,(qde.r3or,iotsrq qsr,lta{ íq pazru8o:a"irm sselJqualoll sem oq.,r,r auo tnq .
:
}sl1eapl pue 'qsglasrm '1ua:ouut 1solu aq1 'lsarnd aql,, sB sluasard 8raquaoqlq _*
,'snsa{,, papq sI pa1 1sa3uo1 pu? glllru aql 'r§6r ,fuenrqa1 prru o§6r raqrualda5 upaxpJq
,1sIJtI3Jo uoqezqtapr 8utnulluo] p 01 sseu}i^\ Jpaq teqr surlesdJo 1as € p;:: _
8;squaoq:5 'sof6T átI1 ur rusrepn{;oJipqeq uo {Jo,tt;o 1unoue e8nq p Jaup pup -.-.o1
8rrrurnla.r raryu 3uo1 'aJI1 slqJo pua aql lp ua^g €(;atu qll.rr. aip EápI eql 1eI lou -_
}eql ]nq 1r,rrds aq1 1surc8e suts.{ur JoJ aul(po 3u4e3qs€] eJe no,{ leql u8ts p r,:-_ :
;ueql a^ps'pog,(ru'pJoT",uol1ptdxa sB poo1q.,{ru lda:re :no",{ a;o1drur puĚ _, :-]eJ
I op ir,lou .(po 'pJoT,, :aldoad aql Jo ssóuall8;o; *ise aq 'í.rols uolssed aq] _: l:,
8uo.ns q}LM'3uafs qleap slq uJ,uaq}8ultes;o,,fil,ue su uodearrtp:Iu€q]au e \_._---- .:
Jo Jo,\pJ uI eapl a,ttsenslad,(1pnltlcls aqt pa,{e.rraq aq asne]3q eldoed aql Jo s:-*- - : ,
salpsunJvpuaaqrry,(aldoadu,ltosrq.{qpapaío.rsu,uoq,lt)]sIJqJpup(,ira.r.,.
- -oad
srq pa1 oq,tt) sesoJy'ř r{]oq uo pálepou suraas sunJy 1t 8utpuai'sun+- \ř;. - *
p q]I'lt aluls qsIMJí tIElJB1IIplol pezlJp1rFtu pup pez{plJlsnpul uE saut8erur F:,, ,. -l
Ja(I z,uoJv pun sasory urado (alaiduo:ui) ;alq áq} JoJ slq8noqr .{letnrrrq;_ J , :'
pue (;uot7 o;4) a;nq:orq }sruolz p 01 a}nquluol o7 bz6t ul uoI1E]I.\rn . j_i_
--
íq'suaas 11 'palclruo"rd s€j!\ I{]I{,lr 'Ba14 atpstltltq fiQ |iEď p:riqod' ;,:._:,,,--
lz6tsrqJopue3q]S1tmPq1sIJq3Joarn3gaqt'(1papadxaun'(irep:.'-,'
bť6r eqlo] peppe..ulp8y,lra{ e aureJag 1'll.ol{,, qtlrr-.(qder3orq e ro; sJl.__, --, :;:]
JaIJq uI pa;n8g,,ue4sllq3 p erup]ag 1,trog,, ii6r pue z€6r ut qlog ,seq]]--},r
- _ --.,--,x
o^§ q aJlI slq Jo aseqd uetlst.rr{] alp Jo a:uu:tlu8ts aq} alou ol InJaJe] -_., : _. _ ;,
,€€6r ur poz{eruJoJ,fp:rloqur,{s sE{\ q]lqm'9z61 1noqe ul usrcpn{ ol uj:::_ _. :,il:lŤ
u ue8aq aq'868r uI usIIJE.Iaqln] o1 pelJa^uo: 8ur,teq 'asnpfaq 8rnsrrc;.;-^ .] "-řť
pnlr.rrds Jo lepotu
p se lslJq3 3o aruase;d aql sr 8,raquaoqrs a]eJ _Jo ]].J- : --
--,-":N^Aoug
iIITnÍ
J.SIuH3 SY DuEíINTIIOHf §
DNIIOi\TVISUflCNIíI
§ ugldrrHf,
1lE CULTL RÁL IDE\TITY AND ITS EXPRESa
Moshe Lazar wonders whether Schoenberg draws on the Christ model in Dú|
biblischeWeg unconsciously since in the midtwenties he \^/as more familiar with
§
Passion of Christ and Easter than with Moses or the Jewish traditions.a Althoťl
Schoenberg's reflections upon Christ in that pIay atenot especially pointed, his íg>l
resentation of Christ in the psalm seems more so and might even be distressingL{
those who wish to emphasize the growing importance of Judaism in Schoenboq{
thinking. |esus is presented as "the king of the Jews and the son of God," a ,"-{
Moses who wanted to lead his people "to the true faith in the One, Everlasting {
omnipotent" God.s If the implication o f Der biblischeWegísthatthe partly Cbriďr|
Aruns was not idealistic enough, this psalm stresses the explanation: Christ wasŤ|
pure§t, the most innocent, unselfish, and idealist being." I
How are we to rrnderstand Schoenberg's return to Christ in his late *q
I would like to approach this question via the construction of Schoenberg's píií|
like leader role by his Vienna circle around 1909, atthe time he renounced ton{|
the cuitural contexts for reading this and the perspective Schoenberg migbt {
had on it all from his position as persecuted Jew under the Nazis and exile iDF{
war North America are both critical. The fact that Schoenberg's students adfl
subservient relationship with him and frequently addressed him in a cuhirl {
guage has long been known. Yet the precise nature of the language, its writtcl {
texts, and its discursive meanings have been subjected to surprisingly litďe q
even among recent writings about what Dahlhaus called Schoenberg's "{
theology."6 The language and mode of interaction within the Schoenbelg ci{
that time reflected a species of utopian thinking and yearning for satvatir I
strong leader that provides us with potential footholds onto Schoen@r {
returns to the figure of Christ-esp.iiuuy given the radical political ff"H{
articulated inDer biblischeWeg.Indeed,I suggest that it provides insighS iú{
ous aspects of Schoenberg's activities from the r9zos on. I
yei tiris topic presents the historian with challenges. The Schoenb€Ig d{
views predate a historical catastrophe that was itself the outcome of radical art
nism in social and political spheres; misieading though it would be to drlr{
parallels, it would be equally wrong entirely to divorce these early construď{
Šchoenberg both foom his own concepts of strong visionary leadership and frr{
devastating impact similar ideas had had in social and political spheres in Óc
{
When we attempt to make sense of Schoenberg's postwar activities and wfi|
therefore do well to bear in mind Dominick LaCaprďs observations about TF
ing post-Holocaust discourses. LaCapta argues that the Holocaust'wz§ so
"{ťor survivor andbystander alike that it resulted in a shattering of meaningtl{
tably affects accounts of it both by the historical actors themselves and Uymn{
The Holocaust is not just the zero point of artistic representatiorr, us AdO|
argued8; it is an opaque, fragmented, and, for the historian, ethically fraught q
in terms of historical representation. Schoenberg's case may serve 25 na *rF
tion of some of these issues for the cultural history of twentieth-centurv ÉI
clear that in 1933 Schoenberg suffered a seveíe shockwhen, as a JeW he was q
forced out of his position at the Akademie der Kúnste in Berlin and went
-|
Jo luauln8J€ Jo Qalu ]I}Ptuels,{s u uI lou puu tllsluolsi]ap Jo l]P u€ uI p3a]ue]sqns,,
esoqM ]ual'uoLu IPfIsnuI e aZIuIIlÉaI o} pa,\Jas puu -{}I]oqlnP ]? :,
806IJo 1]p lp]lpp] slq luel'san8re sn€qIqBC's.tallai asaqlJo auol aql i8u,z,-,(1snor:suo:-;Ies
sB a3en3ue1 snoÉrlars,8;aquaoqr5 pea-r Buo1 s€q s:,
,l((,J3uals{ aql qli,^\ uoll€flunululo] $eI aql sJ3A3s ua^a q)Iq^\ 'paapul-s1]?] *
lpl]os ou, LIJ1t{.^,\ o1ul f lsnuI u uI sllnseJ a8tn3ue1 1euorlrsodutof Jlatl] Jo uo . _ . :
ssapuJleJ oq1 :flsnw s(aifJl3 aql Jo,tlJlluaqlnc al€tullln aq]3o u8rs E.. !, ,
Áloq,, e su 8raquaoqJS rl1 a]ueJa;e.t s,8;eg 'afu€lsul JoJ'ouJopv rog ,a3u;1,:;:
sJalleq ]aqlo pup sallt^Ilf€ alllpelf s,8;aquaoq:5 eprs8uop s;Jlloi aseql 3L,: , ,
,Áreurp;oe;lxe altnb sr 8raqrraoq:ls p;I€Mo} pe.uou, : -:
uJaqa6 1eql uoilo^ap aql Jo JoAJeJ 3q} lxoluo] sltll uI uala te^a,\\oH ,a]
*, ,
'Jaq]Ea} srq o1 8uqrr.lr ueqm atlol 1tltue.IaJep íH8lq u paldope (8rag ur,,- -:
s,rea,,i uaalq8ra) ou.lopy lBql sPa^oJ e]uapuodsaJJo] ouJopv-8lag aq1 : s;, :
u,Iaqe6 ro (s.rea,{ rre,tala) 8;ag ;aqlra uťql Japlo q]nur lou se-n,r 8;aquac -,: ; ua^a
atuil slql 1€ euual1 ut pel:adxa uaaq elpt{ ,(iurel;a: plno^\ sluepn]s : - aql
uo Blaquaoq:5 pJe'trol auol FllualeJap,{1aura"l1xa uu'es;nol;g ,eTo- ;,- -:
e 8uturo;red tsor;d-leod e se fi;aquaoq]S 1)n]lsuo) suollpfluntulllo] ;: ,.
-nls s,8laquaoq]S Jo aluos ls€al 1€ JoJ uolsuaurlp Lr€l1slJq3 ,(1aurnuai , _ ,
ol stu3os ,,dtqsaidtrstp,, q]Iq'lt ur {1rp:rls.{ru upllslJt1) qll.tr pal]el];- r,
l€ql a8En8uPI P se^IoAuI z16r o1 6o6r punore uro{ a]uepuodsauo: 8rac ;; -,
asuno)sI0 (sJN!{onrS
rrr s]ueur1ola,\3p lset{jue slq Jo sloqtu;(s aq1 ssarolclal pue o] LI]n]3J l_,- .:: - ,
, ;
sE up[inq s€ st]^! eruat:sarcl ílrea s,8raquooq)S luq] 1a^a,,rtclq']saiÉn,
,
-: -
"
"
,i
uI ,o.In]n_J 3q] o]ul oas o] saulllc,le uerunq.todns seriduu ,,íraqdo.rdr.- -: _ ",,,
6.raquaoq:g ler{} EopI eq1 ,1rrpa.ld o1 .tlrlrqr 8utzerue up a]rnb p!I? l1L--: , - - , ,
|l
puno_;ord qloq 8urpnlrut sp lutrureD pa^oláq slqJo alr,.J aql o] p*. -: - !,
s,lai1l}{cr1 uotl]EoJs,8.roquaoqr5aaso]olqlssoda.ro;o-raq]sI 1I
,plo,,.-- -: _
p:rlrlod .\\oq ]noqú a:luatlsa;d 8utzeue up pup s3ut}tr,lt stq ul LIoi].,-: - ;, ,ii
pa]áp01 aiclrssodosFsl 1l'€[6rpuno.ru8uruurBaqIieo^oqp]nq'tusi],-::,, ,,"",,,]|]
Jo a)ualp^JJd 3urspa.r:ut 3t1] 01 paueTe.ttu r(lopn"r spm aq LIoLI^\'uo l:: .
- _
,,,,{1tluapr uetula:) stq;o pa,r.r.idep 8uroq,]o y] , ] " |]
)voJ a]LlilJd s,8raqueoql§ su ppal aq lsnut,(aql crur] Jq} lE pJqsIlqlt j - - ,- ",ii]i]lll1ll]i
-n]op ot{l sť pue 'suoJ]e asaql Jo arue: SrrrqloN 6,JepPeI 3q plno,\\ --,: ,- _ ];]i]lii]]Jli
aluls tlsr,rta{ 1ue]IIíLLI (paur8eurr) up 01 trrar{] JaJsLIl]J} pue rir.tra{ ui,.: --
aldoad ]uautuo:d azlliqoru o} u8redun:: t uo po{Jpc]ula pue uoi]i j - _
- ,-, ",|lil]
ílrre;odue1 ueq] pue'luapr:lrg aqr Jo uot]reíe-t srq passa;dx3'iL:,:- - -j]],*iliii,,
-uoJal ap1
,sa8uuq:
]uDaJ uappns ;o lq8{ aq1 ut ]sed stri sss:tlrda, , _ _ ],- , - ,i,
sl]Jual aLtlt} slql uo.tj Álr.tr1:le sIq Jo q]nN ,sálP]S pa}Iun atl] LlI uJL-] ] , ]Jllúl]i
JSIuH) SY 9uaflNsoH]s
CULTURAL IDE\TITY AND lTS EXPRESSIO\
historrcal derivation."lo Yet to read the students' nlarkedl,v Christian-nrysticai 1anguage
in this rvay underplays its cultural significance, I rvould argue,
The published Berg-Schoenberg correspondence, betweerr whom correspondence
proper began only in spring l9rr, has provided us with most of our examples
of this language.l5 Berg's epistolary styling is selí-conscious, circumlocutionary, anc
literary-so much so that his occasional use of religiously inflected language scarcej,,
seems out of the orclinary. Earlier letters survive from Webern to Schoenberg, as d.
letters between Berg and Webern.16 Frustratingly, Iittle of the Webern-Schoenbel.
correspondence is published,l7 but more frustrating still, virtually no letters fror-.
Schoenberg to Webern survive from before 19z6.18 The context and tone of th.
Ietters within tlre circle start to become a little clearer once we can reac1 a series c.
letters together. My analysis is based on a selection of published and unpubiisher
items dating from r9o9 to r9rz (see appendix to this chapter): excerpts from certa.,
letters to Schoenberg from his students (particularly from Berg and Weberl
excerpts from a few ietters between Webern and Berg themselves, plus a, couple :
other contextual excerpts from various essays contemporaneously produced witi:-_the
circle.l9 It is irrrportant to stress that these excerpts are taken from longer lette:,
tlre bulk of r.vhich tend to be devoted to more mundane matters and of course :.us
nothing about r,vhat they said to each other face to face; they also represent o:
a ťraction oíthe total correspondence ťrom that period and therefore col]c€tll:j-:
the rhetoric and considerably heighten its impact. Nevertheless, they may hel: ,
i]]unlinate the dynamic that operated then r,vithin the Schoenberg circle.
Qute strikrng is the e\tent to wlrich both Berg and Weberrr exert an influenc. ,
Schoenberg lr,hile their tone remains extremely deferential. \Alebern brought bool.. . _
ideas to Schoenberg's nllgnlion-gverlthing from philosophy to poetry-while :,.odicallv
articulating ways in whích he conceived of Schoenberg in relation to con:..
poraries or inrmediate precursors: Wagner, Malrier, Weininger, Kraus, Kokoschka, _- so
on.]0 Indeed, there are suggestions that Berg and \Vebern introducecl Schoenbe:.
certain key works of literature and sets of ideas. For instance, Balzac's nystical n:, :Seraphita
and Louis Lambert,key ingredients of his "aesthetic theologyi' were introc - -. _
to him byWebern on March 9, t9tt.2' Seraphita provided Schoenberg rvith a poetlc . teť
within which to conceite the ťwelve-note method, having inspired a massive . phonv
by the safiIe nalne) which eventually mutated into Die |akobsleiter,)2
Schoenberg's letters to Berg were typically short and ťactual and irrvolved o.." .
ter to two or three ťrorn Berg. Although Webern's letters suggest that there rras ' .
,,,
exchange of ideas between him and Schoenberg, it is difficult to judge hor,v nruc_- -
"
of what sort. It is also apparerrt that Malrler's death on May r8, t9rt, triggered a s::- *
desire on Webern's and Berg's parts to reassure Sc}roenberg of their spiritual de,, , _
and marked a heightening of quasi-religious language, Up to that point \r..-::-"
referred to Mahler in these Christiarr-mysticeLl teríls as much as, if not more ti - Schoenberg
(see excerpts from mid-r9ro), Orr Níay z4Webern even used the c;: *
ized "Sein" and "Ihn" when referring to N4ahler, either as a telling typo (of lvhic]- -- .:l
are many in Webern's letters) or in order to sacralize Mahler, as in Englisl .,]il
impression that His work was fullr. completed" and "we grieve for Him",. _ _,
,],I (]d]3]x3 Á;etg uilrag'rt6l'3I 1sn3ny1 qll.ll alqpu,_ --
ílerrlua 1ou sp^\ aq 1pq] -urpqrssod aqt uado a^Ea1 oslp fisaporu 3o suotssa,tdxe p;]'': --
-rop1o alclno: s,3.,rq.r"oq:i €l.qu"oqr5,(q palduiordun
(s}u3pnls eq] Luo4 /illrť, --,
p"8r"-.'rnoq rq8rur 1I uos€eJ ]e,\3]Eq,\\ JoJ l€q] elqrssod sr ]r la8Bn8uel i{sllFr , --
pa]]€al 8.roquaoqr5
^\ot1
pu€ pa]pIllul orimJo suorlsanb aql uado se^t]al uoup]u: _-- ' aqJ
,pupls all,IapnlowJaH slq pup B:acluaoq:5 qloq q]Iq^\ }sure8e plJo^\ aqr _ _- --: _ ,.iir,
,,.pig,,
,.iO, 'rt. ,trn""n1 .,g ,,,1-,o,; o1 ,{1aleurlp put dlqeroru Jo sjla: _,---
eql o] pťal ppom }Eri} soloq] Jo 1as € 'a)uplsqns lulJalpru slq allosslp plJl] _-,::,-_
pud prurue 3ql Jo }s€] pFoqs ue141 :í1l,rrpaíqnsielrqr;o ]slJoaql asauuel \ .'
,]o8uIuIaM o1}o Jo SPepI aql q]p\ sql sl]3tluoJ osIB áH '1qBture,to po3 ,(q pa:r:-- :': ,
lqiirrueapruťq]ns}eqls,r"gá,-"uraqa1,1.'tppoluq,uaruos'uallmenqsnotBr1;_,
- : *
reqt ,3e-i uu ,pe,(o;1sap 3q o1 sp.el' l'q} qllu aql eq 01 uraes,fiatlos,;o J]p: _ : _
'9l ÁIní uo ,s,I4}a{ Jaql;nJ i€Je,\3s uI ryary §uolluour uJaqep ..ilno fry
t,;' "
eq] o]ul qJPa_I oJ,,,p",r".rut:) 11e al3.1t,,8uturea.( pue arueluadar,,3o S.:.\Tl _
j_:,_,,
ptIE s,]elqe1,^{ pue 'uoqduropoJ upllslJqj 'uoprsoduro] leq] ( tr6l '€z ]aqul ]
"
,
, :
a]oJM tIJJqeM:pllo,r,r opIslno aqr ur 8qrq8g se,,rr 8raquaoq]§ q]Iq,\\ -1o_]
"';::
1ear3,, aqt lnoqe (116r 'lz-9z nqula,lda5) 8,roquaoq]S 01 s1o;,lr 8rag
"i,ra:,
_- ,pi^t,l.
q]I^\ uol]^]auuof olur paíoldl€fIsnu s,3,raquaoq:5 3ur8ul,rq \C : ,
uorlsanb pt]oJq aq] puo,(aq sao8 uotssnls}p slqJ,ue;8ord a,trlduapal | -:
, , : slq
pup 8raquaoq:5;o suoufnJlsuof lpla^as o,ru ]rac{se lplopJa]ťs eql cr] * -,
- ,
,
,rn8q 1spqf se 8raqueoq]q Jo uoll]nJ]suo] Iplnfll-rud srqt tll opn--r - , - s,S;aquaoq:5
01 sa]uoJaJJJ,,lo-,,*np,3u_l,rs33o uc 8urleru 3{I1 sp-\" i::, -,, ,, ];]l
or i".,o.u á.,,r"qtn8 3o }]p eq} te q1 8rrrlsa88ns'po9 s 8;aqueoql5 L]] :!: _ - paur8elut
uerp eq lpaluu.tt aq 3urri1'{-re,ta 8-raquaoq:5 a,tr8 plnol ]|-- -: ua,ra
'p;nleuradns e JoJ peqslm uJaqaAA (116l '9l 1sn8ny; Ja]pI );: | 'i ' ]lllil
unq, pro1 Jlaql JoJ ,(1doap 3JouI 1IaJ aÁe ! lou ppo] lsIJtlJ snsa1 ]t- i:,: , - fl]ii
"n"rl"q
1,, ,li.,1a*. ,(pnba s€'tr uJaq3^\ (116r 'rr rsn8ny) ]e}p{ ia3 ",,
1 ,
, ;fii
-euo sso.I] o]),papoau euo ]Pq} q:ns,,'uoile.Ifesuo],, s.)iooq aL|1 ::--: ,- - 'ifií]
pLIp pIo,!\aJoJ aq 1 qooq íloqueT}slJtl3;o adi1 e 'uollp]tpep puť ] :, "]
i,, q,,n, ..*orrq 8ur,teq st ..,,trep aql Jo af{^Jas aq1 ul UO]]l;..._ , """,,,]i]ll]iii
pr,.1d*o,.r ,tl,rtau s.3.raquaoq]S peqlJ]sap (tr6r '€ rsnSny; S:ag -:
j,-
,iiii||ť*
uPruouuaUo.uEI1siJq3uodn'(1a.r'(13uorrsq}oquJJqJl\1pue:..
ot 8ur]rea6,sJa,{\o11oJ sB seloJ JIaq} pLI€ Jep€al pup JolpJJ].: , :-, ;]ill]l,illiii]l||ťi1
q}oq JoJ q"prnd ,rn,t,,,q3 ,,(1altsni:xa lsoluP 3o a8ue; ? : _ ,,, -
]]'l]1l]]l]]l1ll]ll&,
_íJouI uPlls{,Iq3 sr 1enlrrrds eq] p_IE^\ol a^ou slr{l a}erlo3au i;:*, ,
"
:, ,]]llliLilil]ll]lilill,ff
prre Srag pup eq q]Iq.\L p-r.\ a3en3ue1 aq1 ."s,3raqu3oq]S uI : ..i : , _ ]il]il|lffil
ir"lrun* rr'or6i'9 l1n[1o ]atlal siq ut }r sln<] aq se.,'lua]uo] :,_- --, _ ," '"lilml
_tltds eloru,,e.;rre3á 1io^n ol]laclse Ie1"I31uLLI_uou,,
aq] 3ut:.:,_
_
__
* ",]'._iilllilúB
;o
'o,ro
passardxa s.uJoqe6 ,3su3s upIJsIJq3 ,{1pa>l1eur t uI ], *, : , ] ,rí|íL]"]i,]ňm
flJolaqJ ar{}'tuslppní 01 lIJnlaJ JJ13I pup uI slooJ s.8;aquaoql< : - -
':i|
,8raquaor1:5 n, .r,,,arr;ap ttt ]sní 1ou 'sa,tlestuaq} uee^uaq *,_ ,-, : l ffi
8laqu"o.1r5too.1n.Snr-rS.,n1 t1:lnspaÁoldrua8lagpupu]aqJ,\\],l,::,
,filiť""ulífim
,}ua[In3op rilqnd n ,r, .8nrlB.,q ,lq, 8utlpadar ullq]slsll : , : , ;u"mi *
-LLIP{ o^,\] eql qlJ^\ '1,1os slq] Jo suoI}PI]PA p3sn sluJpn]s ,lau]i_ -' - , ;;iiutilufifiil
JsIuH3 sY 9u3s\:
CULTL,R l,| ,]E\l];Y {\D lTs EXPRESSIoN
WecNnR's Por,r-Pntrsr
To try to understand this language rve need to consider the cultura] meanings that
attached to it it-t turn-of-the-century Vienna. The Christian-mystical aspect appears
to rule out reading the priestii, posture as an eari}, manifestation of a prophetic bearing
that links to Schoenberg's overtly Jelvish ethical self-projections from the late
twenties, of the sort proposed by Alexander Ringer. The speciírcaily Rornan Cathoiic
element of Berg's and Webern's Ch,ristian constructions have a locai Viennese import
inasmuch as they r,vere irr line not only with their owr confessions (broadly defined,
as neither was devout) but also with Vienr-ra's religious establishment of the time. }rIot
only was Catholicism the religion of the Habsburgs; from 1897 to r9lo Karl Lueger
\\,'as nayor of Vienna, and the efforts of his Christian Socialist Party to reestablish
Catholic values within Viennese society were both inspirecl by and heiped to reinforce
the Cathoiic revival at tlre end of Josephist rule and the Congress of Vienna as
lvell, It also ran in notorious parallel with increased intolerance of ]elvs.r5
Schoenberg's and his studerrts' own spiritual outlooks between r9o8 and t9r:
arre diíficuit to reconstruct in detail. We know that Schoenberg was not religiousl.,clevout
either as a Christiarr after converting frorn Iudaisrn to the Lutheran confession
as a,voung filan or as a Jew after reconverting in933. In 1934, as a new eri]c
from Hitler's Germany, he everr wťote to Peter Gradenwitz as follows; "I hal€ ner e:
been conyinced by Protestantism; but I had, like most of the artists in ny tin-ie. .
Catholic period; but, piease, this is strictiy confidential!ll"26 Given that r9rt ende;
tbr Schoenberg in persona] and artistic crisis, genuine self-doubt, it may also ':.
\\,rong to assume that this plrase coincided with the spirituality he described _
Richard Dehmel two years later. On December 73,7912, he famously wro[e that :..
rtanted to conlpose irn oratorio about an individual struggling to knoi,r, Gc,"[Ni]odern
man, having passed through materialisn, socialism, and anarchr-ar.:
despite having been an atheist, still having in him some residue of irncient faith _,the
form of superstition), wrestles r,vith God (see also Strindberg's Jacob Wrestil,::
and finally succeeds irr finding God and becoming religious, Learning to pra\Webern
had already given erpression to this central notiott of "wrestling ivith G. :
in a letter to Schoenberg on August 10, 1910 (see appendir). That Schoenberg , ,,
interested in some form of mystical beiief is also well-enough documented, es-
"
cially in connection with artistic creation. He had recourse to the ancient disco;:.".
of artist-as-divine-vessel in a published aphorisrn of r9o9: "So utterly full of me .- "
ing is God's greatest creation: the work oí art brought forth by man."28 His pain:_ .
titied "Christus-Visiorr (Kopf)" is officially undated; it is said to date fronl "be:_:.
October r9ro," but this renrains inconclusive evidence as to whether Schoen:.:.
painted it before or aíter his students started using his and Christ's names il : ,
same sentence-though equallv it rnay har,e nothing to do with the messianis: -, sacerdotal
discourses within the circ]e.]9 \\:e find }rim describing compose:.
descriptions oť strong faith, inrages of sainthood, and paraliels with Christ L-. conlmemorative
essays on Liszt (published October zo, r9rr) and Mahler (pubi., - , -
tloI]f;
sI l§olJd-1Ood aqJ ,,,q]IP,J uBIlslJ
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-nflup ípea.qe ppq eq 1eql seap{ palelnlrdma; q:rqlr,t,,'t,ly pue uoi8rlay *- -
_ua$ar
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o} ]nc]'aslno] Jo
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uosuqo{ ro3 '.ia,la.ntog
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a,\eq s-i3lllo pul2 q]P^o,) uLIoÍ ,,,tlo1,1oÁ3p ]Puo11l ,_,: -:
ri1l]o srrc(qdutitu s,,ronequodoq.as ťl^ sl)ullsul JL1,1 .;,, ":
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Llluae]Julu Jql Jo puc Jql ,(q tuql lno slurod pup ;: ,r,
la,1,o s8utlt.t,u. saldues sn€qJqi?C',(8o1oaql ]I]eq]s3l , :^, - -,
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€zt JsIuH] s \
l24 CLtTL R_tL IDE\TITY AND ITs ExPREssIoN
the "artistic teller of the great World-traged1.," "the onlr. one who never lied, [r,vlro]
was ever sent to humankind at epochs of its direst elror, as mediating friend.",'i It
is the poet-priest who might effect regeneration. In these writings and particularlrin
the supplements (ail of which belong to lr,hat \\hgl-rer calls the field of "ethical
aesthetics"),j6 Wagner also expands the anti-Semitic attacks he first made in
"Iudaism in Music" (l85o) arrd restated irr his "Explanations" of t869.]7
His theory of cultural regeneration in these late writings, which included a program
of temperance, vegetarianism, and female emancipation,]8 becomes a fornl o:
Christian mysticism. Wagner pernlits a gap to emerge between his view of the supposed
natural superiority of white races compared to others, particularly fews, atlc
his commitment to Christianity as a transracial idetr characterized by the capacitfor
suffering. He supposedT,vhite races to have the greatest capacity and made the=
the prime movers in a historical process that woulc1 lead humankind to a state c,
redemption when the inequalitv of races is removed, Yet, he also clainred that up ::
now white races have founded only a thoroughly immoral world. For tlrese reasoi:
he portrayed "true Christianity" in ideal terns: as something that transcends rar.r_
differences. ("The blood of the Saviour, the issue from his head, his wounds upc:,
the cross,-who impiously would ask its race, if white or other? Divine we cali .
and its source might dimly be approached in what we termed the human spec š:
bond of union, its aptitude for Conscious Suffering.")
jn
Christ's greatest gift r,l,as :. ,
a\\.areness of the essential unity of being and his having turned the individual l. _
on itself bv denying the will to live (pace Schopenhauer).
The Bayreuth circie, which emerged in tlre mid-t87os, resembled a religious :;and
consolidated itself even more once the Bayreuther B/citíerwas established u::.Hans
r.on Wolzogen's editorship in 1878. After Wagner's death the group bec;:,
increasingly sectlike, with a core of devotees (Cosimir, Wolzogen, Stein, Glasen;::
and others). "The worship of fWagner's] person and his works increased to the _;, .
of a cult"'as one observer described it: "[Hlis books appeared to be confess.:_.
lvritings, symbolic books of the aesthetics of a new belief."o0 The circle sepa.;:::
itself from the rest of society in the sure belief of its status as an elite group in pc _t:; .,
sion of the doctrine of regeneration. In addition, although the master-disciple rr,: :.
was purely secular, its use of the biblical idea of discipleship took on devot,.--
ambiguity by virtue of its coexistence with the circle's stress on the regeneration - , ings
and their relationship with Christianit,v. In other words, while Wagnerra, .reiigion
was supposed to supplant outmoded beiiefs, the Bayreutlr circle alsc -,^..:
ParsiJalvírtually to reinstate a form of Christianity and a doctrine of salvation.
There is plenty of evidence that Schoenberp]was aware of the ideological s,:: .
Wagner's legacy and follou,ed sonre of it. ln 1935, just exiled frclrn Germany, he . _ : ,.
to the jewish musical group Mailamm about the extent to which nobody cou_; , -_ ,,
true Wagnerian "if you did rrot believe in lris philosophy."'r In that speech he : - .,acterized
tlrat philosophy with reference to "Erlósung durch Liebe" (sa,-.._ :
through love), Deutschtum (Germanness), and Wagner's anti-Semitic belieťs . _,
iudaism in music, As if to distinguish \\'agner's notion that Jewishness rvas : _
- _.
acteristic to overcome rather than a hred racial characteristic (as under \;: "
upttr.Ia9 lii ua]]lJ.\\ uaJq ppq alllapruoluJt)H aq] aill 8utq]ou ]pql pawrp1] .-*
-íord s,3,raquaoll]S pup s ;au3e.r11 uaa,\\]eq,(1rrrgle 1enlrrrds Jo uo§ ctllos p..i:_
os[E u]aqe^\ IELI] se]p]IpuI aJLlapruollu lrg paqsllqnd iii.ltau Jq} ]noqp 8 l._ *
pelrrp 8,iag 01 Jal]el s,u]aqe^\ ,r,,,1ullsn4 lnai'n3utslalslal^{ 'utllst,t1 r ,
jnd( a}r:ar: nol trsq,lr $uilro[a_i _Ino JoJ Jsnp] lt]tl6 'l3qunJ ,,ifio1euc §Iu] : ,,
:ponul}tlof a11
,utl7uaqo1 JeUE porrad aql 8urrnp slurelduto: Jpllluls pť- ,,
}eqt 8ul(es 'l rogura:o6 iio pepuodsal Sreg ,8utsoduo: tuor; ,tt,,rr -- - :
SE.\\-uoI}E]rTQrrd.ro3aJqaP1uout"lL)HJqlJ0uoI}ÉJedeJdsrql1]uapr'rr
]pq] 1ar8ar slq 8rirssardxa 3rog ol o]oJ.\{ 8;acluaoqrg |;aqutara6 u,_,, ;--
..3snef)) aLIl ptlp dn s]r.rrds s,3,raquaoq:5 daa1 o1 perr8rsap r(lsse-rdxa LLI.,.,. : - ,
pue rau8e.lu1 uaa,^ueq s,lrup S-rag suost.iedulo:l aLlJ ,s{lo.{\ ]so]|i : _
-clc:ar'a,ttle8Ju ]otl JI'lue.iaJJlpm aq1 ]noqe p;ssaJdap 8ururo:ac1 sr " :-, -
3[III] q]Iq^\,tq'tt6r.i3qulafao uI uelllJ,\\ sJal}3l ieJa^es álu 8utl,c;]:-- :,"
,r,8ullq8g ala,u ,{aq] .(esnpf íloq,, eqt 3o 1ar.red pue };ld ,.,; - -, :
llp ]] ]o ,(1qrqelr,r.aut aqt 3o p,(e;lrod srq pue 8ur.ra;;ns s,S;aquaoq,s : --
u3a^\]3q suostlgcltuo: luú]suo] s.8rag asne:sq lueuodull aJp sl.]_-: : : , ..
s,rau3e.61 pue s,S,raquaoq]S ueomlaq suost.iedrtro) smpJp 8;ag tr6t i_ '- s;3]]ci
lÉJe.\esu1 nr(.;ro; palse 3^Et{ plno'lr Ilerl,\,\ pessan8 no,i asrl::,paseald,(le,t
se,lt I,,)
,Ul8 íleruri,(1rein:rtred p eJá.tt.taql teql;,_ 1]--
Jo Jauel e pa,\I3]e.I pue sSutlu,tt alslduro: s,rau8er1,1 ;o r(dol u,,_,_- :
a,te8 zla,ltolu{ pue 8rag 6o6r Jo sť}uIlsIJI{3 ty,tsarrd-laod r: !: _- - :
3Je^,r s]tlapnls slq ueq,lt porred aq1 8ur-rnp uol]tlel}p s,8raqu; - : o;a.lr
8utlt.t,tt J3l]eJ p.]epur pue s8ur.rs;;ns pup e;t1 s,;arr3e.11 ::-_
c1,,,,.láÁá uuql eJoul ,trou no,( SsIllI J lPq} st,(es ue: I IlE put]']tq: :"- -
olBur',(r]alI1nd.euuoeptruIJo'!\stq]qrrq,lr.3ur:rrEr{u3-e-]I;.:
,sardrrrt snopueuaJ} aLI] Jpeu araq,w(ue no,( a,tr8 ]ouupf spJo,\,, ]
-]a^o lpttp] luarqru8eru,,,!\oq pup ,,3)ueuodxa 3urgrldn '3utt:,_, , ,i1l,r;l,ro
sse1 LlSnotlt'.{11e.lrlels:c t)s,\\oqIrN cuoIJH ol e}oJ,\\ t,, tr. .- .
§.Jaq]oup Juo Jo uotlladsut eql pul2 '.ralleq: alpr '.ra}qSne1 'as:,,:-: _ ur
alnseald ]ua;uddu s,eldoaci.Iaqlo 3LLIos q]r,tl e;ado aq] o] a:-]-, ]
r,lt ttll3pue.(}rsor3r;c.roqlsa,redtuo.reH(,.,,uol}o^JpluJllctl .,.; --. _
1rrts'(1rrouP)ouo,elusrqtu3eurqrnsJoerPJaq1r-r11íti1rqrssr*----
q]ns JoJ spJo^\ puq oJ,, :pJpaq at1 pltslur1 er{1 Jo lut1o]]p ]:_. : ] , -- :
8urptoq sll. sv 1uits"ttl6 uror_1 ,,q:nrdslqprus3qolT,, aq] s,(elcls,: .:: -
-
: i;
}sJg,, sILl 3o ,(.rerp s(uJaqeM ,J3IIJPa paqIJ]SeP uotto,\ap .r. -: ,}saJlupLu
s]Llno)]p rraq1 ,6o6r ul 8reg prre'Áltsra,trun 3LI] :'__ :,, l]]l
-pn]s unlseuurí3 srq8urlaldruol-rarye,{1alerpatulul'.06t -!_.
*_] _: ]|L
8,reg prre ulaqe1 ž]ap€ol
^\au
p sp.t1 eq uaq^t ,saldrlsrp
_]a, , _- : _ ] ;],]]]|]|]]:fii]
Jo s})p peJ3plsuoJ aq osne]3q lo uotltsod iel]upuu snotrr"_: _
,sienl]alla}ul pup s}styp esJuuJT,\
^Jn]uJ)-Jt{]-Jo-urnl
ii::,. ,,,
,,1|]]L];*
qlnar,{eg o1 a8eutr8pd aqr apr:u o,\Pq o1 JaAJU SLUa3S E;ac _: _
_
,, ,]i,i]LlLl1llL
,.isol1aq8 aq}Jo lno,,:(.aJuELI] p.ir_,,-:_ : ,: ]fllr|]|ill]
-]el LtlruPilťr\i sIq Ul pau]Ielr 8.raquooq:5'sa:ua;a3Jrp IP]]._ _: - , ,l]]]ilil,
ut] sť,\\ Íltuer]sr.rq3 an]] ll]i{], aloJoJar{] puP (peu }snl PťL : _ . llli]llrllílll
9ZT IsIxHJ sY )uf
126
since \\hgner (see earlier). Schoenberg wrote to Berg on December zr, saying tlrat he
l'vas "unusuallY dePressed" because of the reception from Vienna, so much so that
he had lost all interest in his works.a9 His letter crossed in the mail with Berg's
christmas gift of wagner's Mein Leben,which Berg said had given him soiace and
enlightenment; "IG]reatness is inseparable ťrom suffering...We who are fortunate
enough to take Part in your life need such comfort and eniightenment. But to you
this book and its inner meaning will be nothing new"50 ňerg wrote again after
receiving schoenberg's depressed letter and amplified the comparison;
\\4rat you say about your divine works is dreadful] oh, believe nte, Herr
schoenberg, you can no lclrrger judge what the), signii,, they are alreaciy too far
removed from you; something magnificent is growing within you, 1.our gaze is stl
íixed on the future that you can no longer see the past, indeed, p..úup, no longer
tire present.,.I am actually glad i was able to give j.o,, Wagr..'s Life, .. [T]he
solace and enlightenment that we receive through our reverential understarrding
will do your anxious heart and 1,our doubts good by v.ay of comparison. Everr if
orrly for the moment; tbr I know only totl well that your dep.essiorl is just a
n]atter of time and must soorr give way to a more sublime, a most sub]ime
confidence.
However, if tlre descriptions of wagner's struggles and myriad sufferings, and
his never pure, always clouded joys raises [slc] evell u *n-.nru.y spark of
confidence in you, if our unswerving worship of you is able to cárrt.lbute to that.
then that would be tlre greatest happiness this christmas could bring me.5r
Berg's comparisons between Schoenberg and Wagner taper off in r9rz,, a,; i
lt-ith their verY obvious religious inflections. Whether this was urrder the pressu:. ..
preparing for the first performance of Schoenberg's most Wagnerian .,.,.-:o.
Gurrelieder, is uncertain. Meanwhile, however, Schoenberg thankecl him fc: --,
intention in presenting him with wagner's autobiography. However, he addei -;"This is an inner matter 1have to deal with-or not-by myseif..,It's a k:: .
persecution complex; an insight can persecute one too."52 I return to this f€sl-]-t
iater. When Schoenberg wrote to Berg in mid-}anuary about his reading oť ',,. ,
Leben, it is evident that he was hoping to find such "insights'' into Wagner's s - -,-
,
of creativity but hadn't. He is nonetheless understanding as to Wagner's ''obi -. ,
reasons for mentioning only "external events."s3 Schoenberg .l"oriy &ssuíTlů--]r
"inner experiences" that couldhave been told in an autobiography would
'oi:].:
,
have found their way into Wagner's works.
CULTUR,{L IDE\TITY ÁND ITS EXPRESSION
SrnreN Groncn As PorT-Pnrnsr
The Munich-based circle of Stefan George, whose poetry Schoenberg *-da
around19o6,provides anothermodelforthe quasi-religious sectaroundšch*-a
at this time.5a ForAlbrecht Dúmling, Berg's andWebern;s language and cons*ďa
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puu xtadg s,.rau3e14 pue ípa3a4lo tuJxg spq)szlelN qloq 8uroqog ,sluelc(
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uy :í>lsutpuax pua &nqugtllg ur qsq8ug ur paqsrlqr; ,_-,--
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aq} 8unuar: lsilJe pelplosl aql Jo lapotu €,, s€ páÁJas l,.rtaod s.aÉ;--:._ --,
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e 8uruorqse; ;o; í;leod:ril1 srq Jo ssauinJasn eq] Jo asnp]ěq _,,- : -, l;:,"]:ll
eq 3lui] eq1 iB ,fuleod s,a8.ioag ()1 peuJnl 8,raquaoq:5 '8uiltu:.,- ., _ -.*
se ílrea se /1at:os aql 1e pa,(uld aJe'ta. suol]fa1o: € ,do l;
uror; s3uo5 ,,i.rlaod uJJpoLu pup )Isnur uJapou uaa^\]3c ;.
-oulo;d aq] se^t asodrnd asoq,tt '(a8rosuy peJuOJ lq un: .r,
up) uIeJaA e8losuy s(euuel^ ri8no.rql í,rlaod sli{ q]IM ])p]L.
8.raqueoq:5 inq'(906I ul palqunJr 1I 1lun) IpqlsuuptuJoTl ;:
-EIaJ asol] e pelp^qp) pue e.Iaq1 atul] aulos 1uads 8ul,req ,:
-Je]
s?.nt a8;roa3 ,snJoq] aq} lo; uauqux ual7Jal J'ttu ]tia
1noqll{t s8uos a3;oa3 JáqlJnJ rno; 'ř ,do'upary
Jlttt1
,i :
sna npary ltu:ll JoJ uJJqa^\ '(ulaod s(eJl€Iepn€g Jo uol]p-s ..:_
-ro3 8,rag :atull siql 1e a8roag uo
^\oJp
osIE u.Iaqa6 pul 3:.-,; _
3ut5 aryaqats ;a6 s,a8roag ruo{ ,,3un>l:n.rlug,, pu€ ((IJup],
'. _
pup pllq} ásoq,lt'ot ,do'lal.ten§ 3ui.r15 puo]as ár{1 puť :, hp
q)ng saq 'lr ,ďo
'npat7 DAvZ uJoJJ ,(puelu€p ]u] _ ,--
-{1]uo] Jo uollPl]unu3"l slq {Jetu iirql DIJo,\\ esoql Jo] ,, . ::
01 uJnl s,8;equaoql5 qlIM paTuIT.,{1alerutlut arp ]sat:j-,:, _
lzt JsIuH3 Sv 9
CULTUR_{L IDE\T]T}, ÁND lTS ExPRESsIoN
art iorms.i8 The artist experiences in an extreme iorm rr-hat was also true for the
public: a crisis of va]ue arrd worldview of meaning and perception.
According to a 1910 essay by Margarete Susman, a lvriter in the outer George
circie, the creation of an artistic "I" in poetrv and consequently in music is to be
understood as a resistance to the real situation of the person in society, It is a transcendental
"I." Indeerl, the lyric poetry could also be a substitute for religion: "The
form in which modern irumanity saved the contents of religion for itse]f and in the
most perfect way is art... But oíall the arts, none has courted religion so intenseli,
and lived in it as did lyrical poetry: it is orrly by bearing in nrirrd these roots that i:
can be conceived in its importance for life in our new era."59 With its proximity tc
religion, the lyric achieved the greatest possible distance from natrrralism. George s
"l" became a type of law. Shortiy before his break with Hofnlannsthal, George ha;
written to him: "I was firmly convinced that by means of our writings, we) you an.
[, might have been able to exercise a very salutary dictatorship lastirrg for years."':
Beginning in the r89os but above al] from around 1904 ol1, the George circ,:
strongly reflected these ideas. The circle had a hierarchical nature, with George a.
the "master" and members of the circle as "disciples,"ui altlrough Michael Wink_.:
has argued that it is perhaps more correct to refer to rnultiple George circles ina,much
as there was "a shifting constellation of small groups of friends... [that] co:
stituted tlre core of the artistic-intellectual circles whose charismatic focus r. ..
George."62 The always formal and detached George might have adopted this se_'
sti,ling after visiting Paris and experiencing Mallarmé's circle (le maitre et le cénac.:
r.r,hich had struck him as the ideal community of poets.63 Yet various other poten:_,
solirces fed into it. Althor-rgh George hated Wagner's music, he would lrale be=.
arvare of the structures of the Bayreuth circle and Wagnerian art religion.óa Holr-e,, . :
he a]so found historical vindication in Dante, who positioned \rirgil, representa:., :
of antiquity, as his ťorerunner.65 George's idea of the artist as an Uberntenscil ,,
.
also influenced by Nietzsche: The latter's ideai became a reality in George, accor._-.
to Susman.66
If Schoerrberg and his circle's priest-disciple styling was influenced by tha: ,
the George circle, it could have come about via anecdote (from the Ansorge \ e :. or
the Vienna coffeehouses) or via a book or an article. The irnage of George ,, ,
kincl of Llrgeist, a "poet priest presiding over the dawning of a new era, as a splr *
mediator standing between tlre sordid reality of nineteentlr-century bourgeois _, _
ture and the higher reaches of a transcendent order yet to be revealed"'had :--:
presented by disciple Ludwig Klages in a r9oz book.67 Again in r9o9, shortir. b... -,
the Schoenberg circle adopted a similar styling, another George discipie, Friec, -:
\\'oiters, pubiished a short book titled Herrschaft und Dienst ISovereignt., -- "
Service or Lordship and Servitude].68 This bizarre metap}rysical tract, aln_t,
manifesto, proceeds in always highiv cryptic sentences, most of which are '_-
,
page in length, and was printed l,ith highl,v decorative opening pages usine : .,-l
arrd white designs that illuminate the first letters of each section in a medier-a_ , ,,,
Its three sections are "Das Reich," rvhich refers to the utopian "geistige F. _l
fspiritual kingdoml tolr,ard il,hich ther, rvere striving;69 "Der Herrscher"' - - _*
,]sualQ
Llun +uqJs]JaH.sJálIoM qJIJpetJc .I.§ áJnEIc
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13o CULTURAL IDENTITY ÁND IŤS EXPRESSION
ffinExffi
l,^{nNKSl"|rN
íescJrópfun geiner welt ist die btldwerdung
des blutes durch den
geist. Indem wír uns vortleíerct
deutung bescheíden und in die
worteBlut und Geist wie ínZ§Iei
dunkle brunnen schauen, ďercn
spíegel wi t wlt imend schimmern
sehen, an deren einheítlich verschmolzen€n
grund sích kaum
die ahnung wa5$, versuchen wir
an síchtbar werdend en gebilóen
den sínn zu schárí,en und was
an obeúlbchen von verbofgen
brennenden geheímnissen nóch
Íarbig zíttert, dursti g zu ettassen,
wíe der stoff das mtuá zum werIre,
das werk das mittel zumbildeist,
so ístdas míttel eur bildwerdung
des blutes durch den seist: díz
GeistigeTat. Die Geisňgďrat bt
der ínhalt der Herrschaft, durch
w elche d er Herrs cher, gleíchgúltígob
et einúberkommeneŇut
zuvefiffalten oder ein unerhórtes
zu er richtenhat, gleíchsúltig
an welchen versuchtžn oděr un--
versuchten stoffen er sein {euer
úbt,seíesglaube odetton, staat
odersteínr spf&che oóer :a;hlmlt
Figure 5,z. Friedrich Wolters, Herrschaft und Dienst,
It is conceivable that some of this literature had come to the atten
schoenberg or a member of his circle b-v r9ro. Interestingly, the vestments
quasi-rrredieval figure that decorates the opening "D" of "Der lferrsch.:
trimmed with a line from George's poem "Entrúckung" fTransport] from
bente Ring (lvlrich begins with "I fee1 the air of another planet''), which Sch
qllnn paiull sp]doln IEJn}in] pu' ]I]aqlsep Jo }slJoeql Jaqlou€ ili'"i;X'
a]Jnos lfeJlp eJouI e sdeq.ra6 9l,Jaiqpry ;o uotutdo ;ood ,(1snot,ta;d stu ::
uJnl uI aq puĚ tult{ uI ]seJalui ue 8ur>le1 pallels JaIqBT/{ uaqlt'}o6t pucr-_ :
-loJ JaIIip]^{ páterlpap E auB]oq 3q rnq'Álal:o5 eBe5 aqr Jo alfJl] Jaj-,:]i.
ar{l uI pa,\1onul ueaq a^BI{ o] u^{oDI }ou sI B-raquaoq:5 ,,(lar:or :. ,
arupf eq ';alqe7q papnl]ul q]lq',\\
(Jelle] aq1 ,qlud s nor3rlar-:Bag]sar ; _,_ _ ,'
uotle.raua8al leJnl1n] ro; ueld s,rau3u14 .,(1aso1: aJolu onsJnd ol :; _,
asoq] pue uIsI^Il)P p:rlrlod uI JaII3q € 01 pleq ilIls oli^{. esoq] uaa_\,.: - " :
aI]JI] aq} 'Je^a^\ot1 'rggr .,(g cl,eqf szlelN pue .rau3er11 qloq uo iilleltr, _ : , _- :
-áLuos (MaJp
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or{,tr 'JelqBW 8urpnl:ur 'spn1]aliálul pup s]sllJ€ asauual1\ _]o
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e sp pauol]]unJ aI]JI] JeJJo}sJauJo6 eq]'uo gl3r puno;e Luo]J,,!;,-_ _i
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e JoJ pue-a1,(1o:e epu 8rmo"( e Jo uJoJ aq} ur dlqsro.rr
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pue 'eqppng 'uutlsux apls8uop spu€}§ Jq lnq .po9 a
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papnpuof pue 1sar.rd € q[ eJ}}1u ])BIq ur pa.readde §n
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pue 8;ag .{q pasn a3en3uu1 le3ps,(tu uBIlsIJq3 Jo ó;rqrq
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132 CULTUR.{L ]DE\TITY ÁND ITS EXPRESSIoN
\\ieininger described "priest" in the chapter "On Characterology" of his posthumously
published collection of essays, Úber die letzten Dinge |On Last Thingsl, a
section also published as a free-standing essa,_v tit]ed "Sucher und Priester" ISeekers
and Priests] tn Die Fackel, a satirical journa1 edited by Kar1 Kraus and read br,
Schoenberg and his clrcle.7i Weininger set up a paradigmatic dualism similar to the
tYPe M (man)/type W (woman), which underpins his theory of ethical subjectivitv
in Geschlecht und Charakter [Sex and Character]:
The seeker searches, the priest informs. The seeker searches abclve al1 hirnself, the
Priest reveals irimself above a1l to others. The seeker searches his whole life long
tbr lrimsell for his own soul; the priest's ego is given from the outset as a presuppositiol'
of everything else. The seeker is always accompanied by a feeling of
imperfection; the priest is convinced of the existence of perfection... of course,
seeker and priest are extíemes; the greatest people are both, most often seekers at
frrst, so that they then can transťorm tl-remselves irrto priests wlren they have
íbund the solllce, have lived to see their self.i8
Weininger continues that the priest is not simply a type disconnected from rea
Priestly attributes, ťor "the priest has revelation behirrd him...The priest alread,
stands in league with the deity; only he knows mystical experíences." His lot is n,_
easy; "For the priest must not be a peaceťul, idyllic man; he has nreaning orrly iu =
fighter for victory, not for the effort oíthe struggle, not for fear beíore defeat." Class _
seekers were, for Weininger, Rousseau, Calderon, Sophocles, Mozart, and ll.
Beethoven of Fidelio (although lre becomes a priest in the Waldslein Sonata, 1vh1,:
final movement is the highest summit of Apollonian aít),Schiller is a failed prie..
incapable of tragedy or of recognizing the stru,ggle between human grandeur a::
pettiness; "Schiller hardly seems to have known the enemy in one's own breast, lol. iiness
and its terrors, human fatej'79 He is really just a journalist-a characterizaí_. . that
Kraus may have found especially interestin§, $iven his ongoing campaign agal,,
\iiennese journalism. By contrast, Richard Wagner started out as a seeker with - ,
Flying Dutchman, Tannhriuser ("the Pilgrims' Chorus gives a wonderful represe:, -,
tion of seeking"), and Tristan but ended as a great priest with Siegfried anď Pars!,'.,
Weininger does not elaborate on "priest" in much detail, but his conceptua.,---
tion might be linked to the theory ín Geschlecht und Charakter.8' Despite the _.:that
much recent scholarship, especially nrusical scholarship, has tencled to rec*_l
Weininger to a source of misogynist turn-of-the-centuíy formulations about rr-,:,
an's endemic sexual, immoral, and uncreative nature, Geschlecht und Charaktc--, in
fact a lengthy tract about ethical subjectivity that made use of man and \\-c- *:
as opposing ideal tvpes, with the ]ew as a mediating third type. lt is under .:
misogynistic and anti-Semitic, but it is more than that. A1l ethicai, creatil,e. .- intellectual
values are attributed to type A,{, the only intelligible, autonomous r -,:.
ject, while a coliection of misogynist stereotypes constitute type W, the amora- ,
sexual, all-irrational, feminine principle, the antithesis of tlre values associate; , ,
":
type N,I. Though Weinirrger's Jew is in many l\,,ays identical to type W, it stands ., ---.,,
principle of the consciously unethical, \\roman and }ew were not autonc,:: --
subjects but mere bundles of sensations; how,ever, unlike W, Weininger's -.
]jil]|]|
;,,
or,§o6r Joululns ur /1req3 JaqloJq s. JaDpJ0113
pt4l,t 1lparpsa, Jo uoliIpa qlxls aql ,(peaJlp sp^\ lptlm;o ídor r ::
uaq} JH cs(((,tal{eJ€q3 pun lqralq]sa3, sra8utule^\ orro sn€ ue{uepe) :,sunqIJ]s)Io^sep
sa13o1oq:ís6,,aprr aqr J3pun
'o6I
J3qo1]o uI/a)JOďalo u r: :
(ilqenxas puu 'Álqe;oul '}]oIIJ]uI osp 1nq ,'snrua8,, pue ((lenplllpul,,'sal:oi: -. :
o.lr1 eql;o sar8o1odlt parapue8 slq punoJp 'apou auupsn5 o1 8rrrp.rol:p ,S
JaDlafiLl7
pun ilparpsr9 luo{ speplJo uol}]ailo] v sald'pllu7 al6r ul p._ _ , uaq^\
c.]JlselJd pun laq]ns), {uo{ suol1elonb ra8urutar11 o.tt] lno ]n: ap '_:: o]
auo pa]o^3p pup suoqplonb pue spapl Jo s1ooqde;:s tda1 ag ,|,_-._JaDpJt)tl7
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sII{ JaUE ,,(1aletparuutr '€o6t'6z J3qopo uo 'paapu1
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'uoseal slq] JoJ ls,eJnllnf uPIUJ3D JoJ ]ťe_] aL*:: : -. - ]
tla; ra8ururalu1 :lsIJqJ puTq3q dals p:tus u,{po sr,rr :a- j .,
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stql 8uruurd-iepun urslf I}a]sP aru3J]xa aql ,TPrIL]1.
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134 CLILTURÁL 1DE\TITY ÁND ITs EXPRESS]oN
\Vebern specifically brought Weininger back to Schoenberg's attention while
the latter lvas preparinghis Harmonielehre-and just before he and Berg started
addressing Sclroenberg in priestl,v terms. In one ]etter \!'ebern admires Weininger's
"intell,ectual rigour" and says that he is thinking of Schoenberg alongside Weininger
because both of thenr had "superb intellects" with "the red glow of emotion" (June
2J, 191o] see appendix). In another he notes \\reininger's point that womat] is "essentially
different from man" (August 4, t9to). In another (]uly 16, r9lo) Webern goes to
tl-re heart of Geschlecltt ttnd Charakter: He says that in order to reach the peak oi
morality, one has to cast off the qualities of "animal" man and strive for a m€taphysical
ideal. Interestingiy, Webern evetr tackies head-on the logical objections tc,
\\ieininger's utopian ideas, nanrely that to do as \\'eininger theorized meant "there
won't be any human beings left." For Webern, this is probably "exactlv what is mean,
awaywith them": "[T]his path leads directlvto God." Of course,with only\ťeberr:,
side of the correspondence lve don't know how Schoenberg responded to thr,
Horvever, we know that in r9ro lVebern was bringing Weininget back jn.,,
Schoenberg's mind ("1 have re-read Weininger"), r,vhich suggests that they rle:.
both already familiar with him-highly }ikely given his notoriety. T'he slippage ..
\Vebern's and Berg's letters between priest and deity as designations tbr Schoenbe::
is certainly consistent with \\'eirringer's typolog), of the priest. ("The priest alreai
stands iir league witlr the deity; only he knows mystical experiences.")
Schoenberg's own view of Weininger is more difficult to pin down. Although , .
olvned copies of both 1,olutnes, the l9o8 edition of Geschlecht und Charakter and ., ,
19o7 editron oíúber dieletzten Dinge,as well as Weininger's T-aschenbuch tutd Br:.-,
nn einen Fretmd (r9r9)," all are ciean of marginalia, and Schoenberg's onlv o.:mention
of \Veininger comes in the preface to the Harmonielehre. At the end c,: .
paragraph in wlrich he points out the absurdity of subscribing to a philosoph, \ýeltarLschauungthat
addresses moral issues if one contemplates only what is pL..,ant
and comfortable and takes no heeci of the rest, he considers Weinirrger tc :.
among those who "have tlrought earnestly" on the topic. [t is wortlr applying sc
- ,
iirterpretative pressure to this thought.
PnosrnMs oF INTERpRETATIoN
Hor,v do these three potential contexts for understanding Schoenberg's early cons::
tion as poet-priest rvith messianic polvers contribute to our understandi:..
Schoenberg's late activities? It is hard to avoid the fact that al] three not only carrv s::
implications of cultural redemption, or Kularkritik, as discussed in conilectior-_
Karl Kraus's approach to language ar-rd Adolf Loos's attitude about architecture i b,_ _
rvlrich rvere also models for Schoenberg), but ali three are also wedded to con.ť:-_
German culturai purity, Deutschtum, and, in tlre case of both Wagner and \,\'ernr.
íorn-r of Christian mysticism linkeci rvith notions of Jewish self-overcoming.
I
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'1LI3tuaIa fl]ptuo]q] ]l]o.Iá al{,l ,suo]]l?]IIdtrII
lp]ls/,(qdul3ul q1i.\\ JJn]n. r - - ,
-seJ pue
^\au
p sasIruord 1r sarn8g 8.re quaoqrq ,(e.tt aql i(uoru.ruq leuol]] _- - .
.1q1 upatu [I^,l sltl] lesodruol a.l,tsse.t3orc1 e ro; q8noqlly ibue;8e^ puř _-,
s,,tlrleuo1 Jo sJeJgaq oseq] Jo-]I peqIJ]sep l3}pI eq se .,uotludt:uplu...-::" : .
-in] aql lo3 8ui.,rtolp ,,t q ruals,(s e se Áltleuo1 3o uorldruapar ;o od,,(1 p s?] _ : . :
sp sI 1I
,1auaqoqa8lnr) pelÉIqnspLIp UIJpe.l3§ aJe s]tloruola )l]pruolq] ,, _ _: ]
-Ll]o eq] ;l 'Áttotureq lpnxose 'ae.ry-;epua8 e 'ihipuol (apuaqamLps ) Fu,_. , , ,_
tq8rru teql sauo};alo eloruar7laq8lll sE sluJa] prtls,{ru uI saf upuossI: !: _ ,
aq'ÁJpi:u3 .u,(:tsntu uIq}I^\ ]uauala [;qsr.lta{] atelaua8ap;o acl_il: ,:
-o.iqr 1ueduEJ }pli} pu8ts o} paqslm 8raquaoq:5 leq] eJeq^\asl3 p..-,: :,
.,,t:luer8t,l,,,30 Jolletu e pue 1.,,{uouiJeq tl1 ue{p sauol,"r(le;a1ll:sauo_ ] auolttallualtanloruJaH
sp saluotuJpl{ ]r]puroJq: seqlj]sep oslp é:-, :-- ,
.]snp3 (tlol}pzlJal]p]Eqf s,írel3rry uesns ,\,\o,IJoq o1) saleraua8 1l ..:_ , . . ,]:iL]
-e}Ifxo,, aqJ 1eql os paddeur,,(1aÁIl]o]oJd aq o1 8;aquaoql5 ,iq }§S: , _ , iii]
:s]l}o-{J Jo slu.Ia} vI alqapruoLuJaH ul uraq1 saqlJJsáp JH ,]:rj, ,-., ;ill]ll
Bull1nd ,{1elerurtln sp sa]upuosslp ell] seqlJ]sep 8-raquaor{]S .l|,, : - - iLil]il
pllt1 Jlparpsr9 puE aJLíaPruouJaH Lr3a,{\}3q 1alpred IP]I]3]I],]-,
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s_ra8uruta1,1 _]o ]uapÁlnbo leflsnu] e se 8;aquooq]S ,lo] :. _: :irliu;tlt]l]ilrl]ll]
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-]npoJ]LIl stq ut ra8ulula6 Jo Llol]uatu s.Srequaoq:< * _; -._-. - ,:, ,,,;il 1lWffi
sr 1i ',iitluuo] Jo tlol]pl]unueJ s.8Joquooq]S uo Jpaq] r-_ : _ _ ,
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9€t JsIuH:
136 CULTLR_{L IDE\T]TY ÁND ITs ExPREssloN
íirst as sclu,vebende tonalitiit and then as a ne\\- harmonr. of the future that even in
the Harmonielehre Schoerrberg likens to that oi the angels: asexual. This construc_
tion shares obvious similarities with Geschleclt tlnd charakter,rvhere ethical subjectivity
is achieved by man's resisting woman and possiblr.also by overcoming his
lewishness. Although Weininger's construct leads to the end of the human race, it
is at the same time the beginning of a nelv metaphvsical future, as Webern noted
(letter to Schoenberg, Iuly r6, 19ro). Likewise, although Schoenberg's theory imagines
a new metaphysical future for music, it leaves tonality in one piece: The erotic
and vagrant elements are separated arrd sublated to something higher. As we knorv.
Schoenberg came to his twelve-note method through his work on the angelic
SeraPhita symphony and was quite overt in his descriptions of the new tonal space
oPened uP by the twelve-note method as being like Swedenborg's lreaverr (rvhich
he encountered via Balzac).lt is even possible to understand the distinctly unmt.sítcal
Erwartung as a work of symbolic Parsifalian wandering. Both lrlonran atlc
newlY freed dissonance go through a period of wandering before being reimagirrec
in a big metaphysical work.
If we take Schoenberg at his later word-that he was among those Austriar:
jews who believed both irr Deutschtum and in Wagner's anti-Semitic beliefs abou,
"Judaism in Music"9r-we need to ask what implications this might have irad rl
practice. Schoenberg had a famously robust ego; on the surface he appeared not tc
haye been damaged by such critical clainrs about what he, a Jeu,, might have beel
"responsible for" according to Wagner's theory and some contempolary receptio:.
While his dominance may have masked a 8reat deal of insecurity, one wa\.iunderstand
his sense of rightness and strength is to contemplate the idea that i:.
considered himself to be the one who acted, the erception. To take the sort c.
musical "action" I have suggested in my reading above of the Hartnonielehre wou_:
have been entirely consistent with the relationship between theory and self in ti.
case oíOtto Weininger himself, who ůrmousiy committed suicide shortly atl.:
theorizing his own }ewishness as the unethical element in human subjectivity. Tha:
trt least, is how his performative suicide-itself strongly inscribed rvith musj;_
significance-was wideiy read at the time.92 As 1 have argued elser,vhere, the conne--
tions Weininger forged between his theories and Wagner's thought, coupled rr.::
his own performative suicide in the specialiy rented room in the Schwarzpanierha *,
in which Beethoven died, forced his own "case" into broader musical discourse.
However, even if we clroose to feel that Schoenberg was immune to the negat:,, .
projections about }ewish German colnpo§ers inherent in Wagner's theories, .::.:
even if one does not accept the terms of my interpretation and parallels with:._.
sensational case of Otto Weininger, it should not be surprisirrg that later er-e.--,
would lead to some fundamental reorientations on Schoenberg's part. It is har;
surprisitlg, for instance, that Schoenberg lr,as especially shocked on experien,.. _
exciusionary anti-Semitism for the first time in r9zl and to have felt infinitely m. :.
under threat as a fewish Gernran on Hitler's coming to power in 1933.
The sort of disorientation tlrat Schoenberg experienced and the extent to rr-h.: his
worldvie,lv as integrated, if not also "self-redeeming" German Jew shatte:.:
]
:,
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punoJp ruo,r; 8uriep rau3q11 1noqe s8utlum par{slTqndun snotxue s,8-iaqua,: _
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1_3 8 C U LT UR_] DE\TITY AND ITS EXPRESSION
Anxietv about Wagner's attitude tor,r,ard ]ervs bubbles up in a couple of occasionally
incoherent unpubiished essays dated December :. r93t." In "Geyers-Sohn, GeyersEnkei,
Geyers-Enkels-Witwe" IGeyer's Son, Ger.el's Grandson, Geyer's Grandson's
Widow] , Schoenberg tirkes up the question of \\asner's paternity, expressing annoyance
with the way in r,vhich wagner flirts with the idea that the Jervish Gel,er might
be his father but uitirnately leaves it up to the reader. Like Nietzsche, Schoenberg
feels quite sure here that Wagner was, in the end, completely convinced oíhis }ewish
lineage but was simpiy embarrassed because it did not fit in rtith "all that German
rubbish." He also has the idea that Wagner included the equivocai passage at the
begirrnirrg of Mein Lebenpartly as a sop to Cosima, whonr Schoerrberg thinks had a
Iewish mother; He "offers her encouragement with a lvirrk of the eye." Schoenberg
Wants to read this positively: The thought about Cosima "speaks in favor of his har-_
ing had Jewish blood." Indeed, he wants to read it as a confessional document: Since
Wagner intended that his autobiography should not appear until thirty years afte:
his death-"by which time he had perhaps'anticipated' cultural conditions superior
to those he himself had furthere6|"-i1 was a question of "íear that it could be
found out too early; yet the desire that one day it would be known". In the end, lvha:
lve find is a mixture of fascination lvith the question of Wagner's ptlssibie Jewis:
Parentage, recogtlition of the potential significarrce of Siegťried and Winifrec,
alignments with "the pogromist Hitler" (tlris being only r93r), and a desire to kee:
Bavreuth spiritually "clean": untainted by comnrercialism in order that the "sacrec'
intentions of the works themselves lvould become evident. Schoenberg's decision : _
rvrite about Brahms in 1933, an important anrliversaryyear for both Brahms a:-:
\\,'agner, nray iikervise be connected with this manifest anxiety about the connecti.
between Wagner's theories and rising National Socialism.
Schoerrberg also seems to return to and in some cases to rewrite elemerrts oť:.,,
earlier A4essiah- and Christlike construction within his Vienna circle. For instan;:
coinciding with the beginning of his return to }udaism, the reference to Christ at _:..
errd of Der biblische Weg mal1 be more conscious tlran Moshe Larzar would hal e . The
end of the play seenls a forgiving critique of ťalse Messiahs. Aruns dies lvith :: .
words "Lord, nry God, l have been vanquished, smitten, castigated, I am dyine. : I
fee1 that you will allow the Idea to survile. And I shall die in peace, for I knolr- :_-.You
will aiways provide our nation with men ready to offer their lives for this ;:
cept of the one and only, eternal, invisible and unimaginab]e God." In earlier d:.*,
Aruns is called a "false Messiah," although Schoenberg removed this statement ^. . ,
the final version, "Forgive Collaborators"'an essay in which Schoenberg sal,s tc -. give
sillv artists who express political views becau.se they don't know 1y|n1 1|g,, .-:
doing is in a simiiar vein. In the late psalm mentioned at the start of this cha-:.Schoenberg's
construction of Christ as "the purest, the most innocent, unse.. .:
and idealist being" is uncarurily like that of Otto Weirringer, Is the psalm a kr,.: ,
confessional? Schoenberg's "cause" in l9ro was described by his students in sa: ciai
arrd redemptive terms, with Schoenberg the Christlike figure. irr the p.,,Schoenberg's
text says that fesus's martr,.rdom lvas not represented truthfullr l :: _ _
not want to divide the lewish nation but rather "to restore the religion in its ; --.
j=:
alll uI a]ualo,^ ,," ,,,;,,;:,;l];:,:T ;::i]:;:]".Ťiil.::]:§llT,-Jxií ]..
,
.
sdeqrad st,{}trnd IEI]EJ o] suotlertdse 1pal os[E 1nq ,firrncl F]n}1n] pup tusl_rrLuJ---
ueulJo9;o sal8o1oepl pup .urIp}uJLu J)tl-]o}pl:rp e,tldrrrrs lou 3utziu3o:a6 ,,i.,-, ,
o1trr Á;oaqt uJn] 01 J3pJo uI pa1llds ppq uIu3J prre,,rls1o,r1 ]pql poolqJo sJ;,\,: :
lnoqe .{1srrrpue) o1 luaulluof s,8laquaoq:5 L1}I^\ 1u3]slsLIof sI ]I 'uotlelnlads , ,
q8noqlly,§LuIe.(fllsluu íla,tnd,, eJoLu'JaIi.lt]J (sJaq1o pup slq pue s,Joi]lH u.;.-:
SaI]IJeIILLIIs ulplJaf Sutztu8o:or Jo prun€]] arl] osp sdeqred 1nq ÁJlLrno] :: ,
stq ulo{ a[Ixe uu Jiasrult{ 8urpug Jo lroqs aql ,(po ]ou 1]al;eJ }:a[ord sIq] ]., --, _ :
uo s].loJJe ]I]upry sr11 l1rlea; Jull1rlod spapl 3{etu oi ptlualod s(]JIlIH aziu: - -.
,,(ialetpeuutt alc]e eJe^\ eq JI se spm ]J
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JSIEHJ SY 5E:IS_\:6€t
1,+o CULTLRÁL iDE\TlTY AND ITS EXPRESSION
one of the interesting things about reading schoenberg in this way is that he
becomes the historical actor whose case see11ls to raise the question, rvhy didn't oth_
ers see the same thing? As Michael André Bernstein has pointed out, there is a tendency
in the writing of history to induige in "backshadowing, a kirrd of retroactive
foreshaclowing in r,r,hich the shared knowledge of the outcone of a series of events
by narrator u.rd lirt.r,r.. is useci to judge the participants in those events as though
túeytoo should haye known what was to come."]0|] ln this case, our knowledge of
the Holocaust is sometimes use,d, he suggests, to expose tlre "blindness" and "selfdeception"
of Austro-Gerlnan ]ewry, their imagined unwillingness to save thems"luei
from a doom that supposedly was clear to see-namely, that Hitler's social
(arrd racist) utopianisn rrright 1ead to unimaginable horrors. This is entirely unreasonabie,
as Bernstein also points out: How could we expect anyone at the time to
have foreseen acts that even now rnany find incomprehensible, Yet Schoerrberg dic
have moments of astonislrirrg insight: He lvas at least willing to see the worst, p€r_
haps because he recognized the underlying racially inflected utopianism, Havins
"ngug"d
with such theories in the artistic sphere, schoenberg had good grounds tb:
predicting a catastrophic outcome of political developments in his belove,
Germany.
The epistolary style of Berg and Webern raises fascinirting questions abou,
the moment when Schoenberg renounced tonality and its irnmediate aftermati:,
Tl-re parallels between cultura} rnilieu and music llow seenl so well reheals,_
(affinities with Kraus, Loos, Altenberg, Wittgenstein, etc.) that ten years ago :
r.olume on the music of the second viennese school declared the need onlr- : _
provide an outline of the prevailing cultural set of conditiorts: "IA]nalogies rli:,
the musical modernisn ár tn" second viennese school...will be obvious,
These letters make it clear iust holv unfamiliar the thinking of the period is to _,
now and irr doing so raise alr,,kward questions. Writing aborrt ideological conte,,_,,
of the turn of tire century that, with the hindsight of subsequ,ent eyents, mar, 1_:",
rtith subsequent events is not easywlren the subject of discussion is the very s:__
of musical modernism, and the events are the atrocities of tl.e Hcllocaust, In ,_ ,
first two decades of the century utopianism, posing as a solution to cultu:_
decline, often drove modernist approaches to art; in tlre r93os a utopian polit_;,
ideology posing as a soiution to cultural decline brutally attempted to con::
music and society as a whole. Although the urge to interpret the latter as the ; _ mination
of the former is tempting, the interpretative stakes are yery high: , ,,
latter was also closely associated with an ideology that led to the exterminatio;, ,
millions_Jews, Gypsies, homosexuals, political dissidents, and those who
""-=:,
elclerly, pirysically, and mentally vulnerable. How can we approach music thal , ,
beliel,e to be connected to events in such ways? Need it necessarilY affect our :,,tion
to the music? Art at eitlrer errd of the aesthetic spectrum was deenred br *,
ferent peopie at different times to manifest cultura1 decline or, conversel,v, cul. _ _
renewal. Moreover, although music is a product of cuiture arrd histor1,, it can " ,
be reappropriated for other times. \[e learned that lesson long ago with \\rag:,:
have no easy answers about horv to negotiate this ethically ír,aught terrain as , *
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Mtďtýt JSIEH:) SY 5Ef E
SJel}aT tuo{ !_: :-
l42 CULTURÁI IDENTITY AND ITS EXPRESSION
Should that be the meaning of this life?
It's always the same story:
There is more than you can perceive lvith r-our phvsical senses,
But what is the outcome of this?
All this is a riddle to me.
And that the words of Socrates or Plato are todav as true as they were 2ooo years
ago, that just proves again that there is something that persists over time and that
works through selected men.
Seiected by whonr?
If the spiritual, mysterious stands above the material, how does it come in this
particular potency into this person?
Can the spiritual even be bred? By whom?
Which power is exerting its force here and-rvhy?
}une z3, r9ro: Webern to Schoenberg'o8
At the moment I'm re_reading Weininger (Úber die letzten Dinge). I find it
quite wonderful. He also sees things from the other side arrd in context, And above
al1 tlrat intellectual rigor.
Tel1 ne, can one really describ,e thinking and feeling as totally different matters?
l cannot imagine any superb intellect without the red glow of emotion.
With Weininger this is certainly the case, and [surely also] with Strindberg,
Plato, Kant, Kraus?
It just flows out of the human being, directly.
That's r,vhat is so superb with Weininger. It is also the reason it is written in suc-,
a rvonderíul manner.
At the moment I am always thinking of the following men: you, Kokoschk;
Mahler, Kraus, Weininger.
|uly 6, r9ro: Webern to Schoenbergr09
Mahler really is something magnificen,t; it is not at a1l art-aestheticism; pe:_
haps if one did [not?] know his life, one couid reconstruct it from his symphonl,,
They really must be rnost closely connected with his inner experiences.
I also see a development: from the most intense worship of nature to an e\.:
more spiritual, more enraptured content. This is, again and again, my compel]l:_;
impression. I couldn't care less whether it is right....
lt is so wonderful-racliating from the most lrigh,
|uly ló, r9ro: Webern to Schoenlrergr'0
lRefers to Herr Stefan's having y,ritten about Stratlss
hopes."]
I do know one thing-you have to be as hard as possible against the rabble--
they still believe you depend on their meťcy,
A kick up their backsides.-
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r-+4 CLLTUR_{L IDE\TiTY AND ITs ExPREsSIoN
Oh, it is immense.
How can you think that I am somehorl, holding back from you. ...
I am going to climb the Triglav...N,taybe r.ou rvi]1 find it ridiculous that I do
things like that, but:
The strange thing I íind when on the mountain peaks, this delicacy and puritv:
that attracts me time and again....
The solitude and the wrestling with God.
Wiping off all írlth.
When I thought of my works, I started feeling better.
I have come to realize that they are good,
November 9, r9ro: Webern to Schoenbergir6
I remain completely under the impression of your wonderful work. Apart fron-l
Beethoven and Mahler, I don't know anything that moves me so much as you:
music.
probabiy also wagner; but that is something else. }ust in these last few dal,s.
while we were rehearsing and performing the Meistersingerhere,I've had quite a
ntrmber of ideas...
In Berlin I saw the van Gogh exhibition....
For me there are only three painters: they are you, van Gogh and Kokoschka.
March 9, r9rr: Webern to Schoenbergr17
I am reading a book at the moment that is not written out of the spirit of mal
Seraphita by Baizac. Seraphita is a being beyond gender, an angel,
March 2I, ;.gtt:i Webern to Schoenberg1 18
I'm still reading Seraphita.
Every sentence in it is a miracle...,
Every word in the book does nothing but serve the truth that belief is the hie_
est [good], Did you read about Claudel in the latest "Fackel"? It is probably true: ,-_
really outstanding men reached a total belief in Gcld. in any case, Balzac is certa,:,
one of the greatest and most amazing human beings.
* May r8, l9tr: Mahler dies
May z,4, r9rr: Webern to Schoenberg"9
Mahler's death makes me sadder every day. It is becoming increasingly in;: _ceivable
to me that it has happened. Mahler is dead....
After all, you too said yourself that you had the impression that His [sic1 ii_ ;,,
was fully completed....
I have the feeling that Mahler knows how much we grieve for Him [slc]., "
Rest assured, Herr Schoenberg, that each of us ciings to },ou with his rr,,,, .
heart. The planned book |i.e,, the r9rz Festschrift] will grant you an insight tha:
, ,_
confirm to you the truth of these words.
]i
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ir^oJJos aql q8no.1qt teqll3I{1€J !8raquaoqr5 JoJ aul uI JJuaJeJIpIII3ury
Jo {]3I 'ssáussola^o[ jo >puďs 0 4ou selv. aJaql (uol1fu
snolJnf lru ar$r7
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or,u.rsqa11 o1 trag :[Túr fi|
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Sbt JSIuH) sY 5u!Ia_\]
l46 CULTL R_\L lDE\TITY AND ITs ExPREsstoN
madmanl I only know that this hatred, this diabolical madness, which ordinaril1'
lies concealed, was revealed on this occasion in a crime against your holy person
|an Ihrer heiligen Person)-of course the details are unknown to me-but I do
know (-with the subiime conviction born of unerring hope and expectation- i
that the world, which heretofore passed by your deeds with a "shrug of the
shoulders"-must pause before the misdeed of a fiend-if orrly to come to its
senses. At this moment of reflection-which beneíicently intervenes in the lives oi
all great men-has surely interceded now in your distres5-61 in any event cannot
be long in coming, for it is high timg.Butl!
What meaning can time or things temporal have for you, dearest Hei:
Schonberg- even sublime moments of suffering-since you 1rave been granted th_.
"deep deep eternity of all joy"?!i25
We mortals can only bow before your destiny, must reaiize that even our mo!,
fervent hopes are insignificant: Somewhere there must be a sublime }udgment. .
divine Will. And surely that is infallible*even if it appears all too enigmatic to us,August
16, r9rr: Webern to Schoenbergl16
[The letter begins with Webern saying that he is collecting money from the a:;,".,
students to assist Schoenberg.]
I don't know whether you see what 1 was trying to hint at here?
I w-ould like to be an invisible power that can give you everything you \fo--
rvish for. Or to put it another way:
One makes an ofíering to God; not an offering in the sense of a gift rvhi;:- ,,
difEcult to give íor one reason or other; the priest who reads the mass; a pravel
I really can't express it.
To me it was such a holy act, doing this.
You will surely understand me.
As for Berg and all the others: I know that the1,love you without bounds.
August 18, r9rrl Schoenberg to Bergl27
[Thanks him for his warmth. Reassures him that what had come betweetl :).:* .
now forgotten. After the follolving excerpt, he reyeals thatWebern has sent }i1"" ,^,
thousand Kronen and that he suspects Berg was one of the contributors,]
One thing, though: I fear being overrated! Try not to do it. It weighs upo: ::: _
little. And perhaps it is partly the fear of being overrated tlrat makes me 50 i-',.
cious. Perhaps because I fear: the impending backlash, the moment I am no -: - ry
overrated, perhaps because I continually fear the inevitable moment when :.-:,r,
will actually begin to underrate me, perhaps that's why I detect a hint of de:"* :
in the slightest rregligence..,
August r9, r9rr: Webern to Schoenbergl2s
Here at Berg's place I have read your wonderful introduction :. Trl
Harmonielehre. It is so ol,erwhelming and so indescribably touching.
Dear Herr Schoenberg, you thank us?l
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148 CLLTLR-\L IDE\TITY AND ITS EXPRESSIO\
September 25,Lgt.t Berg to Schoenbergl-ra
IAsked by Schoenberg ta be his substittíe teacl,ter, Berg says how deePly honored he
is by the idea.]
For there is something so wonderful in being the chosen one |der Berufene],the
champion and comrade-in-artns for your ideas, your ideals, your artistic inten-
1i6n5-gygn if it is only in this God-forsaken city. N{ay my joy over this priestli
function |Priester-Amr] (for so I should like to call it) be your guarantee, dear
esteemed Herr Schónberg, that I will administer it to the best of my ability. PerhaPs
I shall even succeed in accomplishing sbmething in tlris very restricted sPhere o:
activity for the great and holy cause |heilige Sache) for which you, surrounded by ar
ever-growing body of followers, will be fighting in the world outside.
October 6, rgtt:Josef Polnauer to Schoenbergr]5
[This letter is dominated by detaik about Polnauer's packing Schoenberg's prsonal
possessions to move to Berlin. He goes on to say his good,byes, aťknowledging ti:.,":
he doesn't feel he was part of the iruter circle.]
I don't know whom 1 owe tlre more: the teacher or the man Schoenberg. But _'.
tlre end it doesn't matter because with you the one cannot be separated from t:.
other...You didn't remain merely a teacher to any of your students; you alr.'",,,
became the "modei." . . . [T]here is now one more man [i.e,, Polrrauer] who loves i . _
with all his heart, who rvants to hold on to the memory of the encounter with l,: ,
as a holy good and who will always want to remain thankful to you in snrall and r e :
smail lvays-I don't think I can do otherwise-if vou would only provide ::.
opportunity.
October 20, 1911: Schoenberg, "Franz Liszts Werk und Weseď''ru
Liszt's importance lies in the one place where great men's importance can lie __
faith. Fanatical faith, of the kind that creates a radical distinction between no:men
and those it impels...
He believed in himself, he believed in One Who was greater than himse1: .
believed in progress, itr culture, in beauty, in morality, in humanity. And he be1,. .,
in Godl...
Altogether his effect has perhaps beetr greater, through the many stimuli he ,.behind
for his succe§sors, than Wagner's has been-Wagner, u,ůo provided a ,", _
-,
too perfect for anyone coming later to be abie to add anything to it. But the:.
certainly no need to think of him only this way. One need think merelr, c. -__
Christtts to know a work whose efrect has still to dawn. Perhaps the day has a_.' :, ,
come when contact will be re-established with its tone, its intentions, for ou: _ - ,
is agairr seekirrg its God; this search characterizes it better than do the mos: _ _
standing technical achievenrents...
Great men's effect, if any, on 1ife is infinitely slight. If one observes what . .
Christ, Kant, Swedenborg, Schopenhauer, Balzac and others thought and cor:: --:
it with what people now believe and the u,ay people now conduct their lives: . , :- .:
one doubts whether progress exists.
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15o CULTURAL IDE\TITY AND ITS EXPRESSION
Measured against that, our book is nothing, but rvith regard to the filth of this
world it can be something.
Schoenberg doesn't need us,
But we can worship; we must do so.
We need him.
March r, r9rl,: Schoenberg, "Gustav Mahler"]ar
"Gustav Mahler was a saint...
To Gustav Mahler's work!
Into its pure airl
Here is the faith that raises us on high. Here is someone believing, in his immorta1
works, in an eternal soul. . . "
}une 9, r9rz: Wbbern to Schoenbergla2
This, our relationship to you as our guide, our leader, is something deeply blissťul
for me.
You are the bond, the insoluble bond that rrnites us. We ;rl1 live for you. Believe n:.
Excerpt from Schoenberg's Berlin Diary
February z5, r9ru (written March rr)la3
Evening, 1arge party at the Zemlinsky's . . . Alex [Zemlinsky] is not quite as n::.
Above a1] he denies me anyword of praise almost out of principle. He seems:_
think that I am too highiy praised within my circle and obviously wants to prer ; _,
ne from behaving like a rnegalomarriac. ...I feel I am being talked about in re,
much too effusive a way. 1 am too young for this kind of praise, have accompLis:,.,:
too 1ittle, and too little that is perfect. My present accomplishnrent, I carr stil] ;_,,
regard as a hope for the future, as a promise that I nray keep; but not a§ an\-,,-..-!
rnore. And I have to say, were I not spoiling the joy of my students by doic. ."
I might possibly have rejected the book. On the other hand, however, I was so c,,.*
whelmed by the great love which shows in all this, that I really had been ha::"
insofar as something like this can provide happiness. And I was proud as weL]: 1 - :
everything, almost everything, written so well and with such beautiful words. :_-.
really should have a high opiniorr of a group of human beings like these. Abo.,. ,
of coul:se, Webern! He is a wonderful humatr being. How moved he was u-he : :.
Iranded the book to me. Solemn and yet so unpretentious. Almost like a schoc_ :,:,,
but like one who only prepared something so as not to be overwhelmed. l :;,.
resolved to drink brotherhoodraa with him at the first opportunity. Then Bers :: y
Lirrke and ]alowetz, Yes, even Horwitz. And: Kandinsky. A magnificent essar,]
But I was embarrassed irr front of Alex, He is somewhat skeptical. I ki.:,, :",
does not iike to believe. And though he thinks much of me-I almost feel he
,,.
_
--
like it best if he alone thought highly of mel Strangely enough, he does not ::-*_.: believe
in the enthusiasm of others. Despite the fact that he hinrself is capat _; :
- ,"
much genuine enthusiasml Wh,v?
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l<) CULTLR_{L IDE\TlTY AND ITS EXPRESsIoN
Hildegard Jone, Josef Humplik, Hanns Eisler, \\'i_l1i Reich. Errr-in Schulhclft, and others see
Zoltan Roman, Alltofi yon Webern: An Annotated Bibliographr 1Detroit: Information
Coordinators, 1983), Excerpts fiom some of the earlier letters are nevertheless founcl in
Hans Moldenhauer, Antott ýofi Webern: A Chronicle oi His Life atd Work (London:
Gollancz, t97B'), 49-5z. Regina Busch has begun rvork on an editicln of this cclrrespondence,
18. A lough typescript of much of the Berg-Webern and Weberrr-Schoenbeíg
corresponclence has 1ong beerr avaiiable for inspection at the Wiener Staclt- und
Landesbibliothek; however, lnany oť the originals are nolv digitally reproduced on the
website of the Arrrold Schórrberg Center, Vienna. For the best available account oíthe
extatrt Schoenberg correspondelrce see "Preiiminarv In-"rntory of Schoenberg
Correspondence]' JolLnnl of the Arnold Schoenberg Institute qj-z) (Iune and November
t995) and 19(r-z) (june and Nol,ember r996).
r9. The first and last entries in the l9rz Festschrift presented to Schoenberg b,v his
stuclents are alscl reievant but aíe not reproduced here. See Arnold. Schórúerg: In hóchster
Verehrung (Munich: Piper, i9rz); trirns. Barbara Z. Schoenberg tn Schoenberg and His
I{orlrl, ed. Walter Frisch, 198-z6r (Princeton: Princeton University Press, 1999).
20. In another letter to Berg (Dec. lz, l9rr) not quoted hete, lre gives Berg a collectl:
of Kanťs letters for Christmas, drarving parallels between Kant and Beethoven and bel",..
Schopenhauer and Wagner. He then says, "Arrd Strindbelg and lvíahler? N{aeterlinck a:;
Schilnberg? Also Strinclberg and Schónbergl Rays of God." Fu11 1etter quoted in Dle Rc:;.,
vcll. z (Bryn Mawr, Penn.: Presset, 1958),16.
zr. T}ris was we1l before Sclroenberg mentions Balzac and Swedenborg in his published
Liszt essay of Oct. 20, 19t1, "Franz Liszts Werk und Wesen," translated as "Franz
Liszt's Wclrk and Being" in Leonard Stein, ed., and Leo Black, trans., Style and Idea: Si,::,
\\'ritings of Arnold Schoenberg (Berkeley: University of California Press, 1975), 446.
zz. For fu1l details on the genesis of this work see }ennifer Robin Sharv, "Schoen:.,
Choral Sl.mphony, Die Jakobsleiter, and Other \{artime Fragments," PhD diss., State
University of New York at Stony tsrook (Decernber zooz). Shaw nevertheless does nc.,
identifr \4lebern as the source of Schoenberg's krrowledge of Balzac and hence Sérap;,.:;
z3. See, for instance, Susanne Rode-Breymann (trans. Mary \&hittall), " . . . Gatie .
the Divine from the Earthly . . .": Ferdinand Avenarius and His Significance for Anic.:
\,Vebern's Early Settings of Lyric Poetry," in Webern Studies, ed. Kathrl.n Bailey, r-,ll ),,.,
York: Cambridge University Press, 1996).
z4. I returtr to Weininger later.
z5. On Lúger's Vienna see, for instarrce, Richard S. Geehr, Knrl Lueger: Mayor :' : "
SiěcleVienna (Detroit: Wayne State University Press, r99o).
zó, Quoted inLazar,'Arrrold Schoenberg and His Doubles," uo.
z7. Arnold Schoenberg Letters, ed. Erwin Stein (London: Faber, :,987), 35. Dehr::., not
write this text for him. l
z8. DieMusikg/q(z1")(r9o9):r6o. l
z9. Arnold Schónberg, Catalogue raisonné,z vols., ed. Christian Meyer and Thcr{
Muxeneder, ttem78,r6o (Vienna: Arnold Schónberg Center, uoo5). il
3o. Schoenberg,"Fíanzliszt's Work and Being" and "Gustav Mahler: In Memoriť!
Stei§, Sqie and ldea,442-47,447-48.He also wrote a lecture about Mahler (dated Oc.6.|
r9rz) that was revised in 1948 for Dika Newl:rrťs Style and Idea, in Stein, Styte and ld*a|
Peter Franklin §uggests that the later essay is conceived to some extent "as an examĚdl
he would best have liked his own adherents and acolytes to write about himselť; of o{
they already had in their lette ísaídínArnold Schanúerg In hóchster Verehrung.See rí,{
The ldea of Music: Schoenberg and Others (London: Macmillan, ry8),77-9o (8z). t
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b1 CULTL R,{L IDE\TITY AND tTS EXPRESSION
directors and actors, and various other "artists" continue undisturbed in their
destructive work and the true artists must sufter and suffer until they can suffer
no more. Oh, dear Herr Schónberg, while reading this I have to think repeatedly
and often of you and oÉ-Ma}rler, (Berg-Schoenberg Correspondence, 3-4)
48. Berg- Scho enb erg Corresp ondence, 53.
49. B erg- S cho enb erg Corresp ond erlce, 6o.
5o. B er g- S cho e nb er g Corr esp on(.leu ce, 6 o,
5t. Berg-Schoenberg Correspondence, 6l,.
5z. B erg- Scho enb erg Corresp ondence, 6z.
53. Ian. t3 > t912", B erg- S ch o enb erg C o rresp o nden ce, 6 5,
54. Albrecht Dúmling, Die fremden Range der htingenden Gárten: Die óffentliche
Einsamkeit der fieuen Musik ttm Beispiel von Arnold Schónberg und Stefan George (Munich:
Kindler, ry8t),l77. For a shorter version of the key argument of this book itr connection rrrc
Schoenberg's Das Bttch der hángenden Giirten, see Albrecht Dúnrling, "Public Loneliness:
Atonality and the Crisis of Subjectivi§ in Schónberg's Opus l5]' in Schónberg andKandittsi:
An Historic Encowlter,ed. Korrrad Boehmer, lor*38 (Amsterclam: Harwood,t9g7).
55, Dúmling, "Public Loneliness," rrl-rz.
5ó. Dúmling, Die fremden Klňnge, t77.
57. Dúnrling, Die fremclen Kánge, z5.
58, Dúmling, Die fretnden Kánge, z9.
59. Quoted in Dúmling, Die fremden Klange, z5.
6o, Quoted in Dúmling, Die frernden Klánge,48.
6r, Accordirrg to Stefan Breuer, cited in Paul Bishop, "Stefan George and the NÍun::_-,
Cosmologists," in Jens Rieckmann, ed,A Compallion t0 theWorks of Stefan George
( Rochester, NY: Camden House, zoo), t7l,.
6z. Michae1 Winkler, "Master and Disciples: The George CiIcle," in Rieckmann,
Cottlpanion to the \ýorks of Stefan Ceorge,l49. The other key grouping was the lvluni;_,_
based "cosmic circle," which formed around Ludwíg Klages and Alfred Schuler, out o:
rvhich the George circle grew, though it did not opelate on the same master-discip]e :.,,,
See Paul Bishop, "Stefan George and the Murrich Cosmologists," in Rieckmaíít,Catr.:.:' .'
to theWorks of Stefan George,l6t-t87.
63, See Jens Rieckmann, "Introductioni' in Cotnpanion to the Works of Stefan C, ,, ,,
B. Also Bishop, "Stefan George and the Munich Cosmologists."
64. In the first volune of Blátter filr die Kunst, founded by George, Car1 Augus: i,_.,:
contributed an essay about Stefan George that stated that his new aít did not look ;: ' - i _
for influences; its mainstays were Riclrard Wagner the composer, Friedrich Nietzsci:; -: ,
orator, Arnold Bócklin the painter, and Max Kiinger the drawer (Zeichruer).
6s. Winlder, "Master and Disciples," i46.
66. Quoted in Dúmling, Die fi"emden ldánge,4r. Friedrich Wolters, an even íI..:
intimate member of the circle, said the same thing a bit iater: Wolters, Stefan Geo::. .,
,_.
die Blótter ftir tlie I{uttst: Detltsche Geistesgeschichten seit l89o (Berlin: Bondi, r93o . : _.
ó7. RobertE.Nclrton, SecretGermany:StefanGeorgeandHisCircle (Ithaca: C,.:- :,
University Press, zooz), 3z6. See Ludwig Kiages, Stefan George (Berlin: Bondi, r9o: ,
68. Friedrich Wolters, Herrschaft utd Dienst (Berlin: Einhorn-Presse im Yo:,.. - :,
vorr Holten, r9o9). Wolters may have sought to draw a connection with Hegel's "H.-,::;
un<J Knechtschaft" in his title. On Hegel's master-slave dialectic see Frederick \e';. ,
-*:
"Desire, Recognition, and the Relation between Bondsman and Lord," in Kenneů .,
Westphal, ed., The Bltlckwell Guide to HegeL's Phenomenology of Spirit,37*54 (oť_-:: J|ť
Blackwell, zoo9).
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15ó CULTURAI IDENTITY AND ITS EXPRESSION
8l. Rode, Álú a n B erg und Karl Kraus, esp. 106-1_].
86. Wolfgang Gratzer also suggests that the ml,stical ideas articulated by Weininger in
Úber die letzten Dinge probably contributed to Berg's broader mvstical and superstitious
outlook: Zur "wunderlichen ll[ystik" Alban Bergs: Eine }tudie (\-ienna: Bóhlau, 1993), esp.
93-ror. Within the broader Schoenberg circle Georg C. K]aren identified Schreker as a likely
Weininger reader as early as r9z4: See Klaren, Oxo \\'einitryer: Der ]y[ensch, sein \{erk, wld seitl
Leben (,Yienna: Braumůller, t9z4), zz9 ("Schreker, der gervaltigste leberrde Komponist, hat
sogar die Weiningerschen Geschlechtsprobleme veltont, auf seine Búcher wenigstens haberr sie
stark abgeftirbt"), It is also tempting to read Schreker's sketch of ]uiy ztl,t9o9,Der neue Parsfhl,
il Weininger's lvake, Sclrreker presents Parsifa] not only as a figure of redemption but also as a
metaphor for the creative artist, glossing aspects of Parsifal with the myth of the Blaue Biume,
rt hile hinting at tlre pantomime plot for which he had already composed music, Oscar Wilde's
"The Birthday clťthe lnfarrta," and arr opera 1ibretto he was yet to write, Die Gezeichneten.
Lyrical ancl operatic constructions of women and of the relations betr,veen the sexes by severa,
other composers, rrotably Strauss and Pfitzner, have been made with reference to Weirrirrger':
characterology of woman. See Gabriele Busch-Salmen, " 'Menschenliebe im ailerhochsten
Sinne': Zu den Frauenrollen in Hans Pfrtzners Buhr-renwerken" f"Brotlrerly Love irr Its Highe..
Sense": The Female Roles in Hans Pfitzner's Stage Works], in Frauengestalten in der Oper des
ry. und zo. |ahrhunderts, ed. Carmen Ottner (Vienrra: Doblirrgeq zoq),n6-34.
87, \'ienna: Tal, rgr9.
88, This paragraph could even be read as alluding to \t'eininger's suicide: Weilringe:
formulated new "iaws of morality" but could not, according to conte mporary accounts t,'
his suicide, "live with guilt."
89. Arnold Schoenberg, Theory of Harmony, trans. Roy E. Carter (Lon<lorr: Faber,
r978), 96. This aspect of Schoenberg's construction ofharmony is discussed by Susan
\ícClarv in Feminine Endings: Music, Gender, and Sexualiry, (Minrresota: Universit1.of
\1innesota Press, r99r), ro7.
go. ]ulie Brown, "Schoenberg's Early Wagnerisms: Atonality anci the Redemption .-:
Ahasuerus," Cambridge Opera /ournal 0(r) (rqq+): sr-8o.
9r. As he put it in his Mailamm speech in Los Angeles on Mar. 29,tg34:- Stein, Sry,J;
and Idea,5o2-5o3.
9z. On this see }ulie Brown, "Otto Weininger and Musica1 Discourse in Turn-oi-t::. century
Vienna."
93. LaCapra, Representing the Holocatlst.
94. Brinkmann, "Reading a Letter," in Reinhold Brinkmann and Christoph Wblr' .:,
Driyen into Paradise: The Musical Migration from Nazi Germany to the Ufiited Sta.tes,
:-zo (8) (Berkeley: University of California Press, 1999).
95. On this topic see, for instance, Michael Máckelmann, A:rnold Schónberg uttd ,r..,:
Judentum: Der Komponist utd sein religióses, fiatiofia.les, und politisches Sel,bstyerstiini.,,.,.,
nach ryu (Hamburg: Wagner, 1984), and Mórtcz, Jewish ldentities; Hartmut Zelinsk.,.
'Arnold Schónberg-der Wagner Gottes: Anmerkung zum Lebensweg eines deutsche :.
Juden aus Wien," Neae Zeitschrift ftir Musik 4 (1986): 7*l9. Zelinsky examines the rela:_ _
slrip between Schoenberg's earlier and later dictator-like postures arrd his lÁ/agnerisn: _-
comes
to rather different conclusions than I do.
96. Arnold Schórrberg Center, Vienna, T5-z8.TRL: "Was man nicht vergessen rc , .:
fWhat Should Never Be Forgotten] (Denk zo3a) and "Geyers-Sohn, Geyers-Enkel, C. .: Enkels-Witwe"
(Denk zo:b), ln the former, Schoenberg remarks ironically that, "fo1,: ]_
the principle that what is bad is ]ewish, and rvhat is lewish is bad," Wagner reťerreo :.
Brahms as a "Jewish ballacleer," an accusation subsequently repeated by Wagner's io- , .along
with the naming of Brahms's triplets as "]ervish triplets."
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