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10 voice of the people: AMM, p. 98.
10 at a restaurant: Berg, Der unverbesserliche Romantiker, pp. 62–63.
10 “What a gifted”: Thomas Mann, Doktor Faustus (Fischer, 1971), pp. 155–56.
11 “I have actually outlived”: Kurt Wilhelm, Richard Strauss: An Intimate
Portrait, trans. Mary Whittall (Rizzoli, 1989), p. 284.
11 Tchaikovsky was captivated: Robert W Gutman, Richard Wagner: The Man,
His Mind, and His Music (Harcourt Brace Jovanovich, 1968), pp. 347–48.
12 “a democrat, a new man”: Gerald D. Turbow, “Wagnerism in France,” in
Wagnerism in European Culture and Politics, ed. David C. Large and William
Weber (Cornell UP, 1984), p. 152.
12 “counter-religion”: Charles Baudelaire, “Richard Wagner and Tannhä user in
Paris,” in The Painter of Modern Life and Other Essays, trans. Jonathan Mayne
(Phaidon, 1964), p. 128. For M. Carey Thomas, see Joseph Horowitz, Wagner
Nights: An American History (University of California Press, 1994), pp. 227–28.
For Herzl and Tannhä user, see Carl Schorske, Fin-de-Siecle Vienna: Politics
and Culture (Vintage, 1981), p. 163.
13 “This Book contains”: Jerrold Northrop Moore, Edward Elgar: A Creative Life
(Oxford UP, 1999), pp. 172–73.
13 “first English progressivist”: Ibid., p. 369.
14 “an oracle”: Friedrich Nietzsche, On the Genealogy of Morals and Ecce
Homo, trans. Walter Kaufmann and R. J. Hollingdale (Vintage, 1967), p. 103.
14 “Il faut mediterraniser”: Friedrich Nietzsche, The Birth of Tragedy and The
Case of Wagner, trans. Walter Kaufmann (Vintage, 1967), p. 159. For more on
Nietzsche’s “neoclassicism,” see Walter Frisch, German Modernism: Music and
the Arts (University of California Press, 2005), pp. 23–28.
14 “I have felt the pulse”: Selected Letters of Richard Wagner, ed. and trans.
Stewart Spencer and Barry Millington (Norton, 1988), p. 210.
14 “If we want thousands”: Kurt Blaukopf and Herta Blaukopf, Mahler: His Life,
Work, and World (Thames and Hudson, 2000), p. 138.
15 “Richard III”: BGRS, p. 1.
15 “You can be certain”: Max Steinitzer, Richard Strauss: Biographie (Schuster
und Loeffler, 1922), p. 34.
15 mocked a passage: “Selections from the Strauss-Thuille Correspondence,”
trans. Susan Gillespie, in Richard Strauss and His World, ed. Bryan Gilliam
(Princeton UP, 1992), p. 214.
15 Strauss’s parents: For a revealing commentary, see Michael Kennedy,
Richard Strauss: Man, Musician, Enigma (Cambridge UP, 1999), pp. 3–11.
16 “immoral” and “the seeds of death”: Willi Schuh, Richard Strauss: A
Chronicle of the Early Years, 1864–1898, trans. Mary Whittall (Cambridge UP,
1982), pp. 282 and 285.
17 “Dream on”: Max Stirner, The Ego and Its Own, ed. David Leopold
(Cambridge UP, 1995), p. 111.
17 “apostles of moderation”: Schuh, Richard Strauss, p. 401.
412
17 “scourge of the Philistines”: Ibid., p. 505.
17 “crimes against religion” and “spiritual fodder”: David Clay Large, Where
Ghosts Walked: Munich’s Road to the Third Reich (Norton, 1997), p. 10.
17 “book of images”: Claude Debussy, Debussy on Music, ed. and trans.
Richard Langham Smith (Knopf, 1977), p. 160.
18 Latter-day Strauss scholars: See Walter Werbeck, Die Tondichtungen von
Richard Strauss (Hans Schneider, 1996), esp. pp. 453–54; the work of Bryan
Gilliam (BGRS, BGFI); and Charles Youmans, Richard Strauss’s Orchestral
Music and the German Intellectual Tradition (Indiana UP, 2005).
18 “imbecile”: RSRR, p. 155. See also Richard Strauss—Stefan Zweig:
Briefwechsel, ed. Willi Schuh (Fischer, 1957), p. 128.
18 court of Kaiser Wilhelm: Chris Walton, “Beneath the Seventh Veil: Richard
Strauss’s Salome and Kaiser Wilhelm II,” Musical Times 146 (Winter 2005), pp.
14–19.
19 he indicated to Hofmannsthal: BGRS, p. 86.
19 “I was never”: ASSI, p. 137.
19 “music of Herr Richard Strauss”: Wilhelm, Richard Strauss: An Intimate
Portrait, p. 100.
19 “More of a stock company”: Karl Kraus, “Cultural Bankruptcy” (1924), trans.
Susan Gillespie, in Gilliam, Richard Strauss and His World, p. 360.
19 Libre Parole: RSRR, p. 148.
19 “If one of the two”: Alma Mahler, Mein Leben (Fischer, 1963), p. 346.
20 “from then on”: Donald Mitchell, Gustav Mahler, Volume II: The Wunderhorn
Years (University of California Press, 1995), p. 74.
21 “Don’t you compose”: LGM2, pp. 371–72.
21 “Is music such a serious”: Jonathan Carr, Mahler (Overlook, 1997), p. 95.
22 May Day: Kurt List, “The Music of Soviet Russia,” politics, May 1944, p. 106.
22 “Down with programs!”: LGM2, p. 522.
22 “pure musician”: Ibid., p. 524.
22 “satanic”: LGM3, p. 425.
23 “Krupp makes only cannons”: Ibid., p. 534.
23 switch the middle movements: Gilbert Kaplan, ed., The Correct Movement
Order in Mahler’s Sixth Symphony (Kaplan Foundation, 2004), demonstrates
beyond a doubt that Mahler never went back on his decision, although Alma
Mahler and the editor Erwin Ratz later claimed otherwise.
24 “fully grown cow”: LGM3, p. 413.
24 “walked up and down”: AMM, p. 100.
24 “over-instrumented”: Klaus Pringsheim’s recollections, quoted in Norman
Lebrecht, Mahler Remembered (Norton, 1988), p. 192.
24 “reduced almost to tears”: Bruno Walter, Gustav Mahler, trans. Lotte Walter
Lindt (Quartet Books, 1990), p. 51.
413
24 lightened the orchestration: LGM3, pp. 810–11.
24 “I extend to [Strauss]” and “very sweet”: Ein Glück ohne Ruh’: Die Briefe
Gustav Mahlers an Alma, ed. Henry-Louis de La Grange and Günther Weiss
(Siedler, 1995), pp. 306–8.
25 “Tonio Kröger”: GMRS, p. 142.
25 “redeemed from”: Peter Heyworth, Otto Klemperer: His Life and Times,
Volume 1, 1885–1933 (Cambridge UP, 1996), p. 60.
25 “I am to find”: Recollection of Bernard Scharlitt, Neue Freie Presse, May 25,
1911.
25 “The time is coming”: La Grange and Weiss, Glück ohne Ruh’, p. 129.
26 “In his mature years”: Leon Botstein, “Whose Gustav Mahler?” in Mahler and
His World, ed. Karen Painter (Princeton UP, 2002), pp. 20–21.
26 “had to return”: Musical Times, July 1, 1906, p. 486.
26 “gift to the nation”: LGM3, p. 431.
26 “Vorbei!”: Ibid., p. 792.
26 “the highest fee”: Ibid., pp. 661–62.
27 rehearsals took place in German: Glenn Watkins, Proof Through the Night:
Music and the Great War (University of California Press, 2003), p. 300.
27 ten thousand people: Ezra Schabas, Theodore Thomas: America’s
Conductor and Builder of Orchestras, 1835–1905 (University of Illinois Press,
1989), p. 136.
27 “electric sign”: Horowitz, Wagner Nights, p. 210.
28 two hundred dollars: Roland Gelatt, The Fabulous Phonograph: From Edison
to Stereo (Appleton-Century, 1965), p. 146.
28 million copies: Fred Bronson, Billboard’s Hottest Hot 100 Hits (Billboard
Books, 2003), p. 179.
28 Telharmonic Hall: Thom Holmes, Electronic and Experimental Music, 2nd
ed. (Routledge, 2002), pp. 44–52.
29 “anarch of art”: James Huneker, Overtones: A Book of Temperaments (1904;
Scribner’s, 1922), dedication page.
29 White House, Senate: “Richard Strauss Meets the President,” New York
Herald, April 27, 1904.
29 house of Agamemnon: Arthur Schopenhauer, The World as Will and
Representation, trans. E. F. J. Payne (Dover, 1966), vol. 2, p. 449.
29 Wanamaker’s: RSC, p. 252.
29 “They do things”: “Dr. Strauss at Wanamaker’s,” New York Times, April 17,
1904.
29 Strauss was promptly pilloried: BGRS, pp. 81–82.
29 Boxes 27 and 29: “Strauss’s «Salome’ the First Time Here,” New York
Times, Jan. 23, 1907.
29 J. P. Morgan’s daughter: Jean Strouse, Morgan: American Financier
(Random House, 1999), pp. 561–62.
414
30 “man of middle life”: “‘Salome’ Condemned,” New York Times, Jan. 24,
1907.
30 “indefinable dread”: “Strauss’s ‘Salome’ the First Time Here.”
30 fogbank: “Message from Out the Fog: Says Puccini Is Off the Hook and
Hopes to Be in Town To-day,” New York Times, Jan. 18, 1907.
30 “Bret Harte’s novels”: “Puccini Just in Time,” New York Times, Jan. 19, 1907.
30 “coon songs”: “Puccini Hears Coon Songs,” New York Times, Feb. 25, 1907.
31 black minstrel: On the “exotic” sources of The Girl of the Golden West, see
Annie J. Randall and Rosalind Gray Davis, Puccini and “The Girl”: History and
Reception of “The Girl of the Golden West” (University of Chicago Press, 2005).
31 “German atmosphere”: Theresa M. Collins, Otto Kahn: Art, Money, and
Modern Time (University of North Carolina Press, 2002), p. 83. See also
“Conried Resigns as Opera Director,” NewYorkTimes, Jan. 24, 1908.
31 Philharmonic was reconstituted: Joseph Horowitz, Classical Music in
America: A History of Its Rise and Fall (Norton, 2005), pp. 185–88.
31 “completely unprejudiced”: Selected Letters of Gustav Mahler, ed. Knud
Martner, trans. Eithne Wilkins, Ernst Kaiser, and Bill Hopkins (Farrar, Straus
and Giroux, 1979), p. 319.
32 On a good night: AMM, p. 166.
32 Philharmonic musician: Recollections of Benjamin Kohon, in Lebrecht,
Mahler Remembered, p. 294.
32 “Wherever I am”: Ibid., p. 300.
32 “I see everything”: Martner, Selected Letters of Gustav Mahler, p. 329.
32 “I have found that people”: Ferruccio Busoni, Letters to His Wife, trans.
Rosamond Ley (Edward Arnold, 1938), p. 182.
33 “victim of the dollar”: “A Victim of Dollars,” New York Times, May 21, 1911.
33 “You cannot imagine”: Zoltan Roman, Gustav Mahler’s American Years,
1907–1911: A Documentary History (Pendragon, 1989), p. 475.
33 “I have never worked”: Ibid., p. 474.
33 Charles W. Kruger: Henry-Louis de La Grange, Gustav Mahler: Chronique
d’une vie, vol. 3, Le génie foudroyé (Fayard, 1984), p. 247; see also
“Thousands Mourn Dead Fire Chief,” New York Times, Feb. 17, 1908.
34 Strauss was stunned: Wilhelm, Richard Strauss, An Intimate Portrait, p. 106.
34 “antipode”: Walter Thomas, Richard Strauss und seine Zeitgenossen
(Langen Müller, 1964), p. 155.
34 “this aspiring”: GMRS, p. 153.
34 “about” Mahler: Tim Ashley, Richard Strauss (Phaidon, 1999), pp. 116–17.
415
2. Doctor Faust
36 “Lies, Frau Marta”: Lawrence Weschler, “Paradise: The Southern California
Idyll of Hitler’s Cultural Exiles,” in Exiles + Emigrés: The Flight of European
Artists from Hitler, ed. Stephanie Barron and Sabine Eckmann (Abrams, 1997),
p. 346.
37 “lost paradise”: Thomas Mann, The Story of a Novel: The Genesis of “Doctor
Faustus,” trans. Richard Winston and Clara Winston (Knopf, 1961), p. 229.
37 “extremely difficult”: Thomas Mann, Tagebücher, 28.5.1946–31.12.1948, ed.
Inge Jens (Fischer, 1989), p. 56.
37 “I have found”: Thomas Mann, Doktor Faustus (Fischer, 1971), p. 477.
37 “You will lead”: Ibid., p. 244.
37 “bloodless intellectuality”: Ibid., p. 373.
38 “I can see through walls”: Oscar Levant, The Memoirs of an Amnesiac
(Bantam, 1966), p. 120.
38 “Great art”: Hanns Eisler, “Notes on ‘Dr. Faustus,’” in Hanns Eisler: A
Miscellany, ed. David Blake (Harwood, 1995), p. 252.
39 “Strange regions”: Thomas Mann, Stories of Three Decades, trans. Helen T.
Lowe-Porter (Knopf, 1936), p. 283.
39 “Do you think”: Thomas Mann, Death in Venice and Other Stories, trans.
David Luke (Bantam, 1988), p. 87.
40 Vienna was the scene: On aspects of fin-de-siècle Vienna, see Carl E.
Schorske, Fin-de-Siècle Vienna: Politics and Culture (Vintage, 1981); Allan
Janik and Stephen Toulmin, Wittgenstein’s Vienna (Touchstone, 1973); William
M. Johnston, The Austrian Mind (University of California Press, 1972); Steven
Beller, Vienna and the Jews, 1867–1938: A Cultural History (Cambridge UP,
1989); and Steven Beller, ed., Rethinking Vienna 1900 (Berghahn Books,
2001).
40 “truth-seekers”: Carl Schorske, talk at the symposium “Wozzeck: The Play—
The Opera—Past and Present,” Princeton University, July 8, 2003.
40 “critical modernists”: Allan Janik, “Vienna 1900 Revisited: Paradigms and
Problems,” in Beller, Rethinking Vienna 1900, pp. 40–41.
41 “Now with my murderer”: Georg Trakl, Dichtungen und Briefe, ed. Walther
Killy and Hans Szklenar (Müller, 1969), p. 132.
41 Peter Altenberg: Andrew Barker, “Berg and the Cultural Politics of ‘Vienna
1900,’” in The Cambridge Companion to Berg, ed. Anthony Pople (Cambridge
UP, 1997), p. 25.
41 “If I must choose”: Janik and Toulmin, Wittgenstein’s Vienna, p. 91.
41 “the greatest man”: Otto Weininger, Geschlecht und Charakter (Braumüller,
1919), p. 456.
41 Schoenberg and his pupils: For Webern reading Weininger, see HMAW, p.
113.
416
41 “Everything purely aesthetic”: Wolfgang Gratzer, Zur “Wunderlichen Mystik”
Alban Bergs: Eine Studie (Böhlau, 1993), pp. 97–98.
41 “Ethics and aesthetics”: Ludwig Wittgenstein, Tractatus Logico-
Philosophicus, trans. C. K. Ogden (Routledge, 1981), p. 183. Compare with
Weininger, Geschlecht und Charakter, p. 320: “… alle Ästhetik doch ein
Geschöpf der Ethik bleibt.”
42 84 percent: William Weber, “The Rise of the Classical Repertoire in
Nineteenth-Century Orchestral Concerts,” in The Orchestra: Origins and
Transformations, ed. Joan Peyser (Billboard Books, 2000), p. 376.
42 “If it is art”: ASSI, p. 124.
43 “budding insanity”: Cosima Wagner’s Diaries, Volume II: 1878–1883, ed.
Martin Gregor-Dellin and Dietrich Mack, trans. Geoffrey Skelton (Harcourt Brace
Jovanovich, 1980), p. 963.
43 “Everything that is sacred”: Henry Weinfield, introduction to Stéphane
Mallarmé, Collected Poems (University of California Press, 1994), p. xii.
43 “Music really ought”: Debussy Letters, ed. François Lesure and Roger
Nichols, trans. Roger Nichols (Harvard UP, 1987), p. 52.
44 Debussy at Mallarmé’s gatherings: See François Lesure, Claude Debussy:
Biographie critique (Klincksieck, 1994), p. 115. For more on Debussy and the
occult, see Robert Orledge, Debussy and the Theatre (Cambridge UP, 1982),
pp. 14–17.
44 Universal Exposition: See Annegret Fauser, Musical Encounters at the 1889
Paris World’s Fair (University of Rochester Press, 2005), pp. 165–95.
44 “contained all gradations”: Claude Debussy, Correspondance, 1884–1918,
ed. François Lesure (Hermann, 1993), p. 107.
45 Turner and Whistler: See Leon Botstein, “Beyond the Illusions of Realism:
Painting and Debussy’s Break with Tradition,” in Debussy and His World, ed.
Jane F. Fulcher (Princeton UP, 2001), pp. 141–79.
45 “clear … unclear”: Christopher C. Hill, “Consonance and Dissonance,” in The
New Harvard Dictionary of Music, ed. Don Michael Randel (Harvard UP, 1986),
p. 198.
45 The interval of the octave: Hermann von Helmholtz, On the Sensations of
Tone as a Physiological Basis for the Theory of Music, trans. Alexander J. Ellis
(Dover Books, 1954), pp. 188–89.
46 Debussy and Helmholtz: Gary W. Don, “Brilliant Colors Provocatively Mixed:
Overtone Structures in the Music of Debussy,” Music Theory Spectrum 23:1
(Spring 2001), pp. 61–73.
46 “Long shall my discourse”: Mallarmé, Collected Poems, p. 39.
47 “I love you”: See the passage from 42 to 44 of Act IV.
48 cante jondo: For Debussy’s aptitude for Spanish music, see Carol A. Hess,
Manuel de Falla and Modernism in Spain (University of Chicago Press, 2001),
p. 176.
48 The son of a publisher: See Steven Moore Whiting, Satie the Bohemian:
From Cabaret to Concert Hall (Oxford UP, 1999), p. 66.
417
49 “Satie was”: Notes to the recording Erik Satie, Vol. 2: Early Piano Works
(Philips 420 472–2).
49 “smell of the lamp”: Debussy Letters, p. 117.
49 S volume: Dika Newlin, Schoenberg Remembered: Diaries and
Recollections, 1938–1976 (Pendragon, 1980), p. 316.
50 Zemlinsky’s parents: Antony Beaumont, Zemlinsky (Cornell UP, 2000), pp.
3–10.
50 desecration of Parsifal: Erich Alban Berg, Alban Berg: Leben und Werk in
Daten und Bildern (Insel, 1976), p. 89.
51 “paradox of the most violent description” and “Take good care”: AMM, p. 78.
51 “Why am I still writing”: Richard Specht, Gustav Mahler (Schuster und
Loeffler, 1913), p. 29.
51 “Thank you”: Josef Bohuslav Foerster, Der Pilger: Erinnerungen eines
Musikers (Artia, 1955), p. 681.
51 “very talented”: Roswitha Schlötterer, Richard Strauss, Max von Schillings:
Ein Briefwechsel (W. Ludwig, 1987), p. 78.
52 “blessedly light up”: Nuria Nono-Schoenberg, ed., Arnold Schönberg, 1874–
1951: Lebensgeschichte in Begegnungen (Ritter Klagenfurt, 1992), p. 45.
52 “I would like to take”: HHS, p. 66.
52 “He was very friendly”: Arnold Schoenberg, “Attempt at a Diary,” trans. Anita
Luginbühl, Journal of the Arnold Schoenberg Institute 9:1 (June 1986), p. 29.
52 vocal score: Schoenberg’s Salome score can be seen at ASC.
52 “Perhaps in twenty years’ time”: Willi Reich, Schoenberg: A Critical
Biography, trans. Leo Black (Praeger, 1971), p. 25.
53 “one of us”: Robert E. Norton, Secret Germany: Stefan George and His
Circle (Cornell UP, 2002), p. 73.
53 “I must not”: The translation is by Philip Miller, published in the booklet for
Glenn Gould’s recording of Schoenberg Lieder (Sony Classical SM2K 52 667).
Date comes from manuscript at ASC.
54 affair with Gerstl: Bryan R. Simms, “‘My Dear Hagerl’: Self-Representation in
Schoenberg’s String Quartet No. 2,” Nineteenth-Century Music 26:3 (Spring
2003), p. 267.
54 Gerstl’s suicide: Klaus Albrecht Schröder, Richard Gerstl, 1883–1908
(Kunstforum der Bank Austria, 1993), pp. 182–86; and Beaumont, Zemlinsky,
pp. 164–66.
54 “I have only one hope”: Simms, “‘My Dear Hagerl,’” p. 276.
54 “I have cried”: JASR, pp. 53–55.
55 four-note figures: Stuckenschmidt identifies the notes A, D, G-sharp, and
their various transpositions as the “primal cell” of Schoenberg’s early music
(HHS, p. 525), and he relates it to the four-note cell that appears in the Second
Quartet’s scherzo (F-sharp, F, C, B, and transpositions), throughout The Book
of Hanging Gardens, and many times thereafter. The possible derivation of this
cell from tritonally opposed tonalities can be glimpsed in the sketches for the
418
Second Chamber Symphony—for example, in the juxtaposition of F-flat major
and B-flat minor on p. 34 [Sk212] of Sketchbook 3, ASC.
55 Maximilian Kronberger: See Norton, Secret Germany, pp. 326–41.
57 “I feel the heat”: Nono-Schoenberg, Arnold Schönberg, p. 70.
57 fistfight: LGM3, pp. 608–9.
57 “seat-rattling”: Egon Wellesz, Arnold Schönberg (Heinrichshofen, 1985), p.
31.
57 “Stop it!”: Martin Eybl, Die Befreiung des Augenblicks: Schönbergs
Skandalkonzerte 1907 und 1908 (Böhlau, 2004), pp. 177–87. See also NSM, p.
87; and Willi Reich, Arnold Schönberg; oder, Der konservative Revolutionä r
(Fritz Molden, 1968), p. 54.
58 Heinrich Schenker: Egon Wellesz and Emmy Wellesz, Egon Wellesz: Leben
und Werk (Zsolnay, 1981), p. 57.
58 Liebstöckl: For more on this character, see Julius Korngold, Die Korngolds in
Wien: Der Musikkritiker und das Wunderkind: Aufzeichnungen (M & T, 1991),
pp. 73–74.
58 “I have your quartet”: Mahler’s Unknown Letters, ed. Herta Blaukopf, trans.
Richard Stokes (Northeastern UP, 1987), p. 175. For Mahler’s reactions to the
Five Pieces, see Specht, Gustav Mahler, pp. 28–29; for “If I go,” see AMM, p.
198.
58 “There is no architecture” and “daring experiments”: ASC.
58 one hundred marks: Anton Webern, Briefe an Heinrich Jalowetz, ed. Ernst
Lichtenhahn (Schott, 1999), p. 163.
58 “shoveling snow”: Alma Mahler, Mein Leben (Fischer, 1963), pp. 223–24.
For Erwin Stein’s involvement, see Stein to Alma Mahler, March 28, 1914, in the
Mahler-Werfel Papers, University of Pennsylvania.
59 Schoenberg snapped: ASL, p. 51.
59 “Schoenberg! Schoenberg!”: For accounts of the Gurre-Lieder premiere, see
Newlin, Schoenberg Remembered, p. 237; Reich, Arnold Schönberg; oder, Der
konservative Revolutionä r, p. 99; and Nono-Schoenberg, Arnold Schönberg, p.
120.
59 “huddled in the most distant”: Newlin, Schoenberg Remembered, p. 237.
59 “rather indifferent”: ASSI, p. 41.
59 Self-Portrait, Walking: See Esther da Costa Meyer and Fred Wasserman,
eds., Schoenberg, Kandinsky, and the Blue Rider (Jewish Museum, 2003), p.
147.
60 “Loud laughter”: Foerster, Der Pilger, p. 682.
60 “The public was laughing”: Neue Freie Presse, April 22, 1913, p. 13.
60 irritating flash of light: Helmholtz, On the Sensations of Tone, pp. 168–70.
60 “When a periodic”: Fred Lerdahl, “Spatial and Psychoacoustic Factors in
Atonal Prolongation,” Current Musicology 63 (1999), p. 18.
61 “the will to annihilate”: Arnold Schoenberg, Theory of Harmony, trans. Roy E.
Carter (University of California Press, 1983), p. 409.
419
62 “Art belongs”: JASR, p. 89.
62 “I strive for”: Ferruccio Busoni, Selected Letters, ed. and trans. Antony
Beaumont (Faber, 1987), p. 389.
62 “colors, noises”: Schoenberg to Alma Mahler, Oct. 7, 1910, in the Mahler-
Werfel Papers, University of Pennsylvania.
62 treated like idiots: See David Josef Bach’s sardonic riposte to Schoenberg’s
propaganda in “Der neuste Fall Schönberg,” Arbeiter Zeitung, Jan. 2, 1909. For
more, see Leon Botstein, “Habits of Listening and the Crisis of Musical
Modernism in Vienna, 1870–1914” (Ph.D. diss., Harvard University, 1985), p.
1208.
62 “emancipation of the dissonance”: ASSI, p. 216.
62 “We shall have no rest”: Schoenberg, Theory of Harmony, p. 314.
62 North Pole: Radio lecture on the Variations for Orchestra, March 22, 1931,
ASC.
63 “MUSIC OF NOISE”: NSM, p. 1021.
63 “You are proposing”: Busoni, Selected Letters, p. 391.
63 tonal centricity: For more on this point, see Ethan Haimo, “Schoenberg and
the Origins of Atonality,” in Constructive Dissonance: Arnold Schoenberg and
the Transformations of Twentieth-Century Culture, ed. Juliane Brand and
Christopher Hailey (University of California Press, 1997), p. 71.
64 “We broke its neck!”: Anton Webern, The Path to the New Music, ed. Willi
Reich (Universal, 1960), p. 48.
64 “Our age seeks”: Schoenberg, Theory of Harmony, pp. 1–2.
65 “inbreeding and incest”: Ibid., p. 314. For other quoted words, see pp. 195–
96, 238, and 258.
65 “[T]he end of the system”: Ibid., p. 196. 65 “Every living thing”: Ibid., p. 29. 65
“All that is born”: Weininger, Geschlecht und Charakter, p. 324. 65 “homeless
phenomena”: Schoenberg, Theory of Harmony, p. 258.
65 “adapts himself”: Weininger, Geschlecht und Charakter, p. 426.
66 Ringer has argued: Alexander Ringer, “Assimilation and the Emancipation of
Historical Dissonance,” in Brand and Hailey, Constructive Dissonance, pp. 23–
34.
66 “no more and no less”: HMAW, p. 411. See also ASL, p. 92.
66 “at the center of culture”: Beller, Vienna and the Jews, pp. 216–17.
67 “This book I have learned”: Schoenberg, Theory of Harmony, p. 1.
67 “Viennese school”: Joseph Auner, “The Second Viennese School as a
Historical Concept,” in Schoenberg, Berg, and Webern: A Companion to the
Second Viennese School, ed. Bryan R. Simms (Greenwood, 1999), p. 3. 67
“raised to the tenth”: Schoenberg, “Attempt at a Diary,” p. 39. 67 sometimes
moved ahead: See the opening section of the Quartet of 1905. For more
speculation, see Allen Forte, The Atonal Music of Anton Webern (Yale UP,
1998), p. 372.
67 “reached the farthest”: Webern, Path to the New Music, p. 48.
420
68 successive stages of grief: HMAW, p. 126. 68 Webern and Pelléas: HMAW,
p. 104.
68 “Whereof one cannot speak”: Wittgenstein, Tractatus Logico-Philosophicus,
p. 189.
69 Don’t play the note: HMAW, p. 484. 69 “Such a dear person”: Theodor W.
Adorno, Alban Berg: Master of the Smallest Link, trans. Juliane Brand and
Christopher Hailey (Cambridge UP, 1991), p. 17. 69 “[Berg] wasn’t lacking”: The
Memoirs of Elias Canetti (Farrar, Straus and Giroux, 1999), p. 760.
69 “sex appeal”: Soma Morgenstern, Alban Berg und seine Idole: Erinnerungen
und Briefe, ed. Ingolf Schulte (Aufbau, 1999), p. 343.
69 Anton Bruckner: Erich Alban Berg, Der unverbesserliche Romantiker: Alban
Berg, 1885–1935 (Österreichischer Bundesverlag, 1985), p. 25.
70 George Borgfeldt: Rosemary Hilmar, Alban Berg: Leben und Wirken in Wien
bis zu seinen ersten Erfolgen als Komponist (Böhlau, 1978), pp. 15–23. On
Hermann Berg’s discovery of the teddy bear, see www.teddybear
friends.co.uk/history-of-teddy-bears.php (accessed Jan. 5, 2007).
70 His tasks in the year 1911: See The Berg-Schoenberg Correspondence:
Selected Letters, ed. Juliane Brand, Christopher Hailey, and Donald Harris
(Norton, 1987), pp. 3–25.
70 “Are you composing”: Ibid., p. 44.
70 He dismissed: For more of Schoenberg’s hostility to the Altenberg cycle, see
ibid., p. 257; and Willi Reich, Alban Berg, trans. Cornelius Cardew (Harcourt,
Brace and World, 1965), p. 41.
70 steal a baton: Reich, Alban Berg, p. 19.
70 six more times: Ibid., p. 20.
70 “How I would like”: Mosco Carner, Alban Berg: The Man and the Work
(Holmes and Meier, 1983), p. 6.
71 “rather too obvious”: Berg-Schoenberg Correspondence, p. 143.
72 “War!”: “Gedanken im Kriege” (Nov. 1914, republished 1915), in Thomas
Mann, Politische Schriften und Reden (Fischer, 1968), p. 10.
72 “war psychosis”: Nono-Schoenberg, Arnold Schönberg, p. 134.
72 “Now comes the reckoning!”: Aug. 28, 1914, letter, in the Mahler-Werfel
Papers, University of Pennsylvania.
72 diary of the weather: “War Clouds Diary,” trans. Paul A. Pisk, Journal of the
Arnold Schoenberg Institute 9:1 (June 1986), pp. 53–77.
72 “very shameful”: Carner, Alban Berg, p. 42.
72 “total material and intellectual”: Barbara Tuchman, The Guns of August
(Ballantine, 1994), p. 321.
72 Richard Strauss refused: RSRR, pp. 160–61.
73 “It is sickening”: A Working Friendship: The Correspondence Between
Richard Strauss and Hugo von Hofmannsthal, ed. Franz Strauss, Alice Strauss,
and Willi Schuh, trans. Hanns Hammelmann and Ewald Osers (Random House,
1961), p. 216.