick-skinned.
Mother should write soon how things are going etc. I can’t think of
anything else, also I have to go eat.
So, warmest greetings for all

Alex.
98
Notes
Josef Weinberger, Universal Edition.
Die lustigen Weiber von Windsor, comic opera (after Shakespeare) by Otto
Nicolai (1849).
See BWS, 15–16.
21 May 1902 [postmark]

Dresden [postmark]
Lettestrasse 9
Berlin N. 58
Dear friend,
I will answer your letter in person when I am in Berlin. For today’s
postcard now. We are performing up to and including the matinee on
Tuesday, the 3rd of June. Around 1 p.m. I will be in Berlin as I am depart-
ing from here at 10 a.m. We will probably have to do Trébizonde—in
which case Bod[anzky] will have to come. Mother should say if she needs
money. How is Bogimann doing? For this reason I will need the address
of Hutter. What is wrong with mother? Are things really better? Does
mother want to come to Dresden? The city is really beautiful—she would
like it? Come here too if it is not too expensive. Now I have answered all
14 questions—I can take an oath for all of them.
Greetings from
Alex.
99
L e t t e r s , 19 0 2 99
Notes
La Princesse de Trébizonde, comic opera by Jacques Offenbach (1869).
Hutter could not be identified.
See BWS, 16.

From: A[rtur] Bodanzky
Dresden
Lettestrasse 9
Berlin N 58
Since no better company is available here for us, I have to put up

with: Massanetz, Mitzi Dotzauer, Sopherl, and Alex v[on] Zeml[insky].
Greetings,
A[rtur] Bodanzky
Notes
In JASI-PI, the sender is incorrectly identified as Alexander Zemlinsky.
Message written on a picture postcard, showing the Neu-

Markt and
Frauenkirche of Dresden.
Karoline Massanetz (1878–1955), singer, member of the Carl Theater ensemble.
Maria Dotzauer (1878–1963), singer, member of the Carl Theater chorus.
“Sopherl” could not be identified.
See BWS, 18.
100
31 May 1902
Kärntnerring 11
Wien I
Dear Sir!
You already know that, as was to be expected, your sextet was received
here with applause and the opposite!
My brother, who sincerely admires and appreciates your talent, is
thinking of a 2nd performance in Vienna next year.
On the tour (Rhine province and Russia), however, is out of the ques-
tion. How and when would he rehearse it on tour?
My brother asked me to write you this and sends you his greetings.
Don’t you have anything new, a beautiful quartet? Something that one
could take on tour!
Friendliest greetings,
Alexander Rosé
Notes
Rosé’s question about a quartet may have prompted Schoenberg to begin the
String Quartet in D, Op. 7. See Ethan Haimo, Schoenberg’s Transformation of
Musical Language (Cambridge: Cambridge University Press, 2006), 112–17.
101
L e t t e r s , 19 0 2 101
23 June 1902
Monday evening
From: G[ustav] Pohl
Lettestrasse 9
Berlin
Dear Sir!
I sincerely regret having missed your visit! You may call upon me at
home on Wednesday, between 5–6. Is Mr. Strauss still here?—but we can
speak directly about that then. I will see you the day after tomorrow.
Sincerely yours,
G. Pohl
Notes
In JASI-PI the date is mistakenly given as 26 June 1902.
Gustav Pohl (1866–1927?), pianist, organist, and choir conductor. Professor at

the Stern Conservatory in Berlin.
102
24 June 1902 [postmark]

From: Alexander von Zemlinsky
Wien
Lettestrasse 9
Berlin N/58
1. P. 1. Tr.
Dear friend,
You know, then, that for next year I had committed to the Theater an der
Wien. Reasons: 150 more Kronen each month than I would have at the
C[arl] Theater; repertoire: Hoffmanns Erzählungen, Der p[olnische] Jude,
opera in 3 acts with Bertram (both), then mainly the new performances
of [Johann] Strauss [Jr.], novelties of my choice, thus probably only one
by Alfred Grünfeld. So you understand that over there one could be hap-
pier, almost truly happy. Besides, Girardi and not Treumann, Meister
and not Bauer!! I had not yet signed—consequently: quarrel!!! For now
I have had great publicity: for a few days all the newspapers were filled
with it: “2 Theaters Vie for Kapellmeister Zemlinsky” “Müller the Coal
Digger” has already complained—I think completely without success.
I rely on the law section 84: “In the case of a verbal contract, when the
still-to-be-completed written contract is finally written, the contract
comes into force only after the signature of both parties.”
However, both parties have not signed. The written contract had
already been formulated and written out!! We are not talking about
despair! Of course mother would have preferred that we continue trotting
along the old way, but in the end it cannot be otherwise. Besides, it can-
not “cause me much damage” if two theaters are vying with one another
on my behalf! Naturally, I am protected from all financial damage by a
guarantee from the Theater an der Wien.
You were quite right in your assessment: for a whole week nothing will
be written about the performance of my Seejungfrau, and that performance
will even be better than the trick I played on the ever-smart Mr. Müller.—
103
L e t t e r s , 19 0 2 103
I am working hard on it.—

Recently, at the “Venedig [in Wien” at the Vienna Prater], Rich. Strauss
performed Schilling’s Overture to Ingewelde (2nd Act), Till Eulenspiegel,
and Tod und Verklärung with a giant orchestra, but one that was not up
to the task. R. Heuberger, Fr[eie] Presse: snotty as only he can be. Today is
the repetition of the concert; Saturday, Heldenleben. I am curious. I have a
season subscription for “Venedig” and go to all the concerts.
Mother lets Mathilde know that she cannot write often because she does
not have the opportunity.—She is quite healthy.—For once, write something
longer. Right! Vikie was here: the girl is literally almost crazy. She caused
horrible scenes here. She screamed and raved. I promised her I would write
to Falk. Be so good and speak first seriously with F. The girl sits with two
children there, almost without food, waits and waits for her man. He [Falk]
should have a clear talk with her, have her come to him, and send her money.
It is a terrible situation. Then I will write him too, without using diplomacy.
Greetings to Math[ilde], little Trude, and you from all of us,
Cordially,
Alex
Notes
The Krone was worth about 20 cents (US dollars) in 1902. Thus Zemlinsky’s
pay increase was about $30 per month (1902 dollars), a substantial increase
(approximately $800 in 2013 US dollars).
Hoffmanns Erzählungen (Les Contes d’Hoffmann, 1881 completed by Ernest

Guiraud), opera by Jacques Offenbach to a libretto by Jules Barbier.
Der polnische Jude, opera by Karel Weis to a libretto by Viktor Léon (1901).
Theodor Bertram (1869–1907), well-k nown baritone.
Alfred Grünfeld (1852–

1924), Austrian composer and professor at Neues
Wiener Konservatorium. His works include the operetta Der Lebemann of 1903.
Alexander Girardi (1850–1918), actor and singer at the Theater an der Wien.

104
Louis Treumann (born Alois Pollitzer, 1872– 1943), Austrian-

born singer
and actor (stage and film). He was deported to Theresienstadt where he died
in 1943.
Max von Schillings (1868–1933), German conductor and composer. In 1918,

he succeeded Richard Strauss as the director of the State Opera in Berlin.
After World War I, he became a prominent opponent of the Weimar Republic
and a vocal anti-Semite. In 1933, when the Nazis seized power, he was presi-
dent of the Prussian Academy of the Arts and fired Schoenberg from his posi-
tion at the Academy as part of the first anti-Jewish measures taken under the
Nazi regime. Schillings’ Ingewelde (1894) is an opera in three acts to a libretto
by Ferdinand Graf von Sporck.
Vikie and Falk could not be identified.
9 July 1902
From: Friends and relatives on holiday
Altmünster
Capellmeister
Lettestrasse 9
2. Porterl
Berlin N.
My warmest greetings to all of you from Kramer.

Otti sends many warm greetings; greetings from Melanie Kramer,
From Werner Fritzl also many greetings
On a short visit here; warm greetings, Fr[iedrich] Eichberg
From me too, really warm greetings, Ida.
A special greeting from Wolfram to [illegible].
105
L e t t e r s , 19 0 2 105
Notes
Greetings on a picture postcard of a lakeside scene at Altmünster.
Correspondents include Ottilie Kramer (Schoenberg’s sister), Emil Kramer

(Schoenberg’s brother-in-law), Melanie Kramer (perhaps related to Emil),
Werner Fritzl (identity unknown), Friedrich Eichberg (longtime friend), Ida
(perhaps Ida Guttmann who in 1907 became Zemlinsky’s first wife), Wolfram
(identity unknown).
17 July 1902
From: James Rothstein
Knesebeckstr[asse] 46/47
Berlin W.
To: Kapellmeister Arnold Schönberg

Lettestrasse 9
Berlin N. 58
Dear Sir!
At the same time that I thank you very much for recommending Mr.
Bodansky, I also inform you that he has made me a very good offer.
However, before I come to terms with him, I would like to ask you one
more time if you would undertake the work under the following condi-
tions. (You see that I place value in having the work done by you, even
though I really have felt that you do not find the composition particularly
interesting. Naturally, it is also more convenient for me than my having to
send page after page to Vienna.) Therefore: I pay you for the entire project a
lump sum of 600 Marks and indeed 200 after delivery of the work, perhaps
also, a 100 Mark advance, and the other two installments in the course of
the coming year (the last installment on 1 January 1904 at the latest).
106
Should the work come to be performed this winter—and I certainly

hope that is the case—then you would share in the first performance with
10% of my gross receipts (royalties and sales) and indeed, in this case up
to a total of 800 Marks. You have, therefore, the chance to receive an addi-
tional 200 Marks for your artistic work. In the event of a great success,
you could already be in possession of 800 Marks within a few months.
(Obviously, I can only guarantee the contractual 600 Marks).
If you agree with these conditions, I request an answer by return post.
Otherwise I must, unfortunately, conclude that you decline.—
Respects and greetings,

James Rothstein
Notes
Schoenberg apparently accepted the commission. But things did not go well.
See the letter to Josefine Redlich dated 25 September 1902.
In 1902, 600 Marks was approximately equal to $142. That is roughly equiva-
lent to $3,700 in 2013 dollars.
[18 July 1902]?
Dear friend,
My lawsuit was today. Because of Mr. Müller’s and Mr. Kind’s dishon-
est statements, the matter proceeded in such a way that before the ver-
dict I chose to accept a compromise under which the [legal] costs were
waived, and I would have to work at the Carl Theater. We were “rec-
onciled,” that means, I never will be. As for Müller—who passed on to
107
L e t t e r s , 19 0 2 107
me that according to the compromise I must not create any difficulties!

for him next season—(there he really made a mistake!) I will never for-
get this testimony. He lied like a pig. Enough of the whole disgusting
mess. Mother is happy that it went this way.—We are probably going——
mother too—on Thursday to Altmünster.
After [the performance of] Heldenleben I was in the company of
Rich[ard] Strauss, Arn[old], and Alex[ander] Rosé, etc. We spoke about
me: he advised me to send him my opera, furthermore I should send him
my symphonic poem—he would perform it. About you, a lot. Above all,
you have in your “talented brother-in-law” a great friend and admirer! He
went on at length about you. Weber in Munich wrote him about your sex-
tet. I think he had referred you to him. He will certainly perform the sex-
tet next season, recommended you highly to Rich. Strauss. He does not
seem to have an impression of you; I don’t mean this in a bad way: but
your Gurrelieder were too troublesome for him—“of chamber music—so he
said—he understands nothing at all, because he is very conservative and has
not gone beyond Beethoven.” Nevertheless, try to stay in contact with him.
My symphonic poem has gradually become too much for me. It
becomes bigger and bigger but also thought-through more deeply, and
I hope not completely bad: satisfied—hopefully neither of us will ever be.
I take this opportunity to recommend to you in the strongest terms a novel
by [Emile] Zola, Das Kunstwerk (in German), in which are the deepest
things about the creative, revolutionary artist. You must read it!
Otherwise, there is nothing new. Enclosed is an excerpt from
Feuerschein, a rival for Die Fackel. Perhaps you would be interested in it.
Mother is healthy and wishes that Mathilde would write soon. Done.
Warmest greetings for you and all,

Alex
Notes
The letter is undated. Apparently the date was assigned on the basis of a post-
mark on an envelope that no longer survives. On the letter itself a librarian
wrote “1902 early summer.”
108
In order to accept an appointment at the Theater an der Wien Zemlinsky

tried to quit his job at the Carl Theater early and thus breached his contract,
thereby leading to a lawsuit.
“Mr. Kind” could not be identified.
Joseph Miroslav Weber (1854–1906), Czech composer and conductor.
Feuerschein, a rival for Die Fackel, ran from 12 October 1901 to 7 February
1903.
See BWS, 20–2.
19 July 1902
To: Arnold Schönberg, Komponist
Marquartstein Oberbaiern
Dear Sir!
I am ready, with pleasure, to support your application to Director
Holländer, if he asks me! Your score: Pelleas u[nd] M[elisande], to which
I look forward with anticipation, should be in my hands by the begin-
ning of September (in Berlin) at the latest, if it is possible perhaps for me
to consider it!

Richard Strauss
Send your sextet to Professor Halir! Rosé particularly wanted to recom-

mend it to him!
109
L e t t e r s , 19 0 2 109
Notes
Gustav Holländer (1855–1915), violinist, teacher, and composer; director of

the Stern Conservatory in Berlin.
Karel Halíř (1859–1909), violinist and professor at the Hochschule für Musik
in Berlin.
23 July 1902
Dear Schönberg!
Your letter made me very happy, and above all, I can only congratulate
you that you are staying in Berlin; even though in the beginning certain
things prove to be difficult, nevertheless you will make your way there. To
go back to Vienna, this idiot city—never—never—. It would be splendid
if you were to get the position at the Stern Conservatory. Should I send a
letter to Nicklas-Kempner? She is Professor of Voice at that institution and
plays a big role there. R. S. V. P. If yes, my letter will follow by return mail.
I am now in Alt-Aussee, Styria (Villa Filtsch). As far as your idea about Die
fromme Helene is concerned, I don’t think it is practicable that I would turn
to one of the leaders of the theater, neither the director nor the manager. In
that case, the theater rabble would strangle me immediately. If, however,
you can prompt those chaps through someone else so that they request the
work from me, then I could act much differently and make conditions that
above all would relate to your conducting. I tell you, that under these condi-
tions I would make a relationship with the Theater des Westens. Besides,
just look at the matter—Who would be hired then? Stojan? (I hear!) would
be splendid for Die fromme Helene, but too little voice.
110
Therefore, as said, one must know who is singing, how is the orches-
tra? And the invitation to me must be issued by Denk. R.S.V.P.
Do you know Tappert? If not, I will recommend you to him. He
would be very useful for you.
Nevertheless, he is the one critic who understands the most—and
then he is an original through and through. To summarize, if you can
bring the performance about—possible. However, I would stipulate that
it be under your direction. That would not be revenge, but rather my con-
viction that you would do it well. Warm greetings and hopefully a prompt
response. How is the “little Schönberg”?
Your,
Notes
The Stern Conservatory was founded in 1850 as the Berliner Musikschule

by Julius Stern, Theodor Kullak, and Adolf Bernhard Marx. Renamed after
the departure of Kullak and Marx, the Stern Conservatory was a prominent
music school. Among its professors were important musicians such as Hans
von Bülow, Hans Pfitzner, and Engelbert Humperdinck. Famous students
include Bruno Walter, Edwin Fischer, Claudio Arrau, and Otto Klemperer.
Selma Nicklas-Kempner (1850–1928), German-born soprano. Highly influ-

ential as a teacher.
Betty Stojan (1873—after 1921), operetta singer, active at Carl Theater.
The Theater des Westens (founded 1895), located in Charlottenburg, Berlin.

In 1902 the Theater des Westens presented opera and operetta.
“Denk” could not be identified.
Wilhelm Tappert (1830–1907), music critic and writer on music, particularly

noted for his writings about Wagner.
111
L e t t e r s , 19 0 2 111
31 July 1902? [postmark]

From: Waldemar Meyer
Villa Waldheil
Oberhof i[n]‌Thür[ingen]
Komponist
Lette Strasse 9
I/I r.
Berlin N. 58
Dear Sir!
I will return the score by Monday. The work is very difficult and also is
not suitable for every audience; nevertheless, I will study it and perform
it publicly next winter in Berlin etc. I condition this on receiving the
score and parts by the end of August (25th), because otherwise I would
not be able to study it due to other pressing obligations.
With respect, sincerely yours,

Waldemar Meyer
Notes
The postcard is dated 1 August 1902. However, the postmark is 31 July 1902.
Most likely Meyer misdated the card.
Meyer’s quartet performed Verklärte Nacht at the Berlin Tonkünstlerverein

on 30 October 1902 in Berlin.
112
4 August [1]‌902
From: Joseph Miroslav Weber
Tattenbachstr[asse] 1
Aufgang Thierschplatz
München
Villa Concordia
Ostseebaden Carlshagen auf Usedom
Dear Sir!
Sincere thanks for your kind letter. In the meantime, the continuation
of my soirées is in doubt, and therefore I cannot make any arrangements
with regards to new works in manuscript. Locally there is a deplorable
state of affairs of a permanent nature (and not with respect to the hall).
Sincerely,
Warm greetings from music director Joseph Miroslav Weber
Notes
Letter written on a preprinted stationery card. The printed name functioned

as the signature.
113
L e t t e r s , 19 0 2 113
5 August 1902 [postmark]

Altmünster
Villa Marie
Carlshagen
Insel Usedom
bei Zinnowitz
Dear friend,
We have been in Altmünster since last night, have nice accommodations,
and are in a really beautiful area. We already received your letter and
card. Everyone is well. I am astonished that you have finished composing;
I still am not done; nevertheless, I am beginning to orchestrate. I cannot
finish by the beginning of September, have to come up with a way to put
off Strauss, or I will send him my 3 Pieces. You ought to write to Weber.
Write soon how things are going, how you arrived, etc. Our address is
Altmünster 25. Bod[anzky] is with us and sends you greetings; Otti[lie]
is writing herself and does not send you greetings.
Greetings
Alex.
Notes
In BWS, 22, and JASI-PI, 27, the date is mistakenly given as 3 August 1902.
The date of the postmark is 5 August 1902. It was delivered in Carlshagen on
7 August 1902.
Altmünster is on the Traunsee in the Salzkammergut region, east of Salzburg.
Zemlinsky is referring to Pelleas und Melisande [“I am astonished you have

finished composing.”]
114
Carlshagen, Insel Usedom, and Zinnowitz are resort and spa areas on the
Baltic Sea.
Zemlinsky is referring to Joseph Miroslav Weber.
See BWS, 22–3.

Altmünster
Villa Marie
Insel Usedom
Carlshagen
Warm greetings to you and your wife. A[rtur] Bodanzky

Warmest greetings. Alex
Otti sends many greetings.
Warm greetings from Hugo Riesenfeld
Notes
Picture postcard.
See BWS, 23.
115
L e t t e r s , 19 0 2 115

Altmünster
Villa Marie
Carlshagen
Insel Usedom
Ostsee
Dear friend,
You might already know that we have been here since Monday. A truly
marvelous location: a wonderful lake ringed by quite sizable mountains.
We—that is, Bod[anzky], Riesenfeld—who came from Goisern for a few
day’s visit here—your sister Otti—have gone on nice boat outings, from
which Bogi has already jumped into the lake two times and was “saved
by me”!!
We occupy 2 rooms, large friendly rooms that cost 30 Florins a
month. We are noticeably relaxing—I also hope the visit will be good for
mother. This is more for Mathilde.—
I am furious that you have already finished your piece—I am not yet
done. How long is your piece? The performance time for my piece is ¾
hour. I am orchestrating it now and will only compose the conclusion in
Vienna. I probably will have a big mission for you. That is to ask Strauss
if it would be satisfactory for me to send him a part of the score—and the
rest when I am done. Perhaps you will be so good [as to do this]? Then
I will orchestrate my ballet to the end; at the same time, I will start on
an opera that I will work on with [Ernst] Hutschenreiter, about whom
I have already written you. You will be a little surprised about the topic.
A strongly realistic drama about a fisherman in two acts after a short story
[or novella] by Gorky. It is not yet certain that I will write it, that is, I have
not yet obligated myself for the time being.
116
I will either send you the book or at least tell you in detail the story.—
Now I have no more patience, therefore, I close.
Mother and everyone else greet you, Mathilde, Trude, etc.
Warmly,
Alex
Notes
“Florin” was the Latin name for “Gulden,” then worth about 40 cents (US dol-
lar). The Gulden was the principal unit of currency in the Austro-Hungarian
Empire. (It was called “Forint” in Hungary.) There were two Kronen in a
Gulden (Florin). In 2013 dollars, 30 Florin would be roughly equivalent
to $312.
The piece Schoenberg finished was Pelleas und Melisande. It too runs about
three-quarters of an hour.
There is no record of Zemlinsky writing an opera to a story by Maxim Gorky

with a libretto by Hutschenreiter. A decade later (1912–13) Zemlinsky worked
on an opera (Malwa) to a story by Gorky, but he did not complete it.
Ernst Hutschenreiter (1869–

1948), Austrian author, best known for his
Moderne Faust-Scenen.
See BWS, 23–4.
117
L e t t e r s , 19 0 2 117
12 August 1902
From: Bogumil Zepler
München
Lettestr[asse] 9
Berlin N58
Forwarded to:
Villa Marie
Carlshagen
Insel Usedom

With the enclosed *) you are receiving quite a lot of new material that
might be familiar to you, even if I have not played it for you. Nevertheless,
whether I will have everything sent to you by the end of August is still
questionable! In general that will be determined at the end of this week,
together with the question regarding the first performance.
*) My note-writing device has not yet been delivered to me; that is why
I immediately inquired!
If there is a little time left over at the end of August (above all the
Overture to which I am now turning!) then you must not leave me in
the lurch, for it is “the whole” that counts. It is possible, for example, that at
the rehearsals it will be put to me that I have to write some additional small
numbers, for such craftsmanship [Kunst am Werk] (unfortunately!!!) does
not require unity the way it does in an artwork [Kunstwerk]!
As for the 50 Marks that are still missing, obviously I will send them
to you if it is very important for you; otherwise, I will give them to you
after your return!
In the meantime, I look forward to getting the score from you (regis-
tered, or best, as an insured packet!), because I am very curious to exam-
ine it, as you can imagine.
Regarding the two proposed invoices, I do not have the courage to
go into this.
118
Considering the little games, it seems that it is not compatible with

the specific “style” just to move toward F major! Thus we should stick with
what we have. All morality of the number notwithstanding, I am writ-
ing here, from the perspective of the genre of the operetta, a number of
progressive harmonies for the “cunning devils” within! And as far as the
postlude of the “Bell” number is concerned I do not want to do without
this B minor chord! I admit that the preceding b in the bass, the sixth
chord, is not good and stands in the way of the art of the minor chord.
If we therefore precede it with a six-four chord, it would not be better, as
can be seen here:
Enough for today. Meanwhile with warm greetings and thanks
Your devoted
Bogumil Zepler
Notes
Bogumil Zepler (1858–1918), composer from Pressburg (Bratislava) who spe-

cialized in operettas and worked for Wolzogen in Berlin.
In 1902, 50 Marks was approximately equal to $11.90. In 2013 dollars, that is

roughly equivalent to $310.
119
L e t t e r s , 19 0 2 119

Bad Ischl
To: Arn. Schönberg
Villa Marie
Insel Usedom
Carlhagen
Ostsee
We are in [illegible], amongst the Jews; incidentally it is really pretty here.

Mother particularly likes it—she is relaxing splendidly. Write immedi-
ately how things are going with Trudel.
Greetings,
Alex.
Notes
The place name is hard to decipher. It looks like “Iseles.” An earlier name for
Bad Ischl was “Iselen.” Perhaps that is what Zemlinsky meant.
Schoenberg’s daughter, Gertrud (Trudel), was sick.
See BWS, 25.
120

Altmünster
Lettestrasse 9 I. P.
Berlin N. 58
Dear friend,
Mother thanks you very much for the well wishes and the gifts. She was
terribly happy about “Trudel.” The “alarm clock” [“Der Wecker”] arrived
and pleased her too. Now “the Weckerin calls” from the depths of the
bed—the dreaming sleepers—and at 7 a.m. for the agonizing pain of the
day [Tagespein]! I wanted to tell you something else entirely. So mother
was really amazingly happy!——(of course, I have to read the letter to
her). We had a wonderful birthday celebration. A splendid day—finally!—
gave us the opportunity in the morning to “travel” to Gmunden. There
we had a grand midday meal—went on a Traun-walk, Traun! That was
lovely—we came into the café and could not believe [trau’n] our eyes—
Goldmark was sitting there and playing—not Die Königin von Saba—but
whist! All that, however, is nothing special, I just wanted to use “traun”
as much as possible. Most people here suffer from Traun-stone.
Enough—I cannot bear any more of that. But seriously—yesterday,
Bod[anzky], your sister, and I experienced the loveliest night that per-
haps one can ever have. The three of us went out after supper on a boat—
on the moonlit lake toward Gmunden, there, too, apparently mother’s
birthday was celebrated. It was really festive and with fireworks, etc.
Mother is now healthy, and is relaxing splendidly. Me too, etc.
I received your letter today, am happy that you too are not finished with
your work. Mine, at the least, will be twice as long! etc.
We will still be here another 10–12 days—if it stays pretty! etc.
Now I can write no more.—
Warmest greetings from mother to all

also from me, etc.
Alex.
Write soon—and [tell us] if Trudel is completely healthy.
121
L e t t e r s , 19 0 2 121
Notes
The use of the terms “Weckerin” and “Tagespein” (the pain of the day) are
puns on quotations from Wagner’s Rheingold and Tristan und Isolde.
Karl Goldmark (1830–1915), Hungarian-born composer. Die Königin von

Saba (1875) was his best-k nown opera.
Whist is a card game, an early form of bridge.
See BWS, 25–6.
28 August 1902 [postmark]?
From: Alexander Zemlinsky and Ottilie Kramer [postscript]

Altmünster
Dear friend,
We will be in Vienna on Saturday—to new agony—Mother expects a
letter from you on Sunday. My first section is now orchestrated—ca. 60
pages of score. How are things with you? Write again sometime!
Warm greetings, Alex.
Warm greetings, Otti
Notes
The postmark from Altmünster is unclear. However, the delivery postmark in

Berlin is certainly 30.8.02.
122
The phrase “to new agony” [“zu neuer Qual”] is an allusion to Parsifal.
Zemlinsky was using this to refer to his return to the Carl Theater after hav-
ing tried, but failed, to break his contract.
See BWS, 27.
4 September 1902 [postmark]

Wien
Lettestrasse 9, I. P.
Berlin N. 58
Dear friend,
I think it will not be easy with Löwe; he very much lacks independence,
and——! I will try it, however—it probably would be best for you to send
him the score. One of these days I would like to send you the completed first
part of my symphonic poem so that you would be so kind as to bring it to
Richard Strauss. It is probably the weakest of the three parts—but still at a
level that one would not lose interest in the other parts—I even think it is
better. In addition I will send a letter for Richard Strauss; I am finishing the
composing one of these days, and at the same time am orchestrating the sec-
ond part. Unfortunately, the circus begins again. Is there actually some kind
of society in Berlin to whom I can send my Psalm? Answer me about this.
I should send my Three Pieces or the Symphonic Poem to the Philharmonic;
the others are not good enough for them. Both are, however, very difficult.
Greetings,
Alex
Mother is healthy and well—hopefully you, too.

123
L e t t e r s , 19 0 2 123
Notes
Ferdinand Löwe (1865–1925), Austrian conductor. He studied with Bruckner

and was an important advocate of his music. Beginning in 1896 Löwe con-
ducted the Kaim Orchestra (the ancestor of today’s Munich Philharmonic).
In 1900 he founded and conducted the Wiener Concertvereinsorchester
(today, the Vienna Symphony). The orchestra’s first season was 1899–1900
with a series of six concerts.
The “Psalm” is Psalm 83 for Choir and Orchestra (1900).
See BWS, 27.
5 September 1902
From: Universal Edition Actiengesellschaft
Wien
Berlin
In prompt response to your valued postcard, we have the honor of

informing you that because of the absence of nearly all of the members
of our committee, it has not yet been possible for a meeting to take place;
we believe, however, that such a meeting will materialize in the course
of next week, and we will not fail to bring the matter, which you kindly
initiated, under consideration.
Respectfully yours,
[illegible]
Josef Weinberger
Universal Edition Actiengesellschaft
124
11 September 1902
Lutherstrasse 4
[Berlin]

Lettestrasse 9, I/I. P.
Berlin N. 58
Dear Sir!
I very much regret that I missed your most kindly intended visit and
would be happy if you would call on me between 3–4 p.m.
Respectfully,
Sincerely yours,
Waldemar Meyer

Pazmanitengasse 2
Wien II
Lettestrasse 9, I. P.
Berlin N. 58
Dear friend,
At the same time as this letter, you are probably receiving the score
of the first part of my symphonic poem. Due to a mistake by mother,
a letter to Richard Strauss that I wanted to include was mailed without
the address—only the name and Berlin. Therefore, if the letter arrives,
he really won’t understand, because it was written to accompany the
125
L e t t e r s , 19 0 2 125
simultaneous handing over of the score. If it doesn’t arrive—and you

bring him the score—he will find it very strange that I didn’t write a let-
ter. I ask, therefore, 1. go soon to Strauss and give him the score; 2. tell
him this sorry tale, and in case he didn’t receive the letter to say that in ca.
3–4 weeks I will be completely done; the work has 3 parts, lasts, at most,
30 minutes, or even less. Also, that I don’t think the first part is the best.—
And how are things with you? 1. with your symphony, 2. with your
position or plans for the future? Write me about this, if you want.
You have forgotten to answer where in Berlin I can submit my Psalm.
In any event, I thank you very much in advance.
Warm greetings,
Alex.
Notes
See BWS, 28.

Monday
Charlottenburg [postmark]
[Berlin]
Lettestrasse 9 I/I
Berlin N
Friday morning I am at home until noon!
Warmest greetings,
Rich[ard] Strauss
126

Pazmanitengasse 2
Wien II
Lettestrasse 9
1. P.
Berlin N. 58
Dear friend,
Many, many thanks for your letter. I don’t need to say to you how much
good such words do when coming from a true and understanding source.
I also know that within your friendly and warm praise there is a signifi-
cant amount of nostalgia for Vienna and your friends; nevertheless, I am
still happy over the rest that remains for me and my work. And precisely
that you prefer to find double the amount of good and to say so: how
friendly and selfless of you! How different it is than those who find half
of what you find and say nothing. So again: many thanks.
As soon as I finish orchestrating Part 2, I will send it to you—in
any event.
Because of the damned theater, I now have less time for this—
however, I work on it every day.
How far along are you now? Will you be ready for next season?
I would be curious to know—we are all curious. And the Gurrelieder!
Don’t stop! If they aren’t done in the near future, they will be standing
ready later when one knows you and is expecting something big.—
Perhaps soon I will send you the first act of a libretto that was writ-
ten for me. It is not yet clear to me whether I can make something of
this: prudish material, but pretty. The “poet” is [Ernst] Hutschenreiter,
a “new one;” I believe he is not without talent, extremely industrious,
enthusiastic, warm and young. He is no Jew, i.e., not a Griensteidl-person.
You will see. What is happening with you—with regard to your job? It is
not impossible that I would be in Berlin next year. That is still completely
uncertain, and therefore, cannot be discussed with anyone.
127
L e t t e r s , 19 0 2 127
Now I am going to work and have to close.
Warmest greetings to all of you.

Alex.
Mother is very well. Boxl too.
Notes
The “damned theater” is the Carl Theater where Zemlinsky had resumed his
duties after having tried and failed to take another position at the end of the
previous season.
Café Griensteidl (Michaelerplatz) was popular among Vienna’s Jews. It also

attracted an artistic and literary clientele (see Chapter 1).
Boxl is probably a diminutive for the family dog, Bogimann II.
See BWS, 29.
17 September 1902
Lutherstrasse 47
Berlin
Komponist
Lette Strasse 9. I/I P
Berlin N. 58
Dear Sir!
It is doubtful whether the two gentlemen will be free tomorrow before
the opera rehearsal (they are learning it only tonight) but surely just
128
come with me to the front at 11 o’clock in order to hear us, in case they
should come. With respect,
Sincerely yours,
Waldemar Meyer
Notes
The “two gentlemen” are probably the additional violist and cellist needed to
augment the quartet to play Verklärte Nacht.
18 September 1902
Lettestraβe 9 I/I. r.
Berlin N/58
Dear Madam,
You undoubtedly have heard from Gärtner that I have a little baby girl.
So that you might know this for a certainty, I include with this letter a
photograph. The picture was ready a month and a half ago and I should
have sent it to you long ago, but I have had so much to do that I put it off
from one day to the next.
Otherwise, things are going very well for me here. I have to orches-
trate two operettas that I find most unsympathetic and which cause me to
think back with melancholy on Gärtner’s wonderful music, but I am very
well paid for them. For the future I have the best prospects. Through the
intercession of Richard Strauss I shall become Professor of Theory and
Orchestration at the Stern Conservatory, which, after the Hochschule,
is seen as the most prestigious here. Then my sextet will be performed
129
L e t t e r s , 19 0 2 129
multiple times this year. And in fact, above all, Rosé is repeating it this
season in Vienna. Then probably in Budapest. Professor Popper, who
[illegible] of the cello concertos, has requested it from me. His deci-
sion has not yet been made, but I am certain that he will perform it, and
finally, it will be performed here in Berlin, and indeed, in the coming
days by Prof. Waldemar Mayer [sic], to whom I was recommended by
Richard Strauss; to begin with at the Tonkünstler-Verein and then in
several public concerts, one or more times. It probably also would have
been performed in Munich. But Prof. Miroslav Weber, who wanted to
perform it, informed me recently that local conditions necessitated the
closure of his quartet evenings. However, he probably will come back to
this. Then I have prospects to have my to-be-completed symphonic poem
performed at the Tonkünstler orchestral concerts which are under the
direction of Richard Strauss. It is only a question if I can be ready in time.
But since these damned operetta orchestrations are occupying my time,
I can hardly be ready in time, and we will see if Richard Strauss can and
will wait for me.—You see, therefore, that things are going quite well for
me and that I am on the best path to get somewhere.—You know that I
am a bit superstitious. You will laugh, but I am convinced of something.
I have had good fortune ever since Mr. Redlich has placed me under his
protection. I must say that for me that almost always was one of the most
important things: I believe that he has a lucky hand. Those who he takes
in hand succeed: [illegible], Kreisler, me, etc. I have had good luck from
that moment forward and things have gone upward. I do not want to
complain about it; hopefully it will continue.
On 2 October, I am moving to another part of the city (Charlotten
burg) to a new residence. Although it would scarcely have occurred
to me to move to such a prestigious quarter in Vienna, it is necessary
here—as I have been assured from all sides. In any event, it is easier to do,
because there is no housing shortage here. And then there are courtyard
apartments—so-called garden apartments that are not more expensive.
I really have to live there for all of musical life is centered there.
Now enough about me. What is going on with you? And hopefully
everyone is healthy? How is Mr. Redlich? Do you talk about me here and
130
there? What are Miss Elsa, the baby, Wally, Hubibubi, and Herbert doing?
You see, I know all of the names. If you see Gärtner, please extend to him
my warmest greetings. He really ought to compose again. My wife and I
think very often about his dear melodies. What is Miss [illegible] doing;
and Mademoiselle?
Please write again soon to me. I would be very happy about that.
Many warm greetings to Mr. Redlich; perhaps he can write a few lines to
me.
Also to Mrs. Gärtner and Grandpa Gärtner.
Warm greetings
Your
Sincere
Arnold Schönberg
N. B. From 3 October 1902 my address is: Augsburgerstraβe 48,

Gartenhaus, 4. Treppe, Berlin, W.
Notes
The Berlin Tonkünstlerverein was founded by Theodor Kullak in 1844.
Fritz Kreisler (1875–1962), virtuoso violinist and composer. He is included in

the “Schrammel-Quintett” photograph (see Figure 2.1 in Chapter 2). See the
letter to Carl Redlich dated [1900]?.
The names Elsa, Wally, Hubibubi and Herbert may refer to the Redlich chil-
dren: Else Barany (née Redlich, 1888–1956), Walter Redlich (1893–1971), and
Hubert Redlich (1899–1949).
131
L e t t e r s , 19 0 2 131
[19 September 1902, postmark]?

Wien
Lettestrasse 9
Berlin N/58
Dear Schönberg!
I am not in the slightest bit angry at you. I do not think that; to the con-
trary, I feel good towards you with my whole heart. You speak of a letter
that you sent to [Bad] Aussee. I did not receive it; I left there long ago, was
in the south and have been in Vienna for the past three weeks. Perhaps
the letter got lost during my changes of address.
I understand from your letter that you have been very busy and that
is good and splendid. A performance by Richard Strauss is also terrific.
Stay in Berlin now and listen to the well-intentioned advice of yours truly.
Stand your ground, you will make your way out from there and even if you
have several puddles to jump over, that is of little importance. I believe you
are a good gymnast. Jump over them boldly. You will certainly land well.—
Things are going badly for me; I am forgotten, already dead, no lon-
ger believe in my resurrection, besides I don’t care. I work very hard,
almost feverishly, but only because I want to put in writing that which
I find fulfilling. I have no other purpose. You are energetic and young, so
good luck on your path. You will reach your goal.
Sincerely yours,
Adalbert v[on] Goldschmidt
Notes
The letter is undated. Apparently the date was assigned on the basis of a post-
mark on an envelope that has since been discarded.
132

From: G[ustav] Pohl
Berlin SW
To: A[rnold] Schönberg
Lettestr[asse] 9
Berlin N/58

I regret very much that you did not find me in. On Friday after receiving
your letter I sent your telegram to Mr. Str[auss] [asking] when I could
visit him. As of today I have received no answer.
Tomorrow (Thursday), after work at the Conservatory, I am travel-
ing to Oranienburg to see Mr. Klindworth whose birthday is tomorrow.
Friday I am definitely at home from 2:30–3:30. Hopefully Mr. Str[auss]
will not send me an invitation for tomorrow.
So, till we see each other again on Friday.
Sincerely yours,
G. Pohl
Notes
Karl Klindworth (1830–1916), composer, conductor, violinist and publisher.
Oranienburg is 35 km north of the center of Berlin.

133
L e t t e r s , 19 0 2 133

Dear friend,
Obviously, your news was not very encouraging. But what should one
do? In any event, I will finish the piece as fast as possible, and will send
you the second part when it is done. In the meantime, send the first part
back to me by return post; perhaps I will need it. It is very demanding
of Str[auss] to [ask to] have the parts written out; that costs a fortune!
When I am done, I will send him the whole thing and will point out the
difficulties. If he would only take the time to look at this piece, but just so,
in the way that we are accustomed to doing! [He is], however, already too
famous!!—Everyone is well and sends you warm greetings. Let us hear
something from you.
Greetings,
Alex
Notes
Evidently, Strauss asked to receive a complete set of parts for Zemlinsky’s

Seejungfrau.
See BWS, 24.
134
[25 September 1902]
Lettestraβe 9
I/I rechts
Berlin, N/58
[Wien]
Dear Madam,
You can scarcely imagine how unpleasant it is for me to have to write this
letter to you today. When I wrote you last week—I used the break in the
work—I had just completed and sent off an orchestration (an operetta by
the Überbrettl music luminary James Rothstein). I wasn’t worried about
handing over the work to him even though he stated that he would send
me the fee (250 Marks) in 2 to three days. That certainly was incautious of
me to rob myself of this leverage, but what use would it have been for me?
The man put me off for a week and yesterday he told me that he had not
counted on my finishing so promptly (but I had told him about this long
before) and could not give me my fee before 15 October. What should
I do? In the meantime I cannot even complain to him; for, in order to
cover all eventualities I stipulated that very day as the latest possible day
for the completion of the work, but at the same time I said, that if noth-
ing would interfere, at the very least—and this is the case—I would be
done a month earlier. Yet I suspect that the fellow has the money and
does not want to give it to me, because he wants to take revenge on me
for having made little secret of the distaste that his scribbling inspires in
me. As a result, I am in a terrible situation. I have sat for 6–9 hours every
day—you know indeed that I can work and, if I have to, almost slave
away for somebody—and have worked at the wretched stuff and had to
put aside my own work. All of that, so that on 1 October—I believe I have
already told you about this with pride—I have accumulated the neces-
sary money for moving to Charlottenburg. And now this fellow makes
135
L e t t e r s , 19 0 2 135
me wait in such a vile manner. And I told him so long in advance that
I would be ready on this day; I was that careful already. He apparently
did not believe it, for it really was a horrific amount of work. I broke my
Reichenauer record of 27 pages of score in a day by a significant amount.
With this job once I have even done 40, that is to say forty, pages of score
in a day, and on average at least 25 to 30 pages.
You can imagine how much I have worked. It was necessary, because
such a move costs a lot of money and I have to live in that area. This
is expected here, just as it also is required that one dresses respectably.
Otherwise, one will be looked down on and will scarcely be able to make
the necessary connections. Moreover, it is not significantly more expen-
sive, particularly if one lives in a house in the back. In any event, I have
already rented the house and must move there: and when I did that, I had
complete justification for it, because one does not take into consideration
such vile behavior. And now I sit here and don’t know where to begin. I
have no acquaintances here to whom I can turn; otherwise I surely would
not be a burden to you again. In any event, you must forgive me if you
are not in the situation or mood to respond to the following request. That
is: can you lend me a sum again that this time, however, I want to pay
back immediately, as soon as I receive my fee, or possibly in two to three
installments? I require 150 Gulden. It would be best for me if you could
lend me the entire sum or at the least, close to this sum. In any event, I
ask that you give me an immediate answer, if possible by telegram. If it
would be possible for you to wire me the sum, I would be eternally grate-
ful, for I am understandably very upset. I would ask for your forgiveness
for this request, if I did not think that you must understand that it is
the most terrible disappointment for me to have to come to you for such
a thing. And that just now, when I have recently written you how well
things are going for me. I was so proud, perhaps even arrogant, to be
able to point out that I was finally able to stand on my own feet and was
even happy that I had now, after all, convinced Mr. Redlich that even in
my way one could come to something. Naturally this unpleasant incident
does not speak against me, for after all it is impossible to foresee some-
thing of this sort. One more thing: should Mr. Redlich be angry that I
136
did not turn directly to him then I ask you to say to him that it did not
happen because I have always corresponded with you and certainly know,
moreover that you would not do that which he had not approved. Now
in conclusion some pleasant news (in spite of this story, things are going
very well for me). I was at Richard Strauss’ again. He was unbelievably
nice to me and wants to do a lot for me. Above all, I am submitting my
sextet for next year’s music festival with his support. He himself is on
the committee and will have it accepted. Then he will personally tell the
director of the Stern Conservatory that he should hire me. Furthermore, I
myself will conduct my symphonic poem should I finish it on time. In any
event, he will put together a rehearsal in which I will conduct my piece
and Zemlinsky’s piece. That will surely be very useful for me. And finally,
however, the grandest. He will arrange the Liszt stipend for me. He is also
on that committee. That is not only a large sum of money, but also, an
immense honor.—You see, therefore, that otherwise I could be satisfied.
And if this unpleasant incident had not happened, things would be going
well for me materially. May I therefore this time also hope for your friend-
ship? Hopefully, this is the last time. I ask you urgently once again for an
immediate reply. And, if possible, that you could wire the money to me. I
further ask that you not tell our common acquaintances of my request, as
well as the whole matter. In particular, the name of the music luminary. I
have promised it. In any event, if I have to enter into legal actions against
him, everyone will know.
In any event, I thank you in advance for your kind response and
urgently ask that you convey your decision to me as soon as possible.
With warmest greetings

Your
Arnold Schönberg
Notes
The “Reichenauer record” probably refers Schoenberg’s stay at the summer

home of the Redlichs.
137
L e t t e r s , 19 0 2 137
Rothstein was supposed to pay Schoenberg 250 Marks equaling $60

(in 1902 dollars) which is approximately equivalent to $1,565 (in 2013 dollars).
Schoenberg was requesting 150 Gulden (300 Kronen) or approximately $60
(in 1902 dollars) from the Redlichs.
27 September 1902
From: [David] Popper
Budapest
Lettestrasse 9, I./I.
Berlin N. 58
Dear Sir!
I returned here again only a few days ago; therefore, please be so kind as
to excuse the somewhat belated response to your esteemed letter. Prof.
Hubay is currently in Berlin (Centralhôtel). He would most certainly be
interested in making your acquaintance and in getting to know your
sextet.
Do you wish to meet him there?
Otherwise, I will be happy and obligated to you if you would kindly
send the music.
Most sincerely,
Your,
Popper
138
3 October 1902
From: Robert Lienau
Schlessingersche Buch- und Musikhandlung
Französische Strasse 23
Berlin W. 8
Berlin
Dear Sir!
I have examined the sextet that you most kindly submitted and also
requested the opinion of a musician, a close associate of mine, and per-
mit myself to say the following about it: the musical composition and its
realization display high artistry and great knowledge and the work is
certainly unique; the basic idea, however—to entrust program music of
this kind to an ensemble of only six string instruments—seems inappro-
priate to me. The technical difficulties become too big, and on the other
hand, the color of the instrumentation is not varied enough. I cannot
foresee, therefore, that your composition could find wider distribution
and thus that it could be commercially successful. Because of its extreme
character, I also do not think that the piece is suited to introduce you to
the musical world. Given your ability and talent, you will create works of
clarity and accomplishment, and I can only see your sextet as a valuable
step toward a higher perfection. Although, regretfully, I must turn down
the sextet on behalf of the company, I wanted to demonstrate through
the discussion above that I am interested in you and that I will be happy
to hear from you again later.
Please kindly collect the manuscript.
With great respect,

Sincerely,
Schlessinger’sche Buch- und Musikhandlung [ink stamped]
R. Lienau [ink stamped signature]
139
L e t t e r s , 19 0 2 139
Notes
Robert Lienau (1838–1920), music publisher. His firm published works by

composers such as Bruckner and Sibelius.
7 October 1902
Augsburgerstrasse 48
Gartenhaus 4 Trp. links
Berlin W
Dear Madam,
I must ask you to tell me as soon as possible whether Mr. Redlich has
already returned or when he will arrive. Further, if you believe that he will
fulfill my request. If possible, I would like to ask you to ask him by letter
whether he will agree to it. Perhaps it is also possible for you—in light of
the particularly pressing situation—to send me a part of it for the time
being and to get his approval after the fact. You know that my contract
with Wolzogen, which expired on 31 July, was not renewed by the new
management. Thus for the moment, I have no position. Although I will
have solid earnings again in two weeks at the most, for the moment, my
situation is very bad. Since I have pawned everything—everything!—I
have succeeded in getting past the move and the first few days. However,
now that is also gone. To be sure, the fellow—the one with the operetta—
definitely promised to pay me on the 20th, but I do not know what I am
supposed to do until then if you do not help me. Thus I ask you again to do
what you are able to do; I certainly will be very grateful and in your debt.
With all best wishes,

Sincerely yours,
Arnold Schönberg
140
Notes
The “fellow [Kerl] with the operetta” is James Rothstein who had not yet paid
Schoenberg for the orchestration of an operetta.
9 October 1902
From: Karl Weigl
Wien I
Augsburgerstr[asse] 48
Gartenh[aus]
4.Trp. Links
Berlin W.

I can imagine that it was not easy for you to do what all the others do and
write “the” letter one is obliged to write in these cases.
I would have liked to have spared you having to participate in this
custom and would have been much happier to have been able to see you
and talk to you. But even though I thank you very much for your kind
letter, nevertheless I thought I was able to hear the tone of your voice
between the lines, and I know that you have always been honest with me
whether it is about love or hate.
I believe you will not take it amiss that it is not mama who has
answered you—she feels so wretched that I spare her the writing of letters
and other things in every possible way.
I ask you to think of me again soon and to drop me a few lines about
your own matters; you have no idea how pleased I would be about that.
141
L e t t e r s , 19 0 2 141
Please give very warm greetings to your wife Mathilde and your little
girl and accept once again my thanks.
Yours,
Karl W.
[ca. 14 October 1902]?
Obere Weissgärberstrasse Nr. 16
Wien III
Dear friend,
My warmest thanks to you and Mathilde for the congratulations and
the gift. The latter arrived somewhat damaged, but has already been
repaired. I was happy that it looks much better than your drawing; this
had prompted the most diverse opinions: bets were placed on a ham-
bone, a urinal together with a chamber pot, etc. Only the belated arrival
of the gift put an end to the impassioned debate!
About me and Vienna in general: Heuberger’s Baby has already gone
to the dogs—receipts of 600 Fl. instead of 1200 Fl.: the costs of a day!!
We are already rehearsing Reinhardt’s newest music drama: horrible!
abominable! terrible!! On the other hand, with Heuberger I use the “Du”-
form—really very flattering for him?! Part II will be finished today. I will
send it to you soon. After terribly shabby obstacles, about which I’ll tell
you next time, my three ballet pieces will be performed on the Löwe con-
certs. (While I am writing, a student is waiting on me for a lesson.)
I am thinking now of a new idea for an opera: I think something
will come of it. I only have the idea and the character for the idea,
not much more, thus no real plot. In brief: Der arme Peter, that is the
142
ideal, young visionary or dreamer (I don’t know yet from what milieu)
who is full of longing for love, lives a short life, unloved. But he is not
only misunderstood by women, but also in general he lives with his
dreams misunderstood because he is so completely different than his
peers. Friends, sweethearts, everyone, drop away from him, at first in
mockery, then perhaps in fear and mistrust. Only his mother, perhaps,
still believes in him; she hopes that he will overcome life, but she dies,
although believing in his lack of power. He himself, too.
Roughly, that is the basic idea: I don’t know much more yet. I believe
that there is an enormous amount of tragedy in it. Also, “Grete” the fallen
sweetheart, and Hans, the friend whom Grete loves, thus something that
can be taken from the three little poems by Heine: Der arme Peter. The
whole thing is in a village or a small city on the Rhine. I don’t quite know
yet: peasants or petty bourgeoisie; in the latter case, poor Peter is an “art-
ist” or has a good trade like a goldsmith or the like. That is all still unclear,
although much depends on it. Just tell me soon, what you think of it.
Now I must close. Can’t you send me anything from Pelleas und
Melisande? What else are you doing? How is it with Wolzogen?
Greetings from mother—she has not been well for a few days—to
Mathilde and you. Also from Alex
Notes
A date has been assigned to this letter, presumably on the basis of an envelope
which no longer is available.
The “newest music drama” by Heinrich Reinhardt (1865–1922) was Der liebe
Schatz (1902).
In 1902, 600 Florins was approximately equal to $240. In 2013 dollars this is
143
L e t t e r s , 19 0 2 143
Zemlinsky eventually wrote an opera based on Heinrich Heine’s Der arme

Peter: Der Traumgörge (completed in 1906; libretto by Leo Feld).
See BWS, 30–1.
16 October 1902
From: Adolf Göttmann
Berliner Tonkünstlerverein
Berlin

Augsburger Str[asse] 48
Gartenhaus IV l
[Berlin] W

Letter received; will settle everything else as you wish. Prof. Meyer
has already fixed the time for a rehearsal of your sextet at 9:00 a.m. on
Sunday morning; he requests your attendance.
Best wishes,
Adolf Göttmann
Notes
Adolf Göttmann (1861–1920), singing teacher in Berlin and the head of the
Berlin Tonkünstlerverein. Under its auspices Verklärte Nacht was performed
by Waldemar Meyer’s augmented quartet on 30 October 1902.
144
18 October 1902
Concessionirtes Concert-Bureau
Kärntnerring 11
Wien I
Berlin
Dear Sir!
As a result of other arrangements, my brother cannot take on your sextet
in his program for this year. If you have a new string quartet, he is gladly
ready to play it, even this year.
With best regards

Yours truly,
Alexander Rosé
23 October 1902
[…] I have hesitated with this letter until today, because I had hoped to
be able at the same time to tell you some happy news about me. However,
since court music director Richard Strauss is very busy with rehearsals
for Feuersnot until the 28th of this month, the matter will drag on for a
few more days. I thus do not want to wait any more, but to fulfill my duty
immediately in that I extend to you and Mr. Redlich my most heartfelt
thanks for the aid you extended to me. To my regret, I must conclude
from your letter, that you did not receive my entreaty so favorably […]
145
L e t t e r s , 19 0 2 145
Notes
The letter is in private hands and was not available to the editors. The trans-
lation made here is from the incomplete transcription that is available
through the ASC.
[30 October 1902, postmark]?

Obere Weissgärberstrasse
Wien III
Dear friend!
I have not yet sent your composition to you, because after three most
careful readings, even with the best intentions, I still did not get a com-
plete impression; although I could guess that after only one hearing, a
huge impression would be inescapable. The work is more complicated
than any I have ever seen. By contrast, as far as “simplicity” is concerned,
Heldenleben would be like a Beethoven score for me! And besides, I am
not so very inept. I also cannot say today that it is completely clear to me
that the composition is exceptionally beautiful or the like.
But what is clear to me: the piece is phenomenally artistic. At the
highest level in terms of polyphony; brilliant in instrumentation, although
for me the latter is not completely beyond reproach. I believe that much
is too overburdened, much cannot be executed, or only very rarely. But
that is of little importance—the totality is a colossal work, before which
I gladly give homage. Also individual motives—like the descending one,
in quarter notes, that then is used in the passage I find most beautiful, the
four-voice canon in triplets. (Is that the love scene?) Also, the wonder-
ful clarinet figure that is imitated by the bass clarinet. The augmentation
146
of the first violins, and the theme of the solo cello, that is really splen-
did!! Just one spot you absolutely must change—it is the only one which
reminds me of something else and to be sure, of Tristan, page 4 (wieder
langsamer)—I would be terribly curious to hear it; only then could I have
a comprehensive judgment about it. But as I said: my highest admiration.
I hope to be able to speak to you about details; to write is difficult.
So today is your sextet. I hope [it will be] a great success. Write me
immediately about the success and performance. A pity that Rosé was not
true to his word. But the enthusiasm of these gentlemen …!! As a substi-
tute he is bringing a “new” piano-violin sonata by Brüll!!
I am sending you your manuscript together with my Part II with your
mother. That is more secure than the mail. The empty measures in my
Part II will be filled in by the round dance at the beginning; I am making
a sign for you there.
The beginning of Part II is a ball on the sea floor, naturally, sea-like
motives are interwoven, but I needed this external mood for musical con-
trasts. Also—to the extent to which one can—I would like to establish the
fairy-tale character. Later then the ¾ motive, slow—of the immortal spirit
of mankind—then the move to the witch of the sea, the magical transfor-
mation of the mermaid to a person, etc. That only for external orientation.
Now I would like to say a quick word about your reply regarding
my opera idea: you are right that the “hero” is the active character; I also
do not have any plot yet; I told you, therefore I also do not have one for
my “poor Peter.” Perhaps that is not as necessary as it seems—I don’t
know! But you have misunderstood the motive that appears to be tragic!
I believe—and it is my intention to make it so—it is enough—from some-
one who is by nature and fate, a peculiarly disposed soul, to bring near
to us the necessarily tragic consequences, to make them pathetic. No aim
for the general audience, no big idea, just this sad person with his great
individuality that brings him great sorrow and, in fact, through love, has
a tragic effect. I am thinking in this context of Werther, of Fuhrmann
Henschel, even of Tristan. Where is a big idea of a view of life or of general
appeal to be found here? In a case of the lover, who chooses death because
he can never possess the woman he loves. Then there is the one who is
147
L e t t e r s , 19 0 2 147
dogged by strokes of fate: he says to himself: there is nothing more for me

to hope for—no happiness! Regarding Tristan it is clear to us—really not
more than with Werther. Am I wrong? Therefore, I want my plot to take
place in a real, small milieu!
I don’t know if I’ve said clearly what I mean—it is somewhat clear to
me. I am thinking about your idea continuously. Write me about it again.—
Now familial things: mother thanks you for the items that were sent.
If possible, she will send the requested doll. No letter is coming from her
because the daughter of Mrs. Walfisch is very sick, she also does not visit
us at all. Next week she will write again. Things are going somewhat better
for mother, although she still goes to Dr. Hoffmann every day. However,
I think she is already much better.
Now I have enough and I close.
Warmest greetings for Mathilde, Trudie, and you from all of us.

Alex
Notes
The date for this letter was apparently assigned on the basis of a postmark.
However, the envelope is no longer available.
The topic at the beginning of the letter is Zemlinsky’s reaction to Pelleas

und Melisande; the sextet mentioned thereafter refers to Verklärte Nacht.
Zemlinsky also discusses his own works: Die Seejungfrau and his ideas for
Traumgörge.
Ein Heldenleben (1898), a tone poem by Richard Strauss.
Ignaz Brüll (1846–1907), Czech-born pianist and composer; a friend of

Brahms. His most important success was his opera, Das goldene Kreuz (1875).
Die Leiden des jungen Werther (1774), a novel by Goethe.
Fuhrmann Henschel (1898), a drama by Gerhardt Hauptmann.
See BWS, 31–4.
148
5 November 1902 [date of postmark]

Tuesday [which was 4 November 1902]
Charlottenburg [postmark]
[Berlin]

Gartenhaus
Berlin W.

Today I met with Director Holländer: he promised to take care of your
request. He wants to arrange a small class for you even now (thereby you
can, at the least, call yourself a teacher at the Stern Conservatory). From
1 January on, he hopes to give you a larger class; he also has copying
work for you. As for the rest, in all cases of need, for better information,
turn to Inspector Pohl, a true and dear friend of mine, who will always
stand by you with help and support.
If you are really in pressing need, write an application for support to
me as head of the Allgemeiner Deutscher Musikverein: I can help you out
of the worst situation with 50 Marks. So, good luck!
Warm greetings,
Your
Rich. Strauss
Go now again to Director Holländer!
Notes
The dating for this letter is problematic. Hilmar and Nono-Schoenberg

both give the date as 5 August 1902. Arnold Schönberg Gedenkausstellung
149
L e t t e r s , 19 0 2 149
1974, ed. Ernst Hilmar (Vienna: Universal Edition, 1974), 175; and Arnold
Schönberg: 1874–1951. Lebensgeschichte in Begegnungen, ed. Nuria Nono-
Schoenberg (Klagenfurt und Wien: Ritter, 1998), 39. JASI-PI and ASSW
assign it to 5 December 1902. Neither of these suggestions seems to be cor-
rect. As in his other letters to Schoenberg, Strauss does not date the let-
ter itself, but writes out the day of the week, “Tuesday,” in the upper right
corner of the letter. The letter had been franked with a stamp on the enve-
lope, which became detached from the envelope and is now lost. Most of the
details of the postmark disappeared with the stamp (month, year, and city).
What is left of the postmark is only the number 5 indicating that this was
mailed on the fifth of some month. On the back of the envelope is a dispatch
mark (“Bestellt”) which is applied by the receiving post office and indicates
when the letter was dispatched for delivery. Unfortunately, this mark is also
unclear. It appears that it was dispatched on 6th or the 5th of some month in
1902. The letter is addressed to Schoenberg on Augsburgerstrasse where he
had moved from Lettestrasse at the beginning of October 1902. Although
none of these clues alone can give us the date, when taken together, they
can. Since Schoenberg lived on Augsburgerstrasse only after the begin-
ning of October 1902, the only possible months for the letter are October,
November, or December 1902. Of those, Tuesday is the 4th of the month
only in November. If so, then we posit that Strauss wrote the letter on
Tuesday, 4 November 1902. It was posted on the 5th (which is compatible
with what remains of the postmark) and was sent for delivery by the receiv-
ing post office on 5 or 6 November.
Allgemeiner Deutscher Musikverein (ADMV, General German Music

Association), founded in 1861 by Franz Liszt and Franz Brendel. It held an
annual congress (Tonkünstler-Versammlung), usually in Germany. Strauss
was the president of the society from 1901 to 1909.
150

Thursday
Charlottenburg
[Berlin]
Gartenhaus
[Berlin] N.

I need as a model from my score the part where the 4/4 measure in g
minor (trombone) begins; please bring that to me, even today. At the
same time I have made an appointment for you at the office of the super-
intendent general (with the head of the copyists, Mr. Dessau).
Best greetings
Your
R. Strauss
Notes
The score Schoenberg copied was Strauss’s Taillefer, a work for soprano,
tenor, baritone, eight-part mixed choir, and orchestra. It was premiered on 26
October 1903 in Heidelberg.
The copyist was probably Bernhard Dessau (1861–1923), violinist and com-
poser, the uncle of Paul Dessau.
151
L e t t e r s , 19 0 2 151
12 November 1902
From: “Universal Edition” Actiengesellschaft
Wien
Dear Sir!
In possession of your esteemed recent letter we are honored to inform
you that our edition of folk songs is still at the stage where they are being
collected, and that, as of yet, no decision has been made regarding a
revision.
With great respect,

Josef Weinberger
[illegible signature]
20 November 1902
From: Max Grossmann
Möbel-Fabrik
Oranien-Strasse 65
Berlin S
[Berlin]
Since I myself have pressing payments, I must now—as much as I regret

it—request now the overdue installment which is meant for payment
this week.
152
You will receive the remaining things in the course of the coming week.
Respectfully,
Max Grossmann
Notes
A receipt dated 22 December 1902 shows that Schoenberg paid 60 Marks

equaling $14.30 (in 1902 dollars) which is roughly equivalent to $375 (in 2013
dollars).

Charlottenburg Berlin
Componist
Berlin W

Do you want to come tomorrow afternoon, Wednesday, promptly at
5 p.m. in order to fetch a further part of the score to Taillefer?
Your
Rich[ard] Strauss
I am leaving tomorrow evening for ten days!

153
L e t t e r s , 19 0 2 153
16 December 1902
Gart[en]haus 4 Trp., links
Berlin W
To: [Josef] Reitler
Dear Mr. Reitler,

Since I had already included the fee for your hours in the somewhat
overly large Christmas budget, and since my plans were thwarted due
to your late return, I must ask you to send me the payment (that would
be due on the 22nd) approximately around that date. But in any event so
that I will have it before Christmas […] would be very pleasant.
Enjoy the holidays, but not too enjoyably; that is: also do some har-
mony studies.
Best wishes,
Arnold Schönberg
Notes
A portion of the letter (end of first paragraph) was erased or has become
illegible.
Josef Reitler (1883–1948), Austrian-born music critic and teacher of music. He

studied theory privately with Schoenberg in Berlin. In 1915 he was appointed
head of the Neues Wiener Konservatorium. He became the chief music critic
of the Neue Freie Presse in 1934. After the Anschluss, he fled to the United
States where he remained until his death.
154

Obere Weissgärberstrasse, Nr. 16
Wien III
Gartenhaus, 4 l.
Berlin W 50
Dear friend,
I didn’t send you my score yet because it is at the copyist. I can send
you the score, and if necessary, the parts, after Christmas. Is it really so
urgent?
Best thanks for the cigars and the ashtray, the latter is really nice,
the cigars good. I am deathly tired and tormented by terrible rehears-
als: 9:30–4:00!! I will thank God when I am done with it. We might come
to Berlin for a guest appearance in the spring!
So I think we might see one another soon.
I would like you to read something and give me your opinion about a
comic opera Zwei Eisen im Feuer by Calderon in the translation by Adler.
A charming comedy—but as I said, I would like to know what you say.
Now I close because tonight—it is already 7:00 p.m.—I am eating
dinner at your sister’s.
Greetings from mother, she will write soon—she has not yet spoken
with your mother.
Warm greetings for Mathilde, and Trude, and you.

Alex
Notes
The second digit of the date on the postmark is not clear. JASI-PI and BWS,
34, read it as a 0, hence, 10 December 1902. This is probably wrong. On the
155
L e t t e r s , 19 0 2 155
verso of the envelope is the delivery stamp (“Bestellt”) by the post office in
Berlin. Its date is clear: 20 December 1902. In mail from Vienna to Berlin dur-
ing this period, there is usually a difference of only one or two days between
the postmark (from the originating post office) and the delivery stamp (by
the receiving post office). No other letter we have examined has a ten-day gap
between the sending and receiving marks. Therefore, we believe the correct
date for the posting of this letter is 18 December 1902.
Schoenberg made doodles, five stylized 2’s, on the recto of the envelope, three
more stylized 2’s, a leaf, some leafless tree limbs, and what looks like a boo-
merang, on the verso of the envelope.
Pedro Calderón de la Barca (1600–1681), Spanish playwright and poet.
Friedrich Adler (1857–1938), Austrian-Czech lawyer, translator, and writer.

IV
Letters, 1903
1 January 1903
From: Arnold Schönberg et al.
To: Alexander Zemlinsky
Figure 4.1
Facsimile postcard of 1 January 1903. Courtesy of the Arnold Schönberg Center.
156
157
L e t t e r s , 19 0 3 157
[January 1903]?
Augsburgerstraße 48
Gartenhaus 4 Trp. links
Berlin W
To: Liszt-Stiftung
To the Most Honored Board of Trustees of the Liszt Foundation!

The humble applicant takes the liberty of turning to the honored
Board of Trustees of the Liszt Foundation with the request for a grant of a
stipend, and takes the liberty of providing the following reasons.
Born on 13 September 1874 in Vienna, I was supposed to become
an engineer, but when my father died suddenly I had to give up those
studies and for reasons of livelihood had to join a business. There
I remained for five years. Up to that point—I was then 21 years old—I
had received, other than very inadequate violin instruction, absolutely
no musical instruction, but nevertheless, I had learned so much as
an autodidact, that a number of Viennese musicians to whom I had
shown my compositions, encouraged me to become a musician. Thus,
the Viennese composer, Alexander von Zemlinsky, took over my
instruction and in the course of a year, brought me so far that a string
quartet of mine could be performed first in the Wiener Tonkünstler-
Verein and then also publicly. On occasion since then, songs and
smaller pieces, and last year, the enclosed String Sextet have been pub-
licly performed.
Since I received a well-ordered education so late, and because of the
pressing financial need in which I have found myself the whole time, and
158
finally, since I had no opportunity to own an instrument, it was not pos-

sible for me to learn to play the piano. Therefore, from a material point of
view, my livelihood rests on very unfavorable foundations; I cannot be the
musical director of a theater, cannot teach instrumental lessons, and can-
not perform all of those activities for which proficiency on an instrument
of any sort is necessary. Therefore, I have had to teach theory lessons and
take on commonplace jobs [Handwerks-Arbeiten]. However, since both
are rather rare, my income is very unstable and unreliable, so that I often
find myself in difficult circumstances.
Therefore, in light of this situation, I am taking the liberty of asking
the most honored Board of Trustees, to consider me for the award of the
Liszt Stipend. As evidence of my artistic activity, I have taken the liberty
of enclosing my String Sextet Verklärte Nacht and a part of the score for a
composition on Jacobsen’s Gurre-Lieder.
Awaiting a kind and hopefully favorable response to my request,
I sign with respectful esteem sincerely,
Arnold Schönberg, Composer
Enclosed, 2 scores.
Notes
There is no date on the letter, and no envelope survives. JASI-PI (p. 28) assigns
an approximate date of December 1902. From internal evidence, a date of
January 1903 is more likely. Schoenberg states that Verklärte Nacht had been
publicly performed “last year.” Since Verklärte Nacht received its premiere
performance in March 1902, the present letter was probably written after the
turn of the next year—January 1903.
Richard Strauss helped Schoenberg get the stipend. Strauss wrote to Max
Schillings on 18 December 1902: “Dear Friend! Von Vignau will send you
159
L e t t e r s , 19 0 3 159
scores by Arnold Schoenberg for perusal soon. I strongly recommended

this man who is in severe financial distress and very talented for a multi-
year stipend of 1000 Marks respectively. Please support me and provide
him with a splendid reference. You too will see that the things, if still
ornate, show great skills and talent.” For the German original see “Richard
Strauss an Max von Schillings, Ein Briefwechsel,” ed. Roswitha Schlötterer,
Pfaffenhofen, Germany: Ludwig Verlag, 1987, 78. Schillings wrote to Strauss
on 27 December 1902: “The hyper score of A. Schönberg has now arrived.
I felt so tiny in the face of these notations that I wanted to doubt my own
height. No, where do the misunderstood scores of R. Strauss lead these
hyper disciples?! Colors, color blobs, color chaos everywhere,—a nd almost
no drawing, no line, no nature. One ‘composes’ first a musico-poetic struc-
ture and the opulent colors grow out of that; but in the case of the hyper dis-
ciples, everything is garb and costume and there is no anatomically correct
body inside,—I don’t believe that I could warm up to this artistic expres-
sion, these acrobatics of instrumentation, if I look at it from my usual view-
point. But since I know the fate and situation of the ‘accused’ Schönberg,
the idealism apparent in the score and the self-taught skills are so impres-
sive that I don’t hesitate to support your brilliant recommendation at the
Liszt Foundation to the best of my ability. In accordance with the wishes of
Liszt, Schönberg definitely deserves full support!” For the German original
see Schlötterer, p. 79.
See ASLS, 56–63.
160
5 January 1903 [postmark]

Wien III
Gartenhaus l. 4
Berlin W 50
Dear friend and professor!

I am writing you only four lines today, really on behalf of mother—I
myself have nothing new to say.
I have already received Zeppler’s [sic] operetta for examination—but
I have not yet looked through it thoroughly. From a quick examination
I had only a very mediocre impression. But I will wait.
I am under Weinberger’s yoke in that I am “revising” [Haydn’s] Die
Jahreszeiten and Die Schöpfung! (300 Florins!!) When will the day come
that all of that can k[iss] m[y]‌a[rse]!!! (Also for the minors to read)—
mother is feeling better—one has to be satisfied with that.
Are you sending me my score soon?
Tell me, wouldn’t Strauss perhaps like to perform my 3 Balletstücke
this year? What do you think?
I am stopping, otherwise you will believe that I will write even more
than four lines. Have I actually congratulated you on your new position?
What are you teaching?
Then, something that causes me trouble: is Professor or Kapellmeister
better?
So, nice greetings to Math[ilde], little Trude, your mother, and you
from mother
and me.
161
L e t t e r s , 19 0 3 161
Notes
Zemlinsky addresses Schoenberg as “professor” because of his recent appoint-

ment to the Stern Conservatory.
In 1903, 300 Florins were approximately equal to $120. In 2013 dollars this is
The vulgar remark is a quotation from Goethe, from his 1773 play Götz von
Berlichingen.
See BWS, 35–6.
12 January 1903 [postmark]

Wien III
Gartenhaus l. [4]‌
Berlin W 50
Dear friend,
I hope that you have already received my score. Be so good as to send it
back to me as quickly as possible—if it can be spared already. I took it
away from the copyist in the middle of his work—a lso, Löwe could ask
for it any day. It would be splendid if Richard Strauss would schedule my
3 [Ballett]stücke on the concert that he is giving in Vienna. That would
give the composition and me too a “mark”!! I would also get my sym-
phonic poem ready for such a purpose—the concert is not until March or
April. Do you think it would work for you to hint at this to him?————
Otherwise, things are somewhat idle with my work recently. Right now,
162
after a long time, I am again writing a few songs for Miss Kunwald, who,
by the way, is giving a concert in Berlin in January: I would like you to
meet her beforehand and go to her concert.
In the theater, I have made myself free for longer periods of time—I
only conduct now and then—I am not doing the next novelty!! I have had
enough!——
Write more about yourself soon: what you are doing as “Professor”
and as composer! So soon—not so lazy like me.
Warmest greetings,
Alex
Mother sends greetings to all—I do too.
Notes
On the verso of the envelope the address is given as Pazmanitengasse 2, Wien

II. However, the printed stationery Zemlinsky used for the letter has the
Obere Weissgärberstrasse address.
Schoenberg may already have been acquainted with Gabriele (“Ella”)

Kunwald. See the letter dated 3 March 1902.
See BWS, 36–8.
163
L e t t e r s , 19 0 3 163
16 January 1903
From: Siegfried Ochs
Bendlerstrasse 8
Berlin W 10
[Berlin] W
Dictated
Dear Sir!
I was traveling until now and find myself in Berlin only for one day
because once again I have a concert in Frankfurt am Main to conduct.
I am bothered very much by what you wrote; if there is anything
I can do to help, I will leave no stone unturned; but if someone has told
you that I have connections with local wealthy people and perhaps with
Berlin society, that is a fairy tale. My only [social] interaction consists of
frequent meetings with colleagues; for years I have not made any more
society visits and have long ago broken off all relationships of a social
nature because my intense activity does not permit me any kind of diver-
sion. Therefore I am also not in a position to take steps with anyone in
the sense that you indicate. In any event, I will not forget about your case.
Perhaps you can visit me sometime; from the beginning of February I will
be here again for an extended period and am always at your disposal in
the morning.

Siegfried Ochs
Notes
Siegfried Ochs (1858–1929), German choir conductor and composer.

164
19 January 1903
Monday
Componist
Gartenhaus IV Tr.
Berlin W

Please bring the original score of my Taillefer (all of it!) back to me, since
I would like to work on it again.—
Do you think that I can get the parts for Zemlinsky’s ballet music
(16 first, 16 second, 10 violas, 8 celli, 8 basses) immediately?
Which two pieces do you like the most? 1 or 2? The 3rd seems to be
very effective!
If I get the parts immediately, perhaps I will do two pieces on the next
concert at the beginning of February!
Best wishes,
Your
Richard Strauss
165
L e t t e r s , 19 0 3 165
19 February 1903 [postmark]?

[Wien]
[Berlin]
Dear friend,
Yesterday my Ballettstücke were performed with “success.” I was very satis-
fied: the sound really unusual. You already know about the form and con-
tent. From the experience I concluded that the pieces are somewhat too
limited, too short, and too compact for a concert performance! If R. Strauss
is actually still thinking of performing them, then he must and can only
perform all three of them! Altogether, they last 10 minutes!! It is strange that
Mandyc[zewski] liked them very much—he wrote me that he thanks me
for the pleasure, Heuberger, too! It made me very happy that Mahler came
to the concert with his wife and he applauded enthusiastically; besides, he
only came on account of my pieces. Vederemo! [We will see!]—
In the end, nothing came of Berlin. I really don’t know what I will try
to do for the coming season. The more important positions are not going
to be vacant—what do you advise me to do in this case?
What are you doing? Why don’t you write? Are you composing? I am
bringing Seejungfrau to an end now. The work has become quite exten-
sive. I would like to send it to Schuch or Nikisch. Strauss seems to be
somewhat reserved!-?
You ought to get something performed in Vienna again. Otherwise,
the sextet will be forgotten! Will Pelleas und Melisande be ready for next
season? Perhaps Löwe would perform the work.
Should I send score and parts of my Ballettstücke now to you or to
Strauss? Write immediately.
166
Mother is feeling better again. She was even at the concert yesterday.
Otherwise, there is nothing worth mentioning.
Greetings to Mathilde and the baby, and also accept warm

greetings from
Alex
Notes
The letter is undated. A date was assigned, apparently on the basis of a post-
mark on the envelope that is no longer available. This date can be confirmed
by the content of the letter. Since Zemlinsky’s Drei Ballettstücke were pre-
miered on 18 February 1903 and since Zemlinsky opens this letter by stating
“Yesterday my Ballettstücke were performed,” the date seems correct.
Eusebius Mandyczewski (1857–1929), musicologist, composer, and conduc-

tor. He was the librarian and archivist of the Gesellschaft der Musikfreunde
and a friend and supporter of Brahms.
Ernst Edler von Schuch (1846–1914), Austrian-born conductor. He directed the

Dresden Court Opera from 1872 to 1914, turning it into one of the principal opera
houses in Europe. He directed the original productions of a number of Richard
Strauss’s operas, including Feuersnot (1901), Salome (1905), Elektra (1909), and
Der Rosenkavalier (1911). In 1903 he was director of the Dresden Court Opera.
See BWS, 39–40.
167
L e t t e r s , 19 0 3 167
22 February 1903
Augsburgerstraße 48
Gartenhaus 4, Treppen links
Berlin W
To: Gustav Rassow
Schatzmeister, Liszt Stiftung
Bremen
Dear Sir,
Court music director Richard Strauss has advised me to turn to you to
ask whether a decision has already been made with respect to my appli-
cation for a Liszt stipend, or at least to know if a decision will come soon.
In taking this liberty, I hope that this will not be taken amiss; since this
is an especially pressing matter for me, given the unfortunately dis-
tressing material conditions in which I find myself, I look forward with
great expectation toward a favorable response to my application. While
requesting a kind response, I bid farewell with great respect,
Sincerely,
Arnold Schönberg
Notes
The chairman of the board of trustees, Hippolyt von Vignau, wrote the fol-
lowing note on Schoenberg’s letter:
“On 26/2 I wrote that we would try to make a decision about the stipend not
as late as Liszt’s birthday, but quite soon.”
Liszt’s birthday is 22 October.
See Rudolf Jung, “Arnold Schönberg und das Liszt-Stipendium,” Beiträge zur
Musikwissenschaft 8, no. 1 (1966), 56–63.
168
25 February 1903
From: Wilhelm von Wymetal
Dreililien Verlag
Georg Wilhelm-Strasse 22
Halensee-Berlin
Gartenhaus
Berlin W

Unfortunately, it is not possible for me to come to Berlin tomorrow
because Harden requested a delay of my visit. If you would like to come
along with me on Friday, then please, confirm this with a postcard
(Westend—Nussbaum-Allee 27). I am in the Café Bauer then (Friday
at 10 a.m.). Mr. Marschalk wants me to tell you that he would like to get
to know you, and, if you like, you can visit him one morning next week.
Best greetings,
Willy v. Wymetal
Notes
There were two different people with the name “Wilhelm von Wymetal.” It is
difficult to determine with certainty which one is the author of this letter, but
it is probably the second one.
(1) Wilhelm von Wymetal (1862–1937), Austrian-born opera producer. From

1921 to 1931 von Wymetal worked in the United States, producing 49 operas
for the Metropolitan Opera in New York. Wymetal’s son was also named
Wilhelm von Wymetal (1890–1970) and was also an opera producer, but was
too young to be the author of the letter.
169
L e t t e r s , 19 0 3 169
(2) Wilhelm Ritter von Wymetal (1878–1929), Austrian attorney and one of
the founders of the Ansorge Society.
“Harden” may be Maximilian Harden (born Felix Ernst Witkowski, 1861–

1927), journalist, political activist, and publisher of the journal Die Zukunft.
Max Marschalk’s biography appears in the notes to his letter of 27 March 1903.
At the time this postcard was written, Wymetal and Marschalk worked for
Dreililien Verlag, soon to be Schoenberg’s first publisher.
26 February 1903
From: M[oriz] Violin
Clementinengasse 28
Wien XV
Musiker
Berlin W/50
My dear friend Schönberg!

At the last moment I received permission to travel to Vienna but none-
theless was still not in the condition to be able to climb stairs. As I only
would have wanted to see you in order to say goodbye, it seemed that this
was insufficient grounds for me to request that you come to me. For a
hopefully happier reunion on 1 September and best thanks from me and
my mother for your friendly, thoughtful, and concerned sympathy. Best
wishes to you and your dear wife,
Sincerely yours,
M Violin
170
14 March 1903
From: [Hippolyt] von Vignau
Liszt Stipendium
Weimar

Berlin
Dear Sir!
I am happy to be able to inform you that, in recognition of your artis-
tic efforts, the board of the Liszt Foundation has agreed to award you a
grant of 1,000 Marks for each of the two successive years, 1903–4. After
the senior trustee of the Liszt Foundation had kindly given his approval,
I instructed the Treasurer of the Foundation, Mr. G. Rassow, Bremen, to
make the amount for the first year available to you by return mail.
Respectfully,
Head of the Board of the Liszt Foundation,
von Vignau.
Notes
Hippolyt von Vignau (1843–1926), general director [Generalintendant] of the

Hoftheater and Hofkapelle in Weimar.
In 1903, 1,000 Marks was approximately equal to $238. In 2013 dollars this is
See ASLS, 56–63.
171
L e t t e r s , 19 0 3 171
[March 1903]?

Wien
Berlin
Dear friend,
I cannot tell you a lot of good news from Vienna and about us—really
nothing at all. For some time now, mother has been suffering severely.
It seems to be a general illness of the veins, which brings about strong
attacks of pain in the heart, in the chest [and] in the arm. She is under
continuous care from Dr. Hoffmann who is trying everything. So far,
nothing at all has worked. Naturally, she is very discouraged; but I
am too. To add to it all, I have been sick for three days with a severe
inflammation of the throat—I hope it will be better soon. I do not need
to describe the mood here more precisely. Be happy you are in B[erlin].
Mother told me today that you received the Liszt stipend—so, congratu-
lations; mother is very happy about this—at least a small point of light
for mother too! I would be happy if she could decide about going to see
you for some time; perhaps at the least her mood could be improved. I
am also somewhat depressed about it. Say no more about it—everything
possible will come together: internally and externally!—
Please be so good as to send me my score immediately—Strauss will
not perform it after all—I don’t care! But here, I need it immediately.
Since I don’t know anything else that is pleasant, I close with warm
greetings.
N. B. I have almost no prospects of coming to Berlin—pure rumor!
Alex
Mathilde should write more often!

172
Notes
The letter is undated. Apparently an envelope existed and on the basis of a

postmark, the date 13 January 1903 was assigned. Unfortunately, the enve-
lope is no longer available and the date cannot be confirmed. However, the
date assigned to this letter is almost certainly wrong. The letter Schoenberg
wrote to Rassow on 22 February 1903 shows that, as of that date, Schoenberg
had not yet heard whether he had won the Liszt stipend; he did not hear offi-
cially until he received the letter from von Vignau dated 14 March 1903. To be
sure, given that Strauss was on the committee, it is possible that Schoenberg
heard informally a few days before he received the official news, but that does
not substantially change the likelihood that the present letter was written
sometime in mid-March 1903. There are other reasons to believe the letter
is misdated. If the present letter really was written on 13 January 1903, then
Zemlinsky would have written two long letters to Schoenberg on successive
days (see the letter dated 12 January 1903). Although Zemlinsky did write
two postcards to Schoenberg on successive days (e.g., 8 and 9 August 1902),
there are no other instances of his writing two long letters on successive days.
Moreover, the contents of the two letters are difficult to reconcile as com-
ing on successive days. Could the health of Zemlinsky’s mother not even
need to be mentioned on 12 January but be very poor the next day? Could
Zemlinsky make no mention of depression or throat inflammation on 12
January and describe deep despair and a severe inflammation the next? And
finally, is it reasonable to assume that on 12 January Zemlinsky had reason
to hope that Strauss would perform his Drei Ballettstücke, and that on the
next day it was clear that Strauss was not going to perform them? Therefore,
based on its contents, the editors believe that the present letter was written in
mid-March 1903.
See BWS, 38–9.
173
L e t t e r s , 19 0 3 173

From: Alex[ander von Zemlinsky]
Wien
Gartenhaus
Berlin W
Dear friend,
Today I received your letter, which made me very happy: it is high time
that you received some recognition of your talent. I thus congratulate you
for “so much” money! Send P[elleas] u[nd] M[elisande] soon! With the
notice I will hurry—it might be more difficult for a performance—but we
will try it in any event. Mother is sending you reviews—in many papers
I was admired as a conductor. Adding to such a remark R. Hirschfeld
writes: …“but Mahler tolerates no other conductors besides himself.”
Otherwise, the customary shenanigans.—
R. Strauss was treated terribly. More about that in a letter. Today
I am writing the last measures of Seejungfrau. The 3rd part is the most
“introspective”—so I believe. Tomorrow I will settle on a libretto; I want
to begin with it in April. I will write about that too.
Warm greetings,
Alex
Notes
Zemlinsky’s Drei Ballettstücke were performed on 18 February 1903 by the

Wiener Konzertverein. Zemlinsky conducted his composition; Ferdinand
Löwe conducted the rest of the program (Dvořák, Elgar, and Haydn).
Robert Hirschfeld (1849– 1914), Austrian music critic and historian. He

was particularly critical of Mahler as a conductor. Hirschfeld reviewed the
174
performance of Zemlinsky’s Ballettstücke in the Abendpost on 11 March

1903; the quotation alluded to in the present letter does not appear in that
review.
See BWS, 40–1.
17 March 1903
Berlin W
To: Hippolyt von Vignau
General-Intendant
Liszt-Stiftung
Honored General Director!

Permit me to express my most heartfelt thanks to you for the extraordi-
nary kindness with which you treated my case. I value the high honor
of such a privilege and distinction and consider myself fortunate not to
have been found unworthy of it. Permit me also to extend my sincerest
thanks to all of the other gentlemen who considered the case and at the
same time to the honorable directors of the Liszt Stipend thanks for their
generous support. Best regards with the highest respect,
Sincerely,
Arnold Schönberg
Notes
See ASLS, 56–63.
175
L e t t e r s , 19 0 3 175
19 March 1903
From: Gustav Rassow
Allgemeiner Deutscher Musikverein
Bremen
Komponist
Augsburger Straße 48
Gartenhaus l[in]ks
Berlin W
Enclosed I am sending you from the “Liszt Foundation” the sum granted
to you by the trustees of the Liszt Foundation for the year 1903: 1000
Marks. Please countersign the enclosed receipt and be so good as to
return it as soon as possible.
At the same time, permit me to ask whether the membership card etc. for
the Allgemeiner Deutscher Musikverein—which I sent you on 4 November
of last year—arrived, because I suspect the address was faulty.
Respectfully,
G. Rassow
Treasurer, Allgemeiner Deutscher Musikverein
[encl.] 1000 M., Receipt.
Notes
The mission of the Allgemeiner Deutscher Musikverein was the advancement

of new music through performance. At the time of this letter, Richard Strauss
was its president.
176
22 March 1903
From: Karl and Ella Weigl
Wien I
Berlin W

You can imagine how happy I was to get good news from you and I con-
gratulate you about the prize and no less the Berliners that they like the
Gurre-Lieder so much.
I hope now to hear soon of a public performance—at the very least
out of town if it cannot be in Vienna.
I am almost sorry that your position out there is already so solid,
because after this achievement it is almost impossible to imagine when
you will be seen here again. Unless you are coming to the meeting at
the inn in the fall of 1904—correspondence on your part is out of the
question.
When you get the next news from me, I will probably already be
Ph.D. (in ca. 3 months) and then I will understand if something proper is
going to become of me; up to now, there is nothing.
To close, I want to write to you my favorite motive from the Gurre-
Lieder as a sign that I still remember it:
Many greetings to you and your wife Mathilde from your

Karl Weigl
177
L e t t e r s , 19 0 3 177

I extend my greetings to you from the depths of my heart and am very
happy about your wonderful success.
Please give warm greetings to your dear wife and your baby and
many greetings from one who admires you.
Ella Weigl
Notes
In May 1903, under the guidance of Guido Adler, Karl Weigl completed a doc-
toral dissertation in musicology at the University of Vienna on the Austrian
composer Emanuel Aloys Förster, a contemporary of Beethoven.
When Weigl mentions the “meeting at the inn in the fall of 1904” he is
referring to the pledge made by Schoenberg’s friends. See the letter dated
13 December 1901.
It appears that there was a private musical event in Berlin in early 1903 at
which some of the Gurrelieder songs were performed.
Weigl writes out a musical quotation from Gurrelieder. However, what he

writes is a transposition up a semitone of the melody that appears in mm.
502–3. Moreover, the textual underlay is changed. In Schoenberg’s score the
text reads: “Nun sag ich dir zum ersten Mal”: But here, Weigl has “So sag ich
dir zum erstenmale.” Weigl also changes the last note of the melody (down a
sixth to a half-note instead of down a tenth to two quarter-notes).
178

From: [Rudolf Stefan] Hoffmann
K. K. Allgemeines Krankenhaus
Wien
Berlin
Dear Schönberg—
With warm, sincere happiness, I congratulate you for your great success.
I would give quite a lot to be able to hear it. Will it be performed?
In the meantime, I am happy that you have finished your grand
“Symphonic [Poem]” that you, so I hear, are sending here soon. Wouldn’t
you want to come here for it?
So once again a hearty cheer!
My greetings to you and your wife—and the baby whose name
I don’t know.
As always, warmly,
Your
Hoffmann
Notes
Hoffmann may be congratulating Schoenberg for the success of the private

performance of parts of Gurrelieder that took place in Berlin, probably in
March 1903 (cf. Karl Weigl’s letter of 22 March 1903) and is asking if a perfor-
mance was being planned for Vienna.
179
L e t t e r s , 19 0 3 179
24 March 1903
From: the Redlich family
Wien
Berlin
[telegram]
Our warmest congratulations for the prize. Greetings,
Redlich Family
27 March 1903
From: Max Marschalk
Verlag Dreililien
Halensee-Berlin
Gartenhaus IV
Berlin W
Dear Sir
I must put you off a bit more. The gentlemen are not rushing. So, patience.
Best,
Your,
M. M.
180
Notes
Max Marschalk (1863–1940), German music critic, composer, and the direc-
tor of the Berlin-based music publishing firm Dreililien. Dreililien became
Schoenberg’s first publisher (Opp. 1–7), and Marschalk was Schoenberg’s
principal contact with the firm.
Figure 4.2
Max Marschalk (photographer unknown). Berliner Leben 10 (1905).
31 March 1903
Tuesday
Obere Weissgärberstrasse Nr. 16
Wien I
Gartenhaus
Berlin W
Dear friend,
Mother departs on Thursday at 8:00 a.m.—from the North Station—
arrives, according to the Courier, at 8:55 [a.m.] at Berlin Friedrichstrasse
181
L e t t e r s , 19 0 3 181
[Station]. If it is true—as Mathilde writes—that this train also stops at

the Zoological Garden [Station]—mother, naturally, will get off there.
You must inquire if this train stops there— if not, then at
Friedrichstrasse. Moreover, mother will telegraph her departure.

Send your Pelleas und Melisande. I am curious about it.
Otherwise, things are going really badly—in every respect, thanks be
to—God!! I have decided to make my three-act ballet into two one-act
ballets without any connection between them!! The 3rd Act is impossible!
My symphony is ready—when you send yours, I will send mine.
——I do not yet have a position! There is almost no change at all here.
Vederemo! Mother will tell you, very unhappily, about my loafing around!
I feel very distracted, unhappy, and without any spirit—and particularly at
home I feel everything double; perhaps she doesn’t know anything about
it; that is, however, the principal reason why I am at home so little. I lack
your optimism, your patience, your humor, your joy of life. I have become
much different than I was. You would scarcely recognize me, [even] with a
somewhat careful examination. Enough whining. I am happy that things
have again become somewhat easier for you—after all you will slowly
have more success!——It’s all the same!
You will have to be patient with mother. She is very sickly. Almost con-
stantly something is wrong. Write me often. Mother says I should include
this little photo. My “colleague” Treumann, this beast, this idiot, rascal, this
cretin, in a word, monster, has taken it. My face shows the way I feel!
Horrible!—
Is Strauss performing the [Ballett]stücke or not? The orchestra is
wretched. If the pieces sound bad or not excellent, then this time it is the
orchestra’s fault alone!
Tell me about the performance.
Most warmly,
Alex.
182
Notes
See BWS, 41–2
1 April 1903
[Berlin]
To: Karl and Josefine Redlich

[Wien]
Dear Mr. and Mrs. Redlich,

I thank you from the bottom of my heart for your kind congratulatory
telegram. I was as happy to receive it, as its arrival was unexpected. I
indeed had the intention of informing you of the honor that I received,
but—this is the reason I only write to you today—was unable to, since
I have to work so much. Therefore, as I said, I was very happy, that you
still think of me, and it gave me great joy that you are participating in my
happiness. I perhaps owe you a report about what has happened to me.
Thus: I came to the Stern Conservatory through Richard Strauss who
personally went to the director on my behalf, to get me a job there. On
the whole, I am greatly indebted to Richard Strauss who is a completely
generous, warm-hearted man—naturally he is no Prussian, but rather a
Bavarian. He also arranged the Liszt Stipend for me. And he wanted to
arrange yet another stipend for me, but something interfered with that.
Namely, from Baroness Cohn-Oppenheimer [sic] (daughter of Kaiser
Wilhelm’s court banker). However, she died before he could speak with
her. I had read the obituary in the newspaper, but naturally did not know
that it should be so painful for me. Strauss only told me what he had
intended to do when I came to visit him a few days later. That doesn’t
matter. For now, my head is above water. Hopefully things will continue
183
L e t t e r s , 19 0 3 183
to go well. I have—how do I put it: thank God, or, unfortunately—a lot

of work. At the moment I am orchestrating the 4th (that is, the fourth)
operetta since I arrived in Berlin. The “business” is moving. But because
of it, I cannot do enough of my own work. And that is essential for me,
because I would like to compose a symphonic poem and a choral work
for next year. Richard Strauss and also Prof. Siegfried Ochs (the conduc-
tor of the Berlin Philharmonic Choir that is incomparably better than
our Singverein, unfortunately) have indeed promised to perform some-
thing of mine. I would like to seize this opportunity, because this could
perhaps, with one blow, place me where I would like to be. Incidentally,
perhaps it is still possible; I have to be finished with the orchestration of
this operetta in mid-May. Thus if I don’t have to take on a new job, per-
haps I can accomplish it—however, why should I torment myself? One
shall see, as our friend Kreisler used to say. Hopefully things will work
out.
How are all of you? Hopefully good? How are Mr. and Mrs. Gärtner?
Please give them my regards. Also the little ones. What is Miss Else
doing? Is she perhaps now prouder of the Album Leaf that I gave her?
How is Kurt? Does he diligently play the cello? Have you heard any-
thing from Fritz Kreisler? How is [illegible]? He apparently has become
famous. Perhaps tell him that I give him my warm regards and that the
“Schoenberg Monument” has an honored place in my music room.
Perhaps you can give me the pleasure once again by writing a few
lines. I close for today with the warmest greetings to you and your loved
one from my wife and me. Perhaps in a few days—that should be a mys-
terious allusion—I can tell you about some good news. However, I will let
you know.
Thus many warm greetings.

Your
Arnold Schönberg
184
Notes
The editors did not see the original. The translation was made from the tran-
scription at the ASC.
Baroness Julie von Cohn-Oppenheim (1839–1903), daughter of Moritz von

Cohn, Kaiser Wilhelm’s court banker. During her lifetime, she supported
artistic and charitable causes.
The meaning of the allusion to the “Schoenberg Monument” is unclear.
Kurt may be the Redlichs’ oldest son (1890–1927).
[mid- to late-April 1903]?
Wien III
Dear friend,
First of all, I tell you again that mother has arrived safe and sound, and
to my great joy really seems to have recovered. So accept my warmest
thanks for all of the great good that you have done for mother during her
stay in Berlin. I hope that I can reciprocate very soon in Vienna. I hear
that you want to come to us in the summer; it goes without saying that
all of us, relatives as well as friends, would be hugely happy.
I am astonished that you are angry with me because I have not yet
written at length about your work. Believe me, I have worked on it very
hard, and with the expenditure of all of my “spiritual strength;” but you
don’t know this: it is the most colossally difficult [score] that has ever
come to me. R. Strauss’s Heldenleben is child’s play next to this. I make
progress only with great difficulty. I lose the melodic or harmonic thread
frequently and have to begin again, and finally, my head and eyes hurt so
185
L e t t e r s , 19 0 3 185
much, that I have to stop. One thing I know already today: it is the most
artistic that has been written in our time. I think R. Str[auss] will not
remain your friend very long!!! From what I see thus far, the themes are,
with few exceptions, very original. I’d prefer somewhat less Strauss. The
orchestration is quite ingenious, and at times, completely new—but …
I consider it completely impracticable—not because the score is difficult
to play; I believe that much, very much cannot sound, because of the
overburdened polyphony. It is not humanly possible to make gradations
in the importance of the various themes at the same time, so that the first
idea, and second idea, and so forth, take effect. Added to which, each of
the themes, because of the individual effect of its sound, will be brought
into the various combinations of instruments—: a chaos! If it is possible
for a conductor, and [if] I only err by half, then it is the most beautiful
score that one could have. To be honest, I don’t believe it.
The most important issue at the moment is which orchestra, or
rather, which conductor—other than me (and that is not just a phrase)
will make the unbelievable effort! He would need 4 weeks—and then
only through a piano reduction—before he would learn the work, and
just as many for the rehearsals! I believe that I do not exaggerate. I ask
you now, write for once a “Peace Offering”! More practical, more clear,
even though totally Schönberg! Performance—success—and then comes
Pelleas, Gurrelieder, and so forth. I will try it with Löwe—I believe totally
in vain. Löwe can never—even if he were to be 80 years old—read, or
learn, this score. The Concertverein would not spend the money to pay
for the many instrumentalists that are lacking! In any event, I am not
giving my symphonic poem to Löwe. If you want it, nevertheless, I will
try. Now I will focus on the piano reduction of Pelleas. I am eager to get
a total impression of it.—
Now an urgent request: if you have not yet done so, be so good as
to send by return mail the score and parts of my 3 [Ballett]stücke to the
“Süddeutsche Musikverlag” in Strassburg (for Mr. Salter). I ask you, it is
urgent: I need money soon!
The Böcklin folder makes me very happy. I look at it frequently. So a
few orchestra pieces after these paintings would be quite something!
186
Now I should close—in the near future hopefully I will write in detail
about Pelleas.
Nice greetings from mother to you, Mathilde, and Trudi

And also from
Alex.
Mother asks that you write soon——particularly about Trudi, who, so

I hear, is the most beautiful and the most ingenious product since Adam
and Eve!!! So, write.
Notes
The letter is undated and no envelope survives. BWS, 42–4 and the JASI-PI
assign a date of April 1903. Based on the contents of the beginning of the let-
ter (a discussion of the recent return of Zemlinsky’s mother from her visit to
Berlin), this date seems correct, though it was probably in the second half of
the month because it is clear that her visit was for more than a few days. From
the letter by Zemlinsky dated 31 March 1903, it is clear that his mother was
scheduled to leave by train for Berlin on 2 April 1903.
The work under discussion is undoubtedly Pelleas und Melisande. The pres-
ent letter amplifies on, and is a continuation of, the preliminary comments
Zemlinsky made in an earlier letter (30 October 1902).
Zemlinsky’s prediction that “Strauss will not remain your friend very long!!!”
would come true. In 1909, Strauss refrained from conducting Schoenberg’s
Five Orchestral Pieces and in 1913 he infamously confided to Alma Mahler
that Schoenberg would “do better to shovel snow instead of scribbling on
music-paper.”
The Süddeutscher Musikverlag of Strassburg [today, Strasbourg, France] is

a different publisher than the Süddeutscher Musikverlag founded in 1939 in
Heidelberg (and which today has been taken over by Bärenreiter).
187
L e t t e r s , 19 0 3 187
“Salter” may be Norbert Salter, music editor and publisher. Not to be con-
fused with Norbert Salter, cellist.
Arnold Böcklin (1827–1901), Swiss symbolist painter.
See BWS, 42–4.

Tuesday
Componist
Gartenhaus
Berlin W

Please do come to me tomorrow morning at 11 o’clock in order to fetch
new sheets from Taillefer which is almost finished.
Best wishes,
Your
Rich. Strauss
188
25 April 1903
From: Max Marschalk
Dreililien Verlag
Halensee-Berlin
Komponist
[Berlin] W

I ask you to visit me tomorrow, Sunday morning, and do not forget to
bring me scores, etc.
With best wishes,

Your
M. M.
1 May 1903
From: Max Marschalk
Verlag Dreililien
Halensee-Berlin

I was recently at Mr. Koennecke’s with your songs; by tomorrow he will
tell me whether he might be interested in them. He dislikes the Levetzow
texts as much as I do. That is actually the most questionable aspect of the
189
L e t t e r s , 19 0 3 189
two songs. Recently I showed them to a friend, an author; the music made
a very strong impression on him, and he wants to try to write a differ-
ent text underlay for you. Perhaps that would be an effort that would be
worthwhile. Moreover, I hope to come to a contractual agreement with
you. I will ask you to come visit me during the coming week. Perhaps I
will arrange for you to meet with the author in question.
Meanwhile, best wishes,

Your,
Max Marschalk
Notes
Richard Könnecke, baritone.
Marschalk is referring to the two songs to poems by Karl von Levetzow

(“Dank” and “Abschied”) that were published as Schoenberg’s Op. 1 by
Dreililien.
[19 May 1903, postmark]?
From: Alex[ander von Zemlinszky]

Wien
Berlin W 50
Dear friend,
I just received word that my score has not yet arrived in Strassburg, fur-
thermore, it is very urgent, I am losing money!!! Be so good and take
the task on yourself—Strauss will never do it. I ask you, immediately,
190
otherwise the publication will not materialize. The address: Süddeutscher

Musik-Verlag in Strassburg, d[eutsch] E[lsaß], Mr. N. Salter.
Today I am speaking with Botstiber about Pelleas—he asked me
about it.
Please, again: immediately.
Regards,
Alex
Notes
The second digit of the postmark is unclear: 1? 5. 03. But the dispatch postmark
(“Bestellt”) applied in Berlin is legible: 21. 5. 03. There is very rarely more than
a day’s difference between the postmark (applied in Vienna) and the dispatch
mark (applied in Berlin). Therefore, we have assigned a date of 19 May 1903.
The score under discussion is Zemlinsky’s Drei Ballettstücke.
See BWS, 44.
191
L e t t e r s , 19 0 3 191
26 May 1903
From: Max Marschalk
Dreililien Verlag
Halensee-Berlin
Augsburger[strasse] 48
[Berlin] W
Mr. Sch[önberg]
May I ask you to come visit me Thursday morning? Wednesday
I must go into the city.
Yours truly,
M. M.
Notes
26 May 1903 was Tuesday. The stamp on the postcard was not canceled and
there is no delivery postmark. Therefore, it appears that the card did not go
through the mail but was hand delivered, possibly because there was not
enough time for the card to arrive before their planned meeting.
192

From: Alex[ander von Zemlinsky]
Wien
Gartenhaus
Berlin W 50
Dear friend,
Today a few “hopes”—perhaps without fulfillment! With regards to
Pelleas I have undertaken something for which the result should be: a
concert in Vienna with Pelleas and Meerfräulein conducted by me.
I have gotten someone interested who will energetically plead with a
wealthy music enthusiast. Further, if I receive a few hundred marks from
my publisher I will soon be in Berlin for a few days! It is still unclear. In
any event, my score ought to be in Strassburg already—but I still do not
have confirmation for that. What is going on with that? Today I conduct
for the last time at the C[arl] Th[eater]!!!!!
Warmly,
Alex.
Things are going well with mother. Write sometime.
Notes
By Meerfräulein Zemlinsky means Seejungfrau.
See BWS, 44.
193
L e t t e r s , 19 0 3 193
31 May 1903
From: Max Marschalk
Verlag Dreililien
Halensee-Berlin
Komponist
Berlin W.
Dear Mr. Sch[önberg]

I think we will be able to agree on something. Would you like to visit me
on Tuesday afternoon at 5 o’clock?
Best wishes,
Your,
M. M.
194
(A)
(B)
Figure 4.3 a and b
Max Marschalk to Arnold Schönberg, postcard of 31 May 1903.
195
L e t t e r s , 19 0 3 195
31 [May?] 1903
Berlin
To: Karl Weigl
Dear Weigl,
You are surely—and unfortunately with reason—angry with me that
I have not yet answered your nice letter and that I have not yet damaged
your doctoral degree by my p. f. But don’t take it amiss: I have so many
letters to write I don’t know “where to begin.” And then I don’t write
anyone at all. Consequently everything is in order and divided fairly.
So, I congratulate you heartily for your new degree; I believe you have
enough talent that it won’t hurt you.—Now, however, seriously, I really
didn’t know that you were already so far along. In any event, you have
really done this quickly, and I have to adjust my respect accordingly!—
What is happening with music? What are you composing now? Send
me something of yours; I have no inkling of how you have developed.
If you see Hoffmann, then greet him most warmly for me and tell
him that I am writing him next. Then I ask you to extend my warmest
thanks to your mother for her kind letter regarding the matter of my
Liszt-Stipend. She too ought not to be angry with me. That I have not
written for so long is evidence that I did not want to put her off with a
p. c., although it requires a lot of self-control to lose myself in a letter.
So that’s all for now. As you see I absolutely cannot think of anything
and I must still write a business letter. So: many warm greetings to you
and mother. The same from my wife!
Your
Arnold Schönberg
Notes
The letter is dated, but the month is hard to decipher.

196
The letter is a reply to the letters sent by Karl Weigl and Gabriele Weigl on
22 March 1903.
The meanings of the abbreviations “p. f.” and “p.c.” (or possibly “p.r.”) are
not known.
18 June 1903
From: Max Marschalk
Sorenbohm

As you know, the way the matter stands, you would retain no rights
other than the permission to give thanks and to breathe fresh air three
times a day. In short: since you would become the victim of common
commercial exploitation, we must, unfortunately, leave the whole ques-
tion open for the time being. Perhaps we can agree on a less pessimistic
viewpoint after my return.
Best wishes,
Your
Max Marschalk
Notes
Evidently Schoenberg did not like the terms Dreililien offered for the publica-
tion of his works.
197
L e t t e r s , 19 0 3 197
[23 June 1903]?
From: Max Marschalk

I just returned from a long bicycle trip and found your letter. My letter
should not have been seen as a complete refusal. It just seemed necessary
for me to be particularly cautious and careful after you frequently stated
in such a drastically serious and humorous manner that the planned
contract was predominantly unfavorable for you and predominantly
favorable for us. I will soon be in Berlin again; for the meantime I just
want to prepare you that Mr. Peters will probably not agree to a payment
of 1000 Marks. I am sorry that you must struggle so long—damn it—it is
the destiny for all of us. Draw up a detailed contract so that we can again
move forward more quickly, a contract in which you relinquish every
feeling that you can later be placed in a worse way than you deserve.
Best wishes,
Your,
M. M.
Notes
The first digit of the date is not clear and may not even be a digit. But this let-
ter does seem to follow the letter dated 18 June 1903. In that letter Marschalk
suggests continuing the discussion “after my return.” And here, Marschalk
mentions that he returned from his bicycle trip and does, in fact, continue the
discussion of the terms of the contract.
Friedrich Peters (n.d.), Berlin-based music publisher, owner of Dreililien

Verlag. From a later letter he wrote to Schoenberg, it is apparent that
Marschalk was his brother-in-law.
In 1903, 1,000 Marks was approximately equal to $238. In 2013 dollars, this is
198
23 June 1903 [postmark]

Wien III
Berlin W
Dear friend,
Enclosed is the requested signature. I would like to say a few words regard-
ing this “grand” idea——totally à la Schönberg. Do not rush to make a
complete move! Even if “that” which I still do not foresee happens. First
come to Vienna for a few weeks in the summer, seek to establish and to
renew relations here, look closely at Vienna and its marvelous artistic
conditions, if you then want to and can begin here, if on a limited basis,
then go back to B[erlin] alone, settle all your affairs and return. But don’t
abandon everything, even if it is still so little, even if you receive “that”
(which I doubt, because someone else always gets “that”). There are very
limited prospects here, at least at the beginning. I speak after quiet reflec-
tion; you with your yearning for Vienna; I know all the conditions here,
you think they are exaggerated—but everything is understated!
Then—at the very least can’t you return the furnishings for the big
room (salon)? Here you would really have no use for it!
I ask of you—carefully think about it—come at first without consid-
ering a complete move.
The work that is ready for you now would only bring in somewhat
more than 700 Kr. I am, however, convinced that here you would get still
more work from W. were you to speak directly with him.
199
L e t t e r s , 19 0 3 199
It cannot hurt if you thank him by letter: Herr K[öniglicher] Rat

J. Weinberger, Universal Edition, Maximilianstr[asse], [Wien] I.
At present, your symphony is with Professor Guido Adler, who would
very much like to get to know it.
Write with your answer soon. Then come here only once the holidays
begin at your music school.
Regards,
Alex
Notes
What the “that” was is unknown.
Regarding the furnishings for the salon, see the letter from Max Grossmann
dated 20 November 1902.
The “symphony” Adler was examining was undoubtedly Pelleas und

Melisande.
See BWS, 44–5.
200
3 September [19]03
From: Gustav Hollaender, königl[icher] Professor
Direktor, Stern’sches Conservatorium der Musik
Bernburger-Strasse 22a (Philharmonie)
Berlin S. W.
Gartenh[aus] IV links
Berlin
Forwarded to: Weissgräberstrasse [sic] 16
Wien
Forwarded to: Paierbach [ = Payerbach] an dem Südbache
Dear Sir!
Yesterday—Wednesday—you also did not come to the Conservatory,
and I request that you inform me immediately when you plan to resume
your teaching.
For next Monday, Mr. Reimers and Lehe have been appointed for the
classes.
Respectfully,
Professor Gustav Hollaender
Notes
It appears that Gustav Holländer was unaware that Schoenberg had left for
Vienna. He thus addressed the letter to what was by then Schoenberg’s for-
mer address on Augsburgerstrasse. The postal clerks at the district 50 post
office in Berlin apparently had instructions to forward Schoenberg’s mail to
Zemlinsky’s address in Vienna (but the clerk misspelled the street name).
Upon arriving in Vienna, there were evidently further instructions to for-
ward Schoenberg’s mail to Payerbach where he was spending the summer
vacation.
201
L e t t e r s , 19 0 3 201
Schoenberg spent the summers of 1897, 1899, and 1903 in Payerbach. In

1903 he stayed at the “Rumpler-Villa” (today, Bahnhofweg 1). He was there
with Mathilde, his daughter Gertrud, his mother Pauline, his sister Otillie
Blumauer and her son, Fritz Walter. Zemlinsky stayed at the inn Englischer
Hof. The Gärtner family was also there that summer. The Redlichs were in
Payerbach, too, at Villa Redlich, which they had owned since 1895. They
invited artists to their home on weekends. In the summer of 1903 there was a
concert at the Redlich home featuring works by Schoenberg and Zemlinsky.
See Norbert Toplitsch, “Schönberg in Payerbach,” JASC 10 (2015), 278.
Heinrich Reimers, pianist.
“Lehe” could not be identified.
Figure 4.4
From left to right: Ottilie Kramer (née Schönberg; Arnold’s sister, later married
to Oskar Blumauer-Felix), Fritz Kramer (son of Ottilie; Arnold’s nephew), Pauline
Schönberg (Arnold’s mother), Gertrud Schönberg (Arnold’s daughter), Mathilde
Schönberg (née Zemlinsky; Arnold’s first wife), Arnold Schönberg in Payerbach
in 1903 (photographer: Heinrich Schönberg). Courtesy of the Arnold Schönberg
Center.
202
10 September 1903
Payerbach 126
To: Ferruccio Busoni
Dear Honored Professor,

From your letter to Dr. Schenker, whose Syrische Tänze I am orches-
trating, I learned that you are undoubtedly presenting your “Modern
Concerts” in Berlin.
Since I already intended to approach you when I was still in Berlin,
but had no luck, since you were away, permit me now by letter, to turn to
you with that which I had wished to tell you then.
As follows: I composed a symphonic poem, Pelleas und Melisande,
after Maeterlinck. Since this, unfortunately, belongs to the “rarely per-
formed works” insofar as it has not even been performed at all, and my
attempts to place it have been absolutely in vain up to now, I would like
to take the liberty of asking you if you would not announce it or schedule
it at some point.
What I have to tell you about the fate of the work is not particularly
encouraging.
Namely: Nikisch returned it to me after one day without a word.
And Weingartner did not even give me the opportunity to show it
to him.
Friends who wanted to get to know it, did not get beyond the first
rehearsal.
And herein lies the reason why I cannot get the work accepted any-
where: the piece is so complicated that it is a real sacrifice for someone to
devote himself to a performance of it.
Then another thing: a very large orchestra! (piccolo, 3 flutes, 3 oboes,
1 English horn, e-flat clarinet, 3 clarinets, bass clarinet, 3 bassoons, con-
trabassoon, 8 horns, 4 trumpets, 6 trombones, 2 harps, and many strings).
203
L e t t e r s , 19 0 3 203
I am informing you of all of this now, because nobody has gotten

beyond these issues let alone to the question whether the project would
be worthwhile.
If you would be so kind as to be willing to look at my score, I would
be happy to send it to you.
Forgive me for the audacity with which I approach you; the courage
with which you devote yourself to modern or even new works, despite
the yapping of the envious ones, encourages me. And here I dare to talk
only about the work and thus my almost modest personality recedes to
the background, whereby, curiously, the immodesty of this letter emerges.
Hoping for a kind answer from you, I send you my regards with an
expression of the greatest respect,
Sincerely,
Arnold Schönberg
Notes
Ferruccio Busoni (1866–1924), composer, pianist, and conductor. Although

best known as a virtuoso pianist, he was also active as a conductor. From 1902
to 1909 he promoted and conducted orchestral concerts of modern music. On
this series he performed works by Bartók, Elgar, d’Indy, Sibelius, Ysaÿe, and
many others, but none by Schoenberg.
Paul Felix von Weingartner (1863– 1942), Austrian conductor and com-
poser. He held many important conducting positions: Königsberg, Danzig,
Mannheim, Berlin, and elsewhere. In 1908–11 he was Mahler’s successor at
the Vienna Hofoper.
See Weindel, 314–16.

204
10 September 1903
d.z. [ = derzeit] Payerbach Nied[er] Oest[erreich]
To: Richard Strauss
Honored Court Music Director,

I called upon you around the 2nd or 3rd of July—at a time when the
opera was still playing—in order to pay my respects. Since I was told that
you had already departed and I could not obtain your summer address
from the porter, I was unable to do that by letter at that time. In the
meantime, in response to an invitation, I traveled to Vienna and I spent
the summer as a guest in Payerbach. So I had to put off writing this letter
until now, when I assume that you ought to have begun your duties with
the opera again.
Now I have to tell you some news. That is, I am staying in Vienna
again. Several of my friends have interceded on my behalf so that step by
step I will again be able to make a living here. Unfortunately, of course,
I do not have a permanent position, but in any event, I will have a lot to
do for Universal Edition, the new Viennese firm and if that goes half way,
that will be quite tolerable.
Therefore, I must all of a sudden say farewell for a considerable
period of time. It is necessary that I take this opportunity to thank you
again from the bottom of my heart, honored master, for all of the help you
have selflessly extended to me. As long as I live I will not forget this and
will be eternally grateful to you. When I ask of you to have good memo-
ries of me, I must hope that you will forget the many inconveniences that
I have caused for you.
While asking that you extend my regards to your gracious wife,
I thank you again and remain
Your most sincere

Arnold Schönberg
205
L e t t e r s , 19 0 3 205
Notes
The editors made the translation from the transcription in Hans Heinz
Stuckenschmidt, Schönberg: Leben, Umwelt, Werk (Zurich: Atlantis, 1974),
61. For a translation to English, see Stuckenschmidt, Schoenberg: His Life,
World and Work, trans. Humphrey Searle (New York: Schirmer, 1978), 65–6.
See also Günter Brosche, “Richard Strauss und Arnold Schoenberg,” Richard
Strauss-Blätter 2 (December 1979), 22–3.
12 September 1903
Payerbach
To: Heinrich Schenker
Dear Doctor,
I have indeed just now begun to orchestrate your “Syrians” and it is
good, for it is quite possible that I will need to take more time than I first
thought. Today I finished the first dance. I don’t know yet when the
whole work will be done, but I scarcely think that it can be done before
the end of next week. More likely, significantly later—perhaps the end of
the following week.
And now, so that we do not come to possible disagreements later,
I must say a word about the fee. Should it turn out to be that it is you
who has to pay for the orchestration, I will do it for you for 100 Gulden.
But if it is Weinberger who pays for it, I could not do it for less (please
note: not for less!) than 150 Gulden. If possible however (see above),
substantially more!
I am speaking of this matter now only because the fee is somewhat
higher than that which I, however, have received for operettas. But I have
already seen with the first piece (19 pages of score that I would otherwise
206
easily have done in a day) that this work will take much more effort.
I have spent 13 full working days on the first piece. That should indeed
sufficiently explain the level of the fee.
If it is Weinberger who pays, I hope that you can argue for more than
this minimum. I have only scheduled it because I want to do the work and
I did not want to create difficulties about it.
I am sending you the completed piece at once. If there is something
you want, please write me in detail. However, I think that it ought to be
quite good. It is only a pity that there is a bit too much ff (fortissimo) in all
of the pieces. As a result, there is, as one can even determine, much less
color [Klangfarbe] in the orchestra. But that will scarcely be a significant
impediment.
One more thing: I have approached Busoni about my symphonic
poem. Nothing that would obligate you, of course! Because I would have
done it in any event had I heard in any other way that he was giving his
concerts again.
Finally: we had forgotten to make a “selection.” However, I think it
would be better to have Busoni make a selection after the first orchestral
rehearsal, so that the “selected”! pieces would be those that have the best
effect. It should make no real difference for you regarding the fee if one
is omitted, so you should not have anything against it. I look forward to
your response and am
With best wishes,

Your
Arnold Schönberg
Notes
For this and most other instances of the correspondence with Schenker, only
photocopies are available. This has consequences for the dating, as seen below.
The whereabouts of the originals is unknown.
207
L e t t e r s , 19 0 3 207
Heinrich Schenker (1868–1935), Austrian theorist, pianist, composer, and

teacher. He is widely regarded as the most important theorist of the twen-
tieth century. Schenker was born in Wisniowczyki (then Austrian Galicia;
today Ukraine). He came to Vienna in 1884 where he studied law and music.
Schenker began his musical career concentrating in composition and piano
performance. He established his reputation in theory with a series of major
works: Harmonielehre (1906), Kontrapunkt, vol. 1 (1910), Beethovens neunte
Sinfonie (1912), Kontrapunkt, vol. 2 (1922), Der Tonwille (1921–4), Das
Meisterwerk in der Musik (1925-30), Fünf Urlinie-Tafeln (1932), and Der freie
Satz (1935).
In 1903, 100 Gulden was approximately equal to $40. In 2013 dollars this is
Schoenberg’s orchestration of Schenker’s Syrische Tänze was premiered by

Busoni on 5 November 1903.
Schoenberg’s orchestration of Schenker’s Syrische Tänze seems to have disap-

peared; it is not included in Schenker’s papers in the Oswald Jonas Collection
at the University of California, Riverside.
Schenker’s Syrische Tänze für Pianoforte zu 4 Händen was published by Josef

Weinberger in two booklets (Heft I and Heft II). The plate numbers are J. W.
1092a and 1092b. The work was dedicated to Alfons Freiherr von Rothschild.
In 1922, Schenker’s friend, Moriz Violin, made another orchestration of

the Syrische Tänze. The manuscript score is in the Jonas Collection at the
University of California, Riverside.
Schoenberg’s comments about the overabundance of ff are difficult to recon-

cile with Schenker’s compositions.
See SCHS, 25–7, 30–1.

208
14 September 1903
From: Ferruccio Busoni
Augsburgerstr[asse] 55 [sic]
Berlin W 50
Dear Sir!
Your letter delighted me, interested me, and made me quite curious
about your score. Therefore, I would be very grateful to you for sending
me the manuscript. Perhaps it will be possible for me, a new Siegfried, to
step through the fence of fire that makes your work inaccessible, and to
waken it from the sleep of non-performance.
With friendly greetings,
Sincerely yours,
Ferruccio Busoni
Notes
The work under discussion is Pelleas und Melisande.

209
L e t t e r s , 19 0 3 209
15 September 1903 [postmark]?

Porzellangasse 56 bei Kramer
Wien IX
Dear Doctor,
Many thanks for your letter. I will accept your kind offer. It was so unex-
pected that it required something else unexpected from me: to take your
friendship at its word—I will tell you something that is grist for your
Reichenauer mill. I will be in Vienna tomorrow afternoon. Shall I visit you
at home the day after tomorrow (Wednesday) in the afternoon (around 3
to 3:30) or will you be elsewhere? In any event, for now, best wishes
From your
Arnold Schönberg
Notes
Only the message side of the postcard was photocopied. Schoenberg did not
date this card. However, the librarian who catalogued this letter apparently
saw the address side and recorded the date from the postmark. This letter was
probably written on 14 September 1903 which was a Monday.
The precise meaning of the reference to “Reichenauer” could not be deter-

mined. Reichenau an der Rax in lower Austria was a popular summer resi-
dence for the Austrian nobility and elite. Schoenberg’s patrons, the Redlichs,
maintained a summer home there and Schoenberg stayed (and worked there)
several times. But it is unclear how this relates to the phrase “grist for the
Reichenauer mill” in the present letter.
After Schoenberg’s return to Vienna from Berlin, he appears to have lived for
a time with his sister Ottilie Kramer.
See SCHS, 32.
210
16 September 1903
From: Max Marschalk
Verlag Dreililien
Halensee Berlin

So you are back in Vienna—do you sometimes still have strong dreams
of Berlin? What is going on with your work? Shouldn’t we copy Pelleas
und Melisande? Something has to happen with it! Couldn’t one make an
attempt to get the tone poem performed at the next composers’ meeting?
Are you a member of the society? (Allgemeiner Deutscher Musikverein,
Leipzig). You seem to be dissatisfied with us? But we really cannot give
you any better conditions for now. You must take care that we will soon
have sufficient reason to be satisfied with you—then everything else will
take care of itself according to your desires.
I have very much to do and in the meantime was away again, which
is why I deferred the answer to your two letters.
Best wishes,
Your
Max Marschalk
211
L e t t e r s , 19 0 3 211
20 September 1903
Honored Professor,
My most sincere thanks for your very kind letter and your intention to
make an effort on behalf of my work. Yesterday I sent the score to your
address. Hopefully it will make a favorable impression on you.
As you will notice, from the outside it already seems pretty well
thumbed through. But these are only the first few pages. What follows is
neater, because up to that point two of my current friends have worked
their way through it. Hopefully from there on it makes a better impression.
I am very happy that you would like to devote yourself to reading
through it, even if a performance does not result. It would be very valu-
able for me, indeed, if I could finally come out with such a big work——I
really don’t know if I can expect this from you.
I hope that I will get a kind answer from you soon and in this expec-
tation I send you my most respectful regards,
Sincerely,
Arnold Schönberg
Notes
See Weindel, 318.
212
Porzellangasse 56 bei Kramer
Wien IX
Dear Doctor,
In the absence of any news from you or from [Moriz] Violin, I would like
to take the liberty of calling on you tomorrow around 11 o’clock in the
morning. I assume you will be at home.
Best wishes,
Arnold Schönberg
Notes
The letter is undated. The date was probably assigned on the basis of a post-
mark. The photocopy that is available shows only the message side of the
postcard, with no image of the address side (with the postmark).
See SCHS, 33.
213
L e t t e r s , 19 0 3 213
Dear Doctor,
I deposited No. 3 for you at the coffee house; hopefully No. 4 tomorrow
toward 6 p.m.
Best wishes,
Arnold Schönberg
Notes
The date was apparently assigned on the basis of a postmark. See the notes to
the previous letter.
“No. 3” refers to the third of Schenker’s Syrische Tänze.
See SCHS, 33.
[ca. 30 September 1903]?
Dear Doctor,
Tomorrow you will receive the 4th piece. I had a terrible toothache and
could not work. My only activity was the swelling in my face!
Best wishes,
Arnold Schönberg
214
Notes
The letter is undated. The suggested dating in SCHS, 34 seems logical given
the preceding letter to Schenker.
4 October 1903
From: Friedrich Eichberg
Dorotheenstrasse 43
Berlin NW7
p[er] A[dresse] Frau Otta Kramer
Porzellangasse 56
Wien 9 Bez[irk]
Dear Arnold,
Enclosed are two picture cards, mementos from the time when you and
I witnessed the birth of this railroad. In the meantime, the railroad has
been in continuous operation. A second car is being made ready just now.
Both cars can be controlled by a single person from any platform. As you
can see from the summary article in E. T. Z. [Elektrotechnische Zeitschrift]
which I am sending to you with this because I know that it would interest
you, the significance of the new system is truly acknowledged by outside
observers. The E. T. Z. is the leading professional periodical in Europe.
Please return the article to me as soon as possible. Today is Sunday again.
That is the day on which I repeatedly think of the lovely hours that I have
spent with you. Warm greetings to you, and greetings to your wife and
Trudel, also your mother, Otta, the little Fritz, etc.
Your old,
Fritz Eichberg
215
L e t t e r s , 19 0 3 215
Notes
There are two picture cards enclosed: one of an electric railway car and the
other showing a stretch of railway track with high-tension electric wires.
The “little Fritz” refers to Schoenberg’s nephew, the son of Otta, Ottilie
Kramer. He was born in 1900.
13 October 1903
Liechtensteinstrasse 68/70
[Wien] IX
Dear Doctor,
I have looked for you several times at the coffee house and at home in
order to hear how matters stand. Have you sent the music to Busoni
already? What was his response? When are you usually at the coffee
house? Or at home?
Best wishes,
Arnold Schönberg
Notes
See SCHS, 34.
216

From: Ferruccio Busoni
Berlin
Liechtensteinstraße 68/70 II/22
Wien IX
Dear Sir,
I have received Pelleas und Melisande—and read it through to the end.
You are a master of the orchestra; from the first impression that seems to
me without doubt. Regarding the content, I cannot be sure yet; (consider
that I am occupied simultaneously as a pianist, composer, and conduc-
tor and cannot get peace and quiet for concentration) therefore—for the
present—it is only my problem. In any event, the dances of Schenker
have also arrived, and I am happy that at least in this form I can put your
name on my program.
Sincerely yours,
F. Busoni
Notes
Busoni conducted the premiere of Schoenberg’s orchestration of Schenker’s

Syrische Tänze on 5 November 1903.
See Antony Beaumont, ed., Ferruccio Busoni: Selected Letters (London: Faber,

1987), 381.
217
L e t t e r s , 19 0 3 217
10 November 1903 [postmark]?

[Wien] IX
Dear Doctor,
I urgently wish to speak with you and therefore would like to call upon
you tomorrow midday around 2 o’clock at your home. Should the mid-
day not be possible, and you write to me to cancel, then I request that you
set a time in the morning as I have no time in the afternoons.
Best wishes,
Your
Arnold Schönberg
Notes
The date was apparently assigned on the basis of a postmark.
See SCHS, 35.
218
16 November 1903
From: Max Marschalk
Verlag Dreililien
Georg Wilhelm-Str[asse] 22
Halensee Berlin

I am now waiting for your longer letter and your new songs that I hope
are quite beautiful. It is not feasible to send your songs to Viennese music
dealers. The dealers “choose” and don’t accept unsolicited materials for
perusal on consignment. Thus if a considerable number of your acquain-
tances is really interested in them, they should make large and frequent
orders. Every dealer likes to accept definite orders. Gutmann, who is the
only one with whom we have made a kind of agreement, will receive
the songs already today. Isn’t Busoni interested in performing your sym-
phonic poem? Do you have prospects anywhere else? Now after the long
hiatus, we have to make plans again soon. Make good use of all your
connections with singers—publicity—you have copies at your disposal.
It would be fabulous if you could approach Müllner! So——don’t worry
that my response to your letters will always be so incomplete; that just
happened this one time.
Warm wishes
Your
Max Marschalk
Notes
The songs that Schoenberg wanted sent to the Viennese music dealers are
probably the Two Songs, Op. 1, that Dreililien had just published. The “new”
songs are probably some of the songs for Opp. 2 and 3.
219
L e t t e r s , 19 0 3 219
Albert Gutmann (1852–1915), Viennese music publisher and sheet music

retailer. His company published, among other things, Bruckner’s Fourth and
Seventh Symphonies. In 1920, Gutmann’s firm was acquired by Universal
Edition together with its catalogue.
Müllner could not be identified.
16 November 1903
Liechtensteinstrasse 68/70 II/22
Wien IX
To: Guido Adler
Dear Professor,
I heard from Doctor Weigl that you had spoken about my work in favor-
able terms. This pleasant news prompted me to do my part, to come
closer to realizing a wish that I have had for a long time: to get to know
you personally. In that I immodestly presume that your interest in my
work extends just far enough that a little bit of it can be extended to its
author, I take the liberty of inquiring when I might be permitted to call
on you.
Anticipating a favorable answer I give my regards respectfully,

Most sincerely,
Arnold Schönberg
Notes
Guido Adler (1855–1941), one of the founders of modern historical musicol-

ogy. At the time of this letter he was professor of music at the University
220
of Vienna, having succeeded Eduard Hanslick in 1898. After the Anschluss,

Adler was dismissed from his positions, but the intervention of some of
his former colleagues prevented his deportation. He died of natural causes
in 1941. However, after his death his daughter, Melitta, was deported to
Theresienstadt where she died.
See Ennulat, 60.
23 November 1903
From: Max Marschalk
Verlag Dreililien
Halensee Berlin
Liechtensteinstr[asse] 68/70
Wien IX
Dear Mr. Sch[önberg],

Your songs arrived. More easily accessible—?—Oh, what an error. I have
not discovered any access at all, not even a hard one! More in the next
letter. With best wishes
Your
M. M.
Notes
The songs under discussion in this and the following letter are probably some
of the songs that were published as Opp. 2 and 3.
221
L e t t e r s , 19 0 3 221
16 December 1903
Honored Professor,
A number of acquaintances are currently trying to raise, from friends of
the arts, the necessary funds for a performance of my symphonic poem.
Since I would be too unprepared, should something result from this,
I very urgently need my score.
I would like to retouch and rework several passages, but must, in any
event, go through the score before I can consider copying the parts. I ask
you, therefore, most urgently, to send me the manuscript as soon as pos-
sible (registered mail, if you would be so kind). In the event that you still
intend to do something with it, I possibly can send you a copy that could
be made in 5–6 days at the most, or if nothing comes of my current plans,
the original. Then perhaps I could add to that a piano reduction which
one of my friends began to prepare and is thinking of continuing.
I conclude, therefore—once again repeating my request for a prompt
return—with my best regards and highest respect,
Arnold Schönberg
Notes
See Weindel, 319.
222
16 December 1903
From: Max Marschalk
Verlag Dreililien
Halensee Berlin

It goes without saying that since we once said A, we must say, and want
to say B as well. One could say many things about your new songs; above
all: you have made a big mistake—they are not more easily accessible.
Perhaps they will be picked up and sung by this or that intelligent singer,
but who in the world will buy them? Who other than an artist of the first
rank can sing them, who other than a “concert pianist” can play them?
It is unfortunate that you are not a pianist. Everything is orchestrally felt
and conceived and presents itself, so to speak, as a piano arrangement,
which in the final analysis is just as unsatisfactory as a fully orchestrated
piece representing piano music. However, I suspect that you yourself
are quite well aware of this and that it has already been said to you by
another source. So—we will publish the songs, but we cannot agree to
give you an advance for them, for which we ask your understanding.
Have someone sing the songs and let us know how you and others liked
them. It scarcely needs to be said that now as before I am convinced of
your great talent, but it is still fermenting and bubbling over: the wine is
not yet ready. No offense intended.
Regards
Your
Max Marschalk
V
Letters, 1904
January 1904
From: Alexander Zemlinsky, Gustav Gutheil, Arnold Schönberg
To: Dr. H[einrich] Schenker
Honored Sir!
The undersigned take the liberty of inviting you to a meeting at Hopfner’s
Restaurant (private room) I., Kärntnerstrasse, on 21 January, 8 p.m. The
purpose of the meeting is:
Whoever knows the musical situation in Vienna and compares it with
that of smaller cities in Germany, cannot escape from the conclusion that
the “City of Music” has, unfortunately, long lagged behind that minimum
of progress that can be expected today, even from artistic centers that have
not earned laurels for previous supremacy. The new generation of compos-
ers, not only in Vienna, but also in the Empire, the young and young-
est creative artists, have to suffer the most from this situation. Although
the audience and press in Germany have already reached a point where
they respond positively to the newer, serious, masters and with more than
snobbish interest, indeed even with warmth and respect, by contrast here,
our endeavors are, as ever, totally ignored.
223
224
The strange success of the recently founded Ansorge Society makes

us believe that a change for the better could materialize in Vienna, and
that an audience for modern music can be found and educated in Vienna,
if a strong effort along these lines would be undertaken by serious and
dedicated people.
At the above-mentioned meeting, to which for the time being only
a small number of interested people is invited, the means that should
be used—arranging performances (orchestral, chamber music, songs,
etc.), possibly the foundation of a society—to attain these goals will be
discussed.
The undersigned hope that you will not ignore such a burning issue,
recognizing that only a joint effort can lead to success, and ask that you
tell Mr. Alexander von Zemlinsky, Vienna III, Obere Weissgärberstrasse
16, whether you are willing to attend the meeting.
Sincerely yours,
Alexander v. Zemlinsky
Hofcapellmeister Gustav Gutheil
Arnold Schönberg
Notes
The handwriting of the letter is neither Zemlinsky’s nor Schoenberg’s.
Gustav Gutheil (1868–1914), music director in Strassburg and at the Weimar

court theater, composer, and husband of soprano Maria Gutheil-Schoder.
The meeting under discussion relates to the founding of the Vereinigung

schaffender Tonkünstler in Wien. The imminent establishment of this soci-
ety, a predecessor of Schoenberg’s Society for Private Musical Performances
(1918–21), was announced in the Viennese press in April 1904: Guido Adler,
“Eine neue musikalische Vereinigung,” Neue Freie Presse, 1 April 1904. In
the evening issue of this paper the Vereinigung manifesto (probably writ-
ten by Oskar Posa, in March 1904) appeared (printed in Willi Reich, Arnold
Schönberg oder der konservative Revolutionär, Vienna: Molden, 1968,
30–34). The constitutional meeting was on 23 April 1904. The Vereinigung
225
L e t t e r s , 19 0 4 225
dissolved in fall 1905. See Wolfgang Behrens, “ ‘Dieses Jahr war nicht
verloren’: Die ‘Vereinigung schaffender Tonkünstler in Wien’ und ein
nicht von Schönberg verfasstes Memorandum,” Jahrbuch des Staatlichen
Instituts für Musikforschung Preußischer Kulturbesitz, ed. Günther Wagner
(Stuttgart: Metzler, 2003), 249–64.
The Ansorge-Verein für Kunst und Kultur, though named after the pianist
and composer Conrad Ansorge, was founded in 1903 by the music critic Paul
Stefan, Felix Fischer, and the writer and attorney Wilhelm von Wymetal. It
existed as an independent organization until 1911 when it merged with the
Akademischer Verband für Kunst und Literatur. Its stated goal was to pro-
mote all great art, old and new. See Eike Rathgeber and Christian Heitler, “Der
Wiener Ansorge-Verein 1903–1910 (Verein für Kunst und Kultur),” in Kultur—
Urbanität—Moderne: Differenzierungen der Moderne in Zentraleuropa um
1900, ed. Heidemarie Uhl (Vienna: Passagen Verlag, 1999), 383–438.
See Hellmut Federhofer, “Heinrich Schenkers Verhältnis zu Arnold

Schönberg,” Mitteilungen der Kommission für Musikforschung 33 (1981), 375.
See SCHS, 36–7.
11 January 1904
From: Gustav Rassow
Bremen
Liechtensteinstr[asse] 68/70, II/20
Wien IX
Dear Sir!
In response to your honored letter of the day before yesterday, I am send-
ing you as an enclosure the amount due to you for the “Liszt Stipend”
226
in the amount of Mk. 1000 for 1904 and ask that you sign the enclosed
receipt and return it to me.
As you know, the fiscal year for the Verein corresponds to the calen-
dar year and the yearly dues have been raised to Mk. 10. You have already
paid Mk. 6 for the current year so I have taken the liberty, assuming your
agreement, of deducting the remaining Mk. 4 from today’s amount.—I
am enclosing your membership card for 1904 which serves as a receipt
and I sign
Respectfully,
G[ustav] Rassow
Notes
The letter is written on stationery of the Allgemeiner Deutscher Musikverein.
5 February 1904
From: Max Marschalk
Verlag Dreililien
Halensee Berlin

You really are a peculiar customer. The material could have been ready a
long time ago. I do not think it is advisable, and you certainly agree with
me, that the score or parts be duplicated before a performance (by a good
orchestra) where you absolutely must be in attendance, for there always
227
L e t t e r s , 19 0 4 227
is the necessity for small corrections. But—150 Marks seems to me to

be too much money; I believe we can do it cheaper here, therefore I ask
that you send me the score. I will then go to the trouble of making parts
promptly even though I do not believe a performance is about to happen!
Besides, I am not so bad, unfriendly, and negligent as it appears. Please
note, the preparation of the material will take approximately 14 days.
Meanwhile, you must have received the corrections for your Opus 3,
haven’t you? It is very encouraging that you have piqued Meschaert’s [sic]
interest. Hopefully he really will sing them.
I solemnly promise you that, in the future, I will “attend to you
promptly” with answers, etc. In any event, don’t be angry at me. Regretfully,
I must admit you would have sufficient grounds.
Max Marschalk
Notes
Dreililien published the Sechs Lieder für eine mittlere Singstimme und Klavier,
Op. 3, in 1904. The first documented performance was 26 January 1907.
In 1904, 150 Marks was approximately equal to $35.70. In 2013 dollars this
was roughly equivalent to $930.
Johannes Messchaert (1857–1922), noted Dutch lieder singer and teacher. His
last name is spelled in a variety of ways (Meeschaert, Meschaert, Messchaert,
etc.) The spelling given here is the spelling Messchaert himself uses in his
letters to Moriz Violin in the Oswald Jonas collection at the University of
California, Riverside.
228
[10 February 1904]?
Wednesday
Wien IX
Dear Doctor,
It seems to me that you are angry with me! Was I too vehement yesterday?
In any event, you have misunderstood me completely. I did not want
to know your point of view as a critic, but rather, as a creative artist. And
in this context, for me it had less to do with you than with Gound and
Braun. For indeed, from the beginning, I had expected a broad perspec-
tive from you.
And my intention: to come to a flexible agreement on the basis of
these clear differences of opinion.
Thus, I wanted to unite, not divide. You really have to admit that!
You are coming to me tomorrow (Thursday) around 5 o’clock for a
subcommittee meeting, aren’t you?
Warmest wishes,
Arnold Schönberg
Notes
Schoenberg identifies the day of the week (“Wednesday”) but the letter is
otherwise undated. A librarian assigned the date 10 February 1904, possibly
based on a postmark on an envelope, which is no longer available. In the let-
ter Schoenberg mentions the possibility of Schenker coming to visit “tomor-
row (Thursday).” Since 11 February 1904 was Thursday, the suggested date for
this letter is feasible. Further support for the proposed date can be inferred
from the following letter where Schoenberg repeats the date and time for the
subcommittee meeting. Moreover, in Schenker’s papers there is an invitation
from Schoenberg (though not in his hand) for the Ansorge Society concert on
229
L e t t e r s , 19 0 4 229
11 February 1904. The subcommittee meeting may have been scheduled for
5:00 p.m. to permit Schoenberg and anyone else interested to go to the concert.
This letter appears to document one of the first meetings, if not the first
meeting, of the Vereinigung schaffender Tonkünstler. This organization was
founded by Schoenberg and Zemlinsky, with Gustav Mahler as honorary
president. According to its printed bylaws, the Vereinigung was dedicated to
the practice and advancement of contemporary music, with a focus on works
by Austrian and German composers. It lasted one season.
SCHS, 41 transcribes the last word of the second sentence as “hastig” and cor-
respondingly translates it as “hasty.” The editors believe the word is “heftig”
and have therefore translated it as “vehement.”
Robert Gound (1865–1927), German composer, primarily known for his

lieder. He was the archivist of the Vereinigung schaffender Tonkünstler in
Wien. From 1923 he spelled his name “Gund.”
“Braun” may be Rudolf Braun (1869–1925), pianist, composer. Born blind, he

was associated with Schoenberg’s circle. See EYBL-WEG, 249.
[11 February 1904]?
Wien IX
Dear Doctor,
Too bad!!! I would have liked to have heard what you had to say about it.
The subcommittee meeting is at my house: 5 p.m.
Warm greetings,
Arnold Schönberg
230
Notes
The letter is undated. A librarian assigned the date of 12 February 1904 prob-
ably based on a postmark. However, the date cannot be confirmed because
no photocopy of the address side of the postcard is available. The content of
the letter suggests that the proper date could be 11 February 1904. Unless
there were two subcommittee meetings on successive days, the subcommittee
meeting mentioned in this letter is probably identical with the one indicated
in the previous letter.
The opening two sentences were probably Schoenberg expressing his regrets
that Schenker was unable to come to the Ansorge Society Concert (on 11
February 1904) which featured lieder from Op. 2 and Op. 3 by Schoenberg
performed by Walter Pieau, voice, and Alexander Zemlinsky, piano, at the
Festsaal of the Gewerbeverein of Lower Austria. See EYBL-WEG, 251.
See SCHS, 42.
13 February 1904
To: Unknown
from page 1:
[…] the hurricane of applause that poured over my lieder [was] not
particularly strong… . I would like it if Sicari [?]‌would sing the lieder
for you …
from page 2:
[…] someone [must?] arrange guest tickets for you in advance. I have
received very few, which only suffice for my relatives. Therefore, if you wish
to go, you must write either to me or approach Gärtner (who is indeed
231
L e t t e r s , 19 0 4 231
a member) about them. As the Tonkünstlerverein has just informed me,

the guest tickets cost two Kronen per person, and can be obtained every
Wednesday and Friday between twelve noon and 1:00 p.m. by referring to
one member of the Tonkünstlerverein.
Please inform me whether and how many tickets I should provide.
I am with warmest greetings
Sincerely yours,
Arnold Schönberg
Notes
This letter is in private hands and not available for study. The partial text is
based on a transcription of part of the letter that was made before the letter
was sold.
In the first part of the letter, Schoenberg is probably talking about the reac-
tion to his lieder that were performed on the Ansorge Society concert,
11 February 1904.
In the second part of the letter, the unknown recipient was trying to obtain
tickets for the performance of Verklärte Nacht on 19 February 1904 by the
(augmented) Rosé Quartet at a concert sponsored by the Tonkünstlerverein.
In 1904, 2 Kronen was approximately equal to $0.40. In 2013 dollars this is

232
14 February 1904
From: Max Marschalk
Verlag Dreililien
Halensee Berlin
Wien

Making of a copy of the score is not the responsibility of the publisher—
really—isn’t that so? If the copying work in Vienna really is cheaper than
here, we could place an order there. Make a copy of the score first and
send me the copy. I know how long such procedures take, so I almost
would like to propose to you that the performance be delayed until the
fall. Don’t you think that would be advantageous in every respect?
With best wishes,

Your
Max Marschalk
Notes
Under discussion is making a copy of Pelleas und Melisande.

233
L e t t e r s , 19 0 4 233
[16 February 1904]?
Wien IX
Dear Dr. Schenker,

You really underestimate too much the importance of being present at
our discussions, and thereby compel me to say in the form of a compli-
ment the truth as to why we consider it essential that you participate. Is
it necessary to stress how happy we are to find one intellect among musi-
cians? That bridges more than one difference in party affiliation—at least
that is my feeling.—We meet beginning at 5 p.m… . if you leave at 7 p.m.,
everything will be attended to. Therefore, you will come!!
Best wishes,
Arnold Schönberg
Notes
The letter is undated. The date given here was probably assigned on the basis
of a postmark.
Under discussion is a meeting of the leadership of the Vereinigung schaffender

Tonkünstler.
See SCHS, 39.
234
17 February 1904
Wien IX
To: Guido Adler
Dear Professor,
I am taking the liberty of informing you that my sextet, Verklärte Nacht,
will be performed on the 19th of this month (Friday) at the Tonkünstler
Verein. Since my “availability” and your “unavailability” for a meeting
and vice versa, seem fated to prevent our getting together with the aim
of your hearing a performance of Gurrelieder, it would be very pleasant
if, at least in the meantime, you would get to know this work. Although,
at most, this work says that which I strived to do four or five years ago,
and which I have long since gone beyond, there is perhaps, nevertheless,
something in it that does not seem totally inept to me. While hoping not
to disappoint you too much, I send my regards with the greatest respect.
Sincerely,
Arnold Schönberg
Notes
According to a notice published in the Neue Freie Presse on 19 February 1904

(p. 11), the program included the Piano Trio in A minor by Paul Juon, lie-
der by Em. Tjnka, and Schoenberg’s Verklärte Nacht as performed by Arnold
Rosé with members of the Hofopernorchester.
See Ennulat, 60.
235
L e t t e r s , 19 0 4 235
21 February 1904
Wien IX
To: Moriz Violin
Wallgasse 16
Wien VI/2
Dear Violin,
I have looked over my lieder again and see that hardly anything is suit-
able for female voices. In total, there are 3 pieces whose texts do not
specify the gender. However, in one of those the character of the music
is only possible for a man. And it is not possible for the two others to be
performed alone. Therefore there is no point for me to send them to you.
I thank you very much for your kind intention.

Your
Arnold Schönberg
Notes
Schoenberg’s Op. 3, was published in 1904. Perhaps this is the subject of dis-
cussion. However, it could also be other lieder, published or unpublished,
which are based on a mix of gender-specific and gender-neutral texts.
236
Figure 5.1
Arnold Schoenberg to Moriz Violin, letter of 21 February 1904. Courtesy of the
Oswald Jonas Special Collection at the University of California, Riverside.
25 February 1904
Dear Doctor,
I do not believe that matters of any kind of importance will be addressed
at the Friday meeting; to the contrary, I consider this meeting to be com-
pletely unnecessary; one person alone could do everything that remains
to be done. Be that as it may, however, you will still meet all of us together
at 7 o’clock since we will only begin at 6 o’clock. In any event, it would
be very nice if you would come to visit us on Friday evening and per-
haps stay for supper. Besides, we will want to chat about a number of
issues. I would be very happy if you would give me this pleasure. It is too
237
L e t t e r s , 19 0 4 237
expensive for me to go to a restaurant—and not pleasant for my wife, as

she would then have to sit alone for the whole evening. I hope therefore
definitely to see you at my home and look forward to hearing from you
about this.

Your
Arnold Schönberg
Notes
See SCHS, 40.
26 February 1904
From: Max Marschalk
Verlag Dreililien
Halensee Berlin

Have no doubt about the love and faithfulness of Dreililien Verlag! I ask
that you formally submit the sextet to us, which means that you send us
the manuscript. Then we will clarify whether and when we will print it.
I am most happy that Mahler is interested in you. Nevertheless, don’t
depend too much on him. He is not completely reliable. For a long time
he acted as if he was most eagerly interested in me, but nothing came
of it. What you say about the Ansorge Verein and about the concert-
going public in general is quite right. By the way, Dehmel is reading here
soon and lieder texts of his and others are being sung, including those
238
of yours, about which Ansorge, who is accompanying, has spoken very

enthusiastically despite his earlier rejection of them! In any event, we
really would like to prepare your symphonic poem for next winter, which
means, have the material prepared con amore. Just received your card.
Do ask Eberle, what a small score like this would cost per plate and get
an answer before you send it to us, that is its engraving and printing costs
figured out in advance with the indication that we are interested in it. So
that he would give you prices for an amateur. He also can send the first
[illegible] directly to us.
Best wishes,
Your
Max Marschalk
Notes
Conrad Eduard Reinhold Ansorge (1862–1930), German pianist and com-

poser. He had been a student of Liszt’s and was a prominent supporter of
contemporary music and literature.
Marschalk refers to a poetry reading and lieder recital in Berlin that fea-
tured poems of Richard Dehmel. That event was probably very similar to
an Ansorge Verein concert (“Dehmel Abend”) held on 6 March 1904 in the
Bösendorfersaal in Vienna. However, according to the March 1904 issue of
the Österreichische Musik—und Theaterzeitung (Heft 12, p. 7), the program of
the Vienna “Dehmel Abend” did not include lieder by Schoenberg. Works by
Schoenberg (including lieder to texts of Dehmel) had appeared on an Ansorge
Verein concert on 11 February 1904 when Zemlinsky and Walter Pieau per-
formed “Schenk’ mir Deinen goldenen Kamm,” “Erwartung,” “Hochzeitslied,”
“Warnung,” “Geübtes Herz,” and “Wie Georg von Frundsberg von sich
selber sang.”
239
L e t t e r s , 19 0 4 239

From: Max Marschalk
Berlin-Halensee

Your lieder are not yet out but I expect them in the coming days.
Regarding the sextet, you will receive a definitive decision as soon as
possible.
Warmly
Your
Max Marschalk
Notes
This letter has been misdated. In JASI-PI, the letter is given the date of 22
March 1905. However, the postmark on the letter is clearly 22 March 1904,
not 1905. Moreover, the contents of the letter also point to 1904: by 1905, the
sextet was already published.
5 April 1904
To: Moriz Violin
Dear Mr. Violin,

Please be so kind as to inform the Vereinigung sch[affender]
T[onkünstler] by letter of your resignation. I can only regard our con-
versation at the coffee house and elsewhere as a private matter that has
240
nothing to do with the Verein. Likewise—you must see this—I certainly

cannot supply arguments in support of your resignation, as requested in
your letter, that you have “heard, other than expressions of a journalis-
tic manner, … not a single musical argument from me.” As objective as
I may be, I am someone from whom you can otherwise easily demand
“generosity of thought,” that objective I am not.
However, of course, this must not change our personal relationship.
Whereupon best regards from your
Sincere,
Arnold Schönberg
Notes
Notwithstanding Schoenberg’s stated wish that their personal relationship

not be affected by their dispute regarding the Vereinigung, it appears that
their relationship did indeed suffer. This is the last known letter between
the two until after World War I. Moreover, the salutation suggests that their
friendship was under stress. In prior letters, Schoenberg addressed Violin
with the friendly “Lieber Violin.” Here, however, he addresses him with the
formal “Lieber Herr Violin.”
241
L e t t e r s , 19 0 4 241
[5 April 1904]?
From: Alma Mahler

A thousand thanks for your lovely, lovely gift. The songs of Op. 2 that
said little to me at the beginning are coming closer and closer to me. The
current ones, however, are so terribly difficult to play, that I will have to
take piano lessons again in order to play them halfway. I am very much
looking forward to studying them in depth. Till that time, I must keep
quiet and can only express my heartfelt thanks. Also for the list, many
thanks. I can only fulfill your very last wish in two years… . I laughed
very much. The list will be preserved and its content will be addressed to
the best of my abilities. Until soon.
Thanks and greetings.

Alma Mahler
Notes
The letter is undated. When it was catalogued at the Library of Congress, a

librarian wrote the date 4 May 1904 in pencil in the uppermost right hand
corner of the first page and put it in square brackets. Most likely this was
done on the basis of a postmark on the envelope which is no longer available.
However, there seems to have been confusion as to the date since directly
below the first date, the librarian also wrote the date 5 April 1904 with a ques-
tion mark (possibly suggesting there had been a transposition of digits, that is,
5.4.1904 instead of 4.5.1904). We believe that 5 April 1904 is the correct date.
That date is in harmony with the letter from Alma Mahler from 26 April 1904
where she states that they were “just now looking at your 6 songs” [ = Op. 3].
The “current ones” are undoubtedly the Op. 3 songs, whose accompaniments
are significantly more difficult and demanding than those of the Op. 2 set and
which had just been published in 1904.
242
6 April 1904
From: Lauterbach & Kuhn
Inh[aber] Karl Lauterbach und Dr. Phil. Max Kuhn
Musik Verlag
Rossstr[asse] 18
Leipzig
Komponist
Wien IX
Dear Sir!
Mr. W. v. Wymetal writes us that you wish to publish a sextet. We are
following the creative work of the Viennese school with particular inter-
est; perhaps you know that a part of Hugo Wolf’s work and the lieder
of Streicher have been published by us. If you are not unsympathetic to
our sincere efforts on behalf of the new German music, then we would
look forward with great interest to your sending us your sextet or other
manuscripts. We leave it to you to send us your as yet unpublished man-
uscripts and sign with greatest respect
Sincerely
Lauterbach & Kuhn
Notes
Lauterbach & Kuhn, Leipzig-based German publishing firm, founded in

1902. It was purchased by Bote & Bock in 1908. Lauterbach & Kuhn never
published any of Schoenberg’s works.
Theodor Streicher (1874–

1940), Austrian-
born composer, particularly of
lieder.
243
L e t t e r s , 19 0 4 243
6 April [1904?]
From: Oskar Posa
Wien
Dear friend,
Things are going the same for me today as on Sunday for Zemlinsky.
Therefore, I will probably not come to the meeting tonight. Von Wöss
writes in his invitation card about the inclusion of Schmidt and Volk in
the planned preliminary discussion. Schmidt most likely will not appear.
Regarding Volk something has to be done. One must make von Wöss
understand that your comment about the issue of the board of directors
was purely private and not binding. Besides, we hardly know anything
officially about Volk. In any event, his private visit to me alone does not
suffice. About his compositions, I prefer to have said nothing. In any
event, he would have to show them to all, and not just to one of us. Even
if I were to find them excellent, this would not remove the necessity of
you and Zemlinsky looking at them yourselves. Perhaps it would even
be necessary that the plenum get to know Volk’s things, before it votes
him to the board of directors. In the event that his “candidacy” was
under discussion, you should prevail upon him to present this issue to
the Vereinigung. Based on the mere recommendation of Mr. von Wöss,
hardly anybody would feel himself moved to give his vote for Volk.
If it is at all possible, I will come tonight; if not, I may come tomorrow
to see you.
At the meeting, obtain the widest powers for the subcommittee, per-
haps full power which will enable the subcommittee to proceed according
to the best intentions and conscience in the interest of the Vereinigung.
Best wishes,
Posa
244
Notes
Posa wrote the month and date on the letter, but not the year. When this letter
was catalogued at the Library of Congress it was assigned to 1905 and it appears
under that date in JASI-PI, 35. However, the issues under discussion in the let-
ter are clearly from 1904 when Posa and Schoenberg were deeply involved in
getting the Vereinigung off the ground (electing a board, forming subcom-
mittees, etc.). By April 1905, the Vereinigung was on the verge of bankruptcy.
See Wolfgang Behrens, “ ‘Dieses Jahr war nicht verloren’: Die ‘Vereinigung
schaffender Tonkünstler in Wien’ und ein nicht von Schönberg verfasstes
Memorandum,” Jahrbuch des Staatlichen Instituts für Musikforschung
Preußischer Kulturbesitz, ed. Günther Wagner (Stuttgart: Metzler, 2003), 258,
fn. 32. Behrens identifies two of the composers named in the letter as Franz
Schmidt and possibly Gustav Volk (p. 258, fn. 33).
Oskar C. Posa (born Posamentir, 1873–1951), Austrian composer, pianist

and lawyer. As a composer, he was best known for his lieder. One of the
founding members of the Vereinigung schaffender Tonkünstler, he was
the Vereinigung’s secretary and apparently the author of its manifesto (see
Behrens, above).
Joseph Venantius von Wöss (1875–1943), Viennese composer and harmony

teacher, a proponent of the Cecilian movement. He is best known today for
his piano transcriptions of Mahler’s symphonic works, but he also composed
three operas, more than a hundred lieder, and numerous symphonic works.
He was the treasurer of the Vereinigung schaffender Tonkünstler in Wien.
Franz Schmidt (1874–1939), cellist, pianist, and composer. He held a position

as cellist in the Vienna Hofopernorchester and was appointed professor of
piano at the Vienna Academy of Music. His compositions include four sym-
phonies and two operas.
245
L e t t e r s , 19 0 4 245
10 April 1904
From: Max Marschalk
Verlag Dreililien
Halensee Berlin

Inasmuch as you “totally and completely” stand behind your sextet,
we would like to publish it. If I am not mistaken, you said once that
you wanted to make some changes, cuts or something of that sort? My
memory of one Berlin performance is that it was very bad. Nevertheless,
in places I had a very powerful impression. I could not tell whether the
length, which fatigued me, really was length, or whether I perceived it as
length because the performers played so miserably. You surely thought
about that yourself at the live performance and perhaps have heard from
friends whose judgment you respect!? However—I consider you to be a
stubborn person and one who is very much in love with his own works.
When we set about publishing the work, we calculate from the outset
that there will be no profit, since only very few of the most select per-
forming groups could perform this sextet! We must also remove an
advance payment from consideration. As a correct and fair thinking
person, you can understand that. I am convinced, by the way, that you
would find no other publisher. If perhaps Eberle, upon Mahler’s recom-
mendation would really find himself ready, you would probably have to
relinquish your rights once and for all, without having received a fee.
We are thinking, naturally, about having your sextet engraved—small
format in an inexpensive edition of 1.5 to 2 marks—a lso the parts would
not be copied by hand. The efforts of the Viennese composers are very
praiseworthy and I wish them great success on their behalf and on behalf
of the practice of music in general. I just have the strong feeling that there
won’t be any really worthwhile works. I know the type of trash that Rich.
Strauss had to present here. And the public—a las—will be no better in
246
Vienna than in Berlin. Nevertheless, all efforts to rise out of the swamp
must be greeted with joy.
Sincerely,
Your
Max Marschalk
Notes
The performance to which Marschalk refers was the performance by the

Waldemar Meyer Quartet in Berlin, 30 October 1902.
In the last paragraph, Marschalk is responding to Schoenberg having told

him about the Vereinigung schaffender Tonkünstler.
14 April 1904
From: Max Marschalk
Verlag Dreililien
Halensee Berlin
Wien IX

You probably already have received my letter. Three offers?! Good
Heavens—so it certainly is good we have a contract with you.
Best wishes,
Max Marschalk
247
L e t t e r s , 19 0 4 247
Notes
The subject under discussion is Schoenberg’s attempt to find a publisher for

Verklärte Nacht (in violation of the terms of his contract with Dreililien). See
the letter from Lauterbach & Kuhn dated 6 April 1904.
18 April 1904
From: Max Marschalk
Verlag Dreililien
Halensee Berlin

I had not expected that you would become rebellious so soon! To be sure, we
promised you that we would place you according to your successes and we
will keep our promises. In the meantime, however, we see no successes. If
Eberle wants to pay you a one-time fee of 200–300 Gulden—you do not even
know the exact amount—that is hardly a success! Since you are convinced the
sextet will sell well, it should indeed matter to you to be given a regular share
of the receipts. And Lauterbach und Kuhn? I am reluctant to go point by point
through your letter, especially because I take offense at your heated tone.
After a discussion with Mr. Peters, I am informing you in a business-
like manner that, for the sake of our interests, we will insist on straightfor-
ward adherence to the terms of the contract dated 27 June 1903.
We do not wish to treat you as a fool, but we also require that you
treat us in a normal manner.
With best wishes,

Your former
Max Marschalk
Your opus 3 should arrive any day.
248
Notes
In 1904, 300 Gulden was approximately equal to $120. In 2013 dollars, this is
[26 April 1904, postmark]?

From: Alma Mahler

We would be very happy if you would spend Wednesday evening with us.
Just now we are looking at your recently published 6 songs.
Best wishes,
Alma Mahler
Notes
The letter is not dated. The date given was probably assigned on the basis of a
postmark on an envelope that is no longer available. See also the postscript to
the previous letter (dated 18 April 1904) where Marschalk indicates that the
Opus 3 lieder will arrive “any day.”
249
L e t t e r s , 19 0 4 249
26 May 1904
Wien IX
To: Guido Adler
Dear Professor,
On behalf of the Vereinigung [schaffender Tonkünstler] I have to inform
you about the following circumstances. Lecturer Rietsch is the son-in-
law of Mr. Jos[ef] Eberle. A deputation of the Ver[einigung] came to see
him, begging for a contribution. Mr. Eberle’s decision whether and how
much to give the Vereinigung is contingent on the judgment of his son-
in-law. Honored Prof[essor], you have already run yourself ragged and
have written so much on our behalf. Dare I ask you to influence the judg-
ment of Mr Rietsch in our direction, so that he would support our enter-
prise in the family council of his honored father-in-law?
Always grateful to you, I send my regards,
Your respectful and sincere,

Arnold Schönberg
Notes
Josef Eberle (1845–1921), Viennese music publisher.
Heinrich Rietsch [Löwy] (1860–1927), composer and musicologist. He was

greatly influenced by Adler, having studied with him at the University of
Vienna. At the time of this letter Rietsch was a reader in musicology at the
German University in Prague, having succeeded Adler in that post.
See Ennulat, 62–63.
250
1 June 1904
Wien
To: Guido Adler
Honored Professor,
Perhaps it will be of interest to you to hear that the Philharmonic (for the
moment, still unofficially!!!) has agreed to participate. They are demand-
ing, however, an extremely high fee, which will raise the costs of the con-
cert significantly, but that should not matter. Someone will pay for it;
therefore a few thousand Kronen more or less is not important.
Now the question is how to bring about the cooperation of Director
Mahler, principally regarding the dividing up of the rehearsals. I hope
that will not be too difficult, and a word from you could be of great
importance.
In any event, it is nice that we are free of this matter. The money will
certainly be found.
I send my regards with the greatest respect.
Most sincerely,
Arnold Schönberg
Notes
The letter is written on stationery of the Vereinigung schaffender Tonkünstler

in Wien.
Vienna Philharmonic Orchestra (Wiener Philharmoniker), founded in 1842.

Gustav Mahler had been its conductor, 1898–1901.
251
L e t t e r s , 19 0 4 251
9 June 1904
Wien IX
To: Guido Adler
Esteemed Professor,
I thank you most warmly for your kind gift of the theory lessons. It
shows that your recommendation directly works wonders, for the gentle-
men (father and son), immediately named me Professor, free of charge,
even before an agreement; whereupon I felt obliged to demand a slightly
higher fee. As a Bohemian, in earlier days, I would have told this story
more humorously.
Our Vereinigung’s situation is good again, in that we can come to
a good agreement with the Concert-Verein. The Philharmonic has thus
been beneficial for us; its promise must have given the Concert-Verein a
fright.
I send my regards to you and sign with the greatest respect,
Most sincerely,
Arnold Schönberg
Notes
The Concert-Verein is the Wiener Concertvereinsorchester.
252
9 June 1904
Wien IX
To: Arnold Rosé
Honored Concertmaster,
First of all, thank you for kindly having sent the reviews. The public
reception seems to have been a good one.
I am presently working on a string quartet that I might finish in time
for next season. By when must I give it to you if it is to be in time?
I would like to recommend to you in the warmest of terms a young,
highly gifted composer: Dr. Carl Weigl, who will take the liberty of
introducing himself to you. He has composed a string quartet of truly
exceptional qualities that he would very much like to give to you for a
performance. In terms of its inventiveness as well as the unbelievably
serious and sound craftsmanship, I consider it to be an exceptional dem-
onstration of his talent and am convinced that you too will like it. A per-
formance would certainly be justified and would be rewarding. At the
moment, Dr. Weigl is the [vocal] coach at the Hofoper and perhaps you
already know him.
I send my regards to you with the greatest respect.
Arnold Schönberg
Notes
Schoenberg completed his String Quartet, Op. 7, on 26 September 1905. The

Rosé Quartet gave the premiere performance on 5 February 1907.
Karl Weigl’s String Quartet No. 1, in C minor, Op. 20, was completed in 1903
but was not performed until 1 April 1925.
253
L e t t e r s , 19 0 4 253
[late June or early July 1904]
To: Max Marschalk
Copy of the letter to Max Marschalk
Dear Mr. Marschalk,

Until today I could not decide whether to answer you, because your last
letter has severely diminished my happiness with our contractual rela-
tionships. I would have imagined this much differently. Since, however,
we now must clear things up, I am presenting you today with the condi-
tions under which I would accept your offer for my sextet, as follows:
I. An immediate answer by return post (in my hands at the latest by 5

July 1904).
II. A writing off of 200 Marks of the “700 Mark”-advance for the
sextet.
III. The work must be in score and parts by 31 October 1904 at the
latest, [illegible] engraved and sent to the bookstores.
IV. An explicit declaration from your side that you agree to the
enclosed conditions II. and III.
V. The other conditions will correspond to our principal contract.
VI. A contract with the firm for this composition that meets all these
conditions.
I hope that you agree; should you not agree, I would prefer to not
publish anything else for three years rather than make concessions or try
to cancel the contract with you.
I further request your agreement for the preparation of the copy of
the score and the parts of my symphonic poem under the same terms
that you presented at that time. The preparation of the materials is all the
more urgent because the symphonic poem will definitely be performed
254
in the concerts of the Vereinigung schaffender Tonkünstler. I await your

response by return mail together with your letter about my sextet.
Further, I want your agreement to the publication of one of my songs
in the magazine Wiener Mode. Since I retain all my publication, produc-
tion, and other rights in case of the reprinting of this song, there can be no
objection from your side, as a friend who is a lawyer states. Besides, the
reprinting would be a good thing in that it is good publicity in a widely
read magazine. For the preservation of your and my rights one could add
the following remarks.
a) Will appear soon at Verlag Dreililien.

b) With permission of Verlag Dreililien.
c) All publication, performance, and other rights reserved.
Please decide which of the three types you want, or propose another.
In any event, it is clear to you that this publication does not interfere with
your rights, and that I am requesting your agreement only for form’s sake.
I look forward to a quick and friendly response and hope that you
now also demonstrate cooperation so that our previous relationship can
be reestablished.
Arnold Schönberg
Notes
This is a hand-written copy Schoenberg made of a letter he sent to Marschalk.

See the reply from Marschalk, below.
In 1904, 200 Marks was equal to approximately $47.65. In 2013 dollars, this is
Wiener Mode [Viennese Fashion] was a bi-monthly fashion magazine founded

in 1887.
255
L e t t e r s , 19 0 4 255
3 July 1904
From: Max Marschalk
Verlag Dreililien
Halensee Berlin

You are completely right; we have to clear things up! We would not have
gotten into disagreements were you not one of those people who believe
that one signs contracts in order not to keep them. You should have sent
us your sextet and perhaps have written: “if you accept it, consider that
I would be very pleased to receive an advance”—! Then we would have
considered whether we could fulfill your request. Instead, you made
some rather brusque demands and spoke of your successes—and I did
not find that very praiseworthy—please forgive the frank language—but
I still take you to be a “person” who is capable of hearing frank language.
As long as our contract is in force, you will have to get used to remaining
cool-headed about supposedly (!) better offers from other publishers. We
came to you at a time when no publisher paid any attention to you—was
it necessary that you would become rebellious only after a half year?
Therefore, in order to demonstrate our good will to you: we will con-
sider your suggestions. 200 Marks will be credited to your account, that
is, the loan of 700 Marks will be reduced to 500 Marks—the advance will
be increased to 200 Marks.—(To date you have received 120 Marks, the
advance for Opp. 1 and 2). The score will be given to the engraver imme-
diately and will be ready (including the parts) presumably long before
31 October. It is not necessary to tie us to a specific date; it is in our inter-
est to put it on the market as soon as possible. Do you indeed have the
parts from which it was performed? Please send them to us for engrav-
ing. As far as the symphonic poem is concerned, have the score copied
and parts made—as cheaply as possible! We will assume the costs, under
which condition the material, naturally, will become our property. You
256
only need to pledge, in the event that we later do not agree on publication,
or in the event we release it to another publisher, that you take the mate-
rial back for the same price. Moreover, I wish for a great success for you.
I will probably come to Vienna for the performance. You are, of course,
free to publish the one song in the Wiener Mode. I recommend the fol-
lowing annotation: All rights reserved. Reprinted by permission of Verlag
Dreililien, Berlin.
If you would prefer, you could also receive 200 Marks by check, so
that only 200 Marks will be charged to the account.
One of these days you will learn to value us as the honored publisher!
Warmly, your
Max Marschalk
Are you still accepting orchestration work? Please respond.
Notes
Marschalk’s first two sentences have a play on words: “ins Reine kommen”
[“clear things up”] and “ins Unreine gekommen” [“gotten into disagree-
ments”]. “Rein” and “unrein” also have the respective meanings of being in
tune and out of tune.
It is not known whether Wiener Mode published any of Schoenberg’s songs.

257
L e t t e r s , 19 0 4 257
5 July 1904
From: Oskar Posa
Villa Waldheim
Langenwang
Steiermark
Brühlerstraße 104
Mödling
Dear friend!
Rich. Strauss accepts the honorary membership, wishes the Vereinigung
the best; he hopes that it “might successfully bring about the enlighten-
ment of those who have been placed in the dark for decades, through mal-
ice and stupidity”; for his part, he is ready to assign to the Vereinigung the
rights to the first Viennese performance of his [Symphonia] Domestica,
and accepts our invitation to conduct the performance himself.
For preliminary rehearsals he wants 2 separate rehearsals for wood-
winds, one or 2 for brass and percussion, 2 for strings and harps, three
general rehearsals for all and then he himself would direct a 3-hour and a
1 ½ hour final rehearsal.
He indicated days that would be convenient for him, but none of
them matches with one of ours. Perhaps he would like our day May 11th
the most since one of those he gave was the 9th.
I have written to him about the dates and asked him to inform us or
make a selection from them.
We do not have the symphony for certain yet, for we must first attend
to the “formalities” with the Genossenschaft Deutscher Tonsetzer. Strauss
stresses that explicitly.
I am writing, therefore, to the Genossenschaft in Berlin regarding
Strauss’ consent and a request for disclosure of the conditions, naturally
stressing our purely artistic aims, etc. and with mention of the “good
purpose.”
258
Our story is not yet ripe for the newspapers, also because we still do
not know if Strauss will be prevented from coming because he mentioned
the possibility of problems with the leave of absence.
We are waiting therefore for the next letter of Strauss and the answer
from the Genossenschaft. We will also have to struggle with the publisher
Bock. He is demanding 500 Marks for the musical material.
Please forward Zemlinsky’s address. We can then hold meetings by
mail if something is urgent.
It is exceptionally beautiful here. I feel very good. Hopefully, the same
for you. Greetings to your dear wife. Come soon. Warmly,
Your
Posa
Notes
Letter is written on stationery of the Vereinigung schaffender Tonkünstler

in Wien.
Symphonia Domestica, Op. 53, was composed in 1903 and completed on New

Year’s Day, 1904. The work was premiered (with the composer conducting) at
Carnegie Hall in New York, on 21 March 1904.
The Genossenschaft Deutscher Tonsetzer was founded in 1903 to control the

dissemination of musical works and to secure composers’ rights.
Bote & Bock was founded in 1838 by Gustav Bock and Eduard Bote. Bote &
Bock published Strauss’ Symphonia Domestica.
In 1904, 500 Marks was approximately equal to to $119. In 2013 dollars, this
is roughly equivalent to $3,103.
259
L e t t e r s , 19 0 4 259
6 July 1904
From: Schwestern Fröhlich Stiftung
Wien
Z: 59 ex 1904
Componist
Right Honorable Sir,
In its meeting on 17 May 1904, the board of the Fröhlich- Sisters
Foundation for the support of superior creative talent in the areas of art,
literature, and science has decided to award you one thousand Kronen as
a stipend with a term of one year.
Now that the high Imperial and Royal Government of Lower Austria,
in accordance with the edict of 4 July 1904 Z. 3667, has given its approval
to this decision of the foundation’s authorities, you are herewith informed
that the previously indicated amount from the Foundation can be picked
up at the municipal cashier’s office, I. Rathaus, Stiege 5, upon presenta-
tion of a correctly stamped receipt signed by the director of the executive
office of the city of Vienna and upon presentation of this letter.
Enclosed, please find your application.
From the committee of the Fröhlich-Sisters Foundation

The Director
Dr. Karl Lueger
Mayor
Dr. Eusebius Mandyczewski
Trustee
Notes
Written on stationery of the Schwestern Fröhlich Stiftung.

260
Katharina Fröhlich (1800–1879), long-time fiancée of (but never married

to) the writer Franz Grillparzer (1791–1872). Grillparzer lived together with
Fröhlich and her sisters. Upon his death, his estate went to Katharina. Just
before her death, she founded the Schwestern Fröhlich Stiftung whose aim
was the support and promotion of scientists and artists.
In 1904, 1,000 Kronen was approximately equal to $200. In 2013 dollars this
Karl Lueger (1844–1910), mayor of Vienna (1897–1910). He founded and led

the Christlichsoziale Partei (Christian Social Party), which many saw as an
inspiration for, and as an antecedent of, the Nazi party.
A hand stamp (“Erfolgt am __”) with the date entered into the blank spaces
indicates that the cash was disbursed on 17 July 1904.
[9 July 1904, postmark]?

Saturday
From: Alex Zemlinsky
Altmünster
Brühlerstr[asse] 104
Mödling
Dear friend,
This letter to you serves simultaneously as a communication to
mother: that is, I am healthy. I have a good appetite, although the food
is bad. I have already gone swimming—my runny nose is as before. Feld
is not here yet, we go for many walks, make small excursions, the bigger
ones when Feld comes, since yesterday I have a small piano, though not a
261
L e t t e r s , 19 0 4 261
good one, I began to work for myself only today, and last, but not least—
so it seems—I am happy that all of you are well, that Trude is naughty,
and the dog is well behaved!
_____
Furthermore: the Concertverein finally can go to the blazes—they

really are parasites. Since nothing can be done: it has to be brought to
a close!
I am writing Bienenfeld today that possibly I will go along—naturally,
only composition and orchestration lessons. I don’t think it is right that
my name is published; who knows if and what will become of this. For the
moment, that ought to be the most important thing for her! Vederemo!
I don’t believe this can hurt you.—
Regarding the sextet, congratulations. It should just keep on moving;
depend on it!
Fischhof: I will be done with the 2nd act in 8–10 days. But what is
happening with the measures that you have? And the reverse? You have
to send the first part soon. I want us to be done with the act before the end
of July! To my great “joy,” I discovered that “F” lives in Gmunden. I won’t
acknowledge I know this until the act is complete.
Feld has not yet arrived, but he has already rented a room.
Alma Mahler wrote me today—to Vienna—she would like me to visit
her before my departure.
You will excuse me from making a description of the environs and
the excursions—for one thing, it makes me sad and can also make you
sad that you can’t be there!
Well, perhaps another time.
What is happening with looking through the Verein[igung] works—
why aren’t they being passed around?
If mother should lament that I write too little, calm her down. At one
time I cannot get to it, at another time there is no opportunity to mail the
postcards, and so forth.
262
I know nothing more now.

Greetings to all, especially Trudi—
Warmly,
Alex.
Notes
Although Zemlinsky wrote the day of the week, Saturday, at the top of the first
page, the letter is otherwise undated. There is an envelope, but the postmarks
from both the originating post office (Altmünster) and from the receiving
post office (Mödling) are unclear. The only digit that is clear from the origi-
nating postmark is the first digit, a “9,” suggesting it was mailed on the 9th of
some month. The only legible number from the receiving postmark is the first
number, which looks like “11.” The librarian who catalogued this letter at the
Library of Congress assigned a possible date of [16 July 1904?], writing this in
pencil at the top; but another librarian assigned a far less precise date: [1904?].
In either case, it is unclear what the basis for their dating was. If mailed on the
same day as written, and if the “9” in the postmark is accurate, then the most
likely date for this letter is 9 July 1904 (which was a Saturday). An arrival in
Mödling two days later (“11”) also is in harmony with this date.
Notwithstanding the dispute alluded to here, the Wiener Concertverein per-

formed the orchestral concerts for the Vereinigung schaffender Tonkünstler
in its one and only season.
Leo Feld (born Hirschfeld, 1869–1924), Austrian librettist, translator, and

author. His brother was Victor Léon, his sister Eugenie Hirschfeld. Feld wrote
the libretto for Zemlinsky’s opera Der Traumgörge (1904–6).
In 1904/5 Elsa Bienenfeld organized courses in music at the Schwarzwald

School with Zemlinsky and Schoenberg as teachers.
It is likely that the reference to the sextet is to Dreililien’s agreement to pub-

lish Verklärte Nacht. See the letter from Marschalk of 3 July 1904.
263
L e t t e r s , 19 0 4 263
Robert Fischhof (1857–1918), Czech-Austrian composer, pianist, and profes-

sor at the Conservatory of the Gesellschaft der Musikfreunde in Vienna. The
opera on which Zemlinsky and Schoenberg worked was probably Bergkönig.
See BWS, 46–7.
12 July 1904
From: Oskar Posa
Villa Waldheim
Langenwang
Steiermark
Brühlerstrasse 104
Mödling
Nied[er] Öst[erreich]
Dear friend!
Our concert dates are:

Orchestra: 19 November, possibly 28 November
18 January
11 March
Lieder evening Mahler: possibly 11 December or 6 January, small

Musikverein hall
Chamber music and Lieder:

20 December
20 January
20 February
264
It is now finalized that the Konzertverein is having its concert of new

works in February. Those gentlemen must surely have realized that their
intention to “foster competition” with us (to speak in their manner) was
too transparent.
It would now be very desirable if we could know the November date
definitely. Or shouldn’t we be able to use the 23rd that the Konzertverein now
may not be considering? If it is possible, I request that you take care of this
matter. You certainly can go more often to Vienna. Or can it also be done by
correspondence? Then write this letter for the poor secretary, because every
day I must do correspondence for the Vereinigung. Also you could inquire
about the small hall at the Musikverein for the Mahler evening.
_____
Rich. Strauss has chosen March 11th. The Genossenschaft Deutscher

Tonsetzer has not yet answered. Strauss still has not said one word about
some sort of quid pro quo from us. I think we will have to discuss this
point amongst ourselves; otherwise he has the right to expect us to agree
to every one of his demands, since it is not customary that composers,
particularly those who are accustomed to be honored, take trips and con-
duct their works without pay.
Write also to Zemlinsky to see what he thinks about this, and let me
know how you and Zemlinsky want to handle this point. I think we should
ask him plainly what equivalent service he demands from us or if he would
only have travel costs (or if he would do all of it for us as a good deed).
Max Reger has joined as a member (beginning with the fiscal year).
He also writes that he missed the deadline for submissions because he
was in Munich, etc, and that he would submit something for next year
and would also perform or conduct. I wrote him immediately that the
deadline for submissions does not apply to him and that he does not have
to wait until next year. He would like to submit something, conduct, per-
form, and will tell us which of our concert dates is good for him.—
In response to their request I have sent a complete list of our
members (including the special members Reger, Sibelius, Pfitzner,
265
L e t t e r s , 19 0 4 265
etc. and honorary members) to the editorial staff of Lehmanns

Wohnungsanzeige.
So much for the affairs of the Vereinigung.—
Yesterday and the day before yesterday I was in the mountains and
indeed on the Hohe Veitsch. In these two days I went for more than
20 hours, the first day 12, the 2nd, 8. If you come to me, we will repeat
the tour together.—
How are things going with you and your relatives? Why don’t you
write? (Postcards do not count.) I am diligently studying the Symphonia
Domestica.
Hopefully you can read this letter. I write somewhat better to Strauss.
Warm greetings,
Your
Oskar Posa
Notes
The letter is written on stationery of the Vereinigung schaffender Tonkünstler

in Wien.
For the location of the Liederabend, Posa uses an abbreviation: “kl. Mv. S,”
which here and in the subsequent discussion (“Also you could inquire …”)
means “kleiner Musikvereinssaal.”
Lehmann’s Allgemeiner Wohnungs-Anzeiger (published 1859–1942). A com-

prehensive directory of Vienna’s residents, businesses, and services. Provided
information about everything from the names and addresses of Vienna’s resi-
dents and businesses through the seating plans (and ticket costs) of the the-
aters, to the routes of public transportation.
Max Reger (1873–1916), German composer, conductor, pianist, and organ-

ist. As a composer he is best known for his organ works, but he composed in
other genres as well, including vocal, chamber, and orchestral works. Around
1904, Reger (just a year older than Schoenberg) had already drawn attention
266
to himself with the Piano Quintet in C minor (1902) and the important and
provocative treatise Beiträge zur Modulationslehre (1903). In 1904 Reger
accepted a post as theory, composition, and organ teacher at the Akademie
der Tonkunst in Munich.
Jean Sibelius (1865–1957), Finnish composer who by 1904 had earned recog-
nition for his first two symphonies and other orchestral works such as En saga
(1892), Four Legends (1896), and Finlandia (1900).
Hans Pfitzner (1869–1949), German composer and conductor. In 1904, he

was on the faculty of the Stern Conservatory in Berlin and had some notable
operatic successes to his credit, including Der arme Heinrich (1893, premiered
in 1895).
Hohe Veitsch is a peak in the Mürzsteger Alps (elev. 1981 meters).
14 July 1904, postmark

Brühlerstraße 104
Mödling
To: Oskar Posa
Dear Posa,
I will take care of the Concert-Verein matter, also the dates for the hall.
With regards to Richard Strauss, I think that he certainly will come for
free. He really does not need it! But it is advisable to ask him about that.
I would only propose to him as a possible substitute either reimburse-
ment for travel, or a fee for conducting, or a percentage of the ticket
receipts; however to make it clear to him that we are not pursuing mate-
rial gain, that we ourselves urgently need money, or something similar!
I am certain that Zemlinsky agrees; all the more so because there are no
267
L e t t e r s , 19 0 4 267
other resources. It is only an issue if we agree to a high sum without the

consent of the board of directors. Then, perhaps, one would have to take
a poll. I am convinced, however, that it will not come to that. For Strauss
would certainly want to derive his own benefit from our event.
I am happy about Reger; valuable to have him with us. Strange, that
those who are able and have standing, take us more seriously than the
others.
Schillings still has not yet responded?
You should urge Wöss to send the scores out; I have written him twice
about this. It seems to me that as “treasurer” he is again opposed to it!
We can now send a notice to the papers. I believe we must let them
see signs of life from us again!
What is going on with the fund raising? Do you have my results?
Now to us. I intend to come to you toward the end of August. In
any event, at the most for 2 days. I cannot stay away for longer than that
because I have so much to do. Write to me and tell me when it would
be most convenient for you. Here I could practice very well with a bit of
climbing. Too bad you aren’t there. There are opportunities for sudden
falls here too. I am going more frequently up to the mountains. But alone
it is just too dull. I would rather have some company and in particular
someone who spurs me on. My ambition is a bit too modest to be driving
forward on my own.
Also do a bit of work for yourself. I must urge you to do that yet
again! It would be very good if you were to have something bigger ready.
You ought to work full tilt once. It would go fine. You are a strong-
willed person, if I judge you correctly.
I am not working all that much. I have begun a new song (the fourth)
with orchestra. I believe it will be very good. This time I have set for myself
the task of unifying all the voice-leading techniques with the instrumen-
tation techniques. I hope that succeeds. My quartet is resting. Perhaps I’ll
come back to it. Unfortunately I must swallow much Fischhof music for
piano and vomit or reproduce it as orchestra-like stuff! I recently said that
when they were to put up memorial plaques for me at certain places in
the country “here he composed …” unfortunately it could only say “here
268
he orchestrated oper[ett]as of Fischhof or Holländer, etc… .” I will surely

be famous for that. For my previously mentioned ambition, a lofty goal!
Now to end. My postcards, that you consider insufficient, have now
been balanced out and hopefully this letter is satisfactory.
Many warm greetings, your,

Arnold Schönberg
Notes
Schoenberg dated this letter and there can be no doubt but the date he entered
was 13 July 1904. However, this date is almost certainly wrong. Much of the
present letter is a direct response to Posa’s letter of 12 July 1904. From the
delivery postmark [“Bestellt”] on the verso of the envelope of Posa’s letter, it is
clear that Schoenberg received that letter on 14 July 1904. Therefore, the date
of the present letter cannot be before 14 July 1904. Moreover, the postmark
on the surviving envelope, although not particularly clear, is 14.7. Schoenberg
must have simply made a mistake when he entered the date.
Schoenberg spent the 1904 summer vacation in Mödling at the summer place
of David Bach’s parents.
The “song (the fourth) with orchestra” is from Schoenberg’s Op. 8.
The phrase “my quartet is resting” has usually been assumed to refer to
the String Quartet, Op. 7. However, it may also refer to the String Quartet
Fragment (1903– 4). For a discussion of this issue, see Ethan Haimo,
Schoenberg’s Transformation of Musical Language (Cambridge: Cambridge
University Press, 2006), 113–17.
Victor Holländer (1866–1940), pianist, conductor, and composer and father

of Friedrich Holländer (later Frederick Hollander). He wrote at least seven
operettas. The most likely operetta that Schoenberg would have orchestrated
was Die zwölf Frauen des Japhet. In 1934 Holländer had to flee the Nazis and
emigrated to the United States.
269
L e t t e r s , 19 0 4 269
19 July 1904
Brühlerstraße 104
Mödling
To: David Bach
Dear Bach,
I have been in Mödling for about two weeks. I received your postcard in
Vienna, one or two days before I came here. Since then, obviously, I have
forgotten to answer.
I really urgently need the lists because the Board of Directors (we
“meet” “by letter”) needs to know what sums are at its disposal. You would
do me a favor if you would send your lists to me immediately.
Perhaps you would be in the mood to come here sometime. You can
do that without prior notice, but I would prefer that you write me a note
because otherwise I really could be away.
So, perhaps you can decide about that.
Warm regards,
Arnold Schönberg
270
20 July 1904 [postmark]

Bad Ischl
Brühlerstrasse 104
Mödling b[ei]/Wien
From (Ischl), greetings to all. Feld is already with us; the work for you
is certain and extensive. What is happening with the two of you? Are
you angry with one another? You must write to Posa! Obviously, while
mentioning our “poverty,” he has to ask R. Str[auss] what compensation
he requires!
What is Trudl doing? Bodanzky asks if you want to send him Pelleas
to correct.
Mother should write when she has any “wishes”!
Notes
The text of the letter was written on the side of the postcard showing a view
of Bad Ischl.
Zemlinsky used the printed caption (“Ischl”) as the second word of his text.
See BWS, 48.
271
L e t t e r s , 19 0 4 271
21 July 1904
Wien IX
derzeit Mödling bei Wien
Brühlerstraβe 104
To: Konrad Ramrath
Dear Mr. Ramrath,

Since I am in the countryside, I do not have my papers with me, includ-
ing my contract with Marschalk. But –don’t be angry –even if I had it
with me, I would write a letter only reluctantly; but even less would I like
to copy it out completely; you cannot expect that of me!
Besides, Marschalk has a copy of my contract and I have no objec-
tion if he would let you examine it. You can confide with assurance in
Marschalk. Marschalk is a fine person and will certainly [… ]
Notes
Sold by auction at Christies, this letter is now in private hands and not
available for study. The first page was photographed and transcribed before
the sale.
Konrad Ramrath (1880– 1972), German composer, particularly of lieder.

Dreililien published some of his lieder in 1906.
272

From: Zemlinsky et al
Roitham
Brühlerstrasse 104
Mödling b[ei]/Wien
Warm greetings to all. Alex

Best wishes. Eugenie Hirschfeld.
Alas, the sailing musicians are repulsive! Greetings. Feld.
Greetings! Am I getting the Pelleas score? Bodanzky.
Notes
The date assigned to this postcard (22.07.1904, JASI-PI, 33, BWS, 48) is incor-
rect. That date was assigned based on the delivery postmark (“Bestellt”); but
this indicates when it was delivered in Mödling, not when it was mailed. The
correct date is given by the postmark made by the originating post office,
which, though very difficult to read, is 21 July 1904.
Various friends of Schoenberg wrote brief messages and signed their names on
the margins of a picture post card showing a view in Gmunden of “Traunfall
mit Salzschiff.”
Eugenie Hirschfeld (1863–1942), Bratislava-born educator. Sister of Leo Feld

and Victor Léon.
BWS, 48, n. 140, suggests that Feld made a pun (“schiffenden Musikanten”)
on the locale of the postcard (“Salzschiff”).
Feld and Bodanzky use an Austrian dialect word, “servus” [ = “greetings”].
See BWS, 48.
273
L e t t e r s , 19 0 4 273
24 July 1904
From: Alexander Zemlinsky et al
Gmunden
Brühlerstrasse 20
Mödling
Greetings! I received your postcard! We have just decided that you

should send us the piano arrangement of Gurrelieder! Immediately
please. Is everyone well? Alex
We are already very happy about the Gurrelieder; please send
them as soon as possible. Eugenie Hirschfeld.
Hip, hip, hooray (with ay). Send soon the lieder of Gurray! Feld.
Greetings, Bodanzky.
Notes
Picture postcard with a scene in Gmunden. Brief messages and signatures

from a group of friends.
In the original German, Feld’s line reads: “Hipp, Hipp, Hurre (mit eh.)” The
usual form of this phrase is “Hipp, hipp, hurrah!” Feld changed it to rhyme
with “Gurre” and the editors have provided a similar rhyme in the translation.
See BWS, 49, fn. 141.

274
[between 24 and 27 July 1904]?
Dear friend,
So here is the full score and the piano-vocal reduction for Fischhof Act
II. See now what you still have to do, complete it immediately and send
everything back to me by return post so that I can send it to F. and also in
order to get the money.—
I spoke with R. Strauss briefly in Hallstatt. He is coming then on
14 March, requires a very large orchestra, and will also “try to get the
saxophones in Berlin”!!! He is staying a few days in H[allstatt], then goes
to Golling; one can probably write to him there.
Aren’t the works that have not yet been examined going around?
We are living splendidly here—in gluttony and idleness—I am also
not very far along with my opera. That doesn’t matter; it is better that
I recuperate for the work in the coming season.
Now a question for mother: although I am not yet leaving here,
I would like—because this is killing two birds with one stone—to talk
about how to arrange the return trip—Bod[anzky] is traveling next
week to Pörtschach—I am not traveling with him—I am staying here if
it remains nice, until ca. the 8th or 10th, then I will go for two days to
Salzburg and from there to Gastein and to the Königssee,—should I then
go to Vienna or Mödling?
I think it is pointless and a waste of time to go to Mödling. I would
rather do more work. Then I think that perhaps mother will travel 1 or
2 days earlier to Vienna so that she can put things in order and hire a
maid. She can still go out [to Mödling] for a certain period of time—once
in a while I would also go out, as long as you are staying out there. So I ask
for an answer about this—!
Things are not so bad with the runny nose—I only sneeze when I get up,
but for the rest of the day, not at all! I take a swim every day—temperature
275
L e t t e r s , 19 0 4 275
19–20o—I have not (you will be happy about this) worn a starched white
shirt and have hunger for 2!
Is all well with you? Has mother been healthy? And Trudi?
So warm greetings to all.
Send the F[ischhof] materials back as soon as possible and your
Gurrelieder—we want to perform them.
Alex
Notes
The letter is undated and no envelope has survived. Based on the contents of
this letter and the two letters that precede and follow, BWS (p. 49) assigns a
date between 24 and 27 July 1904. This seems correct.
Zemlinsky refers to the instrumentation of Strauss’s Symphonia Domestica

when mentioning the “very large orchestra” and “saxophones.”

To: Oskar C. Posa
Mödling
Dear Posa,
What’s wrong? Why don’t you let us hear from you? Didn’t you receive
my letter?
For today only briefly the following: I propose that the remaining
scores, insofar as they have not yet been acted upon, be sent by post to the
276
individual members of the board and a circuit be established by which

they will be exchanged.
It is absolutely essential that we finish determining the program. It is
certainly a matter that cannot be put off.
I ask that you make the members of the board aware of this proposal
and solicit their agreement.
It would be best if you would write the proposal out on a sheet with
written out instructions how to have this circulated from one to another.
Encourage each one to forward this at a quick pace.
Don’t be angry that I am burdening you with this. I have too much to
do, but this has to be done.
How are things with you? Are you taking many trips?
Von Goldschmidt’s Märchen have arrived. I believe that we can do
something with them.
Warm wishes,
Your
Arnold Schönberg
Write soon.
Notes
Under discussion is finalizing the programs of the concerts of the Vereinigung

schaffender Tonkünstler.
Goldschmidt’s Märchen are settings for voice and piano of fairy tales by Jacob
and Wilhelm Grimm.
277
L e t t e r s , 19 0 4 277
27 July 1904
Gmunden [postmark]
Brühlerstrasse 104
Mödling b[ei] Wien
Dear friend,
You don’t have to send it back to Fischh[of]: Fischh[of] is no longer in
Gmunden, and writes me from Bavaria, that if I would like the money!!
I must get it from his brother-in-law. I have already written to him.
Now comes the third try—what is with the Gurrelieder?? If possible,
quickly. Yesterday we had the 1st rain day here. It is very beautiful—I
am resting—as seldom! But write whether you are all well and in good
spirits or whether you are tearing out your hair. Is Trudie getting bigger
and does she still [illegible] me? And Boxl?
Greetings to all,
Alex
Do you know Theumann’s address? He has my Feuersnot!
Bodanzky and Dr. Feld send their greetings.
Notes
See BWS, 50.
278
29 July 1904
From: Oskar Posa
Villa Waldheim
Langenwang
Steiermark
Brühlerstrasse 104
Mödling
Dear friend,
I have written a pointed card to Wöss. The Board of Directors has
already reached a decision regarding sending the works that have not yet
been examined. The three of us and Wöss have discussed the matter and
agreed and Wöss has told me that he would look at all of the works first
and then send the packets out. Probably he is not yet ready with it. Since
he is going away at the beginning of August, I believe we will now receive
the materials in any case.
I have not received an answer from the Genossenschaft Deutscher
Tonsetzer regarding the Domestica. I will write again today and request an
answer by return post. They are probably on summer vacation.
Hopefully we will see each other soon. Can’t you come next week?
From Monday till Thursday, inclusive, or if you can’t come for longer, two
days within this span of time. That would be the first week in August. If
you cannot get away yet, then perhaps you will come in the 3rd week in
August, just not in the 2nd. Till now I have done almost no work. Could
you perhaps bring Pelleas along with sketches?
Warm greetings,
Your
Oskar C. Posa
279
L e t t e r s , 19 0 4 279
Notes
The letter is written on a postcard which has a stamped return address:

“Schriftführer [secretary] O. C. Posa, Wien, VI, Damböckgasse.”
Posa’s first sentence reads: “Ich habe Wöss eine (p)unzierende Karte geschrie
ben.” The parentheses are Posa’s. “Punzen” (Austrian dialect) means to emboss,
chisel, or stamp. “Unzierde” means an eyesore. By putting the first letter in
parentheses, Posa is trying to convey both meanings. The transcription of this
word on the ASC website reads “(p)urgierende.” If that is correct, then the two
meanings would be to clear up (“purgieren”) and to urge (“urgieren”).

Altmünster [postmark]
Brühlerstrasse 104
Mödling b[ei] Wien
Dear fr[iend],
The Gurrelieder arrived. We thank you very much; they will be per-
formed this evening. I will write to Wöss. Once again my opera is mov-
ing forward a little—when I return to Vienna I ought to have somewhat
more than half the act—not more!
I begin Fisch[hof] [Act] III next week.
Except for three rainy days, everything is as of old. Bod[anzky] is
already leaving in a day or so.
Write sometime how you spend your whole day.
The director from Graz—who lives in Gmunden—has just written
that he wants to speak about my opera (?) with me! Am curious.
Greetings to all,
Alex
280
Notes
The opera that was “moving forward a little” is Der Traumgörge.
Two possibilities have been suggested for the “director from Graz”: Alfred
Cavar or Rainer Simons. See BWS, 51.
30 July 1904
From: Zemlinsky et al.
Altmünster [postmark]
Mödling b[ei] Wien
Be so good, d[ear] Schönberg, as to send a sheet with a subscription

form [or sheet] of the Vereinig[ung] to Strauss in Pörtschach, Villa
Gloriette. Many thanks for the trouble. Best wishes to you, the fam-
ily, and Mrs. Zemlinsky. A. Bodanzky.
Greetings to all. Alex
Many warm thanks for the great pleasure that your wonderful
songs provided. Eugenie Hirschfeld
The Gurre-Lieder were splendid—Alex, he is often dangerous.
Warmest greetings, Feld.
Notes
Messages from friends written in the margins of a picture postcard of

Gmunden on the Traunsee.
See BWS, 51.
281
L e t t e r s , 19 0 4 281
1 August 1904
From: Max Marschalk
Verlag Helianthus
Berlin-Halensee
Brühlerstrasse 104
Mödling/Wien
D[ear] M[r]‌. Sch[önberg],

50 Kronen have been sent punctually to Uher, who has power of attor-
ney. Regarding the orchestration work, tomorrow.
In haste,
Best,
Your
M. M.
Wouldn’t it be better to use the Rosé parts for engraving—since they

have already been used in performance? In any event, the score has to be
corrected first, before we send the parts to L[ei]pz[ig].
Notes
The beginning of the first sentence reads: “An den p. p. Uher sind 50
Kronen …” The abbreviation p. p. (or p. pa.) stands for per procura [through
the agency].
“Uher” could not be identified.
In 1904, 50 Kronen was approximately equal to $10. In 2013 dollars, this is

282
26 August 1904
From: Oskar Posa
Villa Waldheim
Langenwang
Steiermark
Komponist
Brühlerstrasse 104
Mödling
Dear Schönberg!
Didn’t you receive my last letter? I wrote you that I expected you in the
first or third week of August. Now I have waited for you already in the
fourth week of August, but in vain! Please write me immediately when
you are coming. I still have to travel to Gmunden.
Some news regarding the Vereinigung: Max Reger has pledged his
personal involvement for the 20th of February and indeed will play a new
fugue on a theme by Bach. Moreover, he is making available to us our
choice of either a sonata for clarinet and piano or a Serenade for violin,
viola, and flute.
Siegmund von Hausegger and Max Schillings also have now been in
touch. Both are joining as non-local members. Both have also written a
work. Hausegger also wrote that, if we wish to perform something of his,
he would intercede with his publisher to order the material. I have also
requested personal participation from both of them.
Have you finished looking through the packet? If you are coming
soon, you could bring it with you and take mine from me. I am already
done with mine. Regarding Wolff ’s lieder I am horrified, particularly
about the “cycle” (!). I have found nothing of significance from poor
Reger. Of these, all of a sudden, Op. 76 are very simple lieder. It would be
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good to perform a few of these and something of heavy caliber from his
chamber music.
Von Wöss seems to have written something new in order to make it
available to the Vereinigung. In a letter that is included in the packet, he
refers to this.
Otherwise, I have nothing more to tell you and in any event am lazy
about writing.
So come in the near future!
Most warmly,
Your
Posa
Give my regards to your wife.
Notes
Max Reger’s Op. 76 is entitled Schlichte Weisen. It eventually included 60

lieder, written from 1903 to 1912. Posa may have been thinking of a work
like Reger’s Piano Quintet in C minor as a “heavy caliber” example from his
chamber music.
Erich Jacob Wolff (1874–1913), composer and pianist. Wolff wrote over 150
songs, including Op. 8, Six Songs to texts of Dehmel. He was the assistant
secretary of the Vereinigung schaffender Tonkünstler in Wien. Wolff’s
name appears in multiple different spellings: Jacob, Jakob, Jacques, Jaques,
Wolf, Wolff.
284
29 August 1904
From: Oskar Posa
Langenwang
Komponist
Brühlerstrasse 104
Mödling
Dear Schönberg!
Tomorrow, Tuesday, I am traveling to the Dachstein region and then for
a few days I will be in Gmunden, where I am thinking of undertaking
drilling tests. I am sending you one of the packets with the music. I have
kept Reger’s things. There is the violin sonata, the string quartet (you are
familiar with both) and lieder, the last of which I want to examine again,
since I would like to propose specific, individual works.
I am returning next week and certainly am expecting you then. You
can, if you like, send your packet to me here, even in my absence.
Warm greetings,
Your
Posa
Notes
It is not clear what Posa meant by “drilling tests” [Bohrversuche]. “Bohren”

can also mean “to pester.”
Posa may have been referring to Reger’s Violin Sonata in C major, Op. 72
(1903) and his String Quartet in D minor, Op. 74 (1903–4).
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2 September 1904
From: Max Marschalk
Verlag Dreililien
Halensee-Berlin
Wien
forwarded to:
Brühlerstrasse 104
Mödling

I have received the Rosé parts. You do not have to trouble yourself about
places for page turns; the engravers are already doing that. Do I owe you
any more answers? What is happening with the orchestral songs? By the
way, I can announce to you the birth of a son! Will your songs be sung
frequently next winter?
Best wishes,
Your
M. M.
Notes
Marschalk sent the postcard to Schoenberg’s home address in Vienna. It was

forwarded to Mödling where Schoenberg was spending the summer. It was
delivered on 5 September 1904.
The “orchestral songs” mentioned by Marschalk are the Six Orchestral Songs,
Op. 8 (completed 1905).
286
19 October 1904
From: Max Marschalk
Verlag Dreililien
Halensee-Berlin
Wien

The money was recently sent to the aforementioned very expensive and
unpractical Mr. Uher. One really should copy quartet parts by hand; that
is cheaper, and one has as much time as one wants and needs in case
further material is needed and in order to make other copies of the parts;
that helps, doesn’t it?
Best,
Your
Max Marschalk
Notes
The last phrase is in Berlin dialect: “Na, nun helft dat nischt.”
The work in question is undoubtedly Verklärte Nacht. Marschalk mistakenly

refers to it as a “quartet,” not as a “sextet.”
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27 October 1904
Vereinigung schaffender Tonkünstler in Wien
Wien IX
To: Guido Adler
Dear Professor,
I will arrange for your tickets to be sent to you.
Permit me now to return to a matter that we discussed several
months ago. Namely, the Rothschild affair! Regarding that, I must tell you
that, according to a somewhat artificial calculation, in case of a moderate
success we have in fact covered the costs of our concerts. However, in the
event that we have a complete fiasco, we will not be able to cover the costs
at all. In our first frenzy of enthusiasm, we gladly accepted this risk. Now,
however, even though we are still far from neediness, since the expenses
are piling up and the receipts have not become greater, we have become
fearful when we think about a possible bad outcome.
Therefore, I would like to remind you of your promise to us at
that time in case there was a need of this sort. You promised us then to
approach Rothschild on our behalf in approximately July or August. Now
today—if a few of our overly anxious board members will not completely
lose their courage—the time has come where we would be most in need
of receiving the highest possible subvention.
I thus have the task, most honored Professor, in the name of the Board,
to ask you to do that which in regard to this matter seems to you most appro-
priate given your interest in our undertaking. It would probably be unnec-
essary to mention, that not only would it be wonderful if the matter were
decided quickly, but rather, we urgently need to receive a hopefully favorable
decision very soon. Anyway, among us, I am the one with the rosiest view
of things. For the others, the future looks very black—hopefully I am seeing
it correctly; but what happens if the others have the more accurate view?!?
Forgive us, Professor, that we cling to you! Everything that we could
do on our own, we have done; but here our power and influence fails us.
288
And since we now have had the fortune to have found you to be such an
influential patron who feels no less strongly about our project than we
do ourselves, I consider it almost our duty not to leave this possibility
unused, and consider ourselves completely excused through the kindness
with which you, through the furthering of our intentions, have approved
of our presumptions to this point.
In that I thank you most warmly in advance, and send you my best
regards, and sign with the greatest respect sincerely,
Arnold Schönberg
Notes
Under discussion is fundraising for the Vereinigung schaffender Tonkünstler

which was in financial straits (and eventually went bankrupt).
1 November 1904
To: Guido Adler
Dear Professor,
Since I am going today to the premiere in the Jubiläumstheater (Fra
Diavolo), I will indeed accept your kind invitation for tomorrow
(Wednesday) at 12:30 p.m.
Thanking you in advance for your trouble, I am with best regards
Your
Most sincere
Arnold Schönberg
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Notes
Schoenberg dated the letter incorrectly 1 October 1904. The 1904 production
of Fra Diavolo (Daniel Auber) at the Jubiläumstheater was premiered on 1
November 1904. In that year, November 1 was a Tuesday.
The Jubiläumstheater was built in 1898 as the Kaiser-Jubiläums-Stadttheater

and originally produced only plays. After going bankrupt in 1903, Rainer
Simons became director and renamed it the Kaiser-Jubiläums-Stadttheater–
Volksoper, adding opera, light opera, and operetta to its repertoire. Zemlinsky
was the conductor in 1906. Today it is known as the Vienna Volksoper.
11 November 1904
Wien IX
To: Guido Adler
Honored Professor,
In the greatest haste, I am using my first free minute now to thank you
most warmly for your kind intercession. Since we will meet today at
Mahler’s, I hope to find there opportunity to learn more about this.
I send my regards with the highest esteem, your most sincere
Arnold Schönberg
Notes
290
11 November 1904
Knesebeckstr[asse] 30
Charlottenburg [Berlin]
Tonsetzer
Wien IX
Dear Sir!
If it is at all possible for me, I do want to come for March 11th, but in
these circumstances, I naturally cannot make a firm promise.
Please tell me in detail about November 23rd.
Warm greetings,
Your
D[irector] Rich. Strauss
Notes
The first orchestral concert of the Vereinigung schaffender Tonkünstler

was 23 November 1904 and included a performance of Strauss’ Symphonia
Domestica conducted by Gustav Mahler.
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1 December 1904
Vereinigung schaffender Tonsetzer Wien
Wien IX
To: Kurt Schindler
Solokorrepetitor an der Hofoper
Berlin
Dear Sir,
You are undoubtedly aware that your lieder will be sung on our first
Chamber Music–Lieder evening (on the 20th of December). We would
very much like to make the evening even more attractive through the
participation of all of those whose works are being performed. Therefore,
in the name of the Board, I turn to you with the question whether it
would be possible for you to come to Vienna specifically for this pur-
pose. Unfortunately, I must mention that it would not be possible for us
to reimburse you for the expenses of your trip. Regretfully, our financial
condition does not permit that—however, your costs could be reduced
in that you (naturally, according to your wishes and discretion) need
stay here only so long as to be present at a rehearsal and the concert.
Everything will have been carefully rehearsed and you could easily come
to an understanding with the singer in one or two hours. Obviously, it
would provide us even more pleasure if you could be with us longer than
required.
I ask you, therefore, to let me know by return post if it will be pos-
sible for you to come. It would be, as mentioned, extremely nice for us—
completely irrespective of all personal wishes, which I would not like to
push to the background.
I hope to hear a favorable reply from you and look forward to a con-
tinuation of our friendship.
Our treasurer asked me to send you your membership card; it is
enclosed.
292
I look forward to your answer and am with the warmest greetings
Your
Arnold Schönberg
Notes
Letter written on stationery of the Vereinigung schaffender Tonkünstler.
Kurt Schindler (1882–1935), German-born American composer and conduc-

tor. In 1905 he became the assistant conductor of the Metropolitan Opera in
New York. He also founded the MacDowell Chorus. In 1914, on the occasion
of the US premiere of Schoenberg’s First String Quartet, Op. 7, Schindler pub-
lished a booklet with an in-depth study of the work.
12 December 1904
To: Gustav Mahler
Honored Director,
In order to come even slightly close to the unprecedented impression
that your symphony made upon me, I must speak not as a musician to a
musician, but as one human being to another. For I have seen your soul
naked, stark naked. It lay before me like a wild, mysterious landscape,
with its terrifying depths and ravines, and next to them, bright, pleas-
ant, sunny meadows and idyllic resting places. I felt it like an event of
nature, with its terror and disaster, and with its transfiguring, soothing
rainbow. Afterward, when someone told me your “program,” what does
293
L e t t e r s , 19 0 4 293
it matter that this seemed to correspond very little to my feelings? Is it

important whether I am a good or a bad interpreter of the feelings that
an experience has aroused in me? Must I correctly understand what
I have experienced and felt? And I believe that I have felt your sym-
phony. I felt the struggle about illusions; I felt the pain of a disillusioned
man; I saw evil and good forces struggling with one another, I saw a per-
son in tormented agitation, toiling toward inner harmony; I perceived a
man, a drama, truth, the most relentless truth!
I had to rave; forgive me, I don’t have middle of the road feelings;
either—or!
In all devotion,
Arnold Schönberg
Notes
Schoenberg here describes his impressions of Mahler’s Third Symphony

which he had heard in a dress rehearsal on December 12. This letter prompted
Mahler to offer him a ticket for the performance of this work on the follow-
ing day. See Henry-Louis de la Grange, Gustav Mahler. Vienna: Triumph and
Disillusion (1904–1907) (New York: Oxford University Press, 1999), 75–6.
Gustav Mahler (1860–1911), Austrian composer and conductor. Born in

Kalischt, Bohemia (today, Kaliště, Czech Republic), Mahler attended the
Vienna Conservatory and gradually established himself as a composer and
conductor, holding prestigious posts in Prague, Hamburg, and Vienna. Most
notably, he was the conductor and director of the Hofoper in Vienna from
1897 to 1907 and the conductor of the Vienna Philharmonic from 1898 to
1901. Schoenberg benefited greatly from Mahler’s support and protection.
See Alma Mahler, Gustav Mahler: Memories and Letters, trans. Basil
Creighton, 3rd ed. (London: John Murray, 1973), 256–7.
294

From: Gustav Mahler
Der Director des k. k. Hof-Operntheaters
Wien IX
Dear Schönberg!
Heartfelt thanks for your dear letter, which gave me much pleasure.—Do
you already have a ticket for tomorrow evening? If not, in the course of
the morning you can get some that I have ready for you in my office. In
the event that they are not collected by 12 o’clock, then I will give them
to somebody else.
Most warmly,
Your
M.
Notes
The letter was sent by pneumatic post. The delivery stamp from the district
69 post office is time-stamped 7:30 a.m. Schoenberg could have received the
letter in time to fetch the ticket before the noon deadline.
See Stephen Hefling, “Gustav Mahler and Arnold Schönberg,” in Mahler’s

Unknown Letters, ed. Herta Blaukopf, trans. Richard Stokes (London: Victor
Gollancz, 1986), 172.
VI
Letters, 1905
7 January 1905
Wien IX
To: Guido Adler
Esteemed Professor,
If it has to do with that R[othschild] whose Palais is on Renngasse, then I
can report the following: Mr. Gound and I were there; the authorized offi-
cial [Prokurist] recommended that we employ the mediation of Mahler
since without that he could give us little hope. We have informed Mahler
of this and he has recently stated that he will soon approach R[othschild].
That is all that I know about it. Thus the matter lies with Mahler.
A petition has been sent to the other R[othschild], but we have not
yet received an answer.
Warm thanks for your kind concern.
I send my regards with the greatest respect,

Arnold Schönberg
295
296
Notes
The subject under discussion is the raising of funds for the Vereinigung
schaffender Tonkünstler in Wien.
There were five Rothschild Palais in Vienna at the beginning of the twentieth
century. Today, the Palais at 3 Renngasse in Vienna’s first district is a bank.
See below (the letter from Mahler dated 15 January 1905) for the probable
identity of Rothschild.
9 January 1905
From: Max Marschalk
Verlag Dreililien
Halensee-Berlin

We would rather not print the sextet until you have finished correcting
the parts. Of course you see, there are still mistakes turning up. If noth-
ing unusual prevents me, I will come to Vienna for the performance of
your symphonic poem. It is really very important that I hear the piece.
Now I would like to ask you, whether you have the time and desire to
orchestrate the two songs of H[einrich] van Eyken, “Walkürenlied” and
“Ikarus,” and what reasonable fee you would require for this task. So then
I’ll send you the two pieces of junk. Do you think that something could be
done with them, naturally through Verlag Helianthus? One would have
to prepare the usual editions immediately, for the Parisian-ensemble. Do
you have any experience with this?
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Where can one stay comfortably in Vienna without being skinned

alive or eaten by bugs? Some years ago, I stayed once quite comfortably at
the Hotel Kronprinz.
So, hurry up and have the parts corrected so that we can finally pub-
lish the sextet.
With best wishes
Your
Max Marschalk
If it can be arranged, I would naturally like to be at the dress rehearsal.

What time? And where?
Notes
Heinrich van Eyken (1861–1908), composer of songs and a teacher of music

theory at the Königliche Hochschule in Berlin. Schoenberg orchestrated van
Eyken’s “Lied der Walküre.” See ASSW, Vol. 25, 187–222. On the title page and
on the first page of the edition of the orchestrated song, there are inscriptions
that read: “© 1901 by Verlag Dreililien, Berlin.” This might erroneously give
the impression that Schoenberg made the orchestration in 1901. However, the
date 1901 refers to the date of the copyright of van Eyken’s Zwei Gesänge für
eine mittlere Stimme mit Klavierbegleitung, Op. 16. Schoenberg’s orchestra-
tion was from 1905.
Schoenberg completed the score (158 measures for voice and the following
orchestra: 2222 4231 timpani percussion, harp, strings) in very little time. In
a letter dated 27 February 1905 (see below), Marschalk tells Schoenberg that
van Eyken was “enchanted” with the orchestration.
The “Parisian ensemble” included piano, first and second violins, cello, dou-
ble bass, flute, flugelhorn and percussion.
298
12 January 1905
Vereinigung schaffender Tonkünstler in Wien
To: Wiener Philharmoniker
To the honored board of the Philharmonic association:

On behalf of the board of the Vereinigung schaffender Tonkünstler, per-
mit me to respond with the following to your esteemed letter.
The premature announcement of the collaboration of your esteemed
organization [with the Vereinigung] can be attributed to the following
misunderstanding: in the middle of last week I spoke to Director Mahler
and Kapellmeister Walter about the issue in question and we agreed to
have a sheet circulated, as is your custom, in order to secure your col-
laboration. This sheet was filled out and Kapellmeister Walter took it
upon himself to proceed with the additional negotiations regarding the
matter. I assumed that these negotiations would be completed promptly,
and since I presumed that the esteemed gentlemen would follow the per-
sonal wishes of the Director, I thought that the matter would present no
difficulties.
In the meantime, I ordered the printing of the advertisement in ques-
tion, and from there the matter proceeded automatically on its way so
that I forgot to wait for your written approval.
I offer the hope that this mistake in procedure can be forgiven through
the explanation that this was an oversight or carelessness. I further assure
you that we had no secondary objective whatsoever and that we are the
first ones to respect the complete autonomous right of determination of
your organization.
In that I ask you to weigh these considerations, I give myself room to
hope that the matter can be brought into the right track and once again
take the liberty of turning to your esteemed organization with the request
for collaboration on the 29th of this month.
If I permit myself again to ask for the setting of the lowest possible
fee, suffice it to mention first our precarious finances, and second the
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wishes of your Director, and—certainly not last—your collegial relation-

ships with us, as support for the approval of this request.
I look forward to your prompt and kind approval and sign with the
greatest respect on behalf of the board of the Vereinigung schaffender
Tonkünstler in Wien,
Vereinigung schaffender Tonkünstler in Wien [handstamp]
Arnold Schönberg [signature]
Notes
The letter is mistakenly dated 12 January 1904.
The Vienna Philharmonic was then (and is today) a self-governing associa-

tion with decisions made by democratic vote of the members of the orchestra.
When a decision of the body was required (such as the Vereinigung’s request
for the Philharmonic’s participation in the Vereinigung concert) a “sheet”
[Bogen] was circulated among the members as a ballot, requesting their rec-
ommendation regarding the issue in question.
Bruno Walter (originally Bruno Walter Schlesinger, 1876–1962), German-

born, American conductor and composer. From 1901 he was Mahler’s assis-
tant at the Hofoper in Vienna. At the time of this letter, Mahler was the
director (and principal conductor) of the Hofoper, but he was no longer the
conductor of the Philharmonic, having resigned in April 1901. In 1939, fol-
lowing the Anschluss, Walter emigrated to the United States where he lived
until his death.
300
[15 January 1905, postmark]?
From: Gustav Mahler
Der Director des k. k. Hof-Operntheaters
Dear Schönberg!
Our hopes have been dashed to pieces quickly and thoroughly! Rothschild
let me know, through a telephone call from his secretary, that he was put-
ting 1000 Kronen at the disposal of your Verein—he has no interest in
music, and therefore also—no money. In a very courteous—but incon-
trovertible manner—against which no recourse is possible.
I hasten to tell you these bad tidings, and regret that I do not have
something more pleasant to report. The 1000 Kronen are at your disposal
when you need them. What now?
Warmest greetings—in haste.
Your
Mahler
Notes
The letter is undated. The date assigned was probably based on a postmark
on an envelope that is no longer extant. Although the date cannot now be
confirmed, it seems reasonable: see the letter dated 7 January 1905 from
Schoenberg to Adler.
The Rothschild in question was Albert Salomon Anselm Freiherr von

Rothschild (1844–1911), head of the Vienna branch of the banking house.
See Franz Willnauer, ed., Gustav Mahler “Verehrter Herr College!”: Briefe an
Komponisten, Dirigenten, Intendanten (Vienna: Zsolnay, 2010), 312–14.
In 1905, 1,000 Kronen was approximately equal to $200. In 2013 dollars this
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See Gustav Mahler: Briefe, ed. Mathias Hansen (Leipzig: Reclam, 1985), 324.

Hansen assigns a date of “Mitte Januar 1905.”
See also Stephen E. Hefling, “Gustav Mahler and Arnold Schönberg,”
in Mahler’s Unknown Letters, ed. Herta Blaukopf, trans. Richard Stokes
(London: Victor Gollancz Ltd, 1986), 172.
[1905]?
From: Alma Maria Mahler
Rennweg
Auenbruggergasse 2
[Wien] III

It would be very nice of you, if you would spend Wednesday evening with
us. We expect you at 7:00 p.m. Do not forget to bring the score of P[elleas]
und M[elisande] with you.
Please!
Many warm greetings!

Alma Maria Mahler
Notes
The letter is not dated and no envelope survives. In the ASC correspondence
database, this letter is given a date of 1902. That cannot be correct; in 1902
Schoenberg was in Berlin and had not yet met the Mahlers. We have esti-
mated the date as early 1905 because Schoenberg’s Pelleas und Melisande was
performed on 25 January 1905 and thus a discussion of it before the concert
would have been timely. However, the date is anything but certain.
302
10 February 1905
From: Max Marschalk
Verlag Dreililien
Halensee-Berlin
Komponist
Wien IX

The score has arrived! You’ll receive a letter soon! Won’t you write me a
few words about Mahler’s lieder and their reception?
With best wishes also to your wife,

Your,
M. M.
Notes
The score that arrived was probably Verklärte Nacht.
A number of Mahler’s lieder, including the five Kindertotenlieder, the four

Rückert-Lieder of 1901, and four of the Wunderhorn-Lieder (composed
between 1893 and 1898) were performed in Vienna on 29 January 1905 on
one of the Vereinigung concerts with Mahler conducting. See Henry-Louis
de La Grange, Gustav Mahler; Vienna: Triumph and Disillusion (1904–1907),
107. According to a notice in the Neue Freie Presse (22 January 1905, p. 22),
the concert itself was sold out but tickets were available for the dress rehearsal
on Saturday, 28 January 1905.
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15 February 1905
From: Max Marschalk
Halensee [Berlin]

Unfortunately, I have not yet been able to get hold of Mr. Peters—per-
haps this evening. But I think that nothing will stand in the way of the
payment of 500 Marks, particularly if we might give you the sum as an
advance for the whole thing. And—if you would perhaps declare that
you are ready to extend our five-year contract by one year. I do think
that we will have to have a lot of patience with you. One calls it music of
the future, doesn’t one? In any case, we wish to submit your symphonic
poem to the Allgemeiner Deutscher Musikverein—you will do that for-
mally, and afterward I will recommend the work to Schillings. And to
the other members of the music board that I know.
I just received news that I will certainly see Mr. P[eters] tonight—I’ll
let you know then immediately.
With best wishes,

Your
Max Marschalk
Notes
In 1905, 500 Marks was approximately equal to $120. In 2013 dollars this is
304
22 February 1905
Joachimsthalerstr[asse] 17
Berlin W 15

Wien IX

I have heard nothing more at all from your Verein and should thereby
undoubtedly assume that the projected second performance of
[Symphonia] Domestica has come to naught. For the sake of certainty,
I would like to inform you that it is also not possible for me to come to
Vienna on March 11. Orchestra obligations and many other commit-
ments are really piling up for that time, so that it is absolutely impossible
for me to leave here.
If you had not been depending on me at all, good; if you were, this is
a confirmation that you should not wait for me in vain.
With best wishes,

Your
D[irector] Richard Strauss
Notes
Strauss’ Symphonia Domestica was performed on the first orchestral concert

of the Vereinigung schaffender Tonkünstler on 23 November 1904, con-
ducted by Gustav Mahler. The Vereinigung also intended to have a second
performance of the work on 11 March 1905, conducted by Strauss. Given the
financial crisis of the Vereinigung and given the extent of Strauss’s requests
for rehearsals, it is no surprise that the second performance did not come to
pass. See the letter from Oskar Posa dated 5 July 1904 for Strauss’s wishes
regarding the rehearsals.
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26 February 1905
Hôtel de Prusse
Leipzig

Wien IX

It is not possible for me to come this year. If you want to and are able to
postpone it, perhaps next year! I greatly regret this!
Best wishes and thanks.
Sincerely yours,
D[irector] Richard Strauss
Save your friends’ money!
Notes
The letter was written on Hôtel de Prusse stationery and was posted on
27 February 1905.
306
27 February 1905
From: Max Marschalk
Verlag Dreililien
Halensee-Berlin

Congratulations! Those really are splendid reviews! Has Busoni con-
tacted you? Hopefully he is deciding to perform your symphonic poem
next winter. We will then pull out the juiciest parts of the reviews, have
them printed, and send them to the Berlin critics! Perhaps we will suc-
ceed in arousing their contradictory nature. The well meaning, but
almost pitying evaluation that Zemlinsky has experienced is fatal! Have
you made any additional changes in the score? The length—the length—!
Mahler’s Fifth lasts for 1 ½ hours—it is unbearable—between us: a very
weak work! Also: you must make the last corrections of the score of the
sextet. See to it. When do the parts finally arrive? And then: when you
still were in Berlin I lent you the poems of Keller and Meyer! Where are
they? I would like to have both couplets returned! Did I already write you
that Eyken is enchanted with your orchestration? I would like to have the
score for Pelleas und Melisande soon—!

Your,
Max Marschalk
Notes
Schoenberg’s Pelleas und Melisande received its premiere performance on

25 January 1905 on the second orchestral concert of the Vereinigung
schaffender Tonkünstler, Schoenberg conducting. The concert was widely
reviewed and most of those reviews were extremely negative. There were,
307
L e t t e r s , 19 0 5 307
however, a few exceptions. One extremely positive review appeared in the

Feuilleton section of the Arbeiter Zeitung on 17 February 1905 under the title
“Schönberg.” This must be one of the “splendid” reviews to which Marschalk
refers, because it begins with a “well meaning, but almost pitying evaluation”
of Zemlinsky’s Seejungfrau and a few remarks about Posa’s composition. It
then continues on with fulsome and extended praise for Schoenberg and his
compositions. Not only does the review praise Pelleas, but it also discusses
Schoenberg’s compositions and performances to date and describes the reac-
tions of the audiences. The review was written by Schoenberg’s lifelong friend,
David Josef Bach.
For details of the poets (Keller and Meyer), see the letter from Marschalk
dated 30 March 1905.
30 March 1905
From: Max Marschalk
Verlag Dreililien
Georg-Wilhelm Strasse 22
Halensee-Berlin

I have not yet received an answer to my letter of 27 February. Now grum-
ble about me again! So:
1. The score and parts for the sextet?

2. The poems of Keller, Meyer, Droste-Hülshoff?
3. The two lieder of [illegible]?
4. Pelléas und Mélisande
308
So the sextet really will not be performed in Graz? That is a real shame.
How did you like Walter’s Quintet? What else is new? We will probably
see each other at the end of May in Vienna.

Your
Max Marschalk
Notes
Gottfried Keller (1819–1890), Swiss poet and politician.
Conrad Ferdinand Meyer (1825–1898), Swiss author and poet.
Annette von Droste-Hülshoff (1797–1848), German author and poet.
Bruno Walter’s Piano Quintet was premiered in 1905 by the Rosé Quartet,
probably with Walter as pianist.
The name of the lieder composer under point 3 is not possible to decipher
with certainty. It looks like it could be “Park,” but it is possible that the name is
“Pank” or “Pauk” or “Ponk” or something similar. However, there is another
possibility. In the present letter Marschalk is enumerating four items from his
letter of 27 February 1905 that Schoenberg had failed to answer. The present
letter follows exactly the order in which those four items were mentioned in
the previous letter, with the exception of the third item, which mentions the
two lieder of “Park” here. In the previous letter, the third item mentioned was
Schoenberg’s orchestration of one of the two lieder by van Eyken. It is thus
possible that Marschalk wrote an abbreviation: perhaps “VanE” or “VanEk.”
Given these contexts, this seems the most reasonable explanation although
the first letter does look more like a “P” than a “V.”
309
L e t t e r s , 19 0 5 309
15 June 1905
Wien IX
To: [Karl] Kraus
Dear Mr. Kraus,

Unfortunately I must forgo attending the performance of Die Büchse der
Pandora because I have a very pressing matter to attend to on Thursday
evening. Therefore, I am returning the [ticket] allotment with many warm
thanks. A pity: it is bad luck. I really would have looked forward to it.
With warm regards,

Sincerely,
Arnold Schönberg
Notes
Die Büchse der Pandora, a play by Frank Wedekind (1904). In 1905 Karl Kraus
produced a performance of the play at the Trianon Theater in Vienna. Due to
the controversial nature of the text, the performance was not open to the pub-
lic; rather, tickets were available by invitation only. Although Schoenberg did
not attend, Alban Berg did. Die Büchse der Pandora and Wedekind’s other
Lulu play, Erdgeist (1894) became the basis of the libretto for Berg’s opera Lulu.
310

Wednesday
From: Alexander Zemlinzsky
Sekirn/K lagenfurt [postmark]
Traunstein 1 [sic] bei Gmunden
Gastwirt Hoisen
Ob[eres] Öst[erreich]
Dear friend,
Today I received the first news from you! From M[athilde]’s postcard
I believe I can infer that mother is staying with you. Doesn’t that really
disturb you? I hope that she makes it very easy for you! Is she very moody?
Or does she like it? Is she feeling well, and is her foot better? I ask that you
answer all of these questions! For now, I cannot answer your letter—it is
too hot for me to bring to bear the intelligence needed to understand this
“depth” that is expressed in a completely new way. So later!
I really like it very much here—terribly rustic; we live in the forest,
amongst the cows, the hares, the chickens, etc. I haven’t gotten together
yet with Bodanzky. Feld and he have quarreled and aren’t speaking to
each other. The spa: in the best case, 20 degrees [Celsius], but unfortu-
nately most often more. In the water it is wonderful, but I can do without
a cooling off afterwards.
I have begun to work, would like to finish the 2nd act very soon.
What are you working on?
Otherwise, the climate and the spa are particularly healthy for me.
My nerves and runny nose have really already improved! Tell mother all
of this.
One more thing: we have no direct postal service, therefore our cor-
respondence will take a bit longer. Make mother aware of this. Otherwise,
I know nothing, and cannot do anything anymore—it is too hot.
311
L e t t e r s , 19 0 5 311
Greetings to all, especially Trudie,
Most warmly,
Your
Alex
Best wishes from Feld.
Has mother given the landlady the job of forwarding my mail? Please
answer!
Notes
Zemlinsky addresses this letter to “Traunstein 1.” However, the next two let-
ters from Zemlinsky to Schoenberg are addressed to “Traunstein 11” which is
probably the correct address.
Sekirn is a tiny village on the southern shore of the Wörthersee near Klagen
furt am Wörthersee. From 1900 to 1907 Mahler composed there during the
summers in a “composing” cabin.
Zemlinsky was working on the second act of his opera Der Traumgörge to a
libretto by Leo Feld.
See BWS, 52.
312
2 August 1905
From: Max Marschalk
Halensee

Here is your score; for heaven’s sake don’t feel sorry for yourself and cross
out everything that can be crossed out. And then—the piece is program
music and if one really follows a poetic idea and an imaginary sequence of
events, then one should not demand that the listener should take as absolute
music that which had not been conceived of as absolute music. Incidentally
I am of the opinion that the public would follow you more willingly! So—
bring out the program. Send the score back to me soon. We would prefer to
have it at first in autograph form; the engraving can always come, and if a
composition is not performed, or if it is performed without success, then no
one would buy the score, no matter how small and cheap it may be.
So—and now don’t be so lazy; just to wheedle out some money
under the pretext of wanting to do a big work and afterwards to take it
easy—at the very least, that is vile. Can you write a melody with a simple
accompaniment? Do you know that modulations only are effective in
contrast to tonality, and that polyphony, should we perceive it as flourish-
ing, must be brought into contrast with monophony? And that a piece that
is unrelievedly polyphonic can have the effect of being as monotonous as
an unrelievedly homophonic piece? Will you promise me to take these wise
teachings to heart?
In the meanwhile—I wish to have said nothing—and I extend my
greetings as your
Sincere
Max Marschalk
Send the Rheinische Zeitung back to me!
For our archives.

313
L e t t e r s , 19 0 5 313
Notes
Under discussion is Pelleas und Melisande.

Sekirn Klagenfurt
Traunstein 11 b[ei] Gmunden
Gasthaus Hoisen
Dear friend,
I am coming on Friday on the train that leaves here at 7:00 a.m. and
after considerable wandering about, arrives—I think—around 6 p.m. in
Gmunden. Unfortunately, not at the Seebahnhof—that is not possible,
because I am coming instead from the direction of Ischl. If you want to
pick me up, which would be very nice of you, please inquire if this train
has a boat connection—if not, take a vehicle that can bring us to Hoisen.
My train is the one that arrives in Ischl at 4:30 p.m., therefore I assume
that I will arrive around 6:00 p.m. in Gmunden. I gave up on Ebensee as
too uncertain. I must tell you once again, that because of the frequent
transfers, it is possible I will miss some train and will have to stay over-
night. In that case, I will come on Saturday.
Warm greetings,
Alex
314
Notes
Zemlinsky addresses this card to Traunstein 11, but the previous letter was
addressed to Traunstein 1.
See BWS, 53–4.
Figure 6.1
Alexander Zemlinsky in the early 1900s (photographer unknown). Courtesy of
the Arnold Schönberg Center.
315
L e t t e r s , 19 0 5 315
18 August 1905
From: Arnold Schoenberg
Gasthaus Hois ‘n-Wirt
Traunstein 11
Gmunden am Traunsee
To: Oskar Posa
Villa Ganzthal
Mürzzuschlag
Steiermark
Night life at the Hoisen in Gmunden
Notes
The text is an inscription on the right edge of the recto side of a postcard
with a picture hand-painted by Schoenberg. The picture shows two people
(one of whom is certainly Schoenberg) vomiting into bowls. A third person
has passed out and is supine on the ground. It appears as item 231 in Arnold
Schoenberg: Catalogue raisonné, ed. Christian Meyer and Therese Muxeneder
(Vienna: Arnold Schoenberg Center, 2005).
316

Friday
Wien
Traunstein 11 bei Gmunden
Hoisen
Dear Schönberg,
Many thanks for your dear letter, and while I am already on the sub-
ject, the same as well for all the trouble that you have had in recent days
because of my illness. Now everything is in order. Without waiting long
for “ripeness” and other silly talk, Dr. Hoffmann simply cut and imme-
diately I felt better; today I can already say it is good. I am already slowly
beginning to work—naturally, an Andante—nothing fast!
I will also partially follow your advice and will go out into the coun-
tryside for a few more days—probably already tomorrow.
Dir[ector] Simons visited me, spoke about his plans, about the
almost unmanageable amount of work for the coming season, everything
very amiable and humorous, but nothing about a further vacation!! I will,
however, not ask for much.
_____
You can imagine how sorry I am about the lost time in Hoisen now.
To think what we all could have done! When I look around me now—the
newly built house in front of me, the horrible streets down below, the
noise of locksmiths and carpenters, children and women—terrible! But
that is pointless—it was just bad luck! It cost all the more money for it.
I’m sweating and have to write a few letters—so The End—“Mr. Has To”!
Give warm greetings to Mathilde and Trudl from mother and me.
Best wishes from
Alex
317
L e t t e r s , 19 0 5 317
Notes
Rainer Simons (1869–1934), German singer, conductor and theater director.

He was the theater director of the Wiener Kaiserjubiläums-Stadttheater (pre-
decessor of the Wiener Volksoper) which from 1904 produced operas often
conducted by Zemlinsky.
At the end of his letter (“so The End—‘Mr. Has To’,”) Zemlinsky uses an
untranslatable rhyme “also Schluss—“Herr Muss”!
See BWS, 54.
10 November 1905
From: Max Marschalk
Verlag Dreililien
Georg Wilhelm-Str. 22
Halensee Berlin
Wien

I have already delivered your Pelleas score to the copyist for transcrip-
tion into a manuscript copy. The matter must be expedited, but probably
it will be some time until it has been made ready. As far as I know, it has
to be submitted to the Allgemeiner Deutscher Musikverein for the atten-
tion of Professor Schillings by 1 December. If you do not have another
score, perhaps we would have to take the score which I gave to the copyist
and interrupt the transcription for this period of time. When you have
the chance, I request that you also send me the orchestral materials that
were used for the performance in Vienna.
318
I am happy that you have been so diligent and I look forward with
great interest to your sending your work.

Your
Max Marschalk
Notes
Schoenberg completed his String Quartet No. 1, Op. 7, in September 1905.

This may be what Marschalk is referring to when he praises Schoenberg for
his diligence.
4 December 1905
From: Max Marschalk
Halensee

Would you like, for a fee and a friendly word, to look through, touch up,
and rework or whatever you would call it, the following score, which you
already know? I myself am of the admittedly not authoritative opinion
that the enclosed piece is not bad and that it could be effective. Currently
I am thinking about something slightly different and would like to get
the “Sturmlied” in order as soon as possible. Naturally that whole thing
will not be your cup of tea; however it cannot be a matter of fundamental
alterations—. Perhaps use the manuscript written in pencil for your cor-
rection so that you can make corrections to your heart’s content.
319
L e t t e r s , 19 0 5 319
What are you doing otherwise? Are you working diligently? How are
matters proceeding?
With best wishes to your wife and to you.

Your
Max Marschalk
Notes
The work Marschalk wanted Schoenberg to “look through, touch up, and
rework” was Marschalk’s own composition, “Sturmlied” for mixed choir
and orchestra, Op. 18, which was published by Dreililien in 1906. That it
was Marschalk’s own composition explains the ironic tone. It is not known
whether Schoenberg agreed to touch up the piece. Details about Dreililien’s
publications can be found in Stefanie Döll, “Das Berliner Musikverlagswesen
in der Zeit von 1880 bis 1920,” Inaugural-Dissertation, Freie Universität
Berlin, 1984. Marschalk’s works are listed on pp. 185–8.
VII
Letters, 1906
1 April 1906
From: Dr. Ign[az] Husserl
Porzellangasse 50
Wien IX

I confirm, with thanks, the receipt of 36 Kronen.
Respectfully,
Husserl
Notes
Dr. Ignaz Husserl (1866–1913), physician.
In 1906, 36 Kronen was approximately equal to $7.20. In 2013 dollars, this is

320
321
L e t t e r s , 19 0 6 321
11 June 1906
From: Max Marschalk
Halensee

Unfortunately, I must admit to you that at present I do not know where
to begin with the works you sent me—really not at all! For the most part,
this is not what I perceive to be music. Above all, I see in you a develop-
ment into extravagance and excess. Don’t be angry with me, but I must
explain that from a business perspective, this cannot be settled like this,
without further ado. The works were presented to a second advisor of Mr.
Peters, and he writes the following: “Even with the best of intentions, I
cannot get to like Schönberg’s style. In essence, the inventiveness is rather
conventional. I would make allowances for the extravagant harmony,
if it was united with a sense for the large scale and the goal-directed
construction. Upon reading, I consider the quartet to be an immense
tapeworm. Relatively speaking, I liked “Natur” [Op. 8, No. 1], “Voll jener
Süsse” [Op. 8, No. 5] the best. A pity about the extraordinarily brilliant
technique—!” Mr. Peters is so busy that I have only had a few moments
when I could speak with him. I hope that I will see him this evening, and
then I will ask him if, in the meantime, he would be inclined to give you
the money in the form of a loan.
Yes, much could be said about your work—but I want to immerse
myself lovingly in it several more times, in order to try to gain a favorable
viewpoint with respect to it.

Your
Max Marschalk
322
Notes
Dreililien did publish Schoenberg’s String Quartet No. 1, Op. 7, in 1907.

However, they never published the Six Orchestral Songs, Op. 8, which were
published by Universal Edition in 1913.
[14 June 1906]?
Wien IX
To: Direktor Gustav Mahler
Honored Director,
I cannot quite determine yet whether it is Zemlinsky or me who is
engaged at the opera. However, it is all the same to me, and I did not want
to say anything about it. On the other hand, however, how wonderful
and splendid it was of you today; that I must say to you: there is only one
person who can do that in the world, and that is Mahler. I have always
been very, very fond of you—you probably do not know this—but today,
I know why! I kiss your hand a thousand times.
Your
Arnold Schönberg
Notes
The editors were unable to see the original; its current whereabouts could
not be determined. The translation was made from a transcription printed in
Alma Mahler, Gustav Mahler: Erinnerungen und Briefe (Amsterdam: Allert
de Lange, 1940), 365. In the English edition and translation of Alma Mahler’s
323
L e t t e r s , 19 0 6 323
book, doubts are expressed about the date of the letter, and it is suggested that
it may stem from April or May 1906. See Alma Mahler: Memories and Letters,
ed. Donald Mitchell, trans. Basil Creighton (New York: Viking Press, 1969),
279. However, no reason or evidence is given for those doubts.
In the German original, there is a sentence that reads: “Dagegen aber: wie
wundervoll, wie grossartig das heute von Ihnen war; das muss ich Ihnen
sagen, das kann nur ein Mensch auf der Welt und das ist: Mahler.” In Basil
Creighton’s translation this is rendered as “What I did want to say was how
deeply impressed I was by the magnificence of the work I heard today.” An
asterisk directs us to a footnote by the editor which reads: “Probably a refer-
ence to Mahler’s Sixth Symphony.” We believe that this translation (and the
associated reference to Mahler’s Sixth) is not supported by the text. There is
no mention of a work, nor does Schoenberg say a word about having heard
anything.
Zemlinsky joined Mahler at the Hofoper in 1907 as the associate director.
16 June 1906
From: Max Marschalk
Verlag Dreililien
Halensee-Berlin

I spoke yesterday with Mr Peters about your case. He is willing to give
you the desired sum of 500 Marks as a loan which will have to be repaid
in five installments: 10 January, 10 February, 10 March, 10 April, and 10
May 1907—five installments of 100 Marks each—! Perhaps a lucky star
324
will shine upon you and us in the coming winter so that we will be able
to amend the agreement retroactively! For now, unfortunately, I could
obtain nothing better. From now on, contact Mr. Peters directly; his
address is: Johannisthal bei Berlin, Friedrichstr. 2. I am leaving again for
a trip early on Monday morning, to Sorenbohm, in the Köslin district. To
be sure, Mr. Peters has made an additional stipulation that you commit
yourself legally to another year, that is, a total of seven years with Verlag
Dreililien. Send him a statement to that effect immediately. In your let-
ter of 15 May 1906 you have already indicated your willingness to do so.
With regards to the new works that you sent us, I hope that we will agree
on something that will be satisfactory to you; just give me until approxi-
mately the middle of July. Moreover, it would be best if you would send
Mr Peters a promissory note immediately.
Best wishes and a pleasant holiday!
Your
Max Marschalk
Notes
Sorenbohm is the German name for Sarbinowo. Köslin is the German name
for Koszalin. In 1906, both were part of Germany (West Prussia). Today they
are part of Poland.
Marschalk does not indicate what works of Schoenberg he had received.

However, in a letter written five days earlier (11 June 1906), Marschalk had
referred to the Six Orchestral Songs, Op. 8, and the String Quartet, Op. 7, as
being under consideration for publication. At the time of these two letters
Schoenberg had not completed any work recently (he was in the last stages
of his work on the Chamber Symphony, Op. 9). The most recent works he
had completed were some of the songs of the Eight Songs, Op. 6, which were
written during the previous summer and fall (1905). Dreililien did publish
the Eight Songs, Op. 6 (in 1907), and the String Quartet in D, Op. 7 (also
325
L e t t e r s , 19 0 6 325
1907), but those were the last works of Schoenberg’s they published. After
1907, Universal Edition became Schoenberg’s principal publisher.
In 1906, 500 Marks was approximately equal to $120. In 2013 dollars, this is
[22 June 1906]?
Friday
Rottach-Egern
Bayern
Liechtensteinstr[asse] 70
Wien IX
Dear Schönberg,
I am writing to you under the impression that Bodanzky, thank God, has
already paid me the rent. The biggest problem of the stay in the country
is thus settled. Now to matters that interest you again.
I. The area. Seems very pretty, much prettier than Wörthersee. I am
satisfied with it.
II. The housing. Very nice, unusually clean, amiable landlords. The
rooms are naturally arranged: two adjoining rooms with balcony,
one overlooking the lake. The other two are completely separate.
Three beds for us; three beds for you. For a child’s bed you will
have [to bring] the bed linens without the mattress. The building is
two stories high, but, in any event, no higher than our building in
Vienna.
326
III. The trip. From Vienna to Salzburg a terribly overcrowded traincar.

From there the train departs after about 20–35 minutes and
one can travel third class very nicely. In Rosenheim you have to
wait for 1-¼ hours—I went downtown—from there, a somewhat
boring ride to Holzkirchen. You transfer there and go directly to
Tegernsee. So you arrive at 1:45 p.m. Not a minute earlier!!
(I just learned that sometimes one has to brace oneself to transfer
at Schaftlach as well. But I don’t believe it. In any case, ask.) I have
paid half of the rent. There was nothing to negotiate about. More
about the housing: very peaceful, a nice green place in front of the
house with a gazebo for your child. Kitchen very pretty. English
toilets—but “please they are new toilets—I don’t ask …”!
Jokl is sitting next to me, is making jokes without a break, and is mak-
ing me aware that there are no Tarot cards here. Bring some.
Now nothing more occurs to me. I console myself with the knowl-
edge that this is a chronic condition for you!
Greetings from Bodanzky and me to all of you. I’ll write to mother
the day after tomorrow.
Regards,
Alex
Notes
Zemlinsky did not date the letter, but he did write the day of the week, Friday.
The letter was postmarked on 23 June 1906 (and it is catalogued under that
date in BWS and in JASI-PI). However, 23 June 1906 was a Saturday. Therefore,
the most likely explanation is that Zemlinsky wrote the letter on Friday, 22
June 1906, and posted it the following day.
Rottach-Egern is a small resort town on the Tegernsee in Upper Bavaria, just

next to the border with Austria.
327
L e t t e r s , 19 0 6 327
Ernst Jokl (1878–1947), Moravian-born conductor who occasionally served

as piano accompanist at presentations by Karl Kraus. He emigrated to the
United States where he lived until his death in 1947.
See BWS, 55–6.
27 June 1906
From: Friedrich Peters
Friedrichstrasse 2
Johannisthal-Berlin
Wien IX
Dear Sir!
Upon returning from a trip last night, I found your two kind letters, of
the 18th and 24th of this month whereupon I telegraphed you this morn-
ing to say that the dispatch will follow later today.
Therefore, I am sending to you enclosed
500 M
spelled out: Five Hundred Marks
in cash in exchange for which you will sign and return to me the
enclosed promissory note and bill of exchange by registered mail.
For every payment I will write a receipt on the reverse side of the bill
of exchange and will send confirmation to you of receipt of the sum of the
corresponding installment.
I regret that you had to wait so long and send you my best wishes,
Respectfully,
Friedrich Peters
328
[enclosures:]
M. 500
1 Promissory note
1 Bill of exchange
1 Copy
Notes
[On the reverse side of the letter is a copy of the promissory note. With the
exception of the word “Copy” and Schoenberg’s comments and signature, the
promissory note is typed.]
Copy
Promissory Note
I, the undersigned, acknowledge to have received today a loan from
Mr. Friedrich Peters, Johannisthal, Friedrichstr. 2, a loan of
500 M.
spelled out: Five Hundred Marks
and undertake to pay a five-percent interest yearly on the loan.
I undertake to repay the above-named loan in five installments of 100
M. each, as per my letter of 18 June 1906, and payments each of 100 M. on
10 January, 10 February, 10 March, 10 April, and 10 May 1907, in the event
that, by the last named date, the above-named sum has not been repaid by
other means to Verlag Dreililien, which could happen only with the consent
of Mr. Friedrich Peters.
For the greater assurance of Mr. Friedrich Peters, I attach hereby my accep-
tance of the same sum payable by 10 May 1907, [Schönberg added the follow-
ing phrase] which, however, is to be sent back to me when the installment will
have been paid.
I have received a copy of this.
[signed] Arnold Schönberg

28 June 1906
Wien IX
329
L e t t e r s , 19 0 6 329
18 July 1906
Rottach-Egern 46
am Tegernsee
Oberbayern
To: Gustav Mahler
Dear Director!
I am just now finishing my Chamber Symphony; therefore, I was not able
to answer your letter until today. Don’t be angry at me for this.
I was very happy about your letter. There is nothing that could have
given me more pleasure than your saying that we have become closer
to one another. I am happier about this, and it makes me prouder than
if you had praised a work of mine—although I have only the highest
respect for your judgment about that. For me, personal attachment is
in general the most important thing in the relationship of people to one
another, and I believe that, without this, everything else cannot advance
so fully and completely. As I said, I am very happy about this and am
proud of it; and—in full consciousness of the distance [between us]—I
hope not to be completely unworthy of your kind feelings.
Now with regards to your kind invitation: in my initial joy over your
letter, I was ready to leap headlong into the trip. But upon subsequent
reflection, I had to decline again. The condition of my wife—at the begin-
ning of September she will give birth—would not permit me to enjoy
myself because of my concern for her. And in addition, because of the
enormous distance—almost fourteen hours—almost anything could hap-
pen before I could return there.
Therefore, because of this, I must unfortunately decline this year.
Instead, I have another idea: in August you are conducting at the Mozart
Festival in Salzburg. That is only a few hours away from here; in any event
I could come there. Thus if you would tell us when you will be there, and
when the performances are, then we could certainly come for a few days.
I would be very happy if that would work out. In any event, your wife is
330
also coming there? Might I ask you to extend to her my warmest greet-
ings and to say to her that I am happy that she has finally come around
to seeing that I am a “dear fellow”—I have indeed always asserted that;
unfortunately, only rarely does anyone believe it.
I would be most grateful to you if I could soon have information
about the dates of the Salzburg Festival, so that I could aim for it. If we do
not meet before then, I would very much like to send you my Chamber
Symphony, that is, if you have the time and the desire to look at it.
Fortunately, it is not very long and a (very poor—because it was done by
me) four-hand piano arrangement comes with it.
I thank you again for your letter and look forward to the good news
about the proposed get together. With many warm and humble greetings
Your admiring
Arnold Schönberg
Notes
The editors did not see the original. The translation was made using the tran-
scription available on the ASC website.
Georg Schoenberg was born on 22 September 1906.
Mahler conducted Le nozze di Figaro in Salzburg in August; Alma did not

come along. See De la Grange, Vol. 3, 447.
See Alma Mahler, Gustav Mahler: Memories and Letters, ed. Donald Mitchell,
trans. Basil Creighton (New York: Viking Press, 1969), 279–80.
331
L e t t e r s , 19 0 6 331
26 July 1906
From: Max Marschalk
Verlag Dreililien
Halensee-Berlin
Rottach-Egern

At your request, I am returning to you the works that are in our posses-
sion, namely, the string quartet, the six orchestral—and the eight piano-
accompanied lieder. I have considered the pieces multiple times, but
I must state that my viewpoint has not significantly changed. Perhaps
first it is necessary to get used to this art that is so very difficult and
severe. Now I would like to make an experiment for myself: to have the
piano-accompanied lieder sung in a flawless performance, to have them
sung multiple times, to try to see whether I still could acquire a taste
for this type of melody that is so different from the melody of the great
lieder composers of all periods. At present, I don’t understand them at
all. I would also very much like to hear the quartet, and if it would be at
all possible, I will come to Vienna for the premier performance. Are the
parts copied out already? Here in Berlin it might be possible to inter-
est the Holländische Trio in it; for the present time they have asked for
the sextet. Oskar Fried is seriously considering the idea of performing
your symphonic poem, Pelleas und Melisande. He only complains that
the extraordinary difficulties of the work will make extra rehearsals
and thus extra expenses necessary, on account of which we will have to
do something for him. Now I would like to propose, that after having
completed the revision, you again make available to me the works I am
returning and indeed, together with the new works you have finished
in the meantime. You can rest assured that our definitive answer will
follow soon.
332
I find your declarations [Bekenntnisse] very interesting. Perhaps your

analysis is not exactly right; I am much more of the opinion that you set
a course with full, far too full, sails, toward becoming the modern techni-
cian par excellence and the technician of the Straussian motto: It is not
the “what” that matters, it is the “how.” Believing in the saving qualities
of technical refinement, you lose all naïveté in creating, and your music
often makes not only a brooding impression but even a tortured one, dis-
tancing itself ever more from what I term sung music. I say this, by the
way, without the pretension to thereby establish a correct or definitive
judgment. In any event, don’t take what I have said amiss. In wishing you
a pleasant holiday, I remain, with kind regards
Your,
Max Marschalk
Notes
Marschalk was returning the String Quartet, Op. 7, the Six Orchestral Songs,
Op. 8, and the Eight Songs for Voice and Piano, Op. 6.
The Holländische Trio, whose members were Coenraad van Bos, Joseph van
Veen, and Jacques van Lier, performed as a trio and (with an added violinist)
as a quartet.
Oskar Fried (1871–1941), German-born conductor and composer. After the

rise of the Nazis he moved to the Soviet Union, becoming a citizen in 1940.
Fried was closely associated with Mahler and conducted all of Mahler’s sym-
phonies, including a performance of Symphony No. 2 in Berlin in 1905 and
in St. Petersburg in 1906. From 1904 he directed the Sternsche Gesangverein
in Berlin, with Otto Klemperer as his assistant and accompanist. In 1905 he
was appointed conductor of the Neue Konzerte. Fried does not seem to have
performed Pelleas und Melisande in 1905, but he did perform it on 31 October
1910 with the Blüthner Orchestra at the Gesellschaft der Musikfreunde in
Berlin.
333
L e t t e r s , 19 0 6 333
27 July 1906
To: Arnold Rosé
Esteemed Concertmaster,
Recently you told me that you wanted to rehearse my quartet during the
summer vacation and to try to establish a relationship with it. I am tak-
ing the liberty now of inquiring about the status of this matter and at the
same time to direct a related request to you.
I do not need to stress how highly I value a performance by your
quartet, for I know exactly how much the success of my sextet was due to
the performance. However, since I was unable to arrange a performance
of one of my works this past year, I have to be more focused this year.
And therefore, if you have already rehearsed the quartet and I must give
up hope of it finding your approval, I ask that you kindly tell me by return
post. If you were not able to examine it up to now, I do not want to press
you constantly, but I must try to get your definitive answer, shall we say,
by approximately the middle of August, so that I might possibly go some-
where else with it. I know quite well that if you do not perform it, it will
not be as good, for today, only the Rosé Quartet can do that. But I still
hope, that you will come to like it and will see that it is not completely bad.
I look forward to your most kind response, and wish you and your
wife a pleasant vacation,
Your most sincere,

Arnold Schönberg
Notes
The Rosé Quartet premiered Schoenberg’s String Quartet No. 1, Op. 7 (1905),
on 7 February 1907 in Vienna.
334
29 July 1906
From: Anton v[on] Webern
Gut Preglhof bei Bleiburg in Kärnten
Rottach-Egern No. 46
am Tegernsee
Oberbayern
Most esteemed Mr. Schönberg!

Your postcard did not reach me in Vienna, and so I only received it today.
I thank you very much for your congratulations.
You urge me to work; yes, I would like to work all day, but I cannot.
My head hurts so much that I must take it easy; otherwise I will not be
better by September. I live here as healthily as possible, but to no avail;
to the contrary. And if I come back to Vienna under these conditions,
I would not be able to work in the winter as much as I would intend.
Nevertheless, I am not idle now.
Every day I harmonize a chorale, play piano, read, and so forth.
I am reading Kant’s Metaphysik der Sitten—something completely
wonderful.
Kant’s sublime philosophy makes me happy more and more every day.
I don’t know whether or how much you have occupied yourself with
this man, but I would only wish that you would do so.
Shall I harmonize the chorales simply or also work them out
contrapuntally?
Horwitz, however, told me that we should also do the latter; but
you have not spoken of this to me. I had understood from you that I
should harmonize the chorale melodies approximately in the manner of
the St. Matthew Passion: four voices with some passing tones. Yet what
Horwitz means is in the manner of Bach’s chorale preludes: the chorale
melody in one voice; canons or working out of one or more themes in
the others.
Please write me perhaps and tell me if I should do both and more or
only one of the two.
335
L e t t e r s , 19 0 6 335
Could you also tell me which operas I should study for the upcoming
season?
In any event, I will be back in Vienna on the first of September.
Forgive me that I am asking you to write about such matters.
And might I hear how things are going with you and your family
there at the Tegernsee?
At the end of August, I will go with Jalowetz and some other people
to the Dachstein.
Wouldn’t it be possible for you to leave the Tegernsee to come with
us? But perhaps it can happen. There is hardly anything more beautiful
than to be high up on a mountain.
I thank you again for your card and send my sincere regards,
Anton v. Webern
Notes
Anton von Webern (1883–1945), Austrian composer and conductor. (Webern

used “von” in his name only until 1918, when the new Austrian government
canceled titles of nobility.) Webern studied musicology at the University of
Vienna. Under the direction of Guido Adler, he wrote a doctoral disserta-
tion on the Choralis Constantinus by Heinrich Isaac. In 1904 Webern began
studying with Schoenberg and produced two works with opus numbers under
Schoenberg’s tutelage, the Passacaglia and the chorus Entflieht auf leichten
Kähnen (both 1908).
Karl Horwitz (1884–1925), composer, pianist, conductor. Best known for his
lieder, he studied with Schoenberg at the same time as Webern.
Heinrich Jalowetz (1882–1946), musicologist and conductor. He studied with

Schoenberg (1904–8) and like Webern, had been a student of Adler’s. He
emigrated to the U.S. after the Anschluss in 1938 and became chair of the
Department of Music at Black Mountain College in North Carolina.
Immanuel Kant wrote two treatises on morals (Sitten) with similar

titles: Grundlagen zur Metaphysik der Sitten [Foundations of the Metaphysic
336
of Morals] (1785) and Die Metaphysik der Sitten [Metaphysics of Morals]

(1797). Webern is referring to the latter.
The Hoher Dachstein is located in Central Austria and is the second highest
mountain in the Northern Limestone Alps.
See the partial translation in Hans Moldenhauer and Rosaleen Moldenhauer,

Anton von Webern: A Chronicle of His Life and Work (New York: Knopf,
1979), 87.
8 August 1906
From: Max Marschalk
Dreililien Verlag
Halensee-Berlin
Rottach-Egern

Since I was on a trip, I am only now able to respond to your postcard. It
would not hurt to write to Fried. His address is Nikolassee near Berlin.
I will write to the Holländische Trio and ask if the gentlemen are inter-
ested in your quartet and if they possibly could examine it quickly.
By the way, Fried asked about a piano reduction of your symphonic
poem, Pelleas und Melisande; if you have one, then I ask you send it to
me, [or] possibly directly to Fried. Messrs. Bodansky and Posa want to set
a meeting time with me; I would be ready to listen to them at any time.
With best wishes,

Your
Max Marschalk
337
L e t t e r s , 19 0 6 337
10 August 1906
From: Ferdinand Löwe
(Tirol) Villa Agnes
Rottach-Egern (am Tegernsee)
No. 46
Oberbayern
Dear Sir!
First of all, I ask you kindly to forgive the somewhat belated answer to
your letter. I utilized the recent beautiful weather for a few outings.
I have never denied your “entitlement at long last to be performed by
the Wiener Konzertverein”; moreover, I sincerely regret, for instance, that
I was made aware of the existence of your orchestral songs only after our
last concert of new works, and to be sure, then only through a third per-
son. I am very happy that you have finally found it proper to turn directly
to me. I request, therefore, for the time being the dispatch to me of your
Chamber Symphony for 15 Solo Instruments, thank you for it in advance,
and you will hear further from me in 2–3 weeks (at the most!).
With the expression of utmost respect

Your
Ferdinand Löwe
Notes
Löwe added the abbreviation “z. Z. in” [zur Zeit in = presently in] to the
address, and wrote in the left hand margin a request to the postman to for-
ward the letter [Bitte nachzusenden!]. But the letter reached Schoenberg in
Rottach-Egern and did not have to be forwarded.
338

Krimml [postmark]
To: Alex v. Zemlinsky [recte = Schoenberg; see notes below]

Rottach-Eggern 46
Tegernsee, Baiern [sic]
Motiv zu einer symphonischen Dichtung: “der Bergsteiger” [Motive for a

symphonic poem: “the Mountain Climber”]
Warm greetings!
Notes
The letter is written in Zemlinsky’s hand and is addressed to himself, but

it is clear that the intended recipient was Schoenberg. As can be seen from
the Zemlinsky letter of 22 June, the Schoenberg and Zemlinsky families
spent the summer vacation together, sharing the Rottach-Egern 46 residence.
Apparently Zemlinsky traveled to Krimml (not far from Salzburg) and sent
this postcard to Schoenberg who had remained in Rottach-Egern.
The “Bergsteiger” theme (which includes all twelve tones) is a play on the
theme for Schoenberg’s Chamber Symphony, Op. 9. The performance direc-
tion (“energisch um jeden Preis!”) means “energetic at all costs!”
339
L e t t e r s , 19 0 6 339
14 August 1906
From: Oskar Posa
Grossbeerenstrasse 56 E
Berlin SW
Dear friend!
After having busied myself with your Chamber Symphony for 2 hours,
I have come to the following conclusion.
If you give me time to study the score thoroughly together with the
piano reduction, then I can play the piece for Mr. Marschalk from the
score.
If the principal features of the piece are to be made comprehensible,
I think that a four-handed performance from the piano reduction is com-
pletely out of the question. As far as I have seen, it is easier for me to play
from the score; I just have to study it very carefully, for which purpose
I would need at least 14 days of my currently very limited free time.
That which I have seen thus far, and that is only a few pages, I under-
stand completely, and can bring it out properly on the piano with 2 hands.
Now I must, as I said, learn the entire score from the piano reduction,
which I am gladly doing, because I find the piece terribly interesting. In my
opinion, the first pages, which I now know, sound first rate and are excep-
tionally interesting musically. Everything is “justified” and I also like it very
much; it has great drive and sounds wonderfully deceptive. The triplets
that immediately start with the deceptive under-ninths I find splendid!
And the diatonic whole-tone treatment is entirely according to my

taste. Nothing but augmented triads and seventh chords and even pure E
major. What will Mr. Löwe make of it??
340
I propose to you that you first give the score to Löwe and to send it to
me after he has made use of it, so that I can present it to Mr. Marschalk.
It is just completely impossible to do this from today until tomorrow.
Marschalk has already written to me, and I ask that if you agree with
my proposal, to let me and him know.
I would be very eager to make a piano reduction myself.
Above all, you have made the mistake of moving the accompaniment
figures upward and leaving the octave doublings as they appear in the
score. As a result, much is unclear and unplayable and everything is gray.
But no offense. Be happy that in your conception you are totally indepen-
dent of the piano. That is one of your strong sides.
I have tried to play it four-handed with Bodanzky, but nothing came
of it. One makes so many reading mistakes when one does not know the
score. Recently, I have found a few mistakes in the first pages (right on
the second line in the bass clarinet, for example) that I have corrected.—
I consider the Lortzing theater matter to be very uncertain.
Mr. Garrison loses his head 10 times a day and is visibly very worried.
We hire personnel for it without any consideration of style. Bodanzky in
the orchestra and I in the choir. If it is to succeed, then above all there
must be good productions, even if we lose money at the beginning.
I believe that I will conduct a lot, assuming that enough productions
take place. At present Mr. G. still has delusions that every day a new opera
will be given. Premiere performances like [Hans] Heiling, [Die] Lustigen
Weiber [von Windsor], [Der] Prophet, Carmen four days in a row are like
nothing for him. According to him, each opera gets two rehearsals with
orchestra. He will be surprised!
To begin, he wants on Saturday night Zar [und Zimmermann], Sunday
afternoon, Troubadour, S[unday] evening Freischütz, Monday, Fra Diavolo.
I possess a graphic representation of the contents of his directorial
mind that he himself wrote and which I will show to you and Zemlinsky
for your enjoyment.
I was just at the Baltic Sea for three days and indeed on Rügen Island
in Binz and Stubbenkammer, Sassnitz. Do you know that or were you in
Ahlbeck?
341
L e t t e r s , 19 0 6 341
What is Mr. [Rainer] Simons doing? Do you have dealings with him?
Give my regards to Zemlinsky and your wife and also many and
warm regards to you
From your
Posa
Write to me soon!
Notes
There is an envelope that is mistakenly associated with this letter. That enve-
lope properly belongs with the letter from Posa dated 6 April 1904 (see above).
The example cited is from m. 8 of the Chamber Symphony.
Much of the content of the second half of the letter refers to events at the
Lortzing-Theater in Berlin where Posa was the assistant conductor.
Max Garrison, opera singer and the director of the Lortzing-Theater.
23 August 1906
Rottach Egern Nr. 46
To: Arnold Rosé
Esteemed Concertmaster,
Since I will be traveling to Vienna already on the 26th and suspect that
you will already be there or will arrive soon after, we can perfectly well
put off a discussion of the matter of my quartet till then and talk about it
in person. I will take the liberty of calling on you soon after my arrival.
Perhaps you could be so kind as to tell me (possibly) when you will be in
342
Vienna and (possibly) when from the 29th I can speak with you (possibly
in a coffeehouse, if it would be more convenient for you).
With sincere regards

Your
Arnold Schönberg
From: Alma Mahler, Gustav Mahler, Alex[ander Zemlinsky]

Klagenfurt
Liechtensteinstr[asse] 70
Wien IX
Alex. [printed in capital letters, upper left hand corner]

Gustav Mahler
(for 2 hands) [handwritten, left margin, under Alex.]
Many warm greetings.
Alma Maria Mahler [printed vertically in capital letters, right hand
margin]
Notes
On recto side of card is a printed photographic image of a lakeside house with

the inscription: “Villa Mahler am Wörtersee [sic].”
343
L e t t e r s , 19 0 6 343
31 August 1906
Wien IX
To: Richard Strauss
Honored Maestro,
I saw in a notice in a Viennese newspaper that you agreed to take on
the position of conductor of the Vienna Philharmonic for several con-
certs. Since, up to now, no work of mine has yet been performed on
the Philharmonic concerts, and since I do not believe that Mottl could
decide to perform one of my pieces, permit me again to appeal to your oft
demonstrated benevolence and to ask you to tell me if I might send you
something for consideration.
Among the suitable works I would have my tone poem, Pelleas und
Melisande, then six orchestral songs, and finally, a chamber symphony for
15 solo instruments (a short work, lasting at most 20 minutes). The last
named work, however, I sent to Löwe (Wiener Konzertverein) approxi-
mately three weeks ago. Since, however, I am convinced that he … that
it will not appeal to him, I will, in any event, have it back in about two
weeks. Regarding the other two pieces, I consider the orchestral songs to
be much more mature, more peaceful, and much more elegant, so that
their performance would be particularly desirable for me; all the more so,
in that till today, almost nothing of mine has yet been sung in Vienna. On
the other hand, a rehabilitation of my Pelleas would be very nice, because,
due to the lack of rehearsal time, the performance of this work under my
direction (Vereinigung schaffender Tonkünstler) turned out very badly,
and was torn to pieces. I don’t know if I could ask of you to present your-
self to the Viennese public with a work of this sort; I mention it more for
the sake of completion.
Might I now ask of you to tell me in a few words whether I might send
something to you?
344
Otherwise, I don’t promote my works very much; evidence for that

is seen in the exceptionally small number of performances that I have
received to date. So if I do it this time and impose upon you, the reason
is that the others are not sufficient musicians so as to be able to, or even
to want to, look at a work; of which the latter, wanting to do it, I also
consider to be the “characteristic of a good musician.” Evidence for that is
the Allgemeiner Deutscher Musikverein which turned me down last year
together with the many others, the undoubtedly equally talentless ones,
without providing any reasons. [This was] only because I did not want to
trouble you again to ask for a recommendation and because I believed
that a musician can judge a composition solely through the notes.
In hopes of receiving a prompt and favorable reply, I thank you most
sincerely in advance and give my best regards.
Your most sincere,

Arnold Schönberg
Notes
Felix Josef von Mottl (1856–1911), Austrian conductor and composer. From
1904 to 1911 he was the director of the Bayerisches Staatsorchester.
Strauss did not conduct any of the pieces Schoenberg offered. The Six Orche
stral Songs remained unperformed until 1914, when Zemlinsky conducted a
performance of three of the songs (2, 5, and 6) with Hans Winkelmann, tenor,
in Prague.
345
L e t t e r s , 19 0 6 345
10 September 1906
From: Max Marschalk
Verlag Dreililien
Georg Wilhem-Str[asse] 22
Halensee Berlin

I was at the seashore for more than 14 days, which is why it has happened
once again that you have had to wait somewhat longer than you like.
As you see from the enclosed letters, the Holländische String Quartet
intends to perform your sextet on 24 October. Perhaps write a brief let-
ter to them in which you express your happiness over their advocacy of
your work. Please send the requested biographical notes to me; I will then
forward them promptly.
You will receive the requested string quartet back by registered
return mail.
With regard to the publication of your newer works which you have
presented to us, I would like to submit final proposals to you in the near
future; I would only ask that in the meantime you tell me in which order
you would like them to be printed. I think that perhaps we would engrave
the piano-accompanied lieder first and then have the quartet follow. As
far as the quartet is concerned, I would like to suggest that because of
possible revisions, we wait until the performance by the Rosé Quartet. We
would have to wait anyway because apparently you have only one score.
In any event, you do not need to be overly concerned about the advance.
We have decided in principle to go with you, so to speak, through thick
and thin; we will likely have to be patient, and you too will have to dem-
onstrate here and there that you too can be patient.
I had a long conversation with Fried about your symphonic poem
Pelleas und Melisande. He is quite committed to performing it; he just
does not yet know whether he will be able to perform it due to financial
considerations. He asserts that ca. 5,000 Marks would be needed. I have
346
already told him that the performing materials would be provided with-
out cost and besides have promised to him to arrange a financial subven-
tion by the firm. We will see how the matter develops.

Your
Max Marschalk
Notes
In 1906, 5,000 Marks was approximately equal to $1,191. In 2013 dollars, this
11 September 1906
Grand Hotel
Milan
Wien IX (Vienna)

At present, I am conducting only two Philharmonic concerts in Vienna,
and this year, where I am quasi introducing myself, I am not at all in a
position to play new works. It has long been my intention to have some-
thing of yours performed at the Tonkünstler Congress. However, even
there things don’t always go the way one would like. If it would be pos-
sible to delay the premiere performances of the orchestral songs and the
chamber symphony until next summer, then in that case please send the
scores to Dr. Obrist in Weimar. I will then ask him for your works, to
347
L e t t e r s , 19 0 6 347
take a look at them when I get the opportunity, and in any event will
personally take interest in your case.
With best wishes I am

Most sincerely,
D[irector]. Richard Strauss
Notes
Aloys Obrist (1867–1910), conductor of Swiss-Scottish descent, born in San

Remo. He held many important conducting positions, including the Royal
Conductor for the King of Württemberg. (His brother, Hermann Obrist, was
a sculptor and a leading figure in the Jugendstil movement.) Unfortunately,
Aloys Obrist is best known for scandal: in 1910 he murdered the opera singer
Anna Sutter and then committed suicide.
13 September 1906
From: Ferdinand Löwe
Villa Agnes
Oetz (Tirol)
Liechtensteinstr[asse] 68-70
Wien IX
Dear Sir!
I regret to have to inform you, that after the most careful examination
of the score, your work still remains incomprehensible to me. This is in
no way a judgment, but rather, merely an admission. Yesterday I sent
your score and piano reduction back to you. Should you not succeed in
having your work performed at another artistic institution, then perhaps
348
you would be so kind as to entrust the score to me again. Perhaps it will

be possible to bring about a performance on one of our concerts of new
works. With most courteous greetings,
Your most sincere

Ferdinand Löwe
Notes
Written on stationery of the Wiener Konzert-Verein, Canovagasse Nr. 4,

[Wien] I.
In his 1930 essay “My Public,” Schoenberg remarked “I still had to feel sur-
prised the first time a Viennese conductor made it known to me that he could
not perform my Kammersymphonie because he did not understand it.” See
Arnold Schoenberg, Style and Idea. Selected Writings, ed. Leonard Stein,
trans. Leo Black (London: Faber and Faber, 1975), 96–7.
15 September 1906
Wien IX
To: Alban Berg
Dear Mr. Berg,

I am happy that you have had a good rest. Now straight to work, and
quickly!
I agree with your suggestion regarding the fees. For I ask from those
students whom I find interesting in any way, that they only pay me that
which they can, which possibly means no payment at all.
349
L e t t e r s , 19 0 6 349
So, let yourself be seen soon.
Best wishes,
Schönberg
Notes
Alban Berg (1885–1935), Austrian composer. Berg began studies with Schoen
berg in 1904. This included work in harmony, counterpoint, and form. Berg’s
first major composition, the Sonata for Piano, Op. 1, was written in 1907–8
under Schoenberg’s guidance.
[ca. 15–19 September 1906]?

To: Richard Strauss
Esteemed Maestro,
Warmest thanks for your kind postcard, which made me very happy.
Special thanks for your friendly interest.
In the meantime I have already received the expected answer from
Löwe; he is returning my Chamber Symphony because “in spite of the
most assiduous study of the score” he does not understand it. Therefore,
I probably need to do very little in order to have this piece free for a
premiere performance. Rosé does not want to perform my new quartet
and last year Schalk rejected my Orchestral Songs. Besides, I have other
lieder. Therefore I certainly will have enough material for “premiere
performances.”
I will surely take the liberty at the appropriate time of informing you
of my sending the score to D[irecto]r Obrist.
350
I thank you very much again and am sincerely and with complete
respect
Arnold Schönberg
Notes
The first digit (1) is legible, but the final digit of the date is not clear. Thus the
date of the month could be anything from 11 to 19. However, the present letter
is a reply to Strauss’s postcard dated 11 September 1906 (see above). Moreover,
Löwe’s letter, with its rejection, is dated 13 September 1906 (see above). If we
assume a typical time of two days for Löwe’s letter to reach Schoenberg, then
the present letter was probably written between 15 and 19 September 1906.
Schoenberg did not quote Löwe exactly. Löwe says “nach aufmerksamster
Lectüre der Partitur” but here Schoenberg quotes him as saying “trotz eifrig-
stem Studieren der Partitur.”
Rosé changed his mind about performing Schoenberg’s String Quartet, Op. 7.
See the letter from Schoenberg to Rosé dated 24 October 1906.
Franz Schalk (1863–1931), Austrian conductor. He was a student of Bruckner

and a prominent advocate of Bruckner’s music (for many years, his versions of
Bruckner’s symphonies were widely played). At the time of this letter he was
assistant Kapellmeister of the Vienna Hofoper and head of the Gesellschaft
der Musikfreunde.
351
L e t t e r s , 19 0 6 351
20 September 1906
From: Max Marschalk
Verlag Dreililien
Halensee—Berlin

I am very happy that Strauss has promised to bring about a performance
of your Orchestral Songs in Dresden. One may think what one wishes
about the Tonkünstler festivals: but they are a good marketplace. Strauss
and Mahler know this full well, which is why they have a preference for
having their works performed first at the Tonkünstler festivals. They pre-
tend, however, that they are doing a favor for the Allgemeiner Deutscher
Musikverein.
The performance of your sextet by the Holländische String Quartet
is definite. Today I received a letter from their secretary in which he
requested a further copy of the score and informed me that Mr. Posa*
would be invited to one rehearsal.
I am sending the first 15 sheets of the autograph copy of the score to
your Pelleas und Melisande with the request to correct it as soon as pos-
sible and to return it properly packed. You know full well that corrections
should be made only with pencil with the utmost care for the autograph.
The continuation of the copying must wait until we are again in posses-
sion of the manuscript.
With best wishes,

Your
Max Marschalk
* who again, of course, will have no time.

352
Notes
Strauss did not promise, nor did he succeed in bringing about, a performance
of Schoenberg’s Six Orchestral Songs, Op. 8, at the Tonkünstler Festival.
See the letter from Strauss dated 11 September 1906 to see exactly what he
promised to do.
Posa attended a rehearsal. For his reaction, see his letter dated 1 October 1906.
The word “autograph” denotes a handwritten (as opposed to an engraved)

copy of the composer’s manuscript. Dreililien never printed an engraved
copy of the score of Pelleas. It was first engraved and published by Universal
Edition in 1911 (with a revised new printing in 1920).
28 September 1906
From: Max Marschalk
Verlag Dreililien
Halensee—Berlin

First of all, accept my warmest congratulations on the birth of your son
with perfect pitch; also, I ask you to extend my congratulations to your
wife. In the meantime, Verlag Dreililien has not yet had its eye on this
newest opus although it is convinced that it is your best.
I really do not know whether Fried will perform the symphony;
I believe that he himself does not know whether he is able to bring it about.
So Löwe doesn’t understand your Chamber Symphony; don’t you
want, finally, to start to express yourself musically in a more understand-
able manner? As a subvention for the preparation of the score and parts
353
L e t t e r s , 19 0 6 353
the sum of 50 Marks is being sent by today’s post, whereby score and
parts become our property. More than this will not be granted, because by
the [contract’s] terms, you have to prepare a clean, ready-to-be engraved
score yourself.
Do let me know what the instrumentation of your Chamber
Symphony is, so that perhaps I can arrange for a performance here.
With best wishes from household to household,

Your
Max Marschalk
Notes
When Marschalk says “symphony” he is referring to Pelleas.
In 1906, 50 Marks was approximately equal to $11.90. In 2013 dollars, this is


From: Oskar C. Posa
Grossbeerenstrasse 56E
Berlin SW
Wien IX
Dear Schönberg!
Yesterday I had the first rehearsal with the Holländische Quartet.
If the first violinist had sound [Ton] and was capable of leading your
sextet, it would come out very well. I conducted and also brought out the
354
sound [Klangliche]. They already had rehearsals before this, and knew
approximately what it was all about, only the tempi were all wrongly
chosen. Now they want as many more rehearsals as is possible under my
direction, and I hope it will go halfway. A performance like that of Rosé is
certainly out of the question. Only the first cellist is good; all the rest are
mediocre; the first violin is, however, downright bad. In any event, I will
give it my best efforts and hope for a success.
Your
Posa
Thursday I am conducting the first performance of the Barbier [von

Sevilla by Rossini].
1 October 1906
From: Wiener Singakademie
Wien IX
Dear Sir!
We have just now come into possession of your valued offer of 14 February
of this year, and have the honor to inform you that, after a fundamental
consideration of all existing circumstances, which, understandably took
a long time, we were compelled to fill the vacancy for the artistic director
of the Wiener Singakademie, which means that we, to our great regret,
were not able to consider your request.
355
L e t t e r s , 19 0 6 355
We hope that at a future time we will be permitted to enter into a

relationship with you and would be so happy and honored if you would
grant us that opportunity.
Respectfully,
The Board of Directors of the
Wiener Singakadamie [hand stamp]
[signed:], Krickl, secretary
[signed:] Ehrbar
Notes
Friedrich Ehrbar, Jr. (1873–1921), president of the Wiener Singakademie from

1900 to 1921. He also managed the Ehrbar piano factory founded by his father.
11 October [1906]
From: Oskar C. Posa
Grossbeerenstr[asse] 56E
Berlin SW
Dear Schönberg!
I received your postcard, but unfortunately I must return it to you, in
order to give you the opportunity to write something to me on it.
In the meantime, I have learned that you have become a father
once again. I congratulate you on your Georg and wish him as well as
his namesake (the Traumgörg) a long, successful life. You will have heard
from Bodanzky that I had a success with my Barbier [von Sevilla]. I can
say that I was satisfied. In relation to the requirements, the staging was
good; the orchestra sounded very refined. Now I have been given Undine
356
for the Lortzing festival. Bodanzky and I are happy that with Undine
we will be done with the whole Lortzing business. It is really humdrum
music. I would like to write the festival speech myself and close with the
words: he was a philistine [Sumper]. (I consider Zar [und Zimmermann]
to be an exception.)
What should I do for a festival overture? Give me some advice,
and also ask Zemlinsky. Do you consider Beethoven’s Zur Namensfeier
Overture to be suitable?? (I do not like a festival overture by Lortzing.)
The Holländische Quartet has not told me about a second rehearsal.
The cellist is gone for a week on a concert tour and is probably not yet
back. Or perhaps the gentlemen first wish to study it carefully themselves
before they play it for me again. That would be very desirable. Because
technically in the first rehearsal they really were not up to the task.
So please write to me, and not just addresses.
Your
Posa
Notes
Traumgörg refers to Zemlinsky’s opera Der Traumgörge (1903–6).
In 1906 Albert Lortzing (1820–69) was (and today still is) one of the most
widely performed opera composers in Germany. He wrote Undine in 1843–4
and Zar und Zimmermann in 1837.
357
L e t t e r s , 19 0 6 357
24 October 1906
Wien IX
To: Arnold Rosé
Dear Concertmaster,
A newspaper notice states that you have decided to perform my string
quartet this year. Since I have no direct information from you, I ask you
to inform me by return mail if I should give this report any credence and
if I should rely upon it that you really will perform my work this year.
For a thousand reasons it is important to me that I should have a binding
commitment. Not least for my publisher who might possibly decide to
have the work published before the performance so that they can offer
to the public an inexpensive, miniature score. Accordingly, I must also
know the date of the concert for which you intend my work.
In consideration of the urgency of this matter, I would like to kindly
request a prompt reply.
Looking forward to your reply I am with sincere greetings and with
the greatest respect
Arnold Schönberg
Notes
The Rosé Quartet premiered the String Quartet, Op 7 on 5 February 1907.

358
25 October 1906
From: Posa
Berlin
To: Schoenberg
Lichtensteinstrasse [sic] 68
Wien 9
[telegram]
very good performance. great success.

posa
Notes
Telegram sent after the performance of Verklärte Nacht by the Holländische

Quartet.
27 October [1906]
From: Oskar Posa
Grossbeerenstrasse 56E
Berlin
Dear friend,
In general, I can tell you only good things about the performance of your
sextet. To be sure, in sound [Ton] and technique, the first violin was not
at a high level, but the important thing is that the expressive content of
the work came out and exercised its effect. The sonic quality [Klangliche]
also came out very well. The public success was unanimous. There was
no opposition. As you know, I do not read the reviews, neither those that
359
L e t t e r s , 19 0 6 359
deal with me nor others. Therefore I cannot report about the effect on
the press.
It would be good if you were to insert exact metronome markings in
your works, for when I came to the rehearsal of your sextet I found the
work already in an advanced stage of learning, and without exception all
of the tempi (except that of the opening) were bad (too slow) and the cli-
maxes all had an unsuitable tempo. However, my suggestions were imme-
diately felt to be correct and when I conducted the work the effect on the
participants was so convincing that there was no possibility of opposition.
Otherwise, my influence affected primarily the distinction between the
voices and in having the most important voices vividly brought forward.
A few passages were even more comprehensible and better sounding than
with Rosé, which says a lot (particularly pages 37 and 38 of the score).
Page 38 in particular was completely clear. Of course, the work, which
was rehearsed with enthusiasm until the performance, did not have the
freedom of expression it did in Rosé’s second and third performances.
I am completely convinced that even the Holländer will become so free
that the performance will take on the character of an improvisation.
I have not spoken with Marschalk. I immediately took the oppor-
tunity to let those gentlemen who rage about new works know about
your Chamber Symphony. They want to wait for the performance at the
Bläserkammermusikvereinigung; I was told about the impending event
by van Leuwen [sic] who performed that evening. ~
For my second opera here for the Lortzing Festival I rehearsed
Undine. Unfortunately, at the last moment the Undine with whom I had
rehearsed canceled and I had to struggle through with a guest [singer].
Before that was the overture Die Weihe des Hauses that contrary to
expectations came off (relatively) well, with our weak and undermanned
orchestra. The orchestra played and rehearsed very willingly and precisely
under my direction. I am very friendly and seek primarily to exert influ-
ence on their ambition, which almost always is successful. In the Barbier
[von Sevilla] I brought out everything that is in it. There is very little in
it! I hate Lortzing. Undine is very badly orchestrated. I made fresh altera-
tions of some things. Unfortunately, in the last act Undine does not work
360
right scenically and decoratively. The stage is not suitable for it at all. The
changes of scene take a long time and are very awkward. It would be very
good if I could be the conductor for Simons for this. However, I don’t
believe that he will engage me because he can’t stand me.
I see more and more how excellent a director and producer Simons
is. I have learned so much from him without realizing it so that I now can
exert a significantly positive influence on the direction.
The same for Bodansky with his operas. I find Bodansky to be really
excellent. His greatest talent is, however, to put himself in the limelight.
I think you are right about that which you told me before my departure.
I will write you about that another time in more detail.
Many greetings to you and Zemlinsky,

Your
Posa
Notes
In the Dreililien score of Verklärte Nacht, pp. 37–8 include the six measures
before rehearsal letter Q and all of Q (four measures).
Ary van Leeuwen (1875–1953), Dutch-born flutist. He held positions at major

orchestras. In 1903 he took a post as flutist of the Vienna Hofopernorchester
and founded the Vienna Bläserkammermusikvereinigung.
Beethoven, Die Weihe des Hauses, Op. 124.

361
L e t t e r s , 19 0 6 361
30 October 1906
From: Max Marschalk
Verlag Dreililien
Halensee—Berlin
Wien

The performance of your sextet left much to be desired; the gentlemen did
very well with some passages; others, by contrast, were botched to such an
extent that it was unbearable. Nonetheless, the performance was better than
the one at the Architektenhaus. I liked the work better now, and although
on the whole it still seems to me to be somewhat chaotic, and although I do
not yet understand its architectural divisions, nevertheless in many places
I see strong demonstrations of talent! The reception was quite positive,
although that says nothing, since a very bad quartet by Juon was received
in an even more positive manner. I am enclosing a few reviews. Still more
undoubtedly will have appeared, although probably no good ones, with the
exception of the Nationalzeitung that I have yet to obtain.*
As for your quartet, we do wish to print it, but I would strongly like
to advise you to wait for a performance, so that a request for changes will
not come too late.
Fried has not yet been heard from again. I will now inquire again
because another orchestra that is planning big events, is also considering
your symphonic poem.
I am somewhat pressed for time today and must break off. I will
answer the remaining questions from your letter in the coming days.

Your
Max Marschalk
*B. T. was very bad; undoubtedly you could have anticipated that.

362
Notes
Under discussion is the performance of Verklärte Nacht by the Holländische

Quartet, 25 October 1906.
The concert at the Architektenhaus was the performance by Waldemar

Meyer’s quartet in Berlin on 30 October 1902.
Paul von Juon (1872–1940), composer of Swiss descent who was born in
Moscow. He spent most of his career in Berlin (1898–1934). In 1906 he was
appointed to the chair of composition at the Hochschule für Musik in Berlin.
He composed four string quartets. The work mentioned in this letter was
probably the String Quartet in A minor, Op. 29 (1904).
“B. T.” may be Berliner Tageblatt.
[November 1906]?
From: Max Marschalk
Halensee-Berlin
Wien

I have written to Fried, and your Orchestral Songs are on the way to him.
The piano-accompanied lieder [Op. 6] have been sent to the engraver.
We agree with Rosé and with you that it would be very beneficial to
have your quartet available by the performance in February. Moreover,
I have let Fried know about your Chamber Symphony. It would be good
if you could send me the score as soon as you can spare it. I believe a
piano edition for two or four hands is absolutely essential. As for the
other possibility of a performance of your symphonic poem, I remain
363
L e t t e r s , 19 0 6 363
very skeptical. One is used to saying: “Better something than nothing

at all” but I think in this case one should say “Better nothing at all than
something like this.” I would advise you to give approval to a perfor-
mance in this case only if the conducting was entrusted to an exceptional
kapellmeister. The orchestra, that is, the Neues Symphonieorchester, is
quite mediocre and the hereditary director an ass, as Beethoven would
say. As far as the immediate production of the score of your Chamber
Symphony is concerned, I must keep a decision about that on hold.
Regarding the arrangement of your loan conditions, I will consult with
Mr. Peters about that in the near future. For now, the matter is not very
urgent, and I have already given you the assurance that it will be dealt
with one way or another in a manner that will suit you.
So—I think I have thoroughly answered all your questions.
With best wishes from household to household.
Your
Max Marschalk
I am sending you enclosed the review in the Nationalzeitung and ask that
you send all the reviews back to me as soon as possible; I intend to put an
advertisement in Die Musik soon.
Notes
In JASI-PI this letter was given a possible date of 1907 which is too late.
A comparison with Marschalk’s letters to Schoenberg dated 30 October 1906
(see above) and 13 December 1906 (see below) shows that the present letter
should fit between them. In the letter of 30 October, Marschalk remarks that
the review from the Nationalzeitung had not yet been received. Marschalk’s
postscript makes it clear that the review was enclosed with the present letter.
In the letter of 13 December, Marschalk indicates that the engraved copies of
Op. 6 had just arrived. In the present letter they were just being sent to the
engraver. Therefore, the letter could date from 31 October to 13 December
1906. However, it is probably at the beginning of the range (early November)
364
because in the letter of 30 October 1906, Marschalk was already aware of, and
planning to obtain, the review in the Nationalzeitung.
Beethoven’s comment “Oh, die Ochsen, die Esel!” (“Oh, those oxen, those
asses!”), was made in reaction to an audience that did not want an encore of
the Grosse Fuge.
[17 November 1906, postmark]?

From: Gustav Mahler
Der Direktor des
K. K. Hof-Operntheaters
[Wien]
Wien IX
Dear friend!
It would be difficult today. I can promise you for the next performance,
if you request it in time!
I read the enclosed in the Frank[furter] Zeitung; perhaps Zemlinsky
would find it interesting.
Regards,
Mahler
Notes
Stephen Hefling notes that the date is not secure because the postmark is
unclear. If the date is correct, Hefling suggests that Schoenberg was request-
ing tickets for the performance of Hermann Götz’s opera Die widerspenstige
365
L e t t e r s , 19 0 6 365
Zähmung. See Stephen E. Hefling, “Gustav Mahler and Arnold Schönberg,”

in Mahler’s Unknown Letters, ed. Herta Blaukopf, trans. Richard Stokes
(London: Victor Gollancz, 1986), 173.
13 December 1906
From: Max Marschalk
Verlag Dreililien
Halensee-Berlin
Wien
Dear Mr. Schoenberg!

Just send the quartet to us, not directly to the printer. We will try to have
it ready by the middle of January. If you just won’t let us down with cor-
rections in the plates. Your new lieder have just arrived; [proof]read the
corrections immediately, then I will order the printing of two high qual-
ity copies for you. In accordance with your wishes, we will have the eight
lieder appear in one booklet. However, it is not feasible to have them
printed in Vienna. I met with Fried recently, and it seems to me that a
performance of your symphonic poem would be a certainty. For Fried it
is apparently merely a matter of him raising the money that is needed.
But he will certainly succeed at that. The performance would not take
place before the middle of March.
With best wishes
Your
Max Marschalk
366
Notes
Schoenberg was trying to have published copies of the scores available for the
upcoming premiere performances of some of his lieder (26 January 1907), the
String Quartet, Op. 7 (5 February 1907), and the Chamber Symphony, Op. 9
(8 February 1907). That is why Marschalk gave as a goal “by the middle of
January” for the publication of the quartet. Nonetheless, Opp. 7 and 9 were
not published by the time of the concerts.
The lieder under discussion are the Eight Songs, Op. 6.
Although Marschalk regarded the performance of Pelleas as a virtual cer-

tainty, we found no record of Fried having performed the symphonic poem
in 1907.
VIII
Letters, through May 1907
9 January 1907
From: Max Marschalk
Verlag Dreililien
Halensee-Berlin
Wien

I make haste—you do know that I always make haste!—to answer your
questions.
1. I have received your quartet. It is already at the engraver, and if you
will be somewhat less lackadaisical with the proofreading than is normal
for authors, then it could appear within the month.
2. I had to ask Fried first to return your Orchestral Songs. In the
meantime they have been delivered to the Allgemeiner Deutscher
Musikverein. Do not neglect now to write an urgent letter to Strauss, for,
as far as I know, the meeting in which the program for the next music
festival will be decided will take place on 17 January.
367
368
3. As for the issue of your advance, it is arranged in such a way that

you now will not be debited for it. We will, I hope, have the opportunity
to talk about this matter in detail in Vienna, for I intend to attend the
performances of your quartet and chamber symphony, if it is possible.
4. Once again I have had to demand revisions of your songs [Op. 6].
I hope that they will be ready on time by the 20th. We will inform the
Viennese booksellers by letter and will ask them to place orders on con-
signment. It is not in our power to do more than this. You should bring
your influence and that of your friends to bear so that the booksellers will
display your works.
5. I have heard nothing more from Fried. I assume that he will per-
form the symphonic poem. In the meantime, you can send us the parts,
so that they would be readily available as soon as Fried requests them.
However, Fried would very much like to have a piano reduction, and I too
believe that we will not get very far without a piano reduction. If you do
not have one, and also do not know of someone who can do a good job of
preparing one, then I would like to give the score to Otto Taubmann who
is supposed to be a very good arranger. Would you agree?
6. The printing of the [chamber] symphony could have been finished
long ago if you would have had a second copy available. Thus we must
wait until the score will be available again.
7. You can take care of the corrections in Op. 6, No. 3, yourself, since
you will receive proofs of the revision again.
8. Regarding a contribution to the copying costs of your quartet, we
can discuss this in person.
9. Whether I will come to Vienna depends solely on whether I will
have to travel about that time to Stuttgart, where an opera of mine is
probably going to be performed in February.
I also hope, both for your sake and for that of the firm, that this time
you will have an unqualified success. As soon as it happens, the time
will come for us to help somewhat through appropriate publicity and
369
L e t t e r s , t h r o u g h M a y 19 07 369
advertisement. Thus: I wish you in general and in particular everything

good and pleasant for the year 1907.
With best wishes from household to household,

Your
Max Marschalk
[marginal handwritten addendum]: Who is Dr. K. Weigl? What do you

think of him? The 3 lieder that Messchaert sang yesterday pleased nei-
ther the public nor me.
Notes
Otto Taubmann (1859– 1929), Berlin-based pianist, musician, and critic.

Taubmann wrote many piano transcriptions and reductions of works by Jean
Sibelius, Richard Strauss, and others, some of which are still available today.
[January or October 1907]?
To: Wilhelm von Wymetal
Dear Mr. von Wymetal,

Mr. Gerstl, the painter about whom I spoke with you recently, has asked
me to invite you to see his paintings with me next Sunday (the 20th).
Let us meet at approximately 10:30 a.m. in the vestibule of the Academy,
Schillerplatz 3, District I, where he has his studio. I ask that you tell me if
you have the time and interest, and if you will be punctual!?
Warm greetings,
Your
Arnold Schönberg
370
Notes
The letter is not dated and no envelope survives. In 1907 there are only two
months where the 20th is a Sunday: January and October.
Richard Gerstl (1883–1908), Austrian painter. Obscure during his lifetime,

his canvases have since gained attention for their innovative character and
intense expressivity. Arnold and Mathilde Schoenberg got to know Gerstl
in 1906, and both studied painting with him. In the process, Gerstl became
a member of Schoenberg’s circle, even spending the 1907 summer vacation
with them on the Traunsee. In 1908, Gerstl and Mathilde got involved in
a love affair, which was discovered by Schoenberg. Mathilde and Gerstl ran
off together to Vienna, but after a time, she was convinced by Webern to
return to her family. Having been abandoned by Mathilde and banned from
Schoenberg’s circle, Gerstl committed suicide on 4 November 1908, the night
of the premiere of Webern’s Passacaglia, Op. 1.
24 January 1907
From: Max Marschalk
Verlag Dreililien
Halensee-Berlin
Wien

Your agitated letter does not particularly impress me. We are doing what
we can, but Röder has other things to engrave beside your songs. I have
written to him again in Leipzig and asked him for the greatest possible
speed. Besides, I am very skeptical about your songs and I do not believe, if
I have understood them properly, that they will ever be disseminated. The
song is obviously not your domain. Of course I cannot come to Vienna
371
for the song recital; I would consider it fortunate if I were able to be there
on the 5th and the 8th. We will yet have the quartet ready in due time.

Your,
Max Marschalk
Notes
The song recital took place on 26 January 1907.
Carl Gottlieb Röder (1812–83), German music publisher. He founded a music-

engraving firm in 1846.
24 January 1907
Wien IX
To: Alban Berg
Hauptstraβe 6
[Wien] XIII
Dear Berg,
Please come tomorrow (Friday) either in the morning: 10:30 a.m. or if
that is no longer possible in the afternoon: 12:30 p.m. No notice necessary.
Best wishes,
Schönberg
Notes
372
[late January, early February 1907]?

Dear Doctor!
I regret that you were not there; I would have liked for you to have been
there because I am certain you would have gotten a different impres-
sion. Perhaps you can also come to Rosé (5 February) when my String
Quartet will be performed!! Perhaps I can give you a printed version of
the score—the Chamber Symphony is on the 8th.
Best wishes,
Schönberg
Notes
Schoenberg is referring to his disappointment that Schenker did not attend

the song recital on 26 January 1907. This letter must have been written after
that performance, and possibly after at least some of the reviews appeared: the
“different impression” may be a reference to Schoenberg’s hope that Schenker
would have a different reaction to his music from that of most reviewers. The
first reviews to be published were by Albert Kauders (Fremden-Blatt) and
Ludwig Karpath (Neues Wiener Tagblatt), both of which were highly negative
and both of which appeared on 31 January 1907. See Eybl, 85–6. A date of 3
or 4 February 1907 is likely as the terminus ante quem, given that Schoenberg
was trying to encourage Schenker to attend the premiere of his string quartet,
which was scheduled for 5 February 1907.
See SCHS, 42.
373
29 January 1907
From: Max Marschalk
Verlag Dreililien
Halensee-Berlin
Wien
Dear Mr. Schönberg.

Congratulations on the success that you had with your song recital.
I hope that afterwards the press was not excessively outraged. Yesterday
I had a moment of weakness in which I developed a somewhat better
appreciation of your songs. And I really liked them, particularly after
I had just looked through the most recent songs of [Richard] Strauss.
So—it will yet come; one cannot expect from us older people that we
would go along as ardently as the younger generation. As soon as I know
my Vienna travel plans more definitely, I will let you know. I would very
much like to hear the quartet and the chamber symphony, and, if at all
possible, I would also like to attend the last rehearsals.
You will now receive the last sheets of the revisions. As soon as you
have proofread them, I ask that you send them directly to C. G. Röder in
Leipzig. Unfortunately, Röder has made corrections and revisions with
considerable carelessness; for quite some time now one cannot really rely
anymore on what once had been a very reliable firm. We can only hope
that we will be ready in time for the concert.
With best wishes, also to your wife,

Your,
Max Marschalk
Send all the reviews that you can get; I think that the time has come
where we must do something to help.
374
Notes
The available evidence is that the audience (which included many of

Schoenberg’s supporters) received the lieder very favorably; at the same time,
the critics were almost (but not quite) unanimous in their denunciations. For
the reviews see Eybl, 85–90.
31 January 1907
From: Max Marschalk
Verlag Dreililien
Halensee-Berlin
Wien

I have never had the ambition to be lucky with my critical prophecies;
even less do I have it in this case!—Yesterday letters went out to the
Viennese booksellers with information about your works in general
and about your quartet in particular and with a request regarding dis-
play and use. Who sells the miniature scores in the evening at the box
office? Does Gutmann do that, or must we turn to another address?
The earliest that the scores can arrive in Vienna is Tuesday morning.
We are having them sent directly from Leipzig. I would advise you
now to let me immediately know the addresses of the critics and the
newspapers to which the scores should be sent. I consider it important
that there be no selection. We have set the price for the quartet at 2
Marks; that is at the limit of what is possible. Furthermore, the price
for your songs has not been set too high. If Lauterbach and Kuhn sell
the Reger so cheaply that is their business. The firm Bote & Bock has
set the price for the new Richard Strauss songs 30 Pfennigs higher per
375
song than the average price that our firm charges for songs. We will
discuss this issue in Vienna; in the meantime, I would like to remark
that the lowest price is in no way a guarantee for sales. The subvention
of 100 Kronen that we have guaranteed for the Ansorge-Verein, has
long since been sent.
With best wishes,

Your
Max Marschalk
Notes
Emil Gutmann (1877–1934), concert impresario.
This letter was written on 31 January 1907, which was a Thursday. When
Marschalk says that the “earliest that the scores can arrive in Vienna is
Tuesday morning” he was projecting an arrival date of 5 February 1907. That
was the date for the premiere of the String Quartet, Op. 7.
In 1907, 2 Marks was approximately equal to $0.47. In 2013 dollars, this is

roughly equivalent to $12.25.
In 1907, 1,000 Kronen was approximately equal to $200. In 2013 dollars, this

To: Arnold Rosé
Please do not be angry that I have taken the liberty of sending you
on the enclosed note a few small suggestions that I ask you to take in
376
consideration. I am turning to you because I feel that you can take care of
this expeditiously and because I know that you are interested in my work.
I hope that it will turn out as well as is possible given the number of
rehearsals. Indeed, much better—in particular regarding specific details,
that I will not list, because I worry that I have already overwhelmed you
with my admiration.
Your most grateful and most sincere

Arnold Schönberg
Notes
The letter is not dated. It is likely that this was written shortly before the pre-
miere of the String Quartet, Op. 7, and thus we have placed it here.

To: Arnold Rosé
I forgot to ask this morning whether I can have tickets. If it is possible,
I would like circa 12 reserved seats and 3 or more general admissions.
Regarding the seats, if possible, 4–6 in front, the rest can be in various
locations, but always two together.
With regards to your idea: to invite only Korngold to the dress
rehearsal: I must express doubts. You surely know my viewpoint regard-
ing the critics. I have nothing against a mischievous provocation; but
this would be a mischievous provocation of the other critics by giving
377
preference to one, and I do not find that sensible. If you decide to invite all
of them, or the most necessary ones—you surely have ventilation in your
room—then yes; otherwise I believe I would prefer none at all.
I must tell you again that was an amazing effect this morning that
made up for every bit of the mild anger and irritation that I felt—perhaps
a consequence of the birth pains, which would even emerge with a re-
birth. It was really wonderful, first rate. And it is really fabulous, how you
understand an author, so fabulous, that to a certain degree I find it painful
that you don’t like it too.
But I hope that will happen.
Your
Most sincere
Arnold Schönberg
Notes
The letter is not dated and no envelope survives. The content of the letter is
undoubtedly related to the premiere of Schoenberg’s String Quartet, Op. 7, by
the Rosé Quartet on 5 February 1907.
Julius Korngold (1860–1945), critic and librettist. For many years Korngold
was the chief music critic for Die Neue Freie Presse (he was Hanslick’s
successor). After the Anschluss he fled to the United States and settled in
Los Angeles where his son Erich Wolfgang Korngold had become a composer
for Hollywood films.
378
1 February 1907
From: Max Marschalk
Verlag Dreililien
Berlin—Halensee
Wien IX
Dear Mr. Sch[önberg]

I was just informed that the timely completion of the quartet cannot be
guaranteed because, as of the evening of the 31st, you had not sent the
last sheets of corrections. Why do you make such problems at the last
minute?
A pity.
Best wishes,
Your
Max Marschalk
3 February 1907
From: [Alfred] Roller
K. K. Hofoperntheater
Many thanks for the kind invitation. Unfortunately, at that time I am no
longer free.
Sincerely,
Roller
379
Notes
Written on K. K. Hofoperntheater stationery.
Alfred Roller (1864–1935), Austrian set, costume, and graphic designer. In

1897 he was a cofounder of the Vienna Secession and in 1902 became its pres-
ident. In 1903 he was appointed to the Wiener Hofoper by Mahler. The invita-
tion in question was probably to one of the concerts presenting premieres of
Schoenberg’s works.
10 February 1907
To: Arnold Rosé
After having recovered to a certain extent from the excitement of the
past week and having achieved some degree of peace again in order to
withstand the storm of criticism from the dogs of the press, it is neces-
sary for me once again to express my heartfelt thanks for your splendid
commitment to my work. I really do not know which of the things that
are worthy of praise I should stress first: your colossal achievement as
violinist—your unselfish and careful way of rehearsing; the energy and
understanding— that lightning-like, quick understanding— by which
you brought about that which my work intended; not to mention the
many, many technical accomplishments that are an aesthetic joy for the
connoisseur. In particular, however—and for this I must be especially
thankful—the overwhelmingly convincing way in which you yourself
defended my work on the battlefield through the complete earnestness
of your artistic personality. Anyone who saw you sitting there knew that
you were not indifferent to that which you performed; knew that you
deemed it an artistic matter, a matter of conviction. I believe that my
380
most determined opponents would have to say: someone like you would

only champion a work in which he believed; therefore, there must be
something to it.
It is a pity that the Chamber Symphony, insofar as external success
is concerned, did not repay your considerable efforts. My obligation to
thank you would be no less had there been a majority of approval, but you
would have at least gotten some happiness for the many vexations. With
some optimism, however, I hope that with time things will be different.
Might I ask you to extend my most heartfelt thanks to your col-
leagues? They did everything that was humanly possible and one would
have to go very far in order to find someone who was capable of doing
their equal.
I pay my compliments to you and the other gentlemen again with
many, many warm thanks and am in complete respect
Your most sincere

Arnold Schönberg
Notes
Schoenberg’s String Quartet, Op. 7, was premiered by the Rosé Quartet

on 5 February 1907 at the Bösendorfersaal in Vienna. The Chamber
Symphony, Op. 9, was premiered by the Rosé Quartet and musicians from
the Bläserkammermusikvereinigung of the Hofopernorchester on 8 February
1907 at the Groβer Musikvereins-Saal in Vienna.
From this letter it is possible to infer that the public reaction to the Chamber
Symphony was less positive than it was for the String Quartet, Op. 7. This
distinction is not readily apparent in the reviews, which are almost uniformly
negative for both works. See Eybl, 91–175.
381
Figure 8.1
Arnold Schönberg in his apartment at Liechtensteinstrasse 68/70. Allgemeine
Musikzeitung, 28 June 1907. Courtesy of the Arnold Schönberg Center.
16 February 1907
From: Max Marschalk
Verlag Dreililien
Georg Wilhelm-Str[asse]. 22
Halensee-Berlin
Wien

I hope that by this time you have recovered from the hubbub. What is
the situation with the parts now? I believe that we will have to have them
382
engraved, as there are already a few orders. Could you please send me
the parts from which the Rosé Quartet performed, carefully revised for
publication?
With best wishes to you and your wife,

Your,
Max Marschalk
18 February [19]07
Monday
To: Arnold Rosé
My publisher has asked me to send him the parts to my quartet, as he
wants to have them engraved quickly. Therefore, I ask that you leave
them ready for me tomorrow (Tuesday), in the event that you will not be
at home. I will come by around 6 p.m. to fetch them.
In exchange, I hope to give you the printed parts quite soon.
I give you my best regards and am respectfully

Your
Arnold Schönberg
383
13 March 1907
From: Max Marschalk
Verlag Dreililien
Georg Wilhelm Str. 22
Halensee-Berlin
Wien

Many thanks for sending me the Liebstöckl material. You are completely
right: it is scandalous. But I don’t want to do this person a favor by react-
ing in any way to it.
I spoke with Oskar Fried yesterday; there will be no performance of
Pelleas und Melisande this season. But for next season, Fried has great
plans. He intends to found a kind of musical society and then he could do
what he wants. Up to now, he has always been dependent on the patrons.
In the near future he would like to play through Pelleas und Melisande
in a rehearsal. Therefore, I would like to let him keep the Pelleas und
Melisande score for a while longer. I have told him about the four-hand
version of the Chamber Symphony; I ask that you send that to him now.
As far as the piano reduction version of Pelleas und Melisande,
the engraving of the parts for the quartet, the printing of the Chamber
Symphony and the Orchestral Songs (which, in any event are not in my
possession) are concerned, definitive answers cannot be given now, for
reasons that, for the moment, I cannot tell you.
You should soon receive the firm’s draft [contract] and with regards
to the matter of your loan, I shall consult with Peters in order to settle this
definitively.
Best wishes to you and your wife,

Your
Max Marschalk
384
Notes
Hans Liebstöckl (1872–1934), journalist, writer, and critic. Liebstöckl’s review

of the premiere of the Chamber Symphony, Op. 9, appeared in Illustrirtes
Wiener Extrablatt on 9 February 1907. On 22 February 1907, Marschalk wrote
a reply to Liebstöckl’s review that was published in the Vossische Zeitung
(Berlin). Unfortunately, in that reply Marschalk did not make full disclosure
of his connection to Dreililien. This gave Liebstöckl a golden opportunity. On
7 March 1907, in the Illustrirtes Wiener Extrablatt Liebstöckl wrote an article
entitled “Der Fall Schönberg” [The Schoenberg Case] in which, among many
other things, he pointed out that Marschalk had a conflict of interest. It is
that article that Schoenberg sent Marschalk and regarding which in the pres-
ent letter, Marschalk advised Schoenberg not to respond. Liebstöckl’s review,
Marschalk’s reply, and Liebstöckl’s article have been reprinted in Eybl, 110–
11, 138–43, and 151–3. Schoenberg’s feud with Liebstöckl continued past
this concert. In 1909, after Liebstöckl’s criticism of the String Quartet No.
2, Op. 10, Schoenberg wrote a response which, however, was not published
at the time. See “A Legal Question” in Arnold Schoenberg, Style and Idea,
ed. Leonard Stein, trans. Leo Black (Berkeley: University of California Press,
1975), 185–9.
385
19 March 1907
From: Friedrich Peters
Buntzel-Strasse 12
Falkenberg b. Grünau i. d. Mark
Wien IX
Most esteemed Mr. Schönberg!

I have received your honored letter of the 16th of this month, and con-
clude from it that the matter has already been settled through the taking
on of your compositions by Dreililien Verlag.
My brother-in-law Marschalk, with whom you have been in corre-
spondence, wrote to me in the same vein.
I regret that I sent you a reminder about repayment, but I must note
that I was not informed about the situation.
In the coming days I will meet with my brother-in-law and will speak
with him again about the matter and will arrange for the return of your
letter of acceptance.
I ask you to excuse these unpleasant events and send you my kind
regards,
Respectfully,
Friedrich Peters
386
1 April 1907
From: Hermann Kutzschbach
Hofkapellmeister
Mannheim
Honored Sir!
As your orchestral compositions have been brought to my attention from
several sources, I would be very happy to get to know your scores. I am
looking for new works for my next Academies. Could you have your
scores sent to me for examination, or if they have not yet been published,
send me the composer’s copy?
Your most sincere

Hermann Kutzschbach
Hofkapellmeister
Mannheim
Notes
Hermann Ludwig Kutzschbach (1875–1938), German conductor. From 1906

to 1909 he was Kapellmeister at Mannheim.
387
11 April 1907
From: Max Marschalk
Verlag Dreililien
Halensee—Berlin
Wien

Score of Pelleas und Melisande and score and piano reduction of the
Chamber Symphony are off to Kutzschbach in Mannheim. I enclose the
letter from Mr. K.
We are preparing a somewhat big business transformation, an expan-
sion of the firm, on account of which we are very busy and on account
of which a temporary slow-down of our engraving and printing appoint-
ments will be necessary. We are actually coming now to a completely dead
time and I do not understand your nervousness. It will suffice that we will
be on the scene promptly in early fall.
With best wishes,

Your
Max Marschalk
Notes
This letter was mistakenly assigned the date 2 April 1907 (JASI-PI, 37).
Confusingly, Marschalk typed the date as “II.4.07,” using two capital ‘I’s for
“11,” but the date for this letter cannot be the 2nd of April as can be seen
by comparing the contents of this letter with the letters from Kutzschbach
(1 April 1907) and Marschalk (25 April 1907).
388
20 April 1907
From: Dr. [Franz] Graf
Graz
From the Board of the I. Styrian Music festival in Graz 1907
Dear Sir!
The jury for the choral composition contest for the 1st Styrian Music
Festival has completed its deliberations and in its final meeting on the
17th of this month has come to its verdict; in accordance with which
your work did not receive a prize and is being returned to you at the
address that you provided.
The Mayor, as Chairman of the Festival Contest

Dr. Graf
Notes
Franz Graf (1837–1921), mayor of Graz from 1897–1912.
The composition Schoenberg submitted to the contest was probably Friede

auf Erden, Op. 13, which was completed in March 1907.
389
25 April 1907
From: Max Marschalk
Verlag Dreililien
Halensee—Berlin
Wien

Recently I forgot to enclose Kutzschbach’s letter. In any event, in the
meantime he has returned your material with the remark that you are
not easy to deal with, and therefore he has decided not to perform your
orchestral music for the time being. How do matters stand with Dresden?
Have you received news yet whether your quartet will be performed? The
parts are going for engraving now.
With best wishes also to your wife.

Max Marschalk
Notes
Undoubtedly Pelleas was sent for consideration. The Orchestral Songs, Op. 8,
may have been sent as well.
Marschalk refers to the festival of the Allegmeiner Deutscher Musikverein in

Dresden to which Schoenberg submitted his Six Orchestral Songs for voice
and orchestra, Op. 8 (Verlag Dreililien submitted the score on 8 January 1907),
and his First String Quartet, Op. 7, the latter work for a performance by the
ensemble in residence, the Petri Quartet. Only Schoenberg’s String Quartet
was chosen, and since the Petri group had deemed it “unperformable,” the
Rosé Quartet stepped in at the last minute, presenting the work at the fes-
tival’s second chamber music concert on 30 June 1907 (see James Deaville,
“Schoenberg’s String Quartet No. 1 in Dresden (1907): Programming the
390
Unprogrammable, Performing the Unperformable,” Schoenberg’s Chamber

Music, Schoenberg’s World, ed. James K. Wright and Alan M. Gillmor (Hills
dale, NY: Pendragon, 2009), 16–19.
8 May 1907
From: Max Marschalk
Verlag Dreililien
Halensee—Berlin
Wien

I have just given instructions to have the parts for your quartet sent to
Mr. Henry [sic] Petri, whose quartet will probably do the work in
Dresden. This gentleman does not seem to have much enthusiasm; in his
letter to the firm, he stressed the difficulties with the work with really too
much eagerness. I thought that Rosé would be brought in with his quar-
tet? Perhaps the matter might still founder, in that the Dresden quartet
fears the difficulties of learning the work. Can’t you get onto Mahler for
once? He instigated the whole matter.
Enough for today—
Sincerely yours,
Max Marschalk
Notes
Henri Petri (1856–1914), German violinist of Dutch descent, who stud-

ied with Joseph Joachim. He held important positions in Leipzig (leader of
391
the Leipzig Gewandhaus Orchester) and Dresden (professor of violin at the

Dresden Conservatory). He was the father of the pianist Egon Petri.
11 May 1907
Wien IX
To: Karl Kraus
Schwindgasse 3
Wien IV
Dear Mr. Kraus,

For some time I have had the desire to interest you in the case of Mahler.
I certainly hope to persuade you that he is an extraordinary person, the
likes of which have only rarely been seen. Hence also the totally out-
rageous treatment he has received from the press. I request a meeting
with you for this purpose. I am free in the mornings (Tuesday, Thursday,
Saturday) from 10:30 a.m. and every afternoon from 5:00 p.m. and will
come to wherever you want. Perhaps you would rather come to my
house; then we would have Zemlinsky—who has a better memory for
the factual than I do—available.
I hope to receive a favorable reply and give my regards with warm
greetings,
Sincerely
Arnold Schönberg
392
Notes
Schoenberg wrote the date on the letter and it is clearly 11 May 1906. But that
cannot be correct. It is clear from Kraus’s reply (see below) that this letter is
from 1907.
Possibly in response to Schoenberg’s request, Kraus wrote an article about

Mahler in the December 1907 issue (no. 237, 27–8) of Die Fackel. In the arti-
cle Kraus called for Mahler’s dismissal from the Hofoper. But he was being
sarcastic. He was not calling for Mahler’s departure but rather was mocking
anti-Semitic critics, who wrote reviews about performances that did not take
place or who did not notice that certain singers were replaced. (Mahler did
not notify them about such changes.)
12 May 1907
From: Karl Kraus
Die Fackel
Schwindgasse Nr. 3
[Wien] IV
Wien IX

Always, and especially now, I lack the time to write something to raise
interest in an issue by way of “information.” I would have to leave it to
you yourself to take the opportunity to write about the “Mahler Case” in
the Fackel.
With best wishes,

Your most sincere
Karl Kraus
393
Notes
Kraus wrote the date on his letter and it is unquestionably 1907. This is con-
firmed by the postmarks from the sending and receiving post offices, which
are both clearly 1907.
14 May 1907
From: Friedrich Rösch
Wilhelmstrasse 57/58
Berlin W. 66
Wien IX
I am happy to inform you that after both the Generalmusikdirektor von

Schuch and the Dresden local committee have announced their agree-
ment, your String Quartet, Op. 7, has now been accepted for the program
of the Dresden Tonkünstlerfest.
I have already been told by Dreililien Verlag that the printer C. G.
Röder, Leipzig was instructed to send the musical materials to Dresden.
The quartet of Professor Petri and colleagues (Dresden) will prob-
ably take on the performance of your work. In a conversation with
Generalmusikdirektor von Schuch, I have urgently impressed upon him
the difficulties of the work and told him that the Rosé Quartet had earlier
already rehearsed and also performed the work and also might possibly
be ready to play it in Dresden. Now, however, after the Petri Quartet has
stated their readiness to take on the work, for the time being one must
wait to see whether they will devote themselves to learning the work,
not only with eagerness, but with such perseverance that they will not
394
be scared off by the difficulties of the work. In the meantime, I have got-
ten the impression in Dresden that the very difficulties of the work have
aroused the pride of the Dresden gentlemen so that they would not be
inclined to let the work be performed by the Viennese quartet.
For the program booklet, I yet require from you the following
details: the exact title of the quartet, and possibly also the headings of the
individual movements. I request that you have these details provided to
me by return mail.
Respectfully and sincerely yours,

Fr. Rösch
Secretary
Notes
Friedrich Rösch (1862–1925), German conductor and music critic. In 1919 he

was appointed president of the Allgemeiner Deutscher Musikverein.
The letter is on stationery of the Allgemeiner Deutscher Musikverein.
The acceptance of Schoenberg’s First String Quartet for the Dresden festival
occurred very late, allowing for just six weeks of score study and rehearsals
of this difficult work. The program committee (consisting of music director
Aloys Obrist, chair; composers Engelbert Humperdinck, Hans Pfitzner, and
Max Schillings; and organist Philipp Wolfrum) was very conservative, and
without Mahler’s and Richard Strauss’s endorsement might have rejected
the work. Mahler wrote to Strauss on 6 February 1907: “I heard the new
Schoenberg Quartet yesterday and found it so profound and impressive that I
cannot but most emphatically recommend it for the Dresden festival.” Gustav
Mahler—Richard Strauss Correspondence, 1888–1911, ed. Herta Blaukopf
(Chicago: University of Chicago Press, 1984), 96.
395
21 May 1907
From: Max Marschalk
Verlag Dreililien
Halensee
Berlin
Wien

I have just received a letter from Professor Henri Petri from Dresden, in
which he informs me that he has decided against performing your quar-
tet at the music festival in Dresden. What now? I fear that because of this
a performance of the work has indeed been put in doubt. In any event,
write immediately to Mr. Rösch about this matter. If the Petri Quartet
now does not do everything in its power to obstruct and to hinder the
Rosé Quartet from coming to Dresden to perform your quartet, then one
should call me a bad psychologist.
You can participate in the Scherl competition to your heart’s content;
the firm has absolutely nothing against it. I personally give you a guaran-
tee that you will neither get a prize, nor that they will purchase a ballade
of yours for the published book of ballades. Should you, however, con-
trary to all expectations, be included, then that certainly would not have
the slightest influence on the sale of your other works.
And now, unfortunately, I must tell you that the firm is not in a posi-
tion to guarantee you the annual sum of 1000 Marks. Up to now we have
not achieved even the slightest success with your works, and for now we
cannot foresee any success at all. You are completely convinced that you
have succeeded, or more precisely that you are close to succeeding, that
your works already have market value for the publisher; we unfortunately,
however, are not. But we are not without hope for the future and we are
quite ready to wait for the natural development of things. You completely
undervalue that which we have done for you thus far, and instead of
396
coming to us every year with greater demands, you should be inclined to

economize and let us take a breath for once. We are now returning your
Chamber Symphony and the Six Orchestra Songs, which, at the moment,
we cannot yet make up our mind to publish, so you can offer them to
other publishers and thereby determine their market value. Naturally
we reserve our contractually guaranteed right of first refusal at the price
offered by the other side.
You see, therefore, dear Mr. Schönberg, that we do not intend to hurt
you at all in any way in that we are holding quite firmly to our contract.
Reger received 10,000 Marks for his Sinfonietta; perhaps you can succeed
in getting a similar price for your Chamber Symphony. We would be very
happy about that!
Since you have stated that under no conditions would you waive your
demand for 1000 Marks, I assume that you intend to break your contract
with our firm. Or did I misunderstand you? Think the whole matter over
in peace and quiet. Perhaps you will come to the understanding that you
have just as much reason to be patient as we do.
With best wishes
Your
Max Marschalk
[encl.:] Chamber Symphony, score and piano arrangement; Six

Orchestral Songs
Unofficially, I hope that we will find a modus vivendi!
Notes
The letter is typed; the postscript is handwritten.
Schoenberg did submit his Ballades, Op. 12 (written March–April, 1907), to

the contest sponsored by the Berlin publisher August Scherl. But as Marschalk
predicted, his works were not successful. The winners were Hans Hermann,
Heinrich Eckl, and Gustav Lazarus.
397
In 1907, 1,000 Marks was approximately equal to $238. In 2013 dollars, this is
Max Reger’s Sinfonietta, Op. 90, was written in 1904–5 and published by
Lauterbach & Kuhn in 1905.
[late May or early June 1907]?

To: Arnold Rosé
To my great joy, I received the news that you have been invited to play
my string quartet at the Dresden Tonkünstlerfest. I had almost gotten
to the point of withdrawing the work. So, this is wonderful; now at least
it will have the best chance to have a good effect. I would indeed like to
take the liberty of visiting you in the coming days to speak in more detail
with you. I have already arranged for the parts to be sent to your address
because you probably will want to have another rehearsal.
Hopefully you will be at home on Sunday morning, so that if I can
get away, I will meet with you. If not, I will come on Monday afternoon
around four p.m.
I extend my warmest and most sincere greetings
Your
Arnold Schönberg
Notes
The letter is undated. On 21 May 1907 Schoenberg had heard from Marschalk
that the Petri Quartet was not going to perform his String Quartet, Op. 7,
398
at the Dresden Tonkünstlerfest. From another letter from Marschalk dated

4 June 1907 we learn that Petri had not yet sent the parts to the Röder firm to
be engraved. Nevertheless, Marschalk felt that the Rosé Quartet could get the
parts by 15 June 1907, which would give them enough time for a rehearsal.
Therefore, the present letter may fall somewhere between those two letters.
31 May 1907
From: Max Marschalk
Verlag Dreililien
Halensee—Berlin
Wien

The parts for your quartet are in Leipzig. I have written to Röder and
asked him to expedite the engraving if possible and once they are done
to send them to you immediately for correction. Be so kind then as to
proofread them as quickly as possible; we would very much like to have
the parts ready in time for the festival, in order to be able to fill any
potential order.

Your
Max Marschalk
Notes
Marschalk was trying to have the parts for Schoenberg’s String Quartet,
Op. 7, ready before its performance at the Dresden Tonkünstlerfest.
399
Appendix 1: Undatable Letters
The following letters may belong to the time period of this book, but it is not
possible to date them more precisely. They are presented in alphabetical order
of the correspondents: Adler, Botstiber, Mahler (Alma), and Werndorff.
To: Guido Adler
Dear Professor,
Many thanks for your invitation that H[einrich] Jalowetz conveyed to
me. Unfortunately, for quite some time I have had an appointment on
Thursday, so that I cannot come.
Your most sincere,

Arnold Schönberg
399
400
400 A p p e n d i x 1
Notes
There is not enough information to date the letter. Jalowetz was a student of
Schoenberg’s in the years 1904–8. He also was a student of Adler’s during
approximately that same period, finishing his doctorate at the University of
Vienna in 1908. Thus it is possible, but by no means certain, that this letter is
from the period of this book.
Wien
To: Hugo Botstiber
Dear Botstiber,
The bearer of this letter –my brother –wants to enter the Konservatorium.
He is a bass and has a very promising voice. I would not have decided
so readily to advise him to do this, were it not that Zemlinsky also is
most definitely of the opinion that his voice has very good prospects
because of its volume and because its interesting timbre holds so much
promise. In addition, he is not at all unmusical, has singing talent, and
was born with a quite natural intonation so that he certainly would be
ready very soon […] All of that he has; he lacks only the most important
thing: money! […]
Notes
The editors were unable to consult the original. The translation was made
from the partial text on the ASC website.
This letter might be from the time frame of this book. Schoenberg lived at 68/
70 Liechtensteinstrasse in Vienna from October 1903 until 1910. Moreover,
401
A p p e n d i x 1 401
since Heinrich Schönberg was born in 1882, he would have been at an appro-
priate age to attend a conservatory in the years 1903 to 1907. Muxeneder
places this letter between 1906 and 1909. See ASJ, 270, fn. 25.
Heinrich Schönberg (1882–1941), younger brother of Arnold. He pursued a

career in music. After completing his education he was appointed to a posi-
tion at the Neues Deutsches Theater in Prague. At the beginning of World
War II he was not shipped to a concentration camp because he was married
to a prominent non-Jew (the daughter of the mayor of Salzburg). However, in
1941 he was arrested by the Gestapo and died shortly afterward as a result of
inept or inadequate medical care.
Botstiber was in a position to help Schoenberg: he became the secretary of

the library of the Gesellschaft der Musikfreunde in 1896 and worked for the
Conservatorium of the Gesellschaft from 1905.
From: Alma Mahler
Most honored Mr. Schönberg,

Your manuscripts are enclosed—with a request.
I am having my servant wait. Perhaps you can be so good as to give
the piano-vocal score of Gurrelieder back to him.
I am so engrossed in it—and would be happy if I could keep it for a
few more days.
If you need it, however—then definitely bring it back to me again
after Easter.
I played it the whole morning yesterday and it is your fault that I fell
into a splendid, dreamlike, and intoxicated state—for which I must thank
you 1,000 times.
402
402 A p p e n d i x 1
I gave the circular to my husband to read. He finds it to have excellent

style—moderate—noble—and—correct—
So, to close—if possible send Gurrelieder back to me again.
—Once again Korngold has honored you today with complete silence.
That is unbelievable.
Many warm greetings to you, and Zemlinsky—if you see him—
Alma Mahler
Notes
The reference to returning Gurrelieder after Easter suggests that the letter
might have been written in March or April of some year. The “circular” could
refer to the manifesto of the Vereinigung schaffender Tonkünstler, which was
published on 1 April 1904. There are a number of references to a piano-vocal
version of Gurrelieder in other letters from 1904 (see the card from Zemlinsky
et al. dated 24 July 1904.) The reference to Julius Korngold cannot be nar-
rowed to a specific date.
From: Alma M Mahler
To: [Arnold and Mathilde? Schönberg]
Dear friends,
Today I finally feel somewhat better and it is my desire to ask both of you
to be my guests at noon.
I would be so happy.
Alma M Mahler
403
A p p e n d i x 1 403
Notes
See Haide Tenner, ed., Alma Mahler-Arnold Schönberg: “Ich möchte so lange

leben, als ich Ihnen dankbar sein kann”: Der Briefwechsel, ed. Haide Tenner
(Vienna: Residenz Verlag, 2012), 276.
From: Alma Mahler

The manuscript is enclosed.
I am in a railway carriage and do not have the time to tell you more
about the work which is now already dear to me…
As soon as I am back, I hope that you and Zemlinsky will be able to
spend an enjoyable evening at our home—like the last time.
Best wishes and thanks,

Alma Mahler
Notes
This could belong to our period, though there is not enough information to
give it a solid date.
404
404 A p p e n d i x 1
To: Marietta Jonasz
Dear Madam,
I must thank you again most warmly for your participation in the con-
cert of my students. It was truly extraordinary what you contributed in
such a short time and you can be very satisfied with yourself.
Once again, warm thanks and best regards.
Sincerely yours,
Arnold Schönberg
Notes
Marietta Werndorff (née Jonasz), pianist. She premiered Schoenberg’s Three

Piano Pieces, Op. 11. Little is known about her life and career except that she
emigrated to the United States sometime after World War I.
See Hans Keller, “Unpublished Schoenberg Letters: Early, Middle and Late,”

Music Survey 4, no. 3 (June 1952), 449–50.
Schoenberg addresses Marietta Jonasz as “Fräulein.”

405
Appendix 2: Items Not Included
Items listed in JASI-PI or the Arnold Schönberg Center correspondence data-

base, but not included in this book. Letters that were misdated but appear in
the book under a corrected date are not listed here unless there was also a
misattribution.
DATE AND REASON FOR OMISSION

CORRESPONDENT
15 May 1894, from Gustav Not addressed to Schoenberg.
Mahler
12 February 1895, from An official notice regarding
Magistratischen military draft status.
Bezirksamte
2 February 1901, from Misdated; proper date 1911.
Miklós Rózsa
29 July 1901, from Lotte Not a letter; a printed invitation.
Kusmitsch
11 August 1901, from Misdated and misattributed. This is a letter from von
Heinrich Jalowetz Goldschmidt dated 8 November 1901. It is included
in this book under that name and date.
1 October 1901, from Not a letter; a printed contract with handwritten
Wolzogen additions.
405
406
406 A p p e n d i x 2
11 October 1901, from Not a letter; a printed invitation for a concert.

Robert Gound
23 December 1901, from Not a letter; a contract.
Wolzogen
11 January 1902, to Josefine Letter in private hands; not available for study.
Redlich
25 January 1902, from Ernst Not a letter, a printed wedding announcement and
von Wolzogen invitation.
5 May 1902, from Alexander Addressed to Clara Zemlinsky c/o Schoenberg.
Zemlinsky
10 May 1902, from Robert Misdated; proper date 5 October 1912.
Korst
12 August 1902, from Correspondent misidentified; letter is from Bogumil
Manuel Ayster Zepler and is included in this book under his name.
14 August 1902, from Alex. Addressed to Mathilde Schönberg
Zemlinsky
23 August 1902, from Alex. Addressed to Mathilde Schönberg
Zemlinsky
6 September 1902, from Addressed to Mathilde Schönberg
Alex. Zemlinsky
November 1902, from Membership card.
Allgemeiner Deutscher
Musikverein
7 November 1902, from Misdated; proper date 7 November 1907.
Arthur Schnitzler
22 December 1902 from Receipt for 60 Marks.
Max Grossmann
31 December 1902 from Receipt for payment for shoes.
Heinrich Feder
13 May 1903 from Allg. Dt. Membership card.
Musik Verein
27 June 1903 from Dreililien Contract between Dreililien and Schoenberg.
Verlag
25 August 1903, from The letter is addressed to Schenker, not Schoenberg.
Ferruccio Busoni
3 September 1903, from The letter is addressed to Schenker, not Schoenberg.
Ferruccio Busoni
25 December 1903, from Empty envelope; the proper date is 24 December
Richard Strauss 1903 [postmark].
9 January 1904, to J. Dudok Misdated; proper date probably 1921. Probably
van Heel related to the performance by the Concertgebouw
Orchestra of Gurrelieder in Amsterdam, 19 March
1921.
407
A p p e n d i x 2 407
February 1904, to Heinrich Complimentary ticket to Ansorge Society Concert.

Schenker
29 March 1904 Financial disclosure form.
22 June 1904, from K. k. Insurance form.
private Versicherungs-
Gesellschaft “Donau”
1 July 1904, from K. k. Insurance form.
5 July 1904, from K. k. Receipt.
7 July 1904, from Oskar Empty envelope; letter is missing.
Posa
7 July 1904, from K. k. Receipt.
8 July 1904, from K. k. Insurance form.
20 July 1904, from Lotte Printed engagement announcement.
Kusmitsch
4 August 1904, from Ottilie Misdated; proper date 1939.
Blumauer
19 November 1904, from Date difficult to read, but probably 1921, not 1904.
Max Battke
1905, to Guido Adler (1) Proper date probably 1909. The first line of this
letter reads “ich muss Ihnen leider mittheilen” and
discusses a paper Schoenberg was to give at the
Congress of the International Society for Music. The
III. Kongreβ der Internationalen Musikgesellschaft
was held from 25–2 9 May 1909 in Vienna. It was the
only congress held in Vienna. See Ennulat, 70–73.
1905, to Guido Adler (2) Probably from 1909 or early 1910. The first line of this
letter reads “ich habe heuer etwas weniger Schüler.”
One of the topics of the letter was the continuo
realizations Schoenberg was to do for Denkmäler
der Tonkunst in Österreich, a project which came to
fruition only in 1912. Schoenberg’s address for this
letter (Liechtensteinstrasse 68/70) was valid only until
January 1910. See Ennulat, 72–5.
1905, to Philharmonia Telegram; misdated; belongs in 1923; see the letter
Verlag from Schoenberg to Kalmus, dated 11 September
1923 where he quotes the telegram. See also
Kalmus’s response dated 14 September 1923.
408
408 A p p e n d i x 2
8 July 1905, from K. k. Insurance policy.

1 November 1905 from Insurance policy.
K. k. private Versicherungs-
1 April 1906, from Wiener Receipt; addressed to the board of the Vereinigung
Konzert-Verein schaffender Tonkünstler, not specifically to
Schoenberg.
23 June 1906, from Receipt for shoes.
shoestore
30 June 1906, from Friedrich Financial form.
Peters
11 July 1906, from K. k. Insurance policy.
24 September 1906, from Misdated; belongs in 1924. Correspondent is Matilde
Matilde Stelmo Stepanek Stelmo.
2 October 1906, from Oskar Empty envelope.
Posa
24 November 1906, from Receipt.
26 November 1906, from Policy.
1906, to Karl Kraus Not from time period of book. Schoenberg is
responding to an article about Robert Hirschfeld in
Die Fackel that was published in October 1907.
1906, to Gustav Mahler Misdated; belongs in 1909. The first line reads: “Herr
Prokurist Horner hat mir …” In the letter,
Schoenberg discusses working on “short pictures
for orchestra” [“kurze Bilder für Orchester”] and
says he has written two and doesn’t know how many
there will be. This is a reference to the Five Pieces for
Orchestra, Op. 16, written in 1909.
1906, from Oskar Posa Empty envelope.
3 January 1907, from Erich Misdated; refers to works (Harmonielehre, String
Jaques Wolff Quartet, No. 2) that were written outside of this
book’s time frame.
25 February 1907, from Insurance policy.
409
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413
Index
BOLD Citation = Letter From Schoenberg

BOLD ITALIC Citation = Letter To Schoenberg
Abarbanell, Lina 73 Arbeiter Zeitung 307

Abendpost 174 Architektenhaus 361, 362
Adler, Felix 11, 13, 16 Arrau, Claudio 110
Adler, Friedrich 154, 155 Auber, Daniel 289
Adler, Guido xi, xix, 79, 177, 199, 219, Fra Diavolo 288, 289, 340
220, 224, 234, 249, 250, 251, Ayster, Manuel 406
287–288, 288, 289, 295, 300, 335,
399, 400, 407 Bach, David Josef 9–10, 51, 52, 268,
Adler, Melitta 220 269, 307
Akademischer Verband für Kunst und Bach, Johann Sebastian 68, 282, 334
Literatur 225 “Ich will den Kreuzstab gerne
Albert, Eugen d’ 68 tragen” 68
Allgemeiner Deutscher Musikverein 57, St. Matthew Passion 334
148, 149, 175, 210, 225–226, 303, Bärenreiter Verlag 186
317, 344, 351, 367, 389, 393, 394 Barbier, Jules 103
Andersen, Hans Christian 66, 67 Bartók, Béla 64, 203
Ansorge, Conrad 225, 238 Violin Concerto No. 1 64
Ansorge-Verein für Kunst und Kultur 16, Battke, Max 407
169, 224, 225, 228, 230, 231, 237, Bauer, Willi 18, 20, 65, 102
238, 375, 407 Bayerisches Staatsorchester 344
413
414
414 I n d e x
Beethoven, Ludwig van 27, 63, 66, 107, Böcklin, Arnold 185, 187
145, 177, 207, 356, 360, 363, 364 [= folder with prints] 185
Choral Fantasy 27 Bösendorfersaal 28, 238, 380
Fidelio 27 Bos, Coenraad van 332
Grosse Fuge 364 Bote, Eduard 258
Symphony No. 2 27 Bote & Bock 242, 258, 374
Symphony No. 3 27 Botstiber, Hugo 83, 84, 190, 399, 400
Symphony No. 5 27 Brahms, Johannes 58, 79, 80, 90, 91, 147, 166
Symphony No. 6 27 String Quintet No. 1, Op. 88 79, 80
Symphony No. 9 207 Braun, Rudolf 68, 228, 229
Violin Concerto 27, 63 Brendel, Franz 149
Die Weihe des Hauses 360 Bruch, Max 24
Zur Namensfeier Overture 356 Bruckner, Anton 123, 139, 219, 350
Berg, Alban viii, 309, 348–349, 371 Symphony No. 4 219
Lulu 309 Symphony No. 7 219
Sonata for Piano 349 Brüll, Ignaz 68, 146, 147
Berlin Hochschule für Musik 90, 109, Das goldene Kreuz 147
128, 297, 362 Budapest Quartet 92, 93
Berlin Hofoper 90, 291 Bülow, Hans von 110
Berlin Königliche Hochschule 297 Buntes Theater (Überbrettl) 24, 25, 26, 28,
Berlin Philharmonic 96, 122 29, 31, 34, 35, 36, 47, 48, 49, 50, 53,
Berlin Philharmonic Choir 183 54, 55, 57, 58, 61, 62, 66, 67, 69, 71,
Berlin State Opera 104 73, 75, 76, 78, 81, 86, 134, 405, 406
Berlin Tonkünstlerverein 57, 111, 129, Busch, Wilhelm 31
130, 143 Die fromme Helene 31
Berlin Vossische Zeitung 384 Busoni, Ferruccio vii, viii, 202–203, 206,
Berliner Tageblatt 362 207, 208, 211, 215, 216, 218, 221,
Bertram, Theodor 102, 103 306, 406
The Bible 5
Biedermann, Felix see Dörmann, Felix Café Bauer 168
Bienenfeld, Elsa xv, 69, 70, 261, 262 Café Glattauer 12
Bierbaum, Otto Julius 29, 56 Café Griensteidl 11, 12, 126, 127
Bizet, Georges 340 Café Imperial 15, 16
Carmen 340 Café J. Nimpfer 71, 72
Black Mountain College 335 Calderón de la Barca, Pedro 154, 155
Bläserkammermusikvereinigung 359, Zwei Eisen im Feuer 154
360, 380 Carl Theater 17, 18, 19, 20, 56, 67, 99, 102,
Blüthner Orchestra 332 106, 108, 110, 122, 126, 127, 156, 192
Blumauer, Ottilie Schönberg Kramer see Carlyle, Thomas viii
Schönberg Kramer Blumauer, Carnegie Hall 258
Ottilie Cavar, Alfred 280
Blumauer-Felix, Oskar 201 Christian Social Party 260
Bock, Gustav 258 Cohn, Moritz von 184
Bodanzky, Artur 13, 36, 37, 39, 54, 58, 71, Cohn-Oppenheim, Julie von 182, 184
77, 82, 97, 98, 99, 105, 106, 113, 114, Concertgebouw Orchestra of
115, 120, 270, 272, 273, 274, 277, Amsterdam 406
279, 280, 310, 325, 326, 336, 340, Concessionirtes Concert-Bureau 42, 49,
355, 356, 360 100, 144
415
Index 415
Conservatorium der Gesellschaft der Festsaal of the Gewerbeverein of Lower

Musikfreunde Vienna 84, Austria 230
263, 401 Feuerschein 107, 108
Fin de Siècle see Gold, Alfred
Dehmel, Richard vii–viii, 24, 46, 237, Fischer, Edwin 110
238, 283 Fischer, Felix 225
Dessau, Bernhard 150 Fischhof, Robert 261, 263, 267, 268, 274,
Dessau, Paul 150 275, 277, 279
Dirkens, Annie 18, 20 Der Bergkönig 263
Disney, Walt 23 Fitzner Quartet 37
Dörmann, Felix 11, 12, 14 Förster, Emanuel Aloys 177
Dotzauer, Maria 99 Fränkel, Jacques 14, 15, 32–33
Dreililien Verlag xi, 168, 169, 179, 180, Frankfurter Zeitung 36
188, 189, 191, 193, 196, 197, 210, Fremden-Blatt 372
218, 220, 222, 226, 227, 232, 237, Frey, Hugo 12, 13
245, 246, 247, 254, 255, 256, 262, Fried, Oskar 331, 332, 336, 345, 352, 361,
271, 285, 286, 296, 297, 302, 303, 362, 365, 366, 367, 368, 383
306, 307, 312, 317, 318, 319, 321, Friedländer, Max 90, 91
322, 323–325, 327, 328, 331, 336, Friedländer-Abel, Hedwig von 83, 84
345–346, 351, 352–353, 360, 361, Friedmann, Oskar 12, 13, 14, 15, 16
362–364, 365–366, 367–369, Das Dreieck 16
370–371, 373, 374–375, 378, Fritzl, Werner 104, 105
381–382, 383, 384, 385, 387, 389, Fröhlich, Katharina 259, 260
390, 393, 395–396, 398, 406
Dresden Conservatory 391 Gärtner, Eduard 19, 21, 68, 74, 77, 94, 128,
Dresden Hofoper 64, 166 130, 183, 201, 230
Droste-Hülshoff, Annette von 307, 308 Die verwunschene Prinzessin 17–19
Dvořák, Antonín 173 Garrison, Max 340, 341
Genossenschaft Deutscher Tonsetzer 57,
Eberle, Josef 21, 22, 238, 245, 247, 249 257, 258, 264, 278
Eckl, Heinrich 396 German University in Prague 249
Ehrbar, Friedrich Jr. 355 Gerstl, Richard 369, 370
Eichberg, Friedrich 41, 104, 105, 214 Gesellschaft der Musikfreunde 84, 166,
Elektrotechnische Zeitschrift 214 263, 332, 350, 401
Elgar, Edward 173, 203 Geyer, Stefi 63, 64
Estrée, Olga d’ 81, 86 Girardi, Alexander 102, 104
Eyken, Heinrich van 296, 297, 306, 308 Glück, Richard 12, 13
“Ikarus” 296 Goethe, Johann Wolfgang von 147, 161
“Lied der Walküre” 296, 297 Götz von Berlichingen 161
Zwei Gesänge 297, 308 Die Leiden des jungen Werther 147
Göttmann, Adolf 143
Die Fackel 16, 33, 107, 108, 392, 408 Götz, Hermann 364
Falck, Edward 11, 13, 14–15 Die widerspenstige Zähmung 364–365
Falke, Gustav 23, 24 Gold, Alfred 11, 13
“Nachtwandler” 23 Goldeck, Alwin see Gold, Alfred
Feder, Heinrich 406 Goldmann, Emil 11, 13
Feld, Leo 11, 13, 14, 15, 143, 260, 261, 262, Goldmark, Karl 120, 121
270, 272, 273, 277, 280, 310, 311 Die Königin von Saba 120, 121
416
416 I n d e x
Goldschmidt, Adalbert von 31, 32, 35, 36, Herzmansky, Bernhard 89

40, 46–47, 48, 50, 53, 62, 64, 67, 75, Heuberger, Richard 58, 60, 76, 77, 81, 82,
76, 95, 96, 109–110, 131, 276, 405 83, 84, 89, 90–91, 103, 141, 165
Die fromme Helene 31, 36, 47, 50, 58, Das Baby 58, 60, 141
62, 64, 67, 95, 96, 109 Heyse, Paul 24
Märchen 276 Hirschfeld, Eugenie 262, 272, 273, 280
Goldschmied, Malvina 1–3, 4–7, 38 Hirschfeld, Leo see Feld, Leo
Goldschmied, Rudolf 38 Hirschfeld, Robert 173, 408
Gorky, Maxim 115, 116 Hirschfeld, Viktor see Léon, Viktor
Malwa 116 Hoffmann, Lilly 69, 82
Gound, Robert 228, 229, 295, 406 Hoffmann, Paul 69, 82
Grädener, Hermann 80, 84 Hoffmann, Rudolf Stefan 39, 40, 54, 56,
String Quartet, Op. 33 80, 84 58, 69, 77, 79, 80, 81, 82, 178, 195
Graf, Franz 388 Hofmannsthal, Hugo von 60
Grieg, Edvard 68 Holländer, Gustav 108, 109, 148, 200
Grillparzer, Franz 260 Holländer, Victor 268
Grimm, Jacob 276 Die zwölf Frauen des Japhet 268
Grimm, Wilhelm 276 Holländisches Quartet 332, 345, 351,
Gropius, Walter 59 353–354, 356, 358, 359, 361, 362
Grossmann, Max 151–152, 199, 406 Holländisches Trio 331, 332, 336
Grünfeld, Alfred 102, 103 Hollander, Frederick 268
Der Lebemann 103 Hopfner’s Restaurant 223
Guiraud, Ernest 103 Horwitz, Karl 334, 335
Gund, Robert see Gound, Robert Hubay, Jenő 63, 92, 93, 137
Gutheil, Gustav 223–224 Carmen Fantasy 63
Gutheil-Schoder, Maria 224 Humperdinck, Engelbert 34, 110, 394
Gutmann, Albert 218, 219 Husserl, Ignaz 320
Gutmann, Emil 374, 375 Hutschenreiter, Ernst 115, 116, 126
Guttmann, Ida 104, 105 Moderne Faust-Scenen 116
Hämmerle, Theodor 85–86, 89 Illustrirtes Wiener Extrablatt 384

Halíř, Karel 108, 109 Indy, Vincent d’ 203
Handel, Siegmund see Handl, Willi Inn on Praterstrasse 54, 176, 177
Handl, Willi 12, 13, 16 Isaac, Heinrich 335
Hanslick, Eduard 220, 377 Choralis Constantinus 335
Harden, Maximilian 168, 169
Hauptmann, Gerhardt 146, 147 Jacobsen, Jens Peter 158
Fuhrmann Henschel 146, 147 Gurre-Lieder 158
Hausegger, Siegmund von 67, 282 Jalowetz, Heinrich 50, 335, 399, 400, 405
Barbarossa 67 Jenner, Gustav 90, 91
Haydn, Joseph 160, 173 Joachim, Joseph 90, 91, 390
Die Jahreszeiten 160 Jokl, Ernst 326, 327
Die Schöpfung 160 Jubiläumstheater 288, 289, 317
Heel, J. Dudok van 406 Jüdischer Kulturbund 24
Heine, Heinrich 11, 142, 143 Jung-Wiener Theater 22, 23, 27, 29, 44, 45
Der arme Peter 142, 143 Juon, Paul von 234, 361, 362
Helianthus Verlag 281, 296 Piano Trio in A minor 234
Hermann, Hans 396 String Quartet in A minor 361, 362
417
Index 417
Kahane, Arthur 11, 12, 16 Levetzow, Karl von 11, 13, 25, 26, 28–29,
Kahn, Robert 90, 91 35, 74, 87, 188, 189
Kaim Orchestra 123 “Abschied” 189
Kalmus, Alfred 407 “Dank” 189
Kandinsky, Vasili viii Liebstöckl, Hans 383, 384
Kant, Immanuel 334, 335, 336 Lienau, Robert 138, 139
Grundlagen zur Metaphysik der Lier, Jacques van 332
Sitten 335 Liliencron, Detlev von 24
Die Metaphysik der Sitten 334, 336 Liszt, Franz 90, 149, 159, 167, 238
Karpath, Ludwig 372 Liszt Foundation 157–158, 159, 167, 170,
Karras, Elsa Eichberg 41 174, 175
Kauders, Albert 372 Liszt Stipend 136, 157, 158, 159, 167, 170,
Keller, Gottfried 306, 307, 308 171, 172, 174, 175, 179, 182, 195,
Kempff, Wilhelm 91 225, 226
Kirsch, Arnold see Korff, Arnold Löwe, Ferdinand 122, 123, 141, 161,
Klemperer, Otto 110, 332 165, 173, 185, 337, 339, 340, 343,
Klindworth, Karl 132 347–348, 349, 350, 352
Könnecke, Richard 188, 189 Loos, Adolf 12, 13
Korff, Arnold 11, 12 “Ornament and Crime” 13
Korngold, Erich Wolfgang 377 Lortzing, Albert 356, 359
Korngold, Julius 376, 377, 402 Undine 355, 356, 359
Korst, Robert 406 Zar und Zimmermann 340, 356
Kramer, Emil 5, 56, 71, 104, 105 Lortzing-Theater 340, 341
Kramer, Fritz 201, 214, 215 Lueger, Karl 259, 260
Kramer, Melanie 104, 105
Kraus, Karl 15, 16, 33, 309, 327, 391, 392, MacDowell Chorus 292
393, 408 Maeterlinck, Maurice 202
Kreisler, Fritz 19, 21, 129, 130, 183 Mahler, Alma Schindler viii, 56, 58,
Kullak, Theodor 110, 130 59, 165, 186, 241, 248, 261, 301,
Kunwald, Ernst 70 322, 329–330, 342, 399, 401–402,
Kunwald, Gabriele [“Ella”] 69, 70, 162 402, 403
Kunwald, Hedwig 69, 70 Mahler, Gustav xi, 42, 56, 57, 58, 59, 63,
Kusmitsch, Lotte 405, 407 66, 165, 173, 203, 229, 237, 244, 245,
Kutzschbach, Hermann Ludwig 386, 250, 263, 264, 289, 290, 292–293,
387, 389 294, 295, 296, 298, 299, 300,
301, 302, 304, 306, 311, 322, 323,
Lauterbach & Kuhn 242, 247, 374, 397 329–330, 332, 342, 351, 364, 379,
Lazarus, Gustav 396 390, 391, 392, 394, 402, 405, 408
Leeuwen, Ary van 359, 360 Kindertotenlieder 302
Léhar, Franz 19, 20 Rückert-Lieder 302
Die lustige Witwe 19 Symphony No. 2 332
Lehmanns Allgemeiner Symphony No. 3 292–293
Wohnungs-Anzeiger 265 Symphony No. 5 306
Leipzig Gewandhaus Orchestra 96, 391 Symphony No. 6 323
Lemberger, Emil 11, 13 unspecified songs 263, 302
Léon, Viktor 17–18, 19, 103, 262, 272 Wunderhorn-Lieder 302
Leoncavallo, Ruggero 37 Mandyczewski, Eusebius 165, 166, 259
Pagliacci 37 Mann, Thomas viii
418
418 I n d e x
Marschalk, Max xi, xiv, 168, 169, 179, 180, Neues Deutsches Theater Prague 56, 401
188, 188–189, 191, 193–194, 196, Neues Symphonieorchester 363
197, 210, 218, 220, 222, 226–227, Neues Wiener Konservatorium 103, 153
232, 237–238, 239, 245–246, 246, Neues Wiener Tagblatt 15–16, 35, 372
247, 248, 253–254, 255–256, 262, Nicklas-Kempner, Selma 109, 110
271, 281, 285, 286, 296–297, 302, Nicolai, Otto 97, 98, 340
303, 306, 307–308, 312, 317–318, Die lustigen Weiber von Windsor 97,
318–319, 321, 323–324, 331–332, 98, 340
336, 339, 340, 345–346, 351, Nikisch, Arthur 95, 96, 165, 202
352–353, 359, 361, 362–363, 364,
365, 366, 367–369, 370–371, 373, Obrist, Aloys 346, 347, 349, 394
374–375, 378, 381–382, 383, 384, Obrist, Hermann 347
385, 387, 389, 390, 395–396, 397, 398 Ochs, Siegfried 163, 183
“Sturmlied” 318, 319 Österreichische Musik und
Marschner, Heinrich 340 Theaterzeitung 238
Hans Heiling 340 Offenbach, Jacques 98, 99, 103
Marx, Adolf Bernhard 110 Les Contes d’Hoffmann 102, 103
Massanetz, Karoline 99 La Princesse de Trébizonde 98, 99
Meister, Karl 18, 20, 102
Mendelssohn, Felix 67 Parisian ensemble 296, 297
Messchaert, Johannes 227, 369 Peters, Friedrich 197, 247, 303, 321, 323,
Metropolitan Opera New York 168, 292 324, 327, 328, 363, 383, 385, 408
Meyer, Conrad Ferdinand 306, 307, 308 Petri, Egon 391
Meyer, Waldemar 93, 94, 111, 124, Petri, Henri 390, 391, 393, 394, 395,
127–128, 129, 143, 362 397, 398
Meyerbeer, Giacomo 340 Petri Quartet 389, 390, 393, 394, 395, 397
Der Prophet 340 Pfann, Karl 65, 67
Mödlinger, Josef 90, 91 Pfitzner, Hans 110, 264, 266, 394
Montags-Revue 83 Der arme Heinrich 266
Mottl, Felix Josef von 343, 344 Philharmonia Verlag 407
Mozart, Wolfgang Amadeus 27, 329, 330 Pieau, Walter 12, 13, 14, 15, 16, 36–37, 39,
Le nozze di Figaro 330 40, 54, 230, 238
Die Zauberflöte 27, 97 Pohl, Gustav 101, 132, 148
Müller, Leopold 17, 19, 20, 97, 102, 106 Pollitzer, Alois see Treumann, Louis
Münchener Allgemeine Zeitung 77, 89 Popper, David 92, 93, 129, 137
Munich Akademie der Tonkunst 266 Posa, Oskar 44, 45, 68, 224, 243, 244,
Munich Philharmonic 123 257–258, 263–265, 266–268,
Die Musik 57, 90, 363 270, 275–276, 278, 279, 282–283,
Musikverein see Vienna Musikverein 284, 304, 307, 315, 336, 339–341,
Muszkat, Moritz 48, 50, 53, 54, 75 351, 352, 353–354, 355–356, 358,
358–360, 407, 408
Naday, Katharina von 17, 20 Posamentir, Oskar see Posa, Oskar
Nationalzeitung 361, 363, 364 Prussian Academy of the Arts 104
Die Neue Freie Presse 20, 77, 82, 103, 153,
224, 234, 302, 377 Ramrath, Konrad 271
Neue Konzerte 332 Rassow, Gustav 167, 170, 172, 175,
Neue Musikalische Presse 83, 84 225–226
419
Index 419
Redlich, Carl [Karl] 17–18, 19, 21, 30, 61, Rosé, Alma 42
68, 77, 93, 94, 129, 130, 135, 136, 137, Rosé, Arnold xi, 42, 46, 52, 72, 76, 77, 83, 85,
139, 144, 179, 182–184, 201, 209 87, 93, 100, 107, 108, 129, 144, 146, 231,
Redlich, Else 130, 183 234, 252, 281, 285, 308, 333, 341–342,
Redlich, Herbert 130, 183 345, 349, 350, 354, 357, 359, 362, 372,
Redlich, Hubert 130, 183 375–376, 376–377, 379–380, 382,
Redlich, Josefine Berger 19, 30, 43–44, 61, 389, 390, 393, 394, 395, 397, 398
68, 93–94, 106, 128–130, 134–136, Rosé, Eduard 42
137, 139, 144, 179, 182–184, 201, Rosé, Justine Mahler 42, 333
209, 406 Rosé Quartet 42, 46, 85, 231, 252, 308,
Redlich, Kurt 183, 184 333, 345, 357, 372, 377, 380, 382,
Redlich, Walter 130, 183 389, 390, 393, 394, 395, 398
Redlich family 179, 182–183, 201, 209 Rosenblum, Alexander see Rosé,
Reger, Max 264, 265–266, 267, 282, 283, Alexander
284, 374, 396, 397 Rosenblum, Arnold see Rosé, Arnold
Beiträge zur Modulationslehre 266 Rossini, Gioachino 354
Piano Quintet No. 2 in C minor 266, 283 Il barbiere di Siviglia 354, 355, 359
Schlichte Weisen 282, 283 Rothschild, Albert Salomon Anselm
Serenade No. 1 for flute, violin, and Freiherr von 287, 295, 296, 300
viola 282 Rothschild, Alfons Freiherr von 207
Sinfonietta 396, 397 Rothstein, James xv, 23, 24, 105–106,
String Quartet No. 3 in D minor 284 134–135, 137, 140
unspecified sonata for clarinet and Rózsa, Miklós 405
piano 282 Rubinstein, Artur [Arthur] 91
Variations and Fugue on a Theme by
Bach for Piano 282 Saint-Saëns, Charles-Camille 63
Violin Sonata No. 4 in C major 284 Piano Concerto No. 4 63
Reimers, Heinrich 200, 201 Salten, Felix 22, 23, 27, 28, 29, 44, 45
Reinhardt, Heinrich 58, 59, 60, 63, 71, 76, Bambi 23
141, 142 Salter, Norbert 185, 187, 190
Der liebe Schatz 142 Salus, Hugo 23, 24
Das süsse Mädel 58, 60, 63, 71 Salzmann, Siegmund see Salten, Felix
Reitler, Josef 153 Savant, Louis 19, 21
Ressner, Franz 43 Schalk, Franz 349, 350
Rheinische Zeitung 312 Schenker, Heinrich viii, xi, 44, 45, 47, 68,
Rice, Melanie Guttmann [“Mella”] 72 202, 205–206, 207, 209, 212, 213,
Rice, William Clarke 14 215, 216, 217, 223–224, 228, 229, 230,
Riesenfeld, Hugo 13, 54, 58, 60, 114, 115 233, 236–237, 372, 406, 407
Rietsch [Löwy], Heinrich 249 Beethovens neunte Sinfonie 207
Robitschek, Adolf 88, 89 Der freie Satz 207
Röder, Carl Gottlieb 370, 371, 373, 393, 398 Fünf Urlinie-Tafeln 207
Röhr, Hugo 73, 74, 75 Harmonielehre 207
Rösch, Friedrich 393–394, 395 Kontrapunkt, vols. 1 and 2 207
Roessler, Carl see Ressner, Franz Das Meisterwerk in der Musik 207
Roller, Alfred 378, 379 Syrische Tänze 202, 205–206, 207, 213,
Rosé, Alexander 42, 46, 49, 70, 71, 72, 215, 216
100, 107, 144 Der Tonwille 207
420
420 I n d e x
Scherl, August 395, 396 184–185, 186, 190, 192, 199, 202,

Schick, Otto 54, 55 206, 208, 210, 211, 216, 218, 221,
Schikaneder, Emanuel 27 226–227, 232, 238, 253, 255, 270,
Schillings, Max von 103, 104, 158–159, 272, 278, 296, 301, 303, 306, 307,
267, 282, 303, 317, 394 312, 313, 317, 331, 332, 336, 343,
Ingewelde 104 345, 351, 352, 353, 361, 362, 365,
Overture to Ingewelde (2nd Act) 103 366, 368, 383, 387, 389
Schindler, Kurt 291–292 Pierrot lunaire, Op. 21 35
unspecified songs 291 Six Orchestral Songs, Op. 8 267, 268,
Schlesinger, Bruno Walter see 285, 321, 322, 324, 331, 332, 337,
Walter, Bruno 343, 344, 346, 349, 351, 352, 362,
Schlessingersche Buch- und 367, 383, 389, 396
Musikalienhandlung 138 “Natur” 321
Schmidt, Franz 243, 244 “Voll jener Süsse” 321
Schnitzler, Arthur 406 Six Songs, Op. 3 19, 218, 220, 222, 227,
Schoeck, Othmar 64 230, 235, 238, 239, 241, 247, 248
Concerto quasi una fantasia 64 “Geübtes Herz” 238
Schönaich, Gustav 76, 77 “Hochzeitslied” 238
Schoenberg, Arnold: WORKS “Warnung” 238
Ballades, Op. 12 395, 396 “Wie Georg von Frundsberg von sich
Brettllieder 23, 24, 29 selber sang” 238
“Einfältiges Lied” 23, 24, 28, 29 song without words (1891) 2, 4
“Der genügsame Liebhaber” 24, 29 String Quartet Fragment (1903–4) 268
“Jedem das Seine” 24, 28, 29 String Quartet in D major 37, 157
“Nachtwandler” 23, 24, 28, 29 String Quartet No. 1, Op. 7 ix, 100, 252,
Chamber Symphony, Op. 9 ix, 324, 329, 267, 268, 292, 318, 321, 322, 324,
330, 337, 338, 339, 341, 343, 346, 331, 332, 333, 336, 341, 345, 349,
347–348, 349, 352, 353, 359, 362, 350, 357, 361, 362, 365, 366, 367,
363, 366, 368, 372, 373, 380, 383, 368, 371, 372, 373, 374, 375, 376,
384, 387, 396 377, 378, 379–380, 381–382, 383,
Eight Songs, Op. 6 324, 331, 332, 345, 389, 393, 394, 395, 397, 398
362, 363, 365, 366, 368, 370, 374 String Quartet No. 2, Op. 10 384, 408
“Mädchenlied” 368 Three Piano Pieces, Op. 11 404
Five Orchestral Pieces, Op. 16 186, 408 Two Songs, Op. 1 26, 188–189, 218, 255
Four Songs, Op. 2 218, 220, 222, 230, unspecified songs 16, 19, 68, 157, 230,
238, 239, 241, 255 231, 235, 254, 256, 349, 370, 372,
“Erwartung” 238 373, 374
“Jesus bettelt” (“Schenk mir Deinen Verklärte Nacht, Op. 4 42, 46, 49, 71,
goldenen Kamm”) 238 73, 74, 75, 76–77, 78, 79, 80, 83, 84,
Friede auf Erden, Op. 13 388 85, 87, 89, 92, 93, 100, 107, 108, 111,
Gurrelieder 22, 66, 69, 70, 79, 93, 107, 128, 129, 136, 137, 138, 143, 144,
126, 158, 176, 177, 178, 185, 234, 146, 147, 157, 158, 165, 231, 234, 237,
273, 275, 277, 279, 280, 401, 402, 406 239, 242, 245, 247, 253, 254, 255,
Harmonielehre 408 261, 262, 285, 286, 296, 297, 302,
Opp. 1–7 180 306, 307, 308, 331, 333, 345, 351,
Pelleas und Melisande, Op. 5 108, 353, 358, 358–359, 360, 361, 362
113, 115, 116, 125, 129, 136, 142, arrangement of Die fromme Helene 31,
145–146, 147, 165, 173, 178, 181, 36, 47, 50, 62, 64, 67, 95, 96, 109
421
Index 421
orchestration of “Lied der Stefan, Paul 225

Walküre” 296, 297, 306, 308 Stein, Erwin vii
orchestration of Syrische Tänze 202, Steiner, Arnold 77
205–206, 207, 213, 215, 216 Steiner, Hugo 77
Schönberg, Georg 330, 352, 355 Stelmo, Matilde Stepanek 408
Schönberg, Gertrud Greissle 74–75, 103, Stern, Julius 110
110, 116, 119, 120, 128, 141, 147, Stern Conservatory 101, 109, 110, 128,
154, 160, 166, 177, 178, 186, 201, 132, 136, 148, 161, 182, 200, 266
214, 261, 262, 270, 275, 277, 311, 316 Sternscher Gesangverein 332
Schoenberg, Gertrud Kolisch 75 Stössler, Eugen 12, 13, 14
Schönberg, Heinrich 201, 400, 401 Stojan, Betty 109, 110
Schönberg, Mathilde Zemlinsky 12, 33, Straus, Oscar 66, 67
36, 38, 39, 40, 43–44, 51, 55–56, 59, Strauss, Johann Jr. 20, 102
63, 66, 74, 77, 78, 81, 83, 91, 93, 103, Strauss, Pauline de Ahna 204
107, 114, 115, 116, 130, 141, 142, Strauss, Richard 24, 56, 57, 59, 63, 64,
147, 154, 160, 166, 169, 171, 176, 65–66, 67, 68, 77, 88, 93, 97, 101,
177, 178, 181, 183, 186, 195, 201, 103, 104, 107, 108, 113, 115, 122,
214, 237, 258, 283, 302, 306, 308, 124, 125, 128, 129, 131, 132, 133,
310, 316, 318, 319, 321, 329, 341, 136, 144, 147, 148, 149, 150, 152,
346, 352, 361, 370, 373, 382, 383, 158–159, 160, 161, 164, 165, 166,
389, 398, 402, 406 167, 171, 172, 173, 175, 181, 182, 183,
Schönberg, Pauline Nachod 1, 38, 59, 60, 184, 185, 186, 187, 189, 204, 245,
146, 154, 160, 201, 214 257–258, 264, 265, 266, 267, 270,
Schönberg, Samuel 157 274, 275, 280, 290, 304, 305, 332,
Schönberg, Ottilie Kramer Blumauer 1–3, 343–344, 346–347, 349–350, 351,
5–6, 55, 56, 71, 104, 105, 113, 114, 115, 352, 367, 369, 373, 374, 394, 406
120, 121, 154, 201, 209, 214, 215, 407 Elektra 166
Schrammel-Quintett 19, 21, 68, 130 Feuersnot 24, 63, 64, 66, 144, 166, 277
Schuch, Ernst Edler von 165, 166, 393 Ein Heldenleben 65, 103, 107, 145,
Schuster, Bernhard 90, 91 147, 184
Schwarzwald School 70, 262 Der Rosenkavalier 166
Schwestern Fröhlich Stiftung 259, 260 Salome 166
Shakespeare, William 98 Symphonia Domestica 257, 258, 265,
Sibelius, Jean 139, 203, 264, 266, 369 275, 278, 290, 304
En saga 266 Taillefer 150, 152, 164, 187
Four Legends 266 Till Eulenspiegels lustige Streiche 103
Finlandia 266 Tod und Verklärung 103
Symphony No. 1 266 unspecified songs 68, 373, 374
Symphony No. 2 266 Streicher, Theodor 242
Simon, Hermann Carl 11, 13 Süddeutscher Musikverlag 186
Simons, Rainer 280, 289, 316, 317, 341, 360 Süddeutscher Musikverlag of
Sioly, Johann 67 Strassburg 186, 190, 192
Skalkottas, Nikos 91 Suppé, Franz von 20
Society for Private Musical Sutter, Anna 347
Performances 224
Spencer, Herbert viii Tappert, Wilhelm 95, 96, 110
Sporck, Ferdinand Graf von 104 Tarot 326
Stadlen, Peter 70 Taubmann, Otto 368, 369
422
422 I n d e x
Theater an der Wien 20, 22, 27, 28, 56, 73, Violin, Moriz 47, 48, 50, 53, 73, 75, 80–81,
102, 104, 108 83, 86–87, 169, 207, 212, 227, 235,
Theater des Westens 109, 110 236, 239–240
Theumann, Samuel Siegfried 12, 13, 36, Volk, Gustav 243, 244
37, 39, 277
Tjnka, Em. 234 Wagner, Richard 31, 58, 67, 71, 76, 90, 110,
Tonkünstler-Versammlung (Allegmeiner 121, 122
Deutscher Musikverein) 148, 149, Parsifal 122
346, 351, 352 Das Rheingold 121
Treumann, Louis xv, 102, 104, 181 Siegfried 58
Trianon Theater 309 Tristan und Isolde 71, 76, 121, 146
Die Walküre 58
Überbrettl see Buntes Theater Waldemar Meyer Quartet 111, 128, 143,
Universal Edition 88, 89, 98, 123, 151, 246, 362
199, 204, 219, 322, 325, 352 Waldheim, Rudolf von, Josef Eberle &
University of Vienna 70, 177, 219–220, Co. 21, 22
249, 335, 400 Walfisch, Karoline Enzinger 39, 40, 56,
58, 147
Veen, Joseph van 332 Wallascheck, Richard 83, 84
Verdi, Giuseppe 340 Walter, Bruno 110, 298, 299, 308
Troubadour [Il Trovatore] 340 Piano Quintet 308
Vereinigung schaffender Tonkünstler 80, Wassermann, Jakob 11, 13, 14
224–225, 228–229, 230, 233, 236, Mein Weg als Deutscher und Jude 13
239–240, 243, 244, 246, 249, Weber, Carl Maria von 340
250, 251, 254, 257, 258, 261, 262, Der Freischütz 340
263–265, 266–267, 269, 276, 278, Weber, Joseph Miroslav 107, 108, 112,
280, 282–283, 287–288, 290, 291, 113, 114, 129
292, 296, 298–299, 300, 302, 304, Webern, Anton viii, 70, 334–335, 336, 370
306, 343, 402, 408 Entflieht auf leichten Kähnen 335
Vienna Academy of Music and the Passacaglia for Orchestra 335, 370
Performing Arts 244 Variations for Piano 70
Vienna Bläserkammer Wedekind, Frank 309
musikvereinigung 360, 380 Die Büchse der Pandora 309
Vienna Conservatory 244, 293 Erdgeist 309
Vienna Hofoper 56, 64, 203, 252, 293, 299, Weigl, Gabriele [“Ella”] 55, 57, 78, 140,
323, 350, 379 176, 177, 195, 196
Vienna Hofopernorchester 234, 244, Weigl, Karl 36, 37, 39, 54, 56, 57, 58, 69, 77,
360, 380 78, 79, 81, 82, 83, 84, 140–141, 176,
Vienna Musikverein 263, 264, 265, 380 177, 178, 195, 196, 219, 252, 369
Großer Musikvereinssaal 380 71st Psalm for Chorus and
Kleiner Musikvereinssaal 263, 264, 265 Orchestra 83, 84
Vienna Philharmonic Orchestra 42, 250, String Quartet No. 1 252
251, 293, 298–299, 343, 346 unspecified songs 369
Vienna Secession 379 Weigl, Ludwig 78, 83
Vienna Symphony Orchestra 123 Weimar Hofkapelle 170
Vienna Tonkünstlerverein 37, 157, 231, 234 Weimar Hoftheater 170, 224
Vienna Volksoper 56, 289, 317 Weinberger, Josef 88, 89, 97, 98, 123, 151,
Vignau, Hippolyt von 158, 167, 170, 172, 174 160, 198–199, 205, 206, 207
423
Index 423
Weingartner, Paul Felix von 202, 203 81–82, 83, 84, 91, 94, 96–97, 98, 99,
Weis, Karel 103 102–103, 105, 106–107, 108, 113,
Der polnische Jude 102, 103 114, 115–116, 119, 120, 121, 122,
Wendland, Waldemar 34, 87 123, 124–125, 126–127, 133, 136,
Die beiden Pierrots 34, 35 141–142, 143, 145–147, 154, 156,
Wengraf, Richard 14, 15 157, 160, 161–162, 164, 165–166,
Werfel, Franz 59 171, 172, 173, 174, 180–181,
Werndorff, Marietta Jonasz 399, 404 184–186, 189–190, 192, 198–199,
Werner & Co. 3, 4, 7 200, 201, 223–224, 229, 230, 238,
Wertheimer, Paul 14, 15 243, 258, 260–262, 263, 264, 266,
Wiener Allgemeine Zeitung 77, 381 270, 272, 273, 274–275, 277, 279,
Wiener Concertvereinsorchester 123, 173, 280, 289, 306, 307, 310–311, 313,
185, 251, 261, 262, 264, 266, 337, 314, 316, 317, 322, 323, 325–326,
343, 348, 408 338, 340, 341, 342, 344, 356, 360,
Wiener Mode 254, 256 364, 391, 400, 402, 403, 406
Wiener Singakademie 354–355 “Bergsteiger” theme 338
Wiener Singverein 183 Drei Ballettstücke: Suite from Der
Wiener Tonkünstler-Verein 37, 157, Triumph der Zeit 58, 60, 63, 64,
231, 234 113, 115, 122, 141, 160, 161, 164,
Wilhelm II 182, 184 165, 166, 171, 172, 173, 174, 181,
Winkelmann, Hans 344 185, 189, 190, 192
Witkowski, Felix Ernst see Harden, Es war einmal 63, 64, 97, 107
Maximilian Juli-Hexen 56, 58
Wolf, Hugo 68, 242 Malwa 116
Wolff, Erich Jacob 54, 58, 60, 69, 70, 71, Psalm 83 122, 123, 125
77, 282, 283, 408 Die Seejungfrau 66, 67, 83, 102, 107,
Six Songs, Op. 8 283 113, 115, 121, 122, 124–125, 126,
Wolfrum, Philipp 394 133, 136, 141, 146, 147, 154, 160,
Wolzogen, Ernst von 23–24, 25, 26, 28, 161, 165, 173, 181, 185, 192, 307
29, 31, 36, 43, 47, 48, 50, 53, 54, Der Traumgörge 141–142, 143, 146–147,
55, 56, 57, 58, 62, 63, 64, 69, 71, 262, 274, 279, 280, 310, 311,
73, 75, 78, 81, 95, 96, 118, 139, 142, 355, 356
405, 406 Vom Tode 66, 67
Wöss, Joseph Venantius von 243, 244, Zemlinsky, Clara Semo 36, 39, 40, 55, 56,
267, 278, 279, 283 59, 66, 77, 83, 94, 97, 98, 102, 103,
Wymetal, Wilhelm von 168 107, 115, 116, 119, 120, 121, 122,
Wymetal, Wilhelm von [Jr.] 168 124, , 127, 142, 147, 154, 160, 162,
Wymetal, Wilhelm Ritter von 168, 169, 166, 171, 173, 180–181, 184, 186,
225, 242, 369 192, 260, 261, 270, 274, 275, 280,
310, 311, 316, 326, 406
Ysaÿe, Eugène 203 Zepler, Bogumil 117–118, 160, 406
Ziehrer, Carl Michael 67
Die Zeit 84 Traum eines österreichischen
Zemlinsky, Alexander (von) viii, xi, xii, Reservisten 66, 67
12, 13, 16, 17, 18–19, 20, 36, 39, Zola, Emile 107
40, 54, 55–56, 57–59, 60, 63, 64, Das Kunstwerk [L’œuvre] 107
65–67, 69, 70, 71, 74, 76–77, 79, 80, Die Zukunft 169
424
425
426

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i

Volume 1: Schoenberg on Form, including Fundamentals of Musical

Volume 2: Schoenberg’s Models for Beginners in Composition,

Volume 3: Schoenberg on Counterpoint, including Preliminary

Volume 4: Schoenberg on Performance, edited by Avior Byron

Volume 5: Schoenberg’s Program Notes and Musical Analyses,

Volume 6: Schoenberg’s Correspondence with Anton Webern,

Volume 7: Schoenberg’s Correspondence with Alma Mahler, edited

Volume 8: Schoenberg’s Early Correspondence, edited and translated

Volume 9: Schoenberg’s Correspondence with American Composers,

Published in the United States of America by Oxford University Press

© Oxford University Press 2016

All rights reserved. No part of this publication may be reproduced, stored in

You must not circulate this work in any other form

Library of Congress Cataloging-​in-​Publication Data

Preface and Editorial Notes vii

I. Let ter s before 190 0 1

II. Let ter s, 190 0 –​1 901 17

III. Let ter s, 1902 61

IV. Let ter s, 1903 156

V. Let ter s, 1904 223

VI. Let ter s, 1905 295

VII. Let ter s, 1906 320

VIII. Let ter s, t h rough May 1907 367

Appendix 1: Undatable Letters 399

Preface and Editorial Notes

Notwithstanding Arnold Schoenberg’s central importance for the music of

letters from Schoenberg—​not surprising in light of his relative anonymity

punctuation. We also tacitly add punctuation to conform to English prac-

Name and Address of the Author

Name and Address of the Recipient

Here too we regularize the information, presenting it in the order of name,

In this section we include a translation of the complete surviving or available

In many letters, there are references to sums of money, expressed in

but does everything in its capacity to help Schoenberg scholars accomplish

Frequently Used Abbreviations

ASC Arnold Schönberg Center, Wien

EYBL-​WEG Martin Eybl, “Der Weg in die Öffentlichkeit: Frühe Interpreten

I am happy to hear that you feel well in Nikolsburg, but it would

p.s. II It seems to me that my prophesies about the weather during your

p.s. [III] Could you let me know if Nikolsburg is connected to Vienna by

For a summary of Schoenberg’s employment at the bank, see ASJ, 276–​9.

Malvina Goldschmied (1877–​?), Arnold’s first cousin on his mother’s side.

Ottilie Kramer Blumauer (née Schönberg,1876–​

It is not clear what Schoenberg meant by “I of course mean the book.”

The composition to which Schoenberg alludes (a “song without words”) has

“Grün” could not be identified.

I recently had a new waltz theme—​a green envelope—​I am already

Schoenberg abbreviates “ich liebe Dich!” [I love you!] as “I . . l … D . . !” using

“Grethe” could not be identified.

“Cz” might refer to Czech territory, but the meaning is uncertain.

one viewpoint. Rather, just as the movement of the social relationships is

With warmest greetings,

In the future, don’t write to the office, but to II. Leopoldgasse 9.

See Joseph Auner (ed.), A Schoenberg Reader: Documents of a Life (New

3 December [1896 or before]?

From the happy Champagne-​guild

To the sweet, dear, Thilde

[statement and signatures in right hand column]

“Thilde” (a common nickname for Mathilde) could not be identified.

Arnold Korff (born Arnold Kirsch, 1870–​1944), Viennese-​born actor and

Felix Dörmann (born Felix Biedermann, 1870–​1928), Viennese writer, libret-

Arthur Kahane (1872–​1932), German poet, novelist, and theater dramaturge.

Library of Congress Cataloging-in-Publication Data

II. Let ter s, 190 0 –1 901 17

letters from Schoenberg—not surprising in light of his relative anonymity

EYBL-WEG Martin Eybl, “Der Weg in die Öffentlichkeit: Frühe Interpreten

For a summary of Schoenberg’s employment at the bank, see ASJ, 276–9.

Malvina Goldschmied (1877–?), Arnold’s first cousin on his mother’s side.

Ottilie Kramer Blumauer (née Schönberg,1876–

I recently had a new waltz theme—a green envelope—I am already

From the happy Champagne-guild

Arnold Korff (born Arnold Kirsch, 1870–1944), Viennese-born actor and

Felix Dörmann (born Felix Biedermann, 1870–1928), Viennese writer, libret-

Arthur Kahane (1872–1932), German poet, novelist, and theater dramaturge.

Jakob Wassermann (1873–1934), German-born writer and novelist known

Edward Falck (1874–1922), Brooklyn-born performer and composer. In the

Felix Adler (1876–1927), Viennese-born music and art critic.

Carl Hermann Simon (1873–1917).

Emil Goldmann (1872–1942), Karlsbad-born legal historian.

Emil Lemberger (1872–1946), Austrian lawyer.

Willi Handl (born Siegmund Handel, 1872–

Hugo Frey (1873–1951), medical doctor.

Richard Glück (1879–?), lawyer.

Adolf Loos (1870–1933), Moravia-born architect and pioneer of modern

Eugen Stössler (1876–?), Czech-born writer.

Paul Wertheimer (1874–1937), Viennese-born lawyer, journalist, and poet.

Richard Leo Wengraf (1875–1923), Viennese writer, translator, and publisher.

Oskar Friedmann (1872–1929), author, librettist, director, and actor.

Karl Kraus (1874–1936), writer, journalist, satirist, essayist, playwright, poet,

Eduard Gärtner (1862–1918), Vienna-based singer, voice teacher, and com-

Leopold Müller (1844–1912), director of the Carl Theater in Vienna.

“Dirkens” may be Annie Dirkens (1869–1942), German-born operetta singer

Alexander von Zemlinsky (also spelled Zemlinszky, 1871– 1942), Austrian-

James Rothstein (1871–1941), German composer and choral conductor. Born

Hugo Salus (1866–1929), Czech-born writer and physician of Jewish origins.

Karl Freiherr von Levetzow (1871–1945), German writer. Levetzow held a

The letter is written on E. von Wolzogen’s/ Buntes Theater/ Ü berbrettl/

Josefine Redlich (née Berger, 1868—1954), wife of government architect Carl

Adalbert von Goldschmidt (1848–1906), Viennese composer. He supported

Waldemar Wendland (1873–1947), German composer. He studied composi-