Arnold Schönberg

Austrian composer, 1874-1951

Schoenberg’s approach, both in terms of harmony and development, has been one of the most influential of 20th-century musical thought. Many European and American composers from at least three generations have consciously extended his thinking, whereas others have passionately reacted against it. Many of Schoenberg's practices, including the formalization of compositional method and his habit of openly inviting audiences to think analytically, are echoed in avant-garde musical thought throughout the 20th century.

Source: Wikipedia

Schönberg, Arnold

Komponist (1874-1951). Typed letter signed. O. O. 1 S. Qu.-8vo. Auf Luftpostpapier.
$ 1,806 / 1.600 € (1318)

To Mr. Rollo Myers in London: „[…] I want to tell you that I have finished a little piece for your new bulletin of I.S.C.M. „Music of our Time“. It is about three and a half typewritten pages. […]”.

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Schönberg, Arnold

Komponist (1874-1951). Manuscript signed. O. O. 2 SS. Gr.-4to. Einige Bleistiftzusätze von fremder Hand.
$ 2,822 / 2.500 € (2063)

Questionnaire by the „American Composers Alliance, Inc”, the self-help organisation founded by American composers. With detailed information on Schönbergs composition “Karte für Opus 8“ and “Six Orchestral Songs (Sechs Orchester Lieder)“ titled „1. Natur - 2. Das Wappenschild. - 3. Sehnsucht. - 4. Nie ward ich, Herrin, müd'. - 5. Voll jener Süsse - 6. Wenn Vöglein klagen“. “When composed ‘1904’. Performance time ‘30 Min.’. Name of the Author ‘1 Heinrich Hart, 2, 8, 3 Volkssongs 4, 5, 6 Petrarca’. […] Place of first performance ‚Prag’. Organization and conductor ‘Zemlinsky Deutsches Landestheater’. Other important performances […]””.

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Schönberg Arnold

Komponist (1874–1951). ALS in German. O. O. 2 SS. Kl.-8vo. Bleistift. Knittrig; kleine Randschäden (wohl aus einem Notizbuch herausgetrennt).
$ 3,104 / 2.750 € (344)

Letter to the conductor Harold Byrns, who gave a concert on the occasion of Schonberg’s 75th anniversary together with the Los Angeles Chamber Orchestra. In full: “At 102 the viola I [one] which otherwise is excellent, plays the eighth not always as sixth note; but it must be the fourth of four, cordially [sic] congratulations again to you and also to the orchestra for the excellent playing!” At the bottom of the front of the letter, Schonberg has written a three-bar AMQS, apparently for the measure mentioned in the letter. In very good condition, with light overall wrinkling and creasing, and three small areas of paper loss to right edge.

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Schönberg, Arnold

Austrian composer (1874-1951). Typed letter signed. Los Angeles. 4to. 1 page.
$ 2,822 / 2.500 € (54317)

Nice letter to Eaghor Kostetzky in German with some handwritten corrections in Schönberg’s hand: „[…] I am sending you a small prochure where you can find the most important things on my biography. Moreover I am sending you a as called „Gehende Selbstportrait“, which is one of my rather known portraits and a small manuscript including a quote of music of „Verklärter Nacht“ and one of my „Gurrelieder“ […]“

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Schönberg, Arnold

österreichisch-amerikanischer Komponist, Musiktheoretiker, Kompositionslehrer, Maler, Dichter und Erfinder (1874-1951). Ms. Brief mit e. U. Los Angeles. 8vo. 1 p. Luftpostpapier „AirMail“.
$ 2,483 / 2.200 € (78435)

An Peter Salm vom Counter Intelligence Corps CIC, Oberbayern: „Your father, Mr. Harold Byrns, was kind enough to give me your name and address and to tell me that you might be willing of getting in touch with friends and relatives of mine. If this should be possible I would be very thankful if you could forward the letter inclosed to my sister in law and their daughter Mrs Bertel and Miss Giti Schoenberg [...] Your father is also interested in his former colle[a]gue from Oldenburg, Mr. Winfried Zillig [...], who was once my pupil in musical composition and has since made quite a reputation of his own [...] I would be very thankful if you would find the time to inform me whether I can also send letter[s] to relatives and f[r]iends in the Russian zone, Vienna etc.

[...]“. – Der Komponist, Musiktheoretiker und Dirigent Winfried Zillig (1905–1963) war in Wien Privatschüler von Schönberg gewesen und war diesem auch später nach Berlin gefolgt. – Auf Luftpostpapier mit entsprechendem Briefkopf; mit einigen kleineren, alt hinterlegten Einrissen am rechten Rand; ohne den erwähnten Brief..

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Schönberg, Arnold

österreichisch-amerikanischer Komponist, Musiktheoretiker, Kompositionslehrer, Maler, Dichter und Erfinder (1874-1951). Ms. Brief mit e. U. Berlin-Charlottenburg, „Nussbaum-Allee 17“. 4to. 1 p. Gedruckter Briefkopf.
$ 2,257 / 2.000 € (78436)

An den in Paris lebenden Journalisten und Übersetzer Isaac Grünberg (1897-1953): „[…] unter der Bedingung, dass der Artikel aus dem Querschnitt ‚Mein Publikum’ unverändert und ungekürzt übersetzt wird, würde ich der Zeitschrift für Kunst und Literatur in Mailand gegen ein Nachdruckshonorar von fünfzig Mark den Abdruck gestatten […]“ – Schönbergs Essay „Mein Publikum“ war im Aprilheft der Zeitschrift „Der Querschnitt“ erschienen und sollte nun in der Zeitschrift „Giovedi“ Verwendung finden.

Schönberg hatte 1930 große Hoffnungen auf seine Oper „Von heute auf morgen“ (op. 32) gesetzt. Die Aufführungen an der Frankfurter Oper und über Rundfunk im Jahr 1930 sollten die Hoffnungen des Komponisten auf populären Erfolg jedoch enttäuschen. Etwa zwei Monate nach der Uraufführung verfaßte Schönberg den Essay „Mein Publikum“, in dem er argumentiert, die Sachverständigen - vor allem Dirigenten, Ausführende und andere im Musikleben einflußreiche Personen - seien für den Mangel an Verständnis seiner Musik verantwortlich zu machen. „Aufgefordert, über mein Publikum etwas zu sagen, müsste ich bekennen: Ich glaube, ich habe keines.“.

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Schönberg, Arnold

Komponist (1874-1951). Typed letter signed. Berlin. ½ S. 4to.
$ 4,289 / 3.800 € (49515/BN33920)

To music director Johannes Schüler (1894-1966), reporting the successful recital of his "Pierrot Lunaire" and mentioning Alban Berg, who had also informed him that. - On headed paper; foldings with small tears, small tear-out at the top left).

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Schönberg, Arnold

Komponist (1874-1951). Autograph calling card signed. [Wien]. 1 S. Qu.-12mo.
$ 1,693 / 1.500 € (935660/BN935660)

To the music teacher of his son Georg ("Görgi") Schönberg (1906-1974), studying the cornet without much enthusiasm at the Vienna University of Music and Performing Arts, asking him to excuse his son's absence from that day's lesson, as he wishes to attend a rehearsal instead.

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Schönberg, Arnold

Komponist (1874-1951). Texte. Sechs Stücke für Männerchor [op. 35]. [Berlin. Typoskript mit zahlr. eigenh. Überarbeitungen. 5 Bll. in altrosafarbenem, eigenh. beschriftetem Umschlag mit Namenszug im Titel und schwarzem Kalikorücken. Gr.-4to.
$ 20,879 / 18.500 € (59708/BN44193)

Unpublished source for Schönberg's Op. 35 ("Six pieces for male choir"): a typescript containing the texts of all six pieces in their original order (1, 3, 5, 2, 4, 6), then rearranged by Schönberg in pencil and thoroughly revised in several phases in ink, pencil, red and blue crayon, even changing several titles. - All on stationery with Schönberg's blue letterhead, assembled into a booklet by the composer himself. Provenance: From the collection of the poet Michael Guttenbrunner (1919-2004) with his stamp on the recto of every page.

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Schönberg, Arnold

Komponist (1874-1951). Autograph letter signed. Wohl Berlin. 1 S. 4to.
$ 5,079 / 4.500 € (60917/BN44816)

To the Wiener Volksbildungsverein (the Vienna Adult Education Association), responding to an invitation to give a lecture and suggesting as a theme ("From my workshop") to the association.

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Schönberg, Arnold

österreichisch-amerikanischer Komponist, Musiktheoretiker, Kompositionslehrer, Maler, Dichter und Erfinder (1874-1951). 14 maschinenschr. Briefe (davon 13 mit eigenh. Unterschrift). Los Angeles. 4to. 14 pp. Auf pers. Briefpapier bzw. Absender gestempelt.
$ 18,622 / 16.500 € (78429)

Interessante Brieffolge an Hans Heinsheimer (1900-1993), den Verlagsleiter des Musikverlages K. Schirmer in New York: I. 12. November 1947: „[…] Now I am glad to hear that you consider beeing in charge of the future of my works with pleasure and I hope I will hear now more of performances of them […] A German conductor asks me whether there is a translation of the ‘Ode to Napeoleon Buonaparte’ in German. I have made one myself, only partly using the one in Meyers Klassiker, which is poor.

I send you at one a copy separately of it and I would be glad if the material for this work, which goes to Germanic countries, would be delivered with a copy of this text […]” – II. 5. März 1948: Ironisch merkt Schönberg an: „[…] That Mr. Richard Hoffam apparently, and Mr. Leonard Stein is definitely a pupil of mine, should not be held against him. I know of musicians to which worse happened. But on the other hand to mention only a few, like Anton von Webern, Alban Berg, Karl Rankl, Winfried Zillig – to some it was a good destiny […]” – III. 7. November 1948: “[…] I am glad that you helped find the clerical error which might cost me quite an amount of money. I am sure there must be a number of other such – let us call them clerical errors – which not only cost me money, but which cost also the firm G. Schirmer quite a sum of money. I am certain my Piano Concerto, my Violin Concerto, the ‘Cello Concerto’, and the other two Chamber Symphonies would be very often played and would bring in really some money, and Schirmer would not have to complain that I owe them so much on advances and nothing comes in – even not $ 5 a year […]” In einer eigenhändigen Nachschrift merkt Schönberg an: “I speak here so much of money, though, as you know, Nestroy says: ‘Geld allein macht nicht glücklich – man muss es auch haben’”. – IV. 2. März 1949: „To my greatest bewilderment, I was informed that my Pierrot Lunaire could not be broadcast because of something which happened just for my Pierrot Lunaire, in the braodcasting station […] I would like to know who reported to you about the Ode to Napoleon in Vienna. I have never been asked whether I wanted this performed in Vienna, and I don’t know where it was played and it must have been a very poor performance and a very poor audience, because none of my friends has written me about it […]” – V. 13. April 1949: “[…] may I mention that Schirmer seems to have forgotten that they bought on an outright basis my orchestration of the Brahms which every where it was played was a great success and was called ‘Brahms’ Fifth Symphony’. I wonder whether they have really forgotten this piece, because for at least four or five or six years I have not heard of a performance of it. Why don’t you use some of your publicity tactics to get this piece played. It could easily have hundreds of performances. I mean hundreds when I say so – an I am an expert on hundreds, because you remember perhaps that about 20 years ago my Pelleas and Gurrelieder had hundreds of performances which I knew from the statements Universal sent me […]” – VI. 30. August 1949. Nachdem Schönberg lange nichts mehr von Heinsheimer gehört hatte, schrieb er: “I hope you are not sick. Or, are you perhaps in Europe? All you people travel so much, but I had to cancel my visit to Frankfurt and Darmstadt and thus missed all the performances and the two Festival Concerts with: Lied der Waldtaube, Fünf Orchesterstücke, Variationen für Orchester, opus 31 and the Violin Concerto […]” – VII. 11. Dezember 1949: “Thank you […] for the gratifying news of a number of performances. I have also long lists of that from Euroe. Frankly, I am not so surprised of that. You might perhaps remember yourself how great the number of performances in pre-Hitler time was. I always counted them and found that UE had accounted for about fifty performances of Gurrelieder, and a hundred of Pelleas and Melisande. I am happy this stars again […]” – Mit zahlreichen Gegenbriefen von Heinersheimer an Schönberg im Durchschlag. – Unmittelbar nach Hitlers Machtergreifung verließ Schönberg Deutschland. Er rekonvertierte 1933 zum jüdischen Glauben und ging noch im selben Jahr in die USA. 1934 ließ er sich in Los Angeles nieder. Schönbergs Exil war bestimmt von den Versuchen, als Lehrer und Komponist Fuß zu fassen. In dieser Zeit fand er zu einem freieren Umgang mit der Dodekaphonie, komponierte bisweilen auch wieder tonal (Suite in G-Dur für Streichorchester, 1934). Intensiv beschäftigte er sich mit dem politischen Geschehen in Deutschland und dem Schicksal der Juden und engagierte sich in erschütternden Kompositionen wie der ‚Ode to Napoleon’ op. 41 (1942) und ‚A Survivor from Warsaw’ op. 46 (1947). Er unterrichtete 1935/36 an der University of Southern California und von 1936-44 an der University of California, danach bis zu seinem Tod als Privatlehrer. – Nach einem Studium der Rechte und der Musik wurde Heinsheimer zum Dr. jur. promoviert und trat in Wien in die Universal Edition ein. Im folgenden Jahr wurde er Leiter der Opernabteilung dieses Musikverlags und künstlerischer Berater zeitgenössischer Komponisten. Am Erfolg von Alban Bergs ‚Wozzeck’ war er ebenso beteiligt wie an Ernst Kreneks ‚Jonny spielt auf’ und Kurt Weills ‚Dreigroschenoper’. 1938 blieb Heinsheimer in New York und betreute als Chef des Musikverlags Boosey & Hawkes Bela Bartók und Benjamin Britten. 1947 wechselte er in den Schirmer-Verlag und brachte es dort zum Verlagsleiter und Vizepräsidenten..

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Schönberg, Arnold

Eigenh. musikalisches Albumblatt mit U.
Autograph ist nicht mehr verfügbar

„AUTOGRARH [!] für Herrn Adolf Leichtle“. Four bars of music from a not identified work.


Schönberg, Arnold

Eigenh. Brief mit U. und eh. Albumblatt mit U.
Autograph ist nicht mehr verfügbar

To the writer Eaghor Kostetzky, i.e. Ivan Merzliakov (1913-1983), apologizing for having inscribed the accompanying album leaf so oddly, which is only due to his attempt not to damage the printed portrait that was included. - Together with an article of Kostetzky's about Schönberg (carbon copy) and the facsimile of the final page of a thank-you letter from Schönberg. Letter and envelope mounted on backing paper.