schoenberg.at - Gazing into the soul with Schönberg

Self-Portrait

Object #1

{"id":2921,"form_id":30,"category":"category-1","name":"003.jpg","path":"images\/bagallery\/original\/003.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/original\/003.jpg","thumbnail_url":"\/images\/bagallery\/gallery-30\/thumbnail\/category-1\/003.jpg","title":"Self-Portrait","short":"Object #1","alt":"","description":"Object #1<\/font><\/font><\/p>\n\nArnold Sch&ouml;nberg \nSelf-Portrait<\/strong> \nDecember 26, 1908 \nChinese ink in pen and brush on paper \n<a href=\"https:\/\/asc-online-shop.myshopify.com\/collections\/bucher-1\/products\/isbn-3-902012-07-2\" target=\"_blank\">Catalogue raisonn&eacute; 3<\/a><\/font><\/font><\/p>\n\nBelmont Music Publishers, Pacific Palisades<\/font><\/font><\/p>\n\nOn December&nbsp;21, 1908 the premiere of Sch&ouml;nberg&rsquo;s <a href=\"http:\/\/schoenberg.at\/index.php\/en\/joomla-license-3\/zweites-streichquartett-op-10-1907-1908\">String Quartet No.&nbsp;2<\/em>, op.&nbsp;10<\/a> took place in Vienna, which led to a scandal of previously unknown proportions in the history of concert life in Sch&ouml;nberg&rsquo;s native city. For days the culture sections of newspapers both at home and abroad contained reports of the events in the B&ouml;sendorfersaal, before music critic Elsa Bienenfeld published a review that endeavored to be objective, paying tribute to the composer&rsquo;s &ldquo;fulfillment of superior ideas&rdquo; and comparing his fate with that of the &ldquo;heroes of music who are already accepted&rdquo; (Neues Wiener Journal<\/em>, December&nbsp;25, 1908, <a href=\"http:\/\/anno.onb.ac.at\/cgi-content\/annoshow?call=nwj%7C19081225%7C24%7C100.0%7C0\" target=\"_blank\">page 24<\/a>, <a href=\"https:\/\/anno.onb.ac.at\/cgi-content\/annoshow?call=nwj%7C19081225%7C25%7C100.0%7C0\" target=\"_blank\">page 25<\/a>). The next day, Sch&ouml;nberg drew his first Self-Portrait that displays a date. A glimpse into his own soul<\/font><\/font>.<\/font><\/font><\/p>\n\n<iframe allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/82_s4dB5Qhk\" title=\"YouTube video player\"><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"138","target":"blank","lightboxUrl":"self-portrait-1-2-2","watermark_name":"01-cr003.jpg","hideInAll":0,"suffix":""}

Theory of Harmony

Object #2

{"id":2920,"form_id":30,"category":"category-1","name":"02-tbk2_l31_466-471-jpg.jpg","path":"images\/bagallery\/gallery-5\/02-tbk2_l31_466-471-jpg.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/02-tbk2_l31_466-471-jpg.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/02-tbk2_l31_466-471-jpg.jpg","title":"Theory of Harmony","short":"Object #2","alt":"","description":"Object #2<\/p>\n\nArnold Sch&ouml;nberg \nHarmonielehre [Theory of Harmony]<\/strong> \nVienna: Universal-Edition 1911 \n(with revisions for the 3rd edition, 1921)<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;Pitch is nothing else but tone color measured in one direction. Now, if it is possible to create patterns out of tone colors that are differentiated according to pitch, patterns we call melodies, progressions, whose coherence evokes an effect analogous to thought processes, then it must also be possible to make such progressions out of the tone colors of the other dimension, out of that which we call simply &lsquo;tone color,&rsquo; progressions whose relations with one another work with a kind of logic entirely equivalent to that logic which satisfies us in the melody of pitches. That has the appearance of a futuristic fantasy and is probably just that. But it is one which, I firmly believe, will be realized. I firmly believe it is capable of heightening in an unprecedented manner the sensory, intellectual, and spiritual pleasures offered by art.&rdquo;<\/p>\n\n&nbsp;<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"137","target":"blank","lightboxUrl":"arnold-schoenberg-theory-of-harmony-2","watermark_name":"02-tbk2_l31_466-471-jpg.jpg","hideInAll":0,"suffix":""}

Hatred

Object #3

{"id":2919,"form_id":30,"category":"category-1","name":"03-cr081.jpg","path":"images\/bagallery\/gallery-5\/03-cr081.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/03-cr081.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/03-cr081.jpg","title":"Hatred","short":"Object #3","alt":"","description":"Object #3<\/font><\/font><\/p>\n\nArnold Sch&ouml;nberg \nHatred<\/strong> \n1910 \nOil on three-ply panel \n<a href=\"https:\/\/asc-online-shop.myshopify.com\/collections\/bucher-1\/products\/isbn-3-902012-07-2\" target=\"_blank\">Catalogue raisonn&eacute; 81<\/a><\/font><\/font><\/p>\n\nPrivate collection<\/font><\/font><\/p>\n\n&ldquo;The paintings of Sch&ouml;nberg fall into two categories: those which are drawn perfectly to nature, such as people or landscapes; and those which are intuitively conceived heads, which he calls &lsquo;Visions.&rsquo; \nOf the first group, Sch&ouml;nberg himself refers to these as necessary finger-exercises, does not value them especially, and is reluctant to exhibit them. \nThe second group he paints, just as infrequently as the first, in order to allow those stirrings of the soul, which cannot find any musical form, to come to expression. \nThese two kinds are outwardly quite different. Inwardly they stem from one and the same soul, which sometimes is made to vibrate by external nature, and at other times, by nature within him.&ldquo; <\/font><\/font><\/p>\n\n(Wassily Kandinsky: <a href=\"http:\/\/schoenberg.at\/index.php\/en\/wassiliy-kandinsky-die-bilder-2\">The Paintings<\/a>, in Arnold Sch&ouml;nberg. Mit Beitr&auml;gen von Alban Berg et al. Munich 1912)<\/font><\/font><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"136","target":"blank","lightboxUrl":"hatred-2","watermark_name":"03-cr081.jpg","hideInAll":0,"suffix":""}

Arnold Schönberg

Object #4

{"id":2918,"form_id":30,"category":"category-1","name":"04-ph7810.jpg","path":"images\/bagallery\/original\/04-ph7810.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/original\/04-ph7810.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/04-ph7810.jpg","title":"Arnold Sch\u00f6nberg","short":"Object #4","alt":"","description":"Object #4<\/font><\/font><\/p>\n\nArnold Sch&ouml;nberg<\/strong> \nBerlin-S&uuml;dende, Berliner Stra&szlig;e 17a \n1915<\/font><\/font><\/p>\n\nAlban Berg Stiftung, Wien<\/font><\/font><\/p>\n\n&ldquo;Sch&ouml;nberg often makes life difficult for his admirers and a moment later disarms his enemies. The hurried little man with his bald, round head and large burning eyes with something naively good about them in calm moments gives the impression of a fanatic mandarin. He is a sophist and a verbal contortionist of the most fascinating kind: he is capable of capturing a person&rsquo;s full imagination, making the most paradox things credible, and making the most incredible things convincing. His talent is uncanny; the giftedness of the whole person, not just the musician. He draws and paints, gauche and awkward, but with a peculiar, merciless characteristic &ndash; it is shown by his self-portraits &ndash; and in the bright power of impressionistic colors. [&hellip;] His music has elements that are inherent in all of that. The passion for an overly characteristic line, for powerful color stimulus. The passion for being constructive, for mastering the most complex problems, for resolving intractable contrapuntal calculations, unconcerned about whether the wheels screech if they mesh with each other merely organically. In addition, and that is best of all &ndash; the powerful intuition of invention, an ecstatic mood artist indulging and exploiting himself, mocking all that is coolly intended..&rdquo;<\/font><\/font><\/p>\n\n(Richard Specht: The Jung-Wien tone poets, in: Die Musik<\/em> 9\/7, January 1910)<\/font><\/font><\/p>\n\nThe painting Hatred <\/em>(Catalogue raisonn&eacute; 81) is seen behind the writing desk in Sch&ouml;nberg&rsquo;s Berlin apartment. (<a href=\"https:\/\/schoenberg.at\/index.php\/en\/seele?hatred\">Object #3<\/a>).<\/font><\/font><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"135","target":"blank","lightboxUrl":"arnold-schoenberg1-2-2","watermark_name":"04-ph7810.jpg","hideInAll":0,"suffix":""}

Hatred and Critic

Object #5

{"id":2917,"form_id":30,"category":"category-1","name":"05-ph3767.jpg","path":"images\/bagallery\/original\/05-ph3767.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/original\/05-ph3767.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/05-ph3767.jpg","title":"Hatred and Critic","short":"Object #5","alt":"","description":"Object #5<\/font><\/font><\/p>\n\nArnold Sch&ouml;nberg \nHatred and Critic<\/strong> \n1910<\/font><\/font><\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/font><\/font><\/p>\n\nA photo album with Sch&ouml;nberg&rsquo;s paintings was compiled in 1910 by his student Alban Berg, who was an enthusiastic amateur photographer. Sch&ouml;nberg used these reproductions for publication purposes and in order to promote his pictures for exhibitions. The juxtaposition of the paintings Hatred (<a href=\"http:\/\/schoenberg.at\/index.php\/en\/soul-online?hatred\">Object #3<\/a>) and Critic (<a href=\"https:\/\/schoenberg.at\/index.php\/en\/schoenberg-2\/bildnerischeswerk?kritiker-1-112-2\">Catalogue raisonn&eacute; 112<\/a>) may enable conclusions to be drawn about the emotions of the artist, who was notoriously pursued and attacked by critics. <\/font><\/font><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"134","target":"blank","lightboxUrl":"hatred-and-critic-2","watermark_name":"05-ph3767.jpg","hideInAll":0,"suffix":""}

Aphorisms

Object #6

{"id":2916,"form_id":30,"category":"category-1","name":"06-t27_12_2.jpg","path":"images\/bagallery\/gallery-5\/06-t27_12_2.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/06-t27_12_2.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/06-t27_12_2.jpg","title":"Aphorisms","short":"Object #6","alt":"","description":"Object #6<\/p>\n\nArnold Sch&ouml;nberg \nAphorisms<\/strong> \nDrafts \n1910<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;Art is the cry for help of those who experience in themselves the fate of humanity. Who wrestle with it instead of accommodating themselves to it. Who do not bluntly serve the engine of &lsquo;dark powers,&rsquo; but who plunge into the running machinery to grasp its construction. Who do not avert their eyes to protect themselves from emotion, but rather open them wide to tackle what has to be tackled. But who frequently shut their eyes to perceive what the senses do not convey, to behold within what only seemingly takes place outside. And within, inside them, is the agitation of the world; what breaks through the outside is only its echo: the work of art.&rdquo;<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"133","target":"blank","lightboxUrl":"aphorisms-2","watermark_name":"06-t27_12_2.jpg","hideInAll":0,"suffix":""}

Response to scholarly questions

Object #7

{"id":2915,"form_id":30,"category":"category-1","name":"07-t04_18_1.jpg","path":"images\/bagallery\/gallery-5\/07-t04_18_1.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/07-t04_18_1.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/07-t04_18_1.jpg","title":"Response to scholarly questions","short":"Object #7","alt":"","description":"Object #7<\/p>\n\nArnold Sch&ouml;nberg \nResponse to scholarly questions<\/strong> \n1931<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nOf what manner were the &lsquo;soulish&rsquo; processes that occurred while reading the poems, and what determined the selection or rejection of the individual texts?<\/em> \n&ldquo;Stirrings of the soul are undoubtedly dependent on the content of the poem. | Selected: Inspiration, a state of feverish excitement, preceding actual thoughts. | Rejected: Indifference, or opposition, criticism, sometimes also the feeling of being incapable of expressing this.&rdquo; \nSch&ouml;nberg&rsquo;s observation was made in response to a request from Julius Bahle, author of the publication Der musikalische Schaffensproze&szlig;<\/em>&nbsp;[The musical creative process] (Leipzig 1936).<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"132","target":"blank","lightboxUrl":"response-to-scholarly-questions-2","watermark_name":"07-t04_18_1.jpg","hideInAll":0,"suffix":""}

Poetry

Object #8

Concerning the Spiritual in Art

Object #9

{"id":2913,"form_id":30,"category":"category-1","name":"09_book_k7_dedication.jpg","path":"images\/bagallery\/original\/09_book_k7_dedication.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/original\/09_book_k7_dedication.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/09_book_k7_dedication.jpg","title":"Concerning the Spiritual in Art","short":"Object #9","alt":"","description":"Object #9<\/p>\n\nWassily Kandinsky \nConcerning the Spiritual in Art<\/strong> \nMunich 1912<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;Sch&ouml;nberg realizes that the greatest freedom of all, the freedom of an unfettered art, can never be absolute. [...] Sch&ouml;nberg is endeavoring to make complete use of his freedom and has already discovered gold mines of new beauty in his search for spiritual harmony. His music leads us into a realm where musical experience is a matter not of the ear but of the soul alone &ndash; and from this point begins the music of the future.&rdquo; \nWith the dedication: &ldquo;My dear Mr. Sch&ouml;nberg, in expression of sympathy | Kandinsky | Munich 9 December 1911&rdquo;<\/p>\n\n<a href=\"https:\/\/digi.ub.uni-heidelberg.de\/diglit\/kandinsky1912\" target=\"_blank\">Wassily Kandinsky: &Uuml;ber das Geistige in der Kunst: insbesondere in der Malerei: mit acht Tafeln und zehn Originalholzschnitten<\/a> \n(Online access&nbsp;Universit&auml;tsbibliothek Heidelberg repository)<\/p>\n\n<iframe allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/I0DXYTN0OAM\" title=\"YouTube video player\"><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"130","target":"blank","lightboxUrl":"concerning-the-spiritual-in-art-2","watermark_name":"09_book_k7_dedication.jpg","hideInAll":0,"suffix":""}

Dank [Thanks], op. 1/1

Object #10

{"id":2912,"form_id":30,"category":"category-1","name":"10-ms01_214_r.jpg","path":"images\/bagallery\/gallery-5\/10-ms01_214_r.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/10-ms01_214_r.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/10-ms01_214_r.jpg","title":"Dank [Thanks], op. 1\/1","short":"Object #10","alt":"","description":"Object #10<\/p>\n\nArnold Sch&ouml;nberg \nDank [Thanks], op. 1\/1<\/strong> \nText: Karl Freiherr von Levetzow \n1898<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;Deep in my soul | you pierced me with a sharp pain&rdquo; &ndash; The earnestness of the moods, the profound scrutiny of the human soul, which occupied his role model Johannes Brahms in many of his later songs, are also to be found in the expressive motifs in Sch&ouml;nberg&rsquo;s songs that were published as opus 1.<\/p>\n\n<iframe allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/K9APoxyyRJ4\" title=\"YouTube video player\"><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"129","target":"blank","lightboxUrl":"dank-thanks-op-1-1-2","watermark_name":"10-ms01_214_r.jpg","hideInAll":0,"suffix":""}

Schenk mir deinen goldenen Kamm (Jesus bettelt) [Give me your golden comb (Jesus begs)] op. 2/2

Object #11

{"id":2911,"form_id":30,"category":"category-1","name":"11-ms02_228r.jpg","path":"images\/bagallery\/gallery-5\/11-ms02_228r.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/11-ms02_228r.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/11-ms02_228r.jpg","title":"Schenk mir deinen goldenen Kamm (Jesus bettelt) [Give me your golden comb (Jesus begs)] op. 2\/2","short":"Object #11","alt":"","description":"Object #11<\/p>\n\nArnold Sch&ouml;nberg \nSchenk mir deinen goldenen Kamm (Jesus bettelt) \n[Give me your golden comb (Jesus begs)] op. 2\/2<\/strong> \nText: Richard Dehmel \n1899<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;Give me everything you have; | My soul is not vain, | Proudly I receive your blessing&rdquo; &ndash; Music with vagrant harmonies and a broadly expansive, chromatically permeated melody interprets Jesus&rsquo; sensuous request for Maria Magdalena.<\/p>\n\n<iframe src=\"https:\/\/www.youtube.com\/embed\/FXjh7r7VOSE\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"128","target":"blank","lightboxUrl":"give-me-your-golden-comb-2","watermark_name":"11-ms02_228r.jpg","hideInAll":0,"suffix":""}

Arnold Schönberg

Object #12

{"id":2910,"form_id":30,"category":"category-1","name":"12-ph1410.jpg","path":"images\/bagallery\/gallery-5\/12-ph1410.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/12-ph1410.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/12-ph1410.jpg","title":"Arnold Sch\u00f6nberg","short":"Object #12","alt":"","description":"Object #12<\/p>\n\nArnold Sch&ouml;nberg<\/strong> \nPayerbach \n1901<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nSoul (Greek psyche<\/em>, Latin anima<\/em>), in common parlance the inner activity principle of a living being, is differentiated in this sense both between the lifeless body and the rational spirit (pneuma<\/em>). In scientific usage, both those who deny the existence of the soul and those who allow it, the word signifies the uniform, real but immaterial carrier of psychic (conscious) phenomena (imagining, feeling, desiring and willing) which relate to it like matter (e.g.) relates to the physical (or natural) phenomena (physical, chemical and biological processes). Things in which manifestations of consciousness are perceptible (such as humans, animals and, according to some, [...] plants as well) are called ensouled. This designation is carried over to apply to intrinsically lifeless things (mountains, rivers, springs, rocks &ndash; indeed, the entire world edifice), when, as happens in poetical, fantastical and effusive worldviews of mythology, animism, fetishism and spiritism, aspects of consciousness (intelligence, mood, will) are erroneously imputed to them (mountain and spring spirits, astral spirits, the anima mundi, etc.). Due to its trait of immateriality, the soul is differentiated from every (alleged) carrier of conscious processes and materialism, according to the principle that one must wrest as much solid ground from the soul as possible, endeavouring to substitute in its stead e.g. the brain or the entire nervous system. The soul appears as the uniform-real carrier of psychic processes, which oppose the likewise unitary but merely idealistic carriers thereof (self-image, self-awareness), on which idealism wishes to impose in its place. Due to its existence and its nature, this immaterial (non-sensory) essence cannot be a subject of (sensory) experience, although both can indeed be indicative thereof from (inner) experiential virtualities.<\/p>\n\nMeyers Konversations-Lexikon. Eine Encyklop&auml;die des allgemeinen Wissens.&nbsp;Vol. 14. R&uuml;b&ouml;l &ndash; Sodawasser.<\/em> \nLeipzig: Verlag des Bibliographischen Instituts, 1889 \n(Arnold Sch&ouml;nberg&rsquo;s personal library) \n&nbsp;<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"127","target":"blank","lightboxUrl":"arnold-schoenberg-2-2-2-2-2","watermark_name":"12-ph1410.jpg","hideInAll":0,"suffix":""}

Memory of Oskar Kokoschka

Object #13

{"id":2909,"form_id":30,"category":"category-1","name":"13-cr067.jpg","path":"images\/bagallery\/gallery-5\/13-cr067.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/13-cr067.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/13-cr067.jpg","title":"Memory of Oskar Kokoschka","short":"Object #13","alt":"","description":"Object #13<\/p>\n\nArnold Sch&ouml;nberg \nMemory of Oskar Kokoschka<\/strong> \nApril 1910 \nOil on board \n<a href=\"https:\/\/asc-online-shop.myshopify.com\/collections\/bucher-1\/products\/isbn-3-902012-07-2\" target=\"_blank\">Catalogue raisonn&eacute; 67<\/a><\/p>\n\nBelmont Music Publishers, Pacific Palisades<\/p>\n\n&ldquo;Kokoschka is one of those incisive individuals who can afford to express themselves, knowing that in doing so they make their contribution to that which expresses all, the universe and everything in it. To be sure, this is the duty of the great artist. Even though the minor ones and the public call it expressionism.&rdquo; \n(Arnold Sch&ouml;nberg: To Kokoschka; contribution for the catalogue Oskar Kokoschka. St&auml;dtische Kunsthalle Mannheim. Das Gesammelte Werk, 1931) \n&nbsp;<\/p>\n\n<iframe allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/5mbleuUMoAw\" title=\"YouTube video player\"><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"126","target":"blank","lightboxUrl":"erinnerung-an-oskar-kokoschka-2-2","watermark_name":"13-cr067.jpg","hideInAll":0,"suffix":""}

A rendezvous

Object #14

{"id":2908,"form_id":30,"category":"category-1","name":"14-dehmel_weib-und-welt.jpg","path":"images\/bagallery\/gallery-5\/14-dehmel_weib-und-welt.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/14-dehmel_weib-und-welt.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/14-dehmel_weib-und-welt.jpg","title":"A rendezvous","short":"Object #14","alt":"","description":"Object #14<\/p>\n\nRichard Dehmel \nEin Stelldichein [A rendezvous] \nWeib und Welt [Woman and world]<\/strong> \nBerlin 1896<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nRichard Dehmel&rsquo;s symbolist texts with their passionate, religious-erotic character and their vivid, immediate, lyric language helped young Sch&ouml;nberg to find &ldquo;the new sound [&hellip;] that was to become my own&rdquo; (Sch&ouml;nberg&rsquo;s letter to Dehmel, November 1912).&nbsp;<\/p>\n\nA Rendezvous<\/strong> \n \nIt was like this even then. The stifling air \nhung so silently over the&nbsp;earth, \nand under the roof of the mourning beeches \nthe scent of elder&nbsp;blooms \ngot caught up at the garden&rsquo;s edge; \nsilently she took my&nbsp;moist hand, \nsilent with happiness.<\/p>\n\nIt was like the smell of the grave... I am not at fault! \nYou pale shade&nbsp;over there in the mist, \nhow you stand like a shrouded ghost &ndash; \nfade out,&nbsp;you reminder of a broken soul! \nWhy do you stare at me with&nbsp;godlike eyes? \nI did not break her; she did it herself. Why do I torment&nbsp; \nmyself with others&rsquo; misfortune?<\/p>\n\nThe ground becomes gray; the night brings no spark, \nin the fog the&nbsp;willows look like smoke, \nthe heavy sky seems to have sunken into&nbsp;the grain. \nThe foliage hangs silently on the wet shrubs \nas if the&nbsp;leaves had drunk poison; \nnow she lies so motionlessly too. \nI wish for&nbsp;my death. \n&nbsp;<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"125","target":"blank","lightboxUrl":"richard-dehmel-ein-stelldichein-2-2","watermark_name":"14-dehmel_weib-und-welt.jpg","hideInAll":0,"suffix":""}

A rendezvous

Object #15

{"id":2907,"form_id":30,"category":"category-1","name":"15-ms91_u158.jpg","path":"images\/bagallery\/gallery-5\/15-ms91_u158.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/15-ms91_u158.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/15-ms91_u158.jpg","title":"A rendezvous","short":"Object #15","alt":"","description":"Objekt #15<\/p>\n\nArnold Sch&ouml;nberg \nEin Stelldichein [A rendezvous]<\/strong> \nFragment \n1905<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nAfter the string sextet Verkl&auml;rte Nacht <\/em>[Transfigured Night], op. 4 (1899) Sch&ouml;nberg returned once again to program music directly inspired by Dehmel. Only a few weeks after completing his String Quartet No. 1<\/em>, op. 7, on October 21, 1905 Sch&ouml;nberg began to work on another chamber music piece, this time a quintet for oboe, clarinet, violin, cello, and piano. The work is based on a somber poem written by Richard Dehmel as a poetic reproach, whose title Sch&ouml;nberg adopted for the composition as well. It unfolds in three seven-line verses, as a self-tormenting retrospect on an apparently tragically broken love affair, which leads into the final verse: &ldquo;I wish death to come upon me.&rdquo; This rather embryonic composition comprises 135 measures with varying degrees of elaboration. It is uncertain if Sch&ouml;nberg had a single-movement or a cyclical form in mind for this &ldquo;reminder of a broken soul&rdquo; (Dehmel).<\/p>\n\n<iframe src=\"https:\/\/www.youtube.com\/embed\/MSaCTMOj4sE\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"124","target":"blank","lightboxUrl":"arnold-schoenberg-ein-stelldichein-2-2","watermark_name":"15-ms91_u158.jpg","hideInAll":0,"suffix":""}

Arnold Schönberg

Object #16

{"id":2906,"form_id":30,"category":"category-1","name":"16-asc4210_1184.jpg","path":"images\/bagallery\/gallery-5\/16-asc4210_1184.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/16-asc4210_1184.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/16-asc4210_1184.jpg","title":"Arnold Sch\u00f6nberg","short":"Object #16","alt":"","description":"Object #16<\/p>\n\nArnold Sch&ouml;nberg<\/strong> \nWien, Liechtensteinstra&szlig;e 68\/70 \n1907<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;Those who in a clear moment do not realize suddenly what they have in front of them and those who are not overcome by a keen sense of hearing, with which they suddenly overreach their horizon, must wait patiently until they have time on the long way over the bridge to develop their inner being towards the new music. For this music demands not only a culture of the ear but also a culture of man&rsquo;s entire being.&rdquo;&nbsp; \n(Karl Linke: As Introdcution, in: Arnold Sch&ouml;nberg. Mit Beitr&auml;gen von Alban Berg et al<\/em>. Munich 1912)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"123","target":"blank","lightboxUrl":"arnold-schoenberg-3-2-2","watermark_name":"16-asc4210_1184.jpg","hideInAll":0,"suffix":""}

Blue Gaze

Object #17

{"id":2905,"form_id":30,"category":"category-1","name":"17-cr064.jpg","path":"images\/bagallery\/gallery-5\/17-cr064.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/17-cr064.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/17-cr064.jpg","title":"Blue Gaze","short":"Object #17","alt":"","description":"Object #17<\/p>\n\nArnold Sch&ouml;nberg \nBlue Gaze<\/strong> \n1910 \nOil on cardboard \n<a href=\"https:\/\/asc-online-shop.myshopify.com\/collections\/bucher-1\/products\/isbn-3-902012-07-2\" target=\"_blank\">Catalogue raisonn&eacute; 64<\/a><\/p>\n\nBelmont Music Publishers, Pacific Palisades<\/p>\n\n&ldquo;What originated from this sad, silent, almost hopeless tenderness became his paintings. Acts of the mind. Very few trust these pictures. Most people hate them instinctively on first seeing them. So do the artists, who are frightened to death of the idea of having to paint like this themselves someday.&rdquo; \n(Albert Paris G&uuml;tersloh: Sch&ouml;nberg the Painter, in: Arnold Sch&ouml;nberg. Mit Beitr&auml;gen von Alban Berg et al.<\/em> Munich 1912)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"122","target":"blank","lightboxUrl":"blauer-blick-2-2","watermark_name":"17-cr064.jpg","hideInAll":0,"suffix":""}

String Quartet No. 2, op. 10/4

Object #18

{"id":2904,"form_id":30,"category":"category-1","name":"18-h-27.jpg","path":"images\/bagallery\/original\/18-h-27.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/original\/18-h-27.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/18-h-27.jpg","title":"String Quartet No. 2, op. 10\/4","short":"Object #18","alt":"","description":"Object #18<\/p>\n\nArnold Sch&ouml;nberg \nString Quartet No. 2 op. 10 \n4th movement: Entr&uuml;ckung [Rapture]<\/strong> \nText: Stefan George \n1908 \nScore,&nbsp;self-published<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nThe String Quartet No. 2<\/em>, op. 10 forms a milestone not just in the history of Sch&ouml;nberg&rsquo;s composing, but also in the development of New Music as a whole. \nIt represents the transition from tonal to atonal composition, and also an extension of the genre (the soprano added in two movements relaxes standard string quartet scoring). &ndash; &ldquo;The fourth movement, Entr&uuml;ckung <\/em>[Rapture], begins with an introduction depicting the departure from earth to another planet. The visionary poet foretold here sensations which perhaps soon will be affirmed. Becoming relieved from gravitation, passing through clouds into thinner and thinner air &ndash; forgetting all the trouble of life on earth &ndash; that is attempted to be illustrated.&rdquo; (Arnold Sch&ouml;nberg, Introduction to the Four Quartets<\/em>, 1949)<\/p>\n\n<iframe allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/MmE-9SwsfUc\" title=\"YouTube video player\"><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"121","target":"blank","lightboxUrl":"ii-streichquartett-op-10-4-entrueckung-2-2","watermark_name":"18-h-27.jpg","hideInAll":0,"suffix":""}

Chamber Symphony No. 2, op. 38

Object #19

{"id":2903,"form_id":30,"category":"category-1","name":"19-ms77_sk305.jpg","path":"images\/bagallery\/gallery-5\/19-ms77_sk305.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/19-ms77_sk305.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/19-ms77_sk305.jpg","title":"Chamber Symphony No. 2, op. 38","short":"Object #19","alt":"","description":"Object #19<\/p>\n\nArnold Sch&ouml;nberg \nChamber Symphony No. 2, op. 38 \nWendepunkt [Turning point]<\/strong> \nProgram \n1911, 1916 (?)<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nIn early August 1906 Sch&ouml;nberg began to compose his Chamber Symphony&nbsp;No. 2<\/em>, op. 38, in Rottach-Egern on Tegernsee (Bavaria). However, several interruptions meant that the work was only completed in 1939\/40. Among the related collection of sketches is a program that can be assigned to one of his intermittent periods of work in 1911 or 1916. This program describes the work as a &ldquo;melodrama,&rdquo; and a possible title is added in pencil: &ldquo;Turning point. Orchestral work by AS.&rdquo; There is mention of &ldquo;sorrow,&rdquo; dreamed &ldquo;fulfilment,&rdquo; catastrophic &ldquo;breakdown&rdquo; and &ldquo;desperation,&rdquo; followed at the end by the &ldquo;actual completion&rdquo;: &ldquo;a new path to salvation is emerging, the only one, the eternal one. Finding it was the purpose of all previous experience.&rdquo;<\/p>\n\n<iframe src=\"https:\/\/www.youtube.com\/embed\/KeteeyOF3_o\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"120","target":"blank","lightboxUrl":"ii-kammersymphonie-op-38-wendepunkt-2-2","watermark_name":"19-ms77_sk305.jpg","hideInAll":0,"suffix":""}

Red Gaze

Object #20

{"id":2902,"form_id":30,"category":"category-1","name":"20-cr065.jpg","path":"images\/bagallery\/gallery-5\/20-cr065.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/20-cr065.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/20-cr065.jpg","title":"Red Gaze","short":"Object #20","alt":"","description":"Object #20<\/p>\n\nArnold Sch&ouml;nberg \nRed Gaze<\/strong> \n1910 \nOil on cardboard \nCatalogue raisonn&eacute; 65<\/p>\n\nBelmont Music Publishers, Pacific Palisades<\/p>\n\n&ldquo;I do not think that one needs to interpret Sch&ouml;nberg&rsquo;s paintings as&nbsp;among the psychological hypotheses of the &ldquo;Audition color&eacute;e,&rdquo; that&nbsp;one hypothesis, conveyed most widely by the young Frenchmen&nbsp;(Rimbaud, Ren&eacute; Ghil, Suarez de Mendoza), of a direct release of color imagery&nbsp;through sounds. Rather, he wanted for once to attempt&nbsp;to communicate, through painting as well, the way he sees people and&nbsp;states of mind in a fulgurant clarity, through quickly tossed-off&nbsp;impressions. Without a doubt, this way is very powerful and very original,&nbsp;but equally frightening. Sch&ouml;nberg once said of one of his quartet&nbsp;movements that there was a feeling in it like when a vein bursts in the&nbsp; brain. In more than one of these paintings, one feels a dreadful&nbsp;tension, which perhaps is also intended to express such a physical&nbsp;condition. It is a frightful imagination that invents such things. Deep&nbsp;down to the foundation, into the elemental and enigmatic of existence,&nbsp;sudden, hastily veiled lights seem to fall. No longer paintings,&nbsp;but wild confessions of a tormented, afflicted human soul. \n(Elsa Bienenfeld: Eine Bilderausstellung von Arnold Sch&ouml;nberg, in: Neues Wiener Journal<\/em>, 9. Oktober 1910, <a href=\"https:\/\/anno.onb.ac.at\/cgi-content\/annoshow?call=nwj%7C19101009%7C13%7C100.0%7C0\" target=\"_blank\">page 13<\/a>, <a href=\"https:\/\/anno.onb.ac.at\/cgi-content\/annoshow?call=nwj%7C19101009%7C14%7C100.0%7C0\" target=\"_blank\">page 14<\/a>)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"119","target":"blank","lightboxUrl":"roter-blick-2-2","watermark_name":"20-cr065.jpg","hideInAll":0,"suffix":""}

String Quartet No. 1, op. 7

Object #21

{"id":2901,"form_id":30,"category":"category-1","name":"21-ms75_sk1.jpg","path":"images\/bagallery\/gallery-5\/21-ms75_sk1.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/21-ms75_sk1.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/21-ms75_sk1.jpg","title":"String Quartet No. 1, op. 7","short":"Object #21","alt":"","description":"Object #21<\/p>\n\nArnold Sch&ouml;nberg \nString Quartet No. 1, op. 7 \nSecret program<\/strong> \n1904\/05<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nA programmatic outline underpins Sch&ouml;nberg&rsquo;s String Quartet No. 1<\/em>, op. 7. This refers less to the course of action than the course of emotions, from impassioned uproar via stages of enthusiasm, disappointment, regret, and wistful recollection, but also repeatedly fresh encouragement through to final reconciliation and homecoming in &ldquo;peace and harmony.&rdquo; Sch&ouml;nberg did not publish this program and thus rejected any connection with the aesthetic shape of the resulting composition.<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"118","target":"blank","lightboxUrl":"i-streichquartett-op-7-2-2","watermark_name":"21-ms75_sk1.jpg","hideInAll":0,"suffix":""}

String Quartet No. 1, op. 7, Adagio

Object #22

{"id":2900,"form_id":30,"category":"category-1","name":"22-ms76_sk082.jpg","path":"images\/bagallery\/original\/22-ms76_sk082.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/original\/22-ms76_sk082.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/22-ms76_sk082.jpg","title":"String Quartet No. 1, op. 7, Adagio","short":"Object #22","alt":"","description":"Object #22<\/p>\n\nArnold Sch&ouml;nberg \nString Quartet No. 1, op. 7, Adagio<\/strong> \nSketches \n1904\/05<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nThe Adagio in String Quartet No. 1<\/em> addresses an &ldquo;increasing longing for deserted loved ones [...] A dream image shows the deserted ones, each grieving in his own way for the distant one, thinking of him, hoping for his return.&rdquo; The ambivalence of the yearning soul is transformed into sound. Sch&ouml;nberg&rsquo;s student Anton Webern wrote in 1912: &ldquo;The sonic effect of this quartet is completely new. This has an internal reason first of all: the new melodic and harmonic style of the themes. But then it also has an external reason &ndash; the utilization of new sonic possibilities developed in the string section of the modern orchestra [...]. These new means of sound are born as a result of the expressiveness of this music. To this must be added the most wonderful utilization of the sounds of the strings and their different ranges.&rdquo;<\/p>\n\n<iframe src=\"https:\/\/www.youtube.com\/embed\/KSHkmX1zyCo\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"117","target":"blank","lightboxUrl":"i-streichquartett-op-7-adagio-2-2","watermark_name":"22-ms76_sk082.jpg","hideInAll":0,"suffix":""}

Analysis of Opus 7

Object #23

{"id":2899,"form_id":30,"category":"category-1","name":"23-t14_18_2.jpg","path":"images\/bagallery\/gallery-5\/23-t14_18_2.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/23-t14_18_2.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/23-t14_18_2.jpg","title":"Analysis of Opus 7","short":"Object #23","alt":"","description":"Object #23<\/p>\n\nArnold Sch&ouml;nberg \nAnalysis of String Quartet No. 1, op. 7 \nfor a performance in Dresden<\/strong> \n1907<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;The great expansion of this work required a careful organization. It might perhaps interest an analyst to learn that I received and took advantage of the tremendous amount of the advice suggested to me by a model I had chosen for this task: the first movement of the Eroica<\/em>. Alexander von Zemlinsky told me Brahms said that every time he faced difficult problems, he would consult a significant work of Bach and one of Beethoven, both of which he always used to keep near his standing desk [Stehpult]: how did they handle a similar problem? Of course, the model was not copied mechanically, but its mental essence was applied accommodatingly. In the same manner, I learned from the Eroica <\/em>solutions to my problems. How to avoid monotony and emptiness, how to create variety out of unity, how to create new forms out of basic material, how much can be achieved by slight modifications if not by developing variation out of often rather insignificant little formulations. Of this masterpiece, I learned also much about&nbsp;the creation of harmonic contrasts and their application. Brahms&#39; advice was excellent, and I wish this story would induce young composers that they must not forget what our musical forefathers have done for us.&rdquo; \n(Arnold Sch&ouml;nberg, Introduction to the Four Quartets<\/em>, 1949)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"116","target":"blank","lightboxUrl":"analyse-des-streichquartetts-op-7-2-2","watermark_name":"23-t14_18_2.jpg","hideInAll":0,"suffix":""}

I may not gratefully, op. 14/1

Object #24

{"id":2898,"form_id":30,"category":"category-1","name":"24-ms14_387.jpg","path":"images\/bagallery\/gallery-5\/24-ms14_387.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/24-ms14_387.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/24-ms14_387.jpg","title":"I may not gratefully, op. 14\/1","short":"Object #24","alt":"","description":"Arnold Sch&ouml;nberg \nIch darf nicht dankend [I may not gratefully], op. 14\/1<\/strong> \nText: Stefan George \n1907<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nStefan George&rsquo;s Ich darf nicht dankend <\/em>from the volume of poems Das Jahr der Seele<\/em> [The year of the soul] inspired Sch&ouml;nberg in 1907 to write a song for voice and piano in which wintery nature acts as an echo chamber for the soul. In 1949 he wrote about the groundbreaking compositional period around 1907\/08 in My Evolution<\/em>: &ldquo;Most critics of this new style failed to investigate&nbsp;how far the ancient &lsquo;eternal&rsquo; laws of musical aesthetics were observed, spurned, or merely adjusted to changed circumstances. Such superficiality brought about accusations of anarchy and revolution, whereas on the contrary, this music was distinctly a product of evolution, and no more revolutionary than any other development in the history of music.&rdquo;<\/p>\n\n<iframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/9hUSfRGP2m8\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"115","target":"blank","lightboxUrl":"ich-darf-nicht-dankend-op-14-1-2-2","watermark_name":"24-ms14_387.jpg","hideInAll":0,"suffix":""}

Gaze

Object #25

{"id":2897,"form_id":30,"category":"category-1","name":"25-cr069.jpg","path":"images\/bagallery\/gallery-5\/25-cr069.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/25-cr069.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/25-cr069.jpg","title":"Gaze","short":"Object #25","alt":"","description":"Object #25<\/p>\n\nArnold Sch&ouml;nberg \nGaze<\/strong> \nca&nbsp;March 1910 \nOil on cardboard \n<a href=\"https:\/\/asc-online-shop.myshopify.com\/collections\/bucher-1\/products\/isbn-3-902012-07-2\" target=\"_blank\">Catalogue raisonn&eacute; 69<\/a><\/p>\n\nBelmont Music Publishers, Pacific Palisades<\/p>\n\n&ldquo;In fact, [painting] was to me the same as making music. It was to me a way of expressing myself, of presenting emotions, ideas, and other feelings; and this is perhaps the way to understand these paintings &ndash; or not to understand them.&rdquo; \n(Arnold Sch&ouml;nberg, Museum Talk on Painting<\/em>, 1949)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"114","target":"blank","lightboxUrl":"blick1-2-2","watermark_name":"25-cr069.jpg","hideInAll":0,"suffix":""}

If I do not touch your body today, op. 15/8

Object #26

{"id":2896,"form_id":30,"category":"category-1","name":"26-ueq810_14.jpg","path":"images\/bagallery\/gallery-5\/26-ueq810_14.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/26-ueq810_14.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/26-ueq810_14.jpg","title":"If I do not touch your body today, op. 15\/8","short":"Object #26","alt":"","description":"Object #26<\/p>\n\nArnold Sch&ouml;nberg \nWenn ich heut nicht deinen Leib ber&uuml;hre [If I do not touch your body today], op. 15\/8<\/strong> \nText: Stefan George \n1908<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;With the George Lieder I have for the first time succeeded in approaching an ideal of expression and form which has been in my mind for years. Until now, I lacked the strength and confidence to make it a reality. But now that I have set out along this path once and for all, I am conscious of having broken through every restriction of a bygone aesthetic; [...] I am being forced in this direction not because my invention or technique are inadequate, [...] but that I am obeying an inner compulsion, which is stronger than any upbringing: that I am obeying the formative process which, being the one natural to me, is stronger than my artistic education.&rdquo; (Sch&ouml;nberg, 1910)<\/p>\n\n<iframe src=\"https:\/\/www.youtube.com\/embed\/LnXBdXxk_L8\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"113","target":"blank","lightboxUrl":"wenn-ich-heut-nicht-deinen-leib-beruehre-op-15-8-2-2","watermark_name":"26-ueq810_14.jpg","hideInAll":0,"suffix":""}

Expectation

Object #27

{"id":2895,"form_id":30,"category":"category-1","name":"27-t80-15-2416.jpg","path":"images\/bagallery\/gallery-5\/27-t80-15-2416.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/27-t80-15-2416.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/27-t80-15-2416.jpg","title":"Expectation","short":"Object #27","alt":"","description":"Object #27<\/p>\n\nMarie Pappenheim \nErwartung [Expectation]<\/strong> \n1909 \nLibretto with sketches by Arnold Sch&ouml;nberg<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;Write an opera text for me, Miss!&rdquo; &ndash; August 1909: Sch&ouml;nberg and his family spent their vacation in Steinakirchen (Lower Austria). It was through Alexander Zemlinsky that the young Viennese physician Marie Pappenheim was introduced to the circle around Sch&ouml;nberg. During her medical studies at the University of Vienna, Pappenheim wrote poetry under the pseudonym Maria Heim, and it was in the summer resort that Sch&ouml;nberg invited her to write a libretto: In expectation of her lover, a woman sets out in search of him and follows wrong trails to stations of uncertainty &ndash; remembrance &ndash; hope &ndash;&nbsp;jealousy &ndash; sorrow &ndash; and finally excessive exaltation of the man who survives only as a dead object. The depth of the forest scenario becomes a projection room for distressing traumatic states &ndash; obscurity, danger, threat, fear, loneliness, horror, darkness &ndash; and naturalistically reinterprets the subjective ordeal of suffering the woman lives through in four scenes.<\/p>\n\n<a href=\"http:\/\/schoenberg.at\/index.php\/de\/schoenberg\/bildnerischeswerk?marie-pappenheim-090\" target=\"_blank\">Arnold Sch&ouml;nberg: Dr. Mizzi Pappenheim<\/a><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"112","target":"blank","lightboxUrl":"erwartung-2-2","watermark_name":"27-t80-15-2416.jpg","hideInAll":0,"suffix":""}

Letter to Hermann Bahr

Object #28

{"id":2894,"form_id":30,"category":"category-1","name":"28-otm_am-23417-ba.jpg","path":"images\/bagallery\/gallery-5\/28-otm_am-23417-ba.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/28-otm_am-23417-ba.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/28-otm_am-23417-ba.jpg","title":"Letter to Hermann Bahr","short":"Object #28","alt":"","description":"Object #28<\/p>\n\nArnold Sch&ouml;nberg \nLetter to Hermann Bahr<\/strong> \nOctober 6, 1909<\/p>\n\n&Ouml;sterreichisches Theatermuseum, Wien<\/p>\n\nSch&ouml;nberg&rsquo;s letter to the poet Hermann Bahr is very revealing in its mention of the composer&rsquo;s intent with regard to his monodrama&nbsp;Erwartung <\/em>[Expectation], op. 17: &ldquo;I have written something for the theatre: a monodrama. By that I mean a piece in which only one person appears, one at the explosive stage of emotional high-tension &ndash; or else&nbsp;immediately before or after that. And the type of stylistic presentation is supposed to solve that problem in the briefest way attainable by our powers of expression, to reproduce what happens in a few such seconds.&rdquo;<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"111","target":"blank","lightboxUrl":"brief-an-hermann-bahr-2-2","watermark_name":"28-otm_am-23417-ba.jpg","hideInAll":0,"suffix":""}

On Opera

Object #29

Expectation, op. 17

Object #30

{"id":2892,"form_id":30,"category":"category-1","name":"30-ms17_2374.jpg","path":"images\/bagallery\/gallery-5\/30-ms17_2374.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/30-ms17_2374.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/30-ms17_2374.jpg","title":"Expectation, op. 17","short":"Object #30","alt":"","description":"Object #30<\/p>\n\nArnold Sch&ouml;nberg \nErwartung [Expectation], op. 17<\/strong> \nText: Marie Pappenheim \n1909<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;The score of this monodrama is an unprecedented event. All traditional formal principles have been severed; there is always something new, presented with the most rapidly shifting expression. This is also true of the orchestration: a continuous succession of sounds never heard before. There is no measure in the score that doesn&rsquo;t demonstrate a completely new sound pattern. The treatment of the instruments is entirely soloistic. The registers of the instruments are fully utilized with a marvelous sense of timbre. Sch&ouml;nberg scores chords in a completely new way.&rdquo; (Anton Webern, 1912)<\/p>\n\n<iframe allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/uUKZyGKdeWk\" title=\"YouTube video player\"><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"109","target":"blank","lightboxUrl":"erwartung-op-17-2-2","watermark_name":"30-ms17_2374.jpg","hideInAll":0,"suffix":""}

An Ambition

Object #31

{"id":2891,"form_id":30,"category":"category-1","name":"31-cr127.jpg","path":"images\/bagallery\/gallery-5\/31-cr127.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/31-cr127.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/31-cr127.jpg","title":"An Ambition","short":"Object #31","alt":"","description":"Object #31<\/p>\n\nArnold Sch&ouml;nberg \nAn Ambition<\/strong> \nColored pencil on paper \n1931 \n<a href=\"https:\/\/asc-online-shop.myshopify.com\/collections\/bucher-1\/products\/isbn-3-902012-07-2\" target=\"_blank\">Catalogue raisonn&eacute; 127<\/a><\/p>\n\nPrivate collection<\/p>\n\nThis drawing from December 1931 is a self-caricature by Sch&ouml;nberg, dedicated to the author Carles Sindreu i Pons. The reference to a burning ambition remains unclear, but might perhaps imply tennis as he was spending a lot of time on court at the time.<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"108","target":"blank","lightboxUrl":"ein-ehrgeiz-2-2","watermark_name":"31-cr127.jpg","hideInAll":0,"suffix":""}

Gazes

Object #32

{"id":2890,"form_id":30,"category":"category-1","name":"32-t04_12.jpg","path":"images\/bagallery\/gallery-5\/32-t04_12.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/32-t04_12.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/32-t04_12.jpg","title":"Gazes","short":"Object #32","alt":"","description":"Object #32<\/p>\n\nArnold Sch&ouml;nberg \nGazes<\/strong> \n1926<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;On the one hand, I had a poor memory for facial features, but, on the other hand was able (formerly) to draw the face of a person with a few strokes after a single sighting. I was never able to explain these contradictions until I discovered that they stand in connection with another ability: I can copy the gaze of most people! And this is because I look people only in the eyes [...]. Therefore, my drawings would also become worse and worse after the first sketches, when I wanted to add details. That is probably also why my so-called &lsquo;Visions&rsquo; are always gazes.&rdquo;<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"107","target":"blank","lightboxUrl":"blicke-2-2","watermark_name":"32-t04_12.jpg","hideInAll":0,"suffix":""}

Painting Influences

Object #33

Photographs

Object #34

{"id":2888,"form_id":30,"category":"category-1","name":"34-asc9227-lpr.jpg","path":"images\/bagallery\/original\/34-asc9227-lpr.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/original\/34-asc9227-lpr.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/34-asc9227-lpr.jpg","title":"Photographs","short":"Object #34","alt":"","description":"Object #34<\/p>\n\nArnold Sch&ouml;nberg \nGaze, Self-Portraits, Fantasy<\/strong> \n1910<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nThe photo album of Sch&ouml;nberg&rsquo;s paintings was compiled in 1910 with works that were photographed by Alban Berg in the rooms of the Heller Art Gallery and Sch&ouml;nberg&rsquo;s apartment in Vienna. The photo album is an important source for establishing dates for works, for whose creation the inference of ante quem must apply, and contains reproductions of a series of works that are lost, including Self-Portrait <\/em>and Fantasy<\/em>.<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"105","target":"blank","lightboxUrl":"blick-selbstportraits-und-fantasie-2-2","watermark_name":"34-asc9227-lpr.jpg","hideInAll":0,"suffix":""}

Music and Psycho-Analysis

Object #35

{"id":2887,"form_id":30,"category":"category-1","name":"35-t39_23_a_3.jpg","path":"images\/bagallery\/gallery-5\/35-t39_23_a_3.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/35-t39_23_a_3.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/35-t39_23_a_3.jpg","title":"Music and Psycho-Analysis","short":"Object #35","alt":"","description":"Object #35<\/p>\n\nArnold Sch&ouml;nberg \nMusic and Psycho-Analysis<\/strong> \n1931<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;I don&rsquo;t understand anything about psychoanalysis. Or to put it differently:&nbsp;I understand just as much as those who talk about it. [...] What could be more appropriate than to say: As incomprehensible and uncontrollable the soul may be, this can also be said of the worst type of music; and even the good type. [...] A&nbsp; musician, and an artist quite generally, is &ndash; naturally at their own level &ndash; a genius. At least! And as even the tiniest genius can afford the very best, then who would have a remarkable soul if not even the tiniest genius? So it is inconceivable without a considerable soul, and no observation from geniuses has the right to evade the research methods of Seelenkunde [study of the soul]: Science above all else!&rdquo;<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"104","target":"blank","lightboxUrl":"musik-und-psycho-analyse-2-2","watermark_name":"35-t39_23_a_3.jpg","hideInAll":0,"suffix":""}

Art salon Hugo Heller

Object #36

{"id":2886,"form_id":30,"category":"category-1","name":"36-heller-art-cat.jpg","path":"images\/bagallery\/original\/36-heller-art-cat.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/original\/36-heller-art-cat.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/36-heller-art-cat.jpg","title":"Art salon Hugo Heller","short":"Object #36","alt":"","description":"Object #36<\/p>\n\nArt salon Hugo Heller \nCatalog for the first exhibition of \nArnold Sch&ouml;nberg&rsquo;s paintings and drawings<\/strong> \nVienna, October 1910<\/p>\n\nArnold Sch&ouml;nberg Center, Vienna<\/p>\n\nIn October 1910 Sch&ouml;nberg was given the opportunity to present his paintings from recent months to the public for the first time. Since establishing a book and art shop in 1905, Hugo Heller made a significant impact on Vienna&rsquo;s cultural scene after 1900 through the introduction of novel business ideas, and the organization of author&rsquo;s readings and concert events. The Art Gallery was adjacent to the salesroom of the bookshop. Concerts of contemporary music, literary soirees, scientific lectures, and exhibitions were held at the address Am Bauernmarkt No. 3 in Vienna&rsquo;s first district. The bookshop and publishing house, which specialized in contemporary literature, had a separate department attached for the sale of graphic arts. In 1914, a concert agency was added.<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"103","target":"blank","lightboxUrl":"kunstsalon-hugo-heller-2-2","watermark_name":"36-heller-art-cat.jpg","hideInAll":0,"suffix":""}

Publishing house Hugo Heller

Object #37

{"id":2885,"form_id":30,"category":"category-1","name":"37-imago.jpg","path":"images\/bagallery\/original\/37-imago.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/original\/37-imago.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/37-imago.jpg","title":"Publishing house Hugo Heller","short":"Object #37","alt":"","description":"Object #37<\/p>\n\nPublishing house Hugo Heller \nImago. Journal on the Application of&nbsp;Psychoanalysis in the Humanities<\/strong> \n1915<\/p>\n\nArnold Sch&ouml;nberg Center, Wien (New acquisition)<\/p>\n\nThe most famous of the early psychoanalytical journals, established by Sigmund Freud, offers a wealth of significant articles throughout its 23 volumes which were published from 1912 onward. These articles were mostly first publications, all by leading psychoanalysts in the first and second generation, on questions of theory, practice, and cultural application of psychoanalysis.&nbsp;Imago <\/em>was published until 1919 by Verlag Hugo Heller (Vienna), who also owned the gallery where Arnold Sch&ouml;nberg&rsquo;s paintings were exhibited (see Object 36). Writings by Sigmund Freud have not been found in Sch&ouml;nberg&rsquo;s Estate, but it can be presumed that the composer took note of the achievements by his Viennese contemporary in some form or other.<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"102","target":"blank","lightboxUrl":"verlag-hugo-heller-2-2","watermark_name":"37-imago.jpg","hideInAll":0,"suffix":""}

Gaze

Object #38

{"id":2884,"form_id":30,"category":"category-1","name":"38-cr068.jpg","path":"images\/bagallery\/gallery-5\/38-cr068.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/38-cr068.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/38-cr068.jpg","title":"Gaze","short":"Object #38","alt":"","description":"Object #38<\/p>\n\nArnold Sch&ouml;nberg \nGaze<\/strong> \nca. 1910 \nOil on board \nCatalogue raisonn&eacute; 68<\/p>\n\nBelmont Music Publishers, Pacific Palisades<\/p>\n\n&ldquo;With the artist, the external is not only defined by the internal but it is also created by the internal, as in any other creation, even that of the cosmos. Seen from this vantage point, the artworks of Sch&ouml;nberg permit us to recognize his emotional complex beneath the imprint of his form. First of all, we see immediately that Sch&ouml;nberg paints not in order to paint something &lsquo;beautiful&rsquo; or &lsquo;engaging,&rsquo; but that he paints without even thinking about the picture itself. Renouncing the objective result, he seeks to affix only his subjective &lsquo;feelings,&rsquo; and uses for that purpose only the means which seem to him indispensable at that moment.&rdquo; \n(Wassily Kandinsky: Die Bilder, in: Arnold Sch&ouml;nberg. Mit Beitr&auml;gen von Alban Berg et al<\/em>. Munich 1912)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"101","target":"blank","lightboxUrl":"blick-2-2-2","watermark_name":"38-cr068.jpg","hideInAll":0,"suffix":""}

Letter to Mathilde Schönberg

Object #39

{"id":2883,"form_id":30,"category":"category-1","name":"39-id-23412.jpg","path":"images\/bagallery\/gallery-5\/39-id-23412.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/39-id-23412.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/39-id-23412.jpg","title":"Letter to Mathilde Sch\u00f6nberg","short":"Object #39","alt":"","description":"Object #39<\/p>\n\nM. Thalmann \nLetter to Mathilde Sch&ouml;nberg<\/strong> \nMarch 12, 1916<\/p>\n\nThe Library of Congress, Washington, D.C.<\/p>\n\nAs confirmed in a letter by a Viennese acquaintance of Arnold Sch&ouml;nberg and his wife, the family experimented with &ldquo;table-turning&rdquo; at least for a short time. In a kind of spiritistic s&eacute;ance, an attempt is made to establish contact with the soul of the deceased. &ndash; &ldquo;However, I hope the table-turning may be very interesting next time. Today I received a letter from my mother who asked if we wanted to &lsquo;send&rsquo; her questions from Vienna, so she can write the answers in Linz. [...] Mama claims such attempts have been made quite regularly. Perhaps Herr Sch&ouml;nberg will add a few questions that interest him.&rdquo;<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"100","target":"blank","lightboxUrl":"brief-an-mathilde-schoenberg-2-2","watermark_name":"39-id-23412.jpg","hideInAll":0,"suffix":""}

Florizel’ s spirits]

Object #40

{"id":2882,"form_id":30,"category":"category-1","name":"40-t05_25_artikel.jpg","path":"images\/bagallery\/gallery-5\/40-t05_25_artikel.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/40-t05_25_artikel.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/40-t05_25_artikel.jpg","title":"Florizel\u2019 s spirits]","short":"Object #40","alt":"","description":"Object #40<\/p>\n\nArnold Sch&ouml;nberg \nFlorizels Geister [Florizel&rsquo;s spirits]<\/strong> \n1931<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;I hardly believe in table-turning, but I cannot say that I am wholly averse to believing in powers that are beyond us, of a kind called spirits. If such spirits were capable of doing anything perceivable for us, then it would be conceivable, although improbable, that they would, even just occasionally, make the table wobble.&rdquo; This text refers to an attached newspaper article in Neues Wiener Journal <\/em>(December 13, 1931), in which a spiritistic s&eacute;ance is described: &ldquo;We went into the palace of the world-famous artist [virtuoso violinist Florizel von Reuter], where the session was taking place. The s&eacute;ance participants were almost exclusively renowned musicians [...] Somebody asked whose spirit wanted to get in touch. They didn&rsquo;t have to wait for long. The reply was:&nbsp;Mozart. Reverence of the most profound kind was to be seen on all their faces.&rdquo;<\/p>\n\nEugen Kr&uuml;ger: Eine Vision kl&auml;rt einen Einbruch auf, in: Neues Wiener Journal<\/em>, (December 13, 1931, <a href=\"https:\/\/anno.onb.ac.at\/cgi-content\/annoshow?call=nwj%7C19311213%7C19%7C100.0%7C0\" target=\"_blank\">page 19<\/a>, <a href=\"https:\/\/anno.onb.ac.at\/cgi-content\/annoshow?call=nwj%7C19311213%7C20%7C100.0%7C0\" target=\"_blank\">page 20<\/a><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"99","target":"blank","lightboxUrl":"florizels-geister-2-2","watermark_name":"40-t05_25_2.jpg","hideInAll":0,"suffix":""}

Gustav Mahler

Object #41

{"id":2881,"form_id":30,"category":"category-1","name":"41-cr082.jpg","path":"images\/bagallery\/gallery-5\/41-cr082.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/41-cr082.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/41-cr082.jpg","title":"Gustav Mahler","short":"Object #41","alt":"","description":"Object #41<\/p>\n\nArnold Sch&ouml;nberg \nGustav Mahler<\/strong> \n1910 \nOil on board \n<a href=\"https:\/\/asc-online-shop.myshopify.com\/collections\/bucher-1\/products\/isbn-3-902012-07-2\" target=\"_blank\">Catalogue raisonn&eacute; 82<\/a><\/p>\n\nBelmont Music Publishers, Pacific Palisades<\/p>\n\nThe lines drawn between portraits and fantasies can become indistinct when physiognomic succinctness is dissolved. An example of this is the portrait Gustav Mahler<\/em>, an assemblage of fragments painted from memory &ldquo;with a strong mystic mood reminiscent of Edvard Munch&rdquo; (Georg Eisler, 1978). \n&ldquo;Sch&ouml;nberg was one of the few people whose sheer personality, whose huge skill demanded enormous respect [from Mahler]. And he never withheld this recognition, even when he vainly endeavored to follow the strong-willed trailblazing pursued by this very different kind of musician. Nonetheless, Sch&ouml;nberg was the only musical phenomenon to whom he devoted the closest attention throughout his lifetime.&rdquo; (Oskar Fried, 1919)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"97","target":"blank","lightboxUrl":"gustav-mahler3-2-2","watermark_name":"41-cr082.jpg","hideInAll":0,"suffix":""}

Gustav Mahler

Object #42

{"id":2880,"form_id":30,"category":"category-1","name":"42-t16_02_23.jpg","path":"images\/bagallery\/gallery-5\/42-t16_02_23.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/42-t16_02_23.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/42-t16_02_23.jpg","title":"Gustav Mahler","short":"Object #42","alt":"","description":"Object #42<\/p>\n\nArnold Sch&ouml;nberg \nGustav Mahler<\/strong> \n1912<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;We are to continue to battle and struggle, to yearn and desire. And it is to be denied us to see this light as long as it remains with us. We are to remain blind until we have acquired eyes. Eyes that see the future. Eyes that penetrate more than the sensual, which is only a likeness; that penetrate the supersensual. Our soul shall be the eye. We have a duty: to win for ourselves an immortal soul. [...] We already possess it in the future; we must bring it about that this future becomes our present. That we live in this future alone, and not in a present which is only a likeness, and which, as every likeness, is inadequate.&rdquo; \nArnold Sch&ouml;nberg held his lecture on Gustav Mahler for the first time on March 25, 1912 in Prague prior to a performance of Mahler&rsquo;s Symphony No. 8<\/em>, conducted by Alexander Zemlinsky. In the final movement of this symphony, the &quot;Chorus Mysticus&quot; sings the closing words from Goethe&rsquo;s Faust: &ldquo;Alles Verg&auml;ngliche ist nur ein Gleichnis; das Unzul&auml;ngliche, hier wird&rsquo;s Ereignis&rdquo;&nbsp;[All that passes is only a likeness; the unattainable here is achieved.].<\/p>\n\n<iframe src=\"https:\/\/www.youtube.com\/embed\/XtAK-rdgHrQ\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"96","target":"blank","lightboxUrl":"gustav-mahler2-2-2","watermark_name":"42-t16_02_23.jpg","hideInAll":0,"suffix":""}

Piano Piece, op. 19/6

Object #43

{"id":2879,"form_id":30,"category":"category-1","name":"43-ms19_6.jpg","path":"images\/bagallery\/original\/43-ms19_6.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/original\/43-ms19_6.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/43-ms19_6.jpg","title":"Piano Piece, op. 19\/6","short":"Object #43","alt":"","description":"Object #43<\/p>\n\nArnold Sch&ouml;nberg \nPiano Piece, op. 19\/6<\/strong> \nFair copy \nJune 17, 1911<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nAmid his infinite sorrow and dismay, a few weeks after Gustav Mahler&rsquo;s funeral Sch&ouml;nberg composed the sixth piece for Opus 19. Anton Webern described the Six Piano Pieces<\/em>, op. 19 as &ldquo;brief, incredibly delicate and expressive creations,&rdquo; although without identifying the autobiographic context of the sixth piece, whose chords are easily associated with church bells.<\/p>\n\n<iframe src=\"https:\/\/www.youtube.com\/embed\/hAxMapnSGLI\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"95","target":"blank","lightboxUrl":"klavierstueck-op-19-6-2-2","watermark_name":"43-ms19_6.jpg","hideInAll":0,"suffix":""}

Funeral of Gustav Mahler

Object #44

{"id":2878,"form_id":30,"category":"category-1","name":"44-dvd081_funeral-2.jpg","path":"images\/bagallery\/original\/44-dvd081_funeral-2.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/original\/44-dvd081_funeral-2.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/44-dvd081_funeral-2.jpg","title":"Funeral of Gustav Mahler","short":"Object #44","alt":"","description":"Object #44<\/p>\n\nArnold Sch&ouml;nberg&rsquo;s entrance ticket for the funeral of Gustav Mahler<\/strong> \nVienna, Grinzing cemetery, May 22,&nbsp;1911<\/p>\n\nThe Library of Congress, Washington D.C.<\/p>\n\nThe inscription formulated by Sch&ouml;nberg for the ribbon of the wreath that was laid by the composer and his students at Mahler&rsquo;s funeral reads as follows: &ldquo;This rich man through whom we have come to know the deepest sorrow &ndash; the loss of saintly Gustav Mahler &ndash; has left us, for life, a model we cannot lose: his work and his works.&rdquo;<\/p>\n\nAmong the Viennese personalities who paid their last respects to Mahler on May 22, 1911, were Arnold Sch&ouml;nberg, Franz Schreker, Gustav Klimt, Carl Moll, Bruno Walter, Anna Bahr-Mildenburg, Hermann Bahr, and Alfred Roller.<\/p>\n\n<a href=\"https:\/\/anno.onb.ac.at\/cgi-content\/annoshow?call=nwg%7C19110523%7C9%7C100.0%7C0\" target=\"_blank\">Gustav Mahlers Leichenbeg&auml;ngnis, in: Neues Wiener Tagblatt<\/em>, May 23, 1911, page&nbsp;9<\/a><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"94","target":"blank","lightboxUrl":"begraebnis-von-gustav-mahler-2-2","watermark_name":"44-dvd081_funeral-2.jpg","hideInAll":0,"suffix":""}

Gustav Mahler

Object #45

{"id":2877,"form_id":30,"category":"category-1","name":"45-t14_08.jpg","path":"images\/bagallery\/original\/45-t14_08.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/original\/45-t14_08.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/45-t14_08.jpg","title":"Gustav Mahler","short":"Object #45","alt":"","description":"Object #45<\/p>\n\nArnold Sch&ouml;nberg \nGustav Mahler<\/strong> \nDer Merker 3\/5 (March 1912)<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;Gustav Mahler was a saint. Anyone who knew him even slightly must have had that feeling. [...] &lsquo;As if it had been dictated to me,&rsquo; Mahler once said, to describe how rapidly and half-unconsciously he created, in two months, his Eighth Symphony. [...] Here is the faith that raises us on high. Here is someone believing, in his immortal works, in an eternal soul. I do not know whether our soul is immortal, but I believe it. What I do know, though, is that men, the highest men such as Beethoven and Mahler, will believe in an immortal soul until the power of this belief has endowed humanity with one. Meanwhile, we have immortal works. And we shall know how to guard them.&rdquo;<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"93","target":"blank","lightboxUrl":"gustav-mahler-2-2","watermark_name":"45-t14_08.jpg","hideInAll":0,"suffix":""}

Tears

Object #46

{"id":2876,"form_id":30,"category":"category-1","name":"46-cr077.jpg","path":"images\/bagallery\/gallery-5\/46-cr077.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/46-cr077.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/46-cr077.jpg","title":"Tears","short":"Object #46","alt":"","description":"Object #46<\/p>\n\nArnold Sch&ouml;nberg \nTears<\/strong> \n1910 \nOil on canvas \n<a href=\"https:\/\/asc-online-shop.myshopify.com\/collections\/bucher-1\/products\/isbn-3-902012-07-2\" target=\"_blank\">Catalogue raisonn&eacute; 77<\/a><\/p>\n\nBelmont Music Publishers, Pacific Palisades<\/p>\n\n&ldquo;Nonetheless, many believe in Sch&ouml;nberg the musician. They can follow the paths he took, which are open to all to take; more about this must be discussed in this book. But at best, they shake their heads over Sch&ouml;nberg the painter. Here is a weeping countenance with a clear brow and veiled face. No child, no woman and no man weeps in this way; a living body does not encounter such sorrow. For it stands in the world and in its greatest affliction is diverted by a thousand things. But inside the artist, the sorrow must become vivid, as reality cannot present it so perfectly. Inner weeping is the clearest and most intensively heightened form of external weeping. In the yearning for deliverance, it is formed into an image. Colors willfully occupy places they leave no more, also not upon the objections of reason, which doubts correctness, possibility and reality. Everything happens through inconceivably strong instincts against whose force the creator is defenseless. He has only the feeling: something is happening with me. My hand is being led.&rdquo; \n(Karl Linke: Zur Einf&uuml;hrung, in: Arnold Sch&ouml;nberg. Mit Beitr&auml;gen von Alban Berg et al<\/em>. Munich 1912)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"92","target":"blank","lightboxUrl":"traenen-2-2","watermark_name":"46-cr077.jpg","hideInAll":0,"suffix":""}

Gustav Mahler’s grave

Object #47

Bells at Thury

Object #48

{"id":2874,"form_id":30,"category":"category-1","name":"48-t04_16r.jpg","path":"images\/bagallery\/gallery-5\/48-t04_16r.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/48-t04_16r.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/48-t04_16r.jpg","title":"Bells at Thury","short":"Object #48","alt":"","description":"Object #48<\/p>\n\nArnold Sch&ouml;nberg \nBells at Thury<\/strong> \n1932<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;Between around 1903 and 1909 I lived in Liechtensteinstra&szlig;e, in Vienna, and the view from my study overlooked Thury (Liechtenthal), with a church in the middle. [...] Now, from 2 o&rsquo;clock onward there was a constant stream of funerals in the church, and so the bells rang for several hours non-stop. [...] I mentioned this to Mahler and complained about it. &lsquo;That surely can&rsquo;t disturb you! Why not just write the bells into your composition?!&rsquo;&rdquo;<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"90","target":"blank","lightboxUrl":"glocken-am-thury-2-2","watermark_name":"48-t04_16r.jpg","hideInAll":0,"suffix":""}

Gaze

Object #49

{"id":2873,"form_id":30,"category":"category-1","name":"49-cr063.jpg","path":"images\/bagallery\/gallery-5\/49-cr063.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/49-cr063.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/49-cr063.jpg","title":"Gaze","short":"Object #49","alt":"","description":"Object #49<\/p>\n\nArnold Sch&ouml;nberg \nGaze<\/strong> \nMarch 1910 \nOil on canvas \n<a href=\"https:\/\/asc-online-shop.myshopify.com\/collections\/bucher-1\/products\/isbn-3-902012-07-2\" target=\"_blank\">Catalogue raisonn&eacute; 63<\/a><\/p>\n\nBelmont Music Publishers, Pacific Palisades<\/p>\n\nSch&ouml;nberg&rsquo;s paintings and drawings in the category of &ldquo;Impressions and Fantasies&rdquo; are dominated by a series of hallucinatory gazes that are quite separate from his mimetic portraits and self-portraits. Eyes convey visionary and sorrowful moments. The material body flows outwards;&nbsp;the sphere of existence is shifted into an impalpable aura. This group of works received broad recognition, particularly from Wassily Kandinsky, who believed he had recognized &ldquo;stirrings of the soul, which cannot find any musical form&rdquo; in Sch&ouml;nberg&rsquo;s &ldquo;visions.&rdquo; \n(Wassily Kandinsky: Die Bilder, in: Arnold Sch&ouml;nberg. Mit Beitr&auml;gen von Alban Berg et al<\/em>. Munich 1912)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"89","target":"blank","lightboxUrl":"blick-3-2-2","watermark_name":"49-cr063.jpg","hideInAll":0,"suffix":""}

Sketch of a piece for orchestra

Object #50

{"id":2872,"form_id":30,"category":"category-1","name":"50-ms18_2451.jpg","path":"images\/bagallery\/gallery-5\/50-ms18_2451.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/50-ms18_2451.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/50-ms18_2451.jpg","title":"Sketch of a piece for orchestra","short":"Object #50","alt":"","description":"Object #50<\/p>\n\nArnold Sch&ouml;nberg \nSketch of a piece for orchestra<\/strong> \n1908<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nIn both an artistic and a biographical sense, the year 1908 was among the significant phases in Sch&ouml;nberg&rsquo;s life, in which firstly new compositional paths were trodden, and secondly a human tragedy was to overshadow the relationship with his wife. In the summer of 1908, Mathilde Sch&ouml;nberg&rsquo;s affair with the painter Richard Gerstl reached a crisis. Mathilde left her husband and two children in their vacation residence in Gmunden. After turbulent scenes and interventions by their friends, she ultimately returned to her family.&nbsp;&ldquo;Actions, appeasement, pseudo-happiness&rdquo; &ndash; these are the keywords for the orchestral work merely indicated by this sketch. Its programmatic contents are potentially connected to the turbulences in the summer of 1908. \n \n<a href=\"https:\/\/www.mumok.at\/de\/portraet-der-familie-schoenberg\" target=\"_blank\">Richard Gerstl: Portrait of the Sch&ouml;nberg family, 1908<\/a><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"88","target":"blank","lightboxUrl":"skizze-zu-einem-orchesterwerk-2-2","watermark_name":"50-ms18_2451.jpg","hideInAll":0,"suffix":""}

Piano Piece, op. 11/2

Object #51

{"id":2871,"form_id":30,"category":"category-1","name":"51-ms11_2a.jpg","path":"images\/bagallery\/gallery-5\/51-ms11_2a.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/51-ms11_2a.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/51-ms11_2a.jpg","title":"Piano Piece, op. 11\/2","short":"Object #51","alt":"","description":"Object #51<\/p>\n\nArnold Sch&ouml;nberg \nPiano piece, op. 11\/2<\/strong> \n1909<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nThe painter Richard Gerstl committed suicide on November 5, 1908, several months after his affair with Mathilde Sch&ouml;nberg was discovered. One of the first works composed by Sch&ouml;nberg after Gerstl&rsquo;s death reflects his dismay at the painter&rsquo;s tragic death with musical symbolism. The notes D\/re (Richard), A (Arnold), E flat &ndash; pronounced in German as &ldquo;s&rdquo; (Sch&ouml;nberg) and G (Gerstl) in the Piano Piece, op. 11\/2 specify the protagonists of a tragedy. A chord formed from these notes repeatedly returns in the piece, both in its original form and also transposed. The somber sound atmosphere, with its foundation in bass ostinato figures, can be characterized as fun&egrave;bre.<\/p>\n\n<iframe allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/gFSUMvGFZmE\" title=\"YouTube video player\"><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"87","target":"blank","lightboxUrl":"klavierstueck-op-11-2-2-2","watermark_name":"51-ms11_2a.jpg","hideInAll":0,"suffix":""}

Draft of a will

Object #52

{"id":2870,"form_id":30,"category":"category-1","name":"52-t06_08_1.jpg","path":"images\/bagallery\/gallery-5\/52-t06_08_1.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/52-t06_08_1.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/52-t06_08_1.jpg","title":"Draft of a will","short":"Object #52","alt":"","description":"Object #52<\/p>\n\nArnold Sch&ouml;nberg \nDraft of a will<\/strong> \n1908<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nWriting a draft of his will in the summer of 1908, Sch&ouml;nberg refers to his wife&rsquo;s adultery (Mathilde Sch&ouml;nberg&rsquo;s affair with the painter Richard Gerstl). &ldquo;I, who have been hindered so long in the exertion of my will, find it necessary, as a preliminary exercise for some acts of will that I now intend, to record my last will. I am also urged on by the realization that, with my energy gone and my vitality at its end, it is very likely that I shall soon follow the path, find the resolution, that at long last might be the highest culmination of all human actions. It could well be that I shall have to shake off the many sorrows that I have had to endure until now. Whether it be my body that will give way or my soul &ndash; I don&rsquo;t feel the difference, but I foresee the separation.&rdquo;<\/p>\n\nThe fourth song from the Six Songs, op. 13 by Sch&ouml;nberg&rsquo;s brother-in-law Alexander Zemlinsky reflects on the tragedy of Richard Gerstl&rsquo; suicide. By choosing D minor as the key of the piece, Zemlinsky plunges &ldquo;Als ihr Geliebter schied&rdquo; [When her lover departed] into the tragic realm of death, and allow the pain of loss and death to become audible with harmonic-semantic references and also symbolic musical references in the voice.&nbsp;Whereas emphasis of the letter G together with E refers to Gerstl, the frequent conflict of the tonalities A and E flat\/s is a reference to the initials of Sch&ouml;nberg and Zemlinsky (when his name is pronounced correctly as &ldquo;Semlinsky&rdquo;).<\/p>\n\n<iframe allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/xDccxBo6RpM\" title=\"YouTube video player\"><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"86","target":"blank","lightboxUrl":"testamentsentwurf-2-2","watermark_name":"52-t06_08_1.jpg","hideInAll":0,"suffix":""}

Vision of Christ

Object #53

{"id":2869,"form_id":30,"category":"category-1","name":"53-cr079.jpg","path":"images\/bagallery\/gallery-5\/53-cr079.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/53-cr079.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/53-cr079.jpg","title":"Vision of Christ","short":"Object #53","alt":"","description":"Object #53<\/p>\n\nArnold Sch&ouml;nberg \nVision of Christ<\/strong> \nWatercolor on paper \nJune&nbsp;1919 \nCatalogue raisonn&eacute; 79<\/p>\n\nBelmont Music Publishers, Pacific Palisades<\/p>\n\nThe &ldquo;Vision of Christ,&rdquo; a resurrection scene, was painted by Sch&ouml;nberg at Whitsun in 1919. A deceased person hovers over a grave like Christ, the reincarnation is depicted as a light formation.&nbsp;&ldquo;He to whom the halo of sanctity is denied does not carry the image of a god within Himself. For the apostle does not shine by himself, but by a light which uses his body merely as a shell; the light pierces the shell, but it graciously grants the glowing one the appearance of shining by himself. We, who are inspired, must have faith.&rdquo; (Sch&ouml;nberg, Gustav Mahler<\/em>, 1912)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"85","target":"blank","lightboxUrl":"christus-vision-2-2","watermark_name":"53-cr079.jpg","hideInAll":0,"suffix":""}

Pauline Schönberg

Object #54

{"id":2868,"form_id":30,"category":"category-1","name":"54-ph1881.jpg","path":"images\/bagallery\/gallery-5\/54-ph1881.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/54-ph1881.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/54-ph1881.jpg","title":"Pauline Sch\u00f6nberg","short":"Object #54","alt":"","description":"Object #54<\/p>\n\nPauline Sch&ouml;nberg<\/strong> \nAussig \nca. 1911<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&quot;Are deeply saddened, lay flowers on grave from us&quot; (Telegram from Mathilde and Arnold Sch&ouml;nberg to Ottilie Blumauer Sch&ouml;nberg, 14 October 1921). On October 12, 1921, Sch&ouml;nberg&#39;s mother Pauline died in Berlin. In the days that followed, he received letters of condolence from close friends and companions, for example from his former student Heinrich Jalowetz: &quot;It is with deepest regret that I have learned of the death of your mother. I know how hard such a loss hits everyone and do not need to assure you of my heartfelt sympathy in this case. For, since words reveal their complete inadequacy here, silence seems most appropriate to me, especially toward you.&quot;&nbsp;<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"84","target":"blank","lightboxUrl":"pauline-schoenberg-2-2","watermark_name":"54-ph1881.jpg","hideInAll":0,"suffix":""}

Self-Portrait

Object #55

{"id":2867,"form_id":30,"category":"category-1","name":"55-cr297_14v.jpg","path":"images\/bagallery\/gallery-5\/55-cr297_14v.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/55-cr297_14v.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/55-cr297_14v.jpg","title":"Self-Portrait","short":"Object #55","alt":"","description":"Object #55<\/p>\n\nArnold Sch&ouml;nberg \nSelf-Portrait<\/strong> \n1921 \n<a href=\"https:\/\/asc-online-shop.myshopify.com\/collections\/bucher-1\/products\/isbn-3-902012-07-2\" target=\"_blank\">Catalogue raisonn&eacute; 297<\/a><\/p>\n\nBelmont Music Publishers, Pacific Palisades<\/p>\n\nOn October 22, 1921, ten days after the death of his mother Pauline, Sch&ouml;nberg drew a Self-Portrait in his sketchbook. This delicately shaded drawing, in which the contours of his eyes are softened, as if cloaked in a black crape, is just one of a number of self-portrayals that are seen in the context of artistic-biographical events spanning several decades.<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"83","target":"blank","lightboxUrl":"selbstportrait-2-2-2-2-2","watermark_name":"55-cr297_14v.jpg","hideInAll":0,"suffix":""}

Mathilde Schönberg

Object #56

{"id":2866,"form_id":30,"category":"category-1","name":"56-asc4426_11382gf.jpg","path":"images\/bagallery\/original\/56-asc4426_11382gf.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/original\/56-asc4426_11382gf.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/56-asc4426_11382gf.jpg","title":"Mathilde Sch\u00f6nberg","short":"Object #56","alt":"","description":"Object #56<\/p>\n\nMathilde Sch&ouml;nberg<\/strong> \nTraunkirchen \n1922<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nArnold Sch&ouml;nberg&rsquo;s first wife Mathilde died on October 18, 1923 in Auersperg Sanatorium, in Vienna&rsquo;s 8th district, following several months of illness. Four days later she was buried in the Protestant section of the Central Cemetery in Vienna&rsquo;s 12th district (the grave is no longer in existence). The death of his wife plunged Sch&ouml;nberg into a mental crisis lasting several months: &ldquo;In 1923\/24 before I married my second wife I was drinking again and inhalating 60 cigarettes every day. In order to conquer the evil consequences I acted very foolish. I drank &ndash; besides liquor &ndash; every day 3 liters of strong coffee, took codein and pantopon. It helped me a little though basically it became worse.&rdquo;&nbsp;(Arnold Sch&ouml;nberg to Harold Hayes, 1950)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"82","target":"blank","lightboxUrl":"mathilde-schoenberg-2-2","watermark_name":"56-asc4426_11382gf.jpg","hideInAll":0,"suffix":""}

Requiem

Object #57

{"id":2865,"form_id":30,"category":"category-1","name":"57-t07_08_b_1.jpg","path":"images\/bagallery\/gallery-5\/57-t07_08_b_1.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/57-t07_08_b_1.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/57-t07_08_b_1.jpg","title":"Requiem","short":"Object #57","alt":"","description":"Object #57<\/p>\n\nArnold Sch&ouml;nberg \nRequiem<\/strong> \n1921\/23 \nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nIn November 1923 following the death of his wife Mathilde on October 18, Sch&ouml;nberg completed the second part of his poem for a Requiem which he began two years previously in connection with the death of his mother Pauline. In the first written copy the work is &ldquo;Dedicated to all as they have sacrificed life&rdquo;; he had originally planned to set the words to music, but the composition did not materialize. Structured in paratactic verses of free rhythm, the &ldquo;Requiem&rdquo; is similar to the oratorio text for &ldquo;Die Jakobsleiter&rdquo; [Jacob&rsquo;s Ladder]&nbsp;in its reflections on transcendence, reincarnation and immortality of the soul.&nbsp;The author wants to understand and explain the causality in the &ldquo;becoming&rdquo; of&nbsp;the human soul with regard to the sense and purpose of humankind&rsquo;s creation. Here too, the complex term &ldquo;idea&rdquo; present in Sch&ouml;nberg&rsquo;s art and worldview is thematized in the presentation of the unsolvable tension between idea and word, this life\/body and the afterlife\/spirit: &ldquo;You can never pass away, for you have become an idea.&rdquo;<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"81","target":"blank","lightboxUrl":"requiem-2-2","watermark_name":"57-t07_08_b_1.jpg","hideInAll":0,"suffix":""}

After Mathilde’s death

Object #58

{"id":2864,"form_id":30,"category":"category-1","name":"58-t50_07_1.jpg","path":"images\/bagallery\/gallery-5\/58-t50_07_1.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/58-t50_07_1.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/58-t50_07_1.jpg","title":"After Mathilde\u2019s death","short":"Object #58","alt":"","description":"Object #58<\/p>\n\nArnold Sch&ouml;nberg \nAfter Mathilde&rsquo;s death<\/strong> \n1923<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;November 1923 &ndash; 10 a.m. [...] I suddenly heard my wife&rsquo;s voice calling &lsquo;Papa, Papa &hellip;&rsquo; 3 or 4 times (perhaps more). [...] I would like to take this opportunity to also mention the feeling that I had [...]: I was so pleasantly animated. Perhaps those in the beyond are able to have an immediate effect on our senses and nerves, just like bodies do when they are present. I would like to say that I felt vaguely as though something were flowing through me. It was something entirely indistinguishable, though. So I am hardly able to recall it now. Perhaps they are able to make themselves noticeable as they fly past (with some kind of planet). Or perhaps it is just that they are thinking of us? Hopefully it is that, at least!&rdquo;<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"80","target":"blank","lightboxUrl":"nach-mathildes-tod-2-2","watermark_name":"58-t50_07_1.jpg","hideInAll":0,"suffix":""}

Gaze (Karl Kraus: The Great Wall of China)

Object #59

{"id":2863,"form_id":30,"category":"category-1","name":"59-cr061.jpg","path":"images\/bagallery\/gallery-5\/59-cr061.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/59-cr061.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/59-cr061.jpg","title":"Gaze (Karl Kraus: The Great Wall of China)","short":"Object #59","alt":"","description":"Object #59<\/p>\n\nArnold Sch&ouml;nberg \nGaze (Karl Kraus: The Great Wall of China)<\/strong> \n1910 \nOil on cardboard \n<a href=\"https:\/\/asc-online-shop.myshopify.com\/collections\/bucher-1\/products\/isbn-3-902012-07-2\" target=\"_blank\">Catalogue raisonn&eacute; 61<\/a><\/p>\n\nBelmont Music Publishers, Pacific Palisades<\/p>\n\nThe series of paintings designated &ldquo;Impressions and Fantasies&rdquo; by Sch&ouml;nberg refer in individual cases to specific events or certain persons. For instance, his group of students talked about a painting by Sch&ouml;nberg that was motivated by the lecture Die chinesische Mauer<\/em>&nbsp;[The Great Wall of China] given by Karl Kraus: &ldquo;Regarding Die chinesische&nbsp;Mauer, I know that Sch&ouml;nberg has mentioned it very often, both to me and also to others. He painted it shortly after Kraus&rsquo; first lecture, and named it accordingly.&rdquo; (Alban Berg to Anton Webern, February 17, 1912)&nbsp;The murder of Christian missionary Elsie Sigel in New York&rsquo;s Chinatown was the starting point for Kraus&rsquo; lecture, which was held in Vienna on May 3, 1910 with Sch&ouml;nberg in the audience. It finished with the dramatic picture of her corpse, which was only discovered several days after she was killed by her&nbsp;Chinese lover &ndash; &ldquo;her knees tied up with rope under her chin, her face daubed with quicklime, thus the corpse disappeared into the Chinese man&rsquo;s large trunk.&rdquo; Sch&ouml;nberg&rsquo;s oil painting Gaze <\/em>is dated May 1910 and was created after he had heard the lecture.<\/p>\n\n<a href=\"https:\/\/de.wikisource.org\/wiki\/Die_Chinesische_Mauer\" target=\"_blank\">Karl Kraus: Die chinesische Mauer<\/a><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"79","target":"blank","lightboxUrl":"blick-karl-kraus-die-chinesische-mauer-2-2","watermark_name":"59-cr061.jpg","hideInAll":0,"suffix":""}

Adorn thyself, o dear soul

Object #60

{"id":2862,"form_id":30,"category":"category-1","name":"60-ueq791-004.jpg","path":"images\/bagallery\/gallery-5\/60-ueq791-004.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/60-ueq791-004.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/60-ueq791-004.jpg","title":"Adorn thyself, o dear soul","short":"Object #60","alt":"","description":"Object #60<\/p>\n\nJohann Sebastian Bach \nArnold Sch&ouml;nberg (arr.) \nSchm&uuml;cke Dich, o liebe Seele&nbsp;[Adorn thyself, o dear soul]<\/strong> \nScore (copyist&rsquo;s handwriting) \n1922<\/p>\n\nUniversal Edition, Wien<\/p>\n\nIn a letter to kapellmeister Fritz Stiedry dated July 31, 1930 Sch&ouml;nberg discussed his arrangements of two chorale preludes by Bach from 1922: &ldquo;&lsquo;Our sound requirements&rsquo; do not aim at &lsquo;tasteful&rsquo; colors. Rather, the purpose of the colors is to make the individual lines clearer, and that is very important in the contrapuntal web! [...] A &lsquo;pleasant&rsquo; effect originating in an ensemble of skillfully constructed parts is no longer sufficient to us. We need transparency, that we may see clearly.&rdquo; In his transposition of the source material for his composition, Sch&ouml;nberg was keen to expose the motivic work yet also to conceal it, to align the dynamics of the individual parts with the transparency of the overall sound and to &ldquo;distribute the stresses correctly in the line.&rdquo; In doing so, the phrasing was not to serve the pathos and feeling, but instead the thematic differentiation. Schm&uuml;cke dich, o liebe Seele <\/em>is a Lutheran hymn and thematizes the soul&rsquo;s self-exhortation to prepare for the Last Supper and the purification of the soul with Christ.<\/p>\n\n<iframe allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/pyi_bvO7uQA\" title=\"YouTube video player\"><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"78","target":"blank","lightboxUrl":"schmuecke-dich-o-liebe-seele-2-2","watermark_name":"60-ueq791-004.jpg","hideInAll":0,"suffix":""}

Gaze

Object #61

{"id":2861,"form_id":30,"category":"category-1","name":"61-cr062.jpg","path":"images\/bagallery\/gallery-5\/61-cr062.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/61-cr062.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/61-cr062.jpg","title":"Gaze","short":"Object #61","alt":"","description":"Object #61<\/p>\n\nArnold Sch&ouml;nberg \nGaze<\/strong> \n1910 \nOil on cardboard \n<a href=\"https:\/\/asc-online-shop.myshopify.com\/collections\/bucher-1\/products\/isbn-3-902012-07-2\" target=\"_blank\">Catalogue raisonn&eacute; 62<\/a><\/p>\n\nBelmont Music Publishers, Pacific Palisades<\/p>\n\nNot least owing to the proximity of Sch&ouml;nberg&rsquo;s visual work to early Austrian expressionism and its intellectual affinity with the investigations of the soul performed by his contemporary Sigmund Freud, a notably Austrian element has been recognized in these works. Sch&ouml;nberg&rsquo;s &ldquo;Impressions and Fantasies&rdquo; from 1910 &ndash; uncanny masterpieces depicting the Viennese soul &ndash; visualize&nbsp;the inner workings of the mind. &ldquo;Here, the soul is meant in an emphatic, as yet pre-artistic, literal sense, unburdened of formal aesthetics.&rdquo; (Peter Gorsen, 1984)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"77","target":"blank","lightboxUrl":"blick-4-2-2","watermark_name":"61-cr062.jpg","hideInAll":0,"suffix":""}

Foliage of the Heart, op. 20

Object #62

{"id":2860,"form_id":30,"category":"category-1","name":"62-ms20_422-2.jpg","path":"images\/bagallery\/original\/62-ms20_422-2.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/original\/62-ms20_422-2.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/62-ms20_422-2.jpg","title":"Foliage of the Heart, op. 20","short":"Object #62","alt":"","description":"Object #62<\/p>\n\nArnold Sch&ouml;nberg \nHerzgew&auml;chse [Foliage of the Heart], op. 20<\/strong> \nText: Maurice Maeterlinck \n1911<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nThe poems in the cycle that was completed by Maurice Maeterlinck in 1889 with the title Serres chaudes <\/em>[hothouses] &ndash; the word stands for hermetically sealing oneself off from the pressures of the outside world and retreating into the protective chamber of one&rsquo;s soul &ndash; are typical mood poems from the Decadent movement: dominated by dark forebodings and uncertain sentiments of the soul that are interpreted using symbolism from the natural world and orchestrated by Sch&ouml;nberg for high soprano, celesta, harmonium, and harp.<\/p>\n\n<iframe allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/6qzkcOpCpsk\" title=\"YouTube video player\"><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"76","target":"blank","lightboxUrl":"herzgewaechse-op-20-2-2","watermark_name":"62-ms20_422.jpg","hideInAll":0,"suffix":""}

Self-Portrait

Object #63

{"id":2859,"form_id":30,"category":"category-1","name":"63-cr071.jpg","path":"images\/bagallery\/gallery-5\/63-cr071.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/63-cr071.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/63-cr071.jpg","title":"Self-Portrait","short":"Object #63","alt":"","description":"Object #63<\/p>\n\nArnold Sch&ouml;nberg \nSelf-Portrait<\/strong> \n1910 \nOil on three-ply panel \n<a href=\"https:\/\/asc-online-shop.myshopify.com\/collections\/bucher-1\/products\/isbn-3-902012-07-2\" target=\"_blank\">Catalogue raisonn&eacute; 71<\/a><\/p>\n\nBelmont Music Publishers, Pacific Palisades<\/p>\n\n&ldquo;The eye places the soul outside, and the things of the world disappear. The world is the inner man turned inside out. The perceptions of the mind radiate into this world; this is the only light that shines. And not yet into all depths. It is the drama of the enormous inner being.&rdquo; \n(Karl Linke: As Introduction, in: Arnold Sch&ouml;nberg. Mit Beitr&auml;gen von Alban Berg et al. <\/em>Munich 1912)<\/p>\n\n<iframe allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/36NXlEaelAw\" title=\"YouTube video player\"><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"75","target":"blank","lightboxUrl":"selbstportrait-3-2-2","watermark_name":"63-cr071.jpg","hideInAll":0,"suffix":""}

Portrait

Object #64

{"id":2858,"form_id":30,"category":"category-1","name":"64-cr070.jpg","path":"images\/bagallery\/gallery-5\/64-cr070.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/64-cr070.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/64-cr070.jpg","title":"Portrait","short":"Object #64","alt":"","description":"Object #64<\/p>\n\nArnold Sch&ouml;nberg \nPortrait<\/strong> \n1910 \nOil on board \n<a href=\"https:\/\/asc-online-shop.myshopify.com\/collections\/bucher-1\/products\/isbn-3-902012-07-2\" target=\"_blank\">Catalogue raisonn&eacute; 70<\/a><\/p>\n\nBelmont Music Publishers, Pacific Palisades<\/p>\n\n&ldquo;And now someone comes, and this person is a musician, someone who already knows that the work of art expresses nothing but boundless distances, someone, possessor of a cultivated terminology, prepared to set it provisionally to a palette void of linguistically fixed technical functions, and someone who leads painting, grown flabby as the result of a dissolute life of the senses, before an ice-cold eye of logic first and then, when the disuse of the figurative has reached the frosty pole of its own reason, back to the limits of the prehistorical, to the place cut by invisible diagonals, from where it may be possible for it to obtain the obligatory connection to the legend after all. Without costume, and totally unromantic, forms suddenly arise which do not exist anymore, which, if they appeared in a painter&rsquo;s head, would be disregarded as incomprehensible atavisms, their one, and only function is this: to have unlimited mistrust in man, who, when he acts and perceives, conceives himself as a machine, attacked, but overcome by the soul, illogically pretends to be manually active so to speak, and, at a catchword of the mightier, begins to doubt.&rdquo; \n(Albert Paris G&uuml;tersloh: Sch&ouml;nberg the Painter, in: Arnold Sch&ouml;nberg. Mit Beitr&auml;gen von Alban Berg et al<\/em>. Munich 1912)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"74","target":"blank","lightboxUrl":"portrait-2-2","watermark_name":"64-cr070.jpg","hideInAll":0,"suffix":""}

Arnold Schönberg’s apartment

Object #65

{"id":2857,"form_id":30,"category":"category-1","name":"65-asc4301_1581.jpg","path":"images\/bagallery\/original\/65-asc4301_1581.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/original\/65-asc4301_1581.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/65-asc4301_1581.jpg","title":"Arnold Sch\u00f6nberg\u2019s apartment","short":"Object #65","alt":"","description":"Object #65<\/p>\n\nArnold Sch&ouml;nberg&rsquo;s apartement<\/strong> \nBerlin-S&uuml;dende, Berliner Stra&szlig;e 17a \n1915<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nArnold Sch&ouml;nberg was accustomed to hanging his own paintings on the walls of his apartments. Visitors were able to gain an impression of the owner&rsquo;s enigmatic gazes and visions. Anton Webern&rsquo;s daughter Maria Halbich recalled one of his homes: &ldquo;It was terribly gloomy and dark there. Sch&ouml;nberg&rsquo;s own pictures were hanging on the wall; they left an unpleasant impression on me. As a child, I was really quite afraid. It was a terribly eerie feeling, going into the dining room [of Sch&ouml;nberg&rsquo;s apartment].&rdquo;<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"73","target":"blank","lightboxUrl":"arnold-schoenbergs-wohnung-2-2","watermark_name":"65-asc4301_1581.jpg","hideInAll":0,"suffix":""}

Seraphita, op. 22/2

Object #66

{"id":2856,"form_id":30,"category":"category-1","name":"66-ueq510_2.jpg","path":"images\/bagallery\/gallery-5\/66-ueq510_2.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/66-ueq510_2.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/66-ueq510_2.jpg","title":"Seraphita, op. 22\/2","short":"Object #66","alt":"","description":"Objekt #66<\/p>\n\nArnold Sch&ouml;nberg \nSeraphita op. 22\/2<\/strong> \nText: Ernest Dowson, &Uuml;bersetzung von Stefan George \n1913<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nIn an Analysis of the Four Orchestral Songs<\/em>, Sch&ouml;nberg wrote in 1932: &ldquo;This way and this way alone is how so-called Expressionism originated: that a piece of music does not generate its outward form from the logic of its own material, but, led by the feeling for internal or external processes, as it expresses these processes, it supports itself on their logic and builds upon that.&rdquo;<\/p>\n\n<iframe allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/kH3uh7bSHaI\" title=\"YouTube video player\"><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"72","target":"blank","lightboxUrl":"seraphita-op-22-2-2-2","watermark_name":"66-asc4302_1902.jpg","hideInAll":0,"suffix":""}

Woodcut on Schönberg’s Jakobsleiter

Object #67

{"id":2855,"form_id":30,"category":"category-1","name":"67-t03_50_1.jpg","path":"images\/bagallery\/gallery-5\/67-t03_50_1.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/67-t03_50_1.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/67-t03_50_1.jpg","title":"Woodcut on Sch\u00f6nberg\u2019s Jakobsleiter","short":"Object #67","alt":"","description":"Object #67<\/p>\n\nBerthold Buchenau \nWoodcuts on Sch&ouml;nberg&rsquo;s Jakobsleiter [Jacob&rsquo;s Ladder]<\/strong> \n1920<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;In his incomplete oratorio Die Jakobsleiter<\/em> Arnold Sch&ouml;nberg interpreted Jacob&rsquo;s biblical vision of the ladder that linked heaven and earth as a process of refinement that brings humans gradually closer to God. &lsquo;Whether to the right, to the left, forward or backward, uphill or downhill &ndash; you must keep on going&rsquo;: thus at the beginning of the oratorio the Archangel Gabriel encourages the people to continue on their arduous path up to God.&rdquo; (Hella Melkert)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"71","target":"blank","lightboxUrl":"holzschnitt-zu-schoenbergs-jakobsleiter-2-2","watermark_name":"67-t03_50_1.jpg","hideInAll":0,"suffix":""}

Drawing in reply to a dedicated woddcut

Object #68

{"id":2854,"form_id":30,"category":"category-1","name":"68-t03_50_antw.jpg","path":"images\/bagallery\/gallery-5\/68-t03_50_antw.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/68-t03_50_antw.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/68-t03_50_antw.jpg","title":"Drawing in reply to a dedicated woddcut","short":"Object #68","alt":"","description":"Object #68<\/p>\n\nArnold Sch&ouml;nberg \nDrawing in reply to Buchenau&rsquo;s woodcuts<\/strong> \n1920 \n<a href=\"https:\/\/asc-online-shop.myshopify.com\/collections\/bucher-1\/products\/isbn-3-902012-07-2\" target=\"_blank\">Catalogue raisonn&eacute; 185<\/a><\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nArnold Sch&ouml;nberg acknowledged that he conceived the subject matter of Die Jakobsleiter<\/em> (1915&ndash;1922) as an analogy to the struggle of modern man with faith, as a symbol of present-day obstacles: &ldquo;Perhaps the worst was after all the overturning of everything one has believed in. [&hellip;] You would, I think, see what I mean best from my libretto &lsquo;Jakobsleiter&rsquo; (an oratorio): what I mean is &ndash; even though without any organizational fetters &ndash; religion. This was my one and only support during those years &ndash; let this be said here for the first time.&rdquo; (Arnold Sch&ouml;nberg to Wassily Kandinsky, July 20, 1922)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"70","target":"blank","lightboxUrl":"gezeichnete-antwort-auf-eine-gewidmete-zeichnung-2-2","watermark_name":"68-t03_50_antw.jpg","hideInAll":0,"suffix":""}

Jacob’s Ladder

Object #69

{"id":2853,"form_id":30,"category":"category-1","name":"69-ms78_sk345.jpg","path":"images\/bagallery\/gallery-5\/69-ms78_sk345.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/69-ms78_sk345.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/69-ms78_sk345.jpg","title":"Jacob\u2019s Ladder","short":"Object #69","alt":"","description":"Object #69<\/p>\n\nArnold Sch&ouml;nberg \nDie Jakobsleiter [Jacob&rsquo;s Ladder]<\/strong> \nEnsemble<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nIn this work, the angel Gabriel shows various people &ndash; a man called by God, another who is a rebel, one who is striving, a chosen one, a monk, and finally a dying man &ndash; the place they have to fill, which in each case is quite different from their hopes and aspirations. The migration of souls is portrayed in a great symphonic interlude.<\/p>\n\n<iframe allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/Yu_z1xACJOY\" title=\"YouTube video player\"><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"69","target":"blank","lightboxUrl":"die-jakobsleiter-2-2-2","watermark_name":"69-ms78_sk345.jpg","hideInAll":0,"suffix":""}

Adolphe Willette’s last vision

Object #70

{"id":2852,"form_id":30,"category":"category-1","name":"70-t04_23.jpg","path":"images\/bagallery\/gallery-5\/70-t04_23.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/70-t04_23.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/70-t04_23.jpg","title":"Adolphe Willette\u2019s last vision","short":"Object #70","alt":"","description":"Object #70<\/p>\n\nAdolphe Willette&rsquo;s last vision \nBerliner Tageblatt<\/strong> \nFebruary 5, 1926<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;Willette, who had slept for several hours, opened his eyes at 4 a.m. and looked around the room. His face assumed an expression of absolute peacefulness. Quietly, he said: &lsquo;I am going on a journey. Flying into the clouds. Higher and higher! Now I am above the Alps!&rsquo; [...] &lsquo;I am rising higher and higher,&rsquo; he said, with an expression of profound happiness. &lsquo;Now I am going straight up, continually upward, straight up without stopping, as quickly as an arrow &ndash; up to Paradise.&rsquo;&rdquo; &ndash; &ldquo;I have kept this because it is quite exactly the death from&nbsp;Jakobsleiter.&rdquo; (Sch&ouml;nberg on the vision of death by French painter Willette)<\/p>\n\n<a href=\"https:\/\/anno.onb.ac.at\/cgi-content\/annoshow?call=nwj%7C19260210%7C8%7C100.0%7C0\" target=\"_blank\">Pierrot Willette. Zum Tode des Malers Adolphe Willette, in: Neues Wiener Journal<\/em>, February 10,&nbsp;1926, p. 8<\/a><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"68","target":"blank","lightboxUrl":"die-letzte-vision-adolphe-willettes-2-2","watermark_name":"70-t04_23.jpg","hideInAll":0,"suffix":""}

Jacob’s Ladder, The Soul

Object #71

{"id":2851,"form_id":30,"category":"category-1","name":"71-ms61_33.jpg","path":"images\/bagallery\/gallery-5\/71-ms61_33.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/71-ms61_33.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/71-ms61_33.jpg","title":"Jacob\u2019s Ladder, The Soul","short":"Object #71","alt":"","description":"Objekt #71<\/p>\n\nArnold Sch&ouml;nberg \nDie Jakobsleiter, Die Seele \nParticell<\/strong> \n1917<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&raquo;Das neue und das alte Testament zeigen an vielen Stellen deutliche Spuren eines urspr&uuml;nglich vorhanden gewesenen und dann wieder verdunkelten Glaubens an die Wiedergeburt und eine von diesen Stellen ist die Erz&auml;hlung, die Jakobs Traum von der Himmelsleiter darstellt. Hierauf anspielend, hat Sch&ouml;nberg sein auf dem Drama der Reinkarnation beruhendes Oratorium &rsaquo;Jakobsleiter&lsaquo; betitelt. [...] Ich bin &uuml;berzeugt, da&szlig; k&uuml;nftige Generationen Sch&ouml;nbergs Oratorium als eine Art geistiger Durchbruchsschlacht empfinden werden, durch welche die ganze Front des Materialismus auf, gerollt und f&uuml;r alle Zeiten vernichtet wurde. So lange man n&auml;mlich nicht an die Wiedergeburt glaubt, ist die Annahme einer gerechten Weltordnung eine Absurdit&auml;t, ja schon das Streben nach ihr eine Vermessenheit, da ja die Tatsachen immer aufs neue den vollendeten Triumph des B&ouml;sen zu beweisen scheinen. Aber dieser Beweis wird in dem Augenblick hinf&auml;llig, in dem eine neue Verk&ouml;rperung der gleichen Seele Platz f&uuml;r die Erledigung unbeglichener Rechnungen schafft.&laquo; (Walter Klein, Das theosophische Element in Sch&ouml;nbergs Weltanschauung, 1924)<\/p>\n<iframe src=\"https:\/\/www.youtube.com\/embed\/y9Gy8gjKu5s\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>","link":"","video":"","settings":null,"likes":0,"imageId":"67","target":"blank","lightboxUrl":"die-jakobsleiter-die-seele-2-2","watermark_name":"71-ms61_33.jpg","hideInAll":0,"suffix":""}

Jacob’s Ladder, recitation

Object #72

{"id":2850,"form_id":30,"category":"category-1","name":"72-t-84_01.jpg","path":"images\/bagallery\/gallery-5\/72-t-84_01.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/72-t-84_01.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/72-t-84_01.jpg","title":"Jacob\u2019s Ladder, recitation","short":"Object #72","alt":"","description":"Objekt #72<\/p>\n\nWilhelm Klitsch \nJacob&rsquo;s Ladder \nRecitation<\/strong> \n1921<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nArnold Sch&ouml;nberg&rsquo;s oratorio was never completed, it remained a fragment even though the libretto was completed and printed (Universal-Edition 1917). During Sch&ouml;nberg&rsquo;s lifetime, the libretto was recited several times by actor Wilhelm Klitsch. It was not until after Sch&ouml;nberg&rsquo;s death that a score was prepared by his former student Winfried Zillig using autograph sources of Die Jakobsleiter, at the request of Sch&ouml;nberg&rsquo;s widow Gertrud. \nThe premiere of the fragment took place on June 16, 1961 in Vienna.<\/p>\n\n<iframe allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/BpMjjzKznDo\" title=\"YouTube video player\"><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"66","target":"blank","lightboxUrl":"die-jakobsleiter-lesung-2-2","watermark_name":"72-t-84_01.jpg","hideInAll":0,"suffix":""}

Gaze

Object #73

{"id":2849,"form_id":30,"category":"category-1","name":"73-cr066.jpg","path":"images\/bagallery\/gallery-5\/73-cr066.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/73-cr066.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/73-cr066.jpg","title":"Gaze","short":"Object #73","alt":"","description":"Object #73<\/p>\n\nArnold Sch&ouml;nberg \nGaze<\/strong> \n1910 \nOil on board \n<a href=\"https:\/\/asc-online-shop.myshopify.com\/collections\/bucher-1\/products\/isbn-3-902012-07-2\" target=\"_blank\">Catalogue raisonn&eacute; 66<\/a><\/p>\n\nBelmont Music Publishers, Pacific Palisades<\/p>\n\n&quot;[In painting] I expressed myself in the same manner as I did it in music. I never was very capable of expressing my feelings or emotions in words. I don&rsquo;t know whether this is the cause why I did it in music and also why I did it in painting. Or vice versa: That I had this way as an outlet.&quot; \n(Arnold Sch&ouml;nberg, Museum Talk on Painting<\/i>, 1949, Interview)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"65","target":"blank","lightboxUrl":"blick-5-2-2","watermark_name":"73-cr066.jpg","hideInAll":0,"suffix":""}

Jacob’s Ladder

Object #74

{"id":2848,"form_id":30,"category":"category-1","name":"74-t13_03_14kl.jpg","path":"images\/bagallery\/gallery-5\/74-t13_03_14kl.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/74-t13_03_14kl.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/74-t13_03_14kl.jpg","title":"Jacob\u2019s Ladder","short":"Object #74","alt":"","description":"Object #74<\/p>\n\nArnold Sch&ouml;nberg \nDie Jakobsleiter [Jacob&rsquo;s Ladder]<\/strong> \nSketches with text and musical notation \n1917<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;The cosmogony that Schoenberg unfolds in this work is of amazing dimensions. A landscape of the soul, like a fissured, mountainous region where, in characteristic positions, all kinds of human beings are distributed in various stages of development, all on the way upwards; upwards, step by step, a swarming caravan of endeavor.&rdquo; (Berthold Viertel, 1937)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"64","target":"blank","lightboxUrl":"die-jakobsleiter3-2-2","watermark_name":"74-t13_03_14.jpg","hideInAll":0,"suffix":""}

Offstage orchestras

Object #75

{"id":2847,"form_id":30,"category":"category-1","name":"75-ms78_sk454.jpg","path":"images\/bagallery\/gallery-5\/75-ms78_sk454.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/75-ms78_sk454.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/75-ms78_sk454.jpg","title":"Offstage orchestras","short":"Object #75","alt":"","description":"Object #75<\/p>\n\nArnold Sch&ouml;nberg \nDie Jakobsleiter [Jakob&#39;s Ladder]<\/strong> \nExplanation for the offstage orchestras \n \nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;For Die Jakobsleiter<\/em> Sch&ouml;nberg envisaged two offstage and two elevated orchestras besides the main on-stage orchestra, plus two offstage and two elevated choirs. [...] The two offstage and two elevated orchestras, all small in size, are indeed used, namely in the large symphonic interlude immediately after Part One of the work that ends with the death of the dying one and the disengagement of his soul from Earth.&rdquo; (Hella Melkert) \n&nbsp;<\/p>\n\n<iframe allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/bZiVwLsIuQ4\" title=\"YouTube video player\"><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"63","target":"blank","lightboxUrl":"die-jakobsleiter-4-2-2","watermark_name":"75-ms78_sk454.jpg","hideInAll":0,"suffix":""}

Thinking

Object #76

{"id":2846,"form_id":30,"category":"category-1","name":"76-cr060.jpg","path":"images\/bagallery\/gallery-5\/76-cr060.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/76-cr060.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/76-cr060.jpg","title":"Thinking","short":"Object #76","alt":"","description":"Object #76<\/p>\n\nArnold Sch&ouml;nberg \nThinking<\/strong> \n1910 \nOil on board \n<a href=\"https:\/\/asc-online-shop.myshopify.com\/collections\/bucher-1\/products\/isbn-3-902012-07-2\" target=\"_blank\">Catalogue raisonn&eacute; 60<\/a><\/p>\n\nBelmont Music Publishers, Pacific Palisades<\/p>\n\n&quot;Arnold Sch&ouml;nberg, the thinker, finally attempts to recreate for painting that state of psychic primitiveness, that prehistorical type of past life, without which its existence now could not seem to be truly legitimized, and he alone was able to patiently create these forms totally insignificant to the connoisseur, since he appears, protected by his music, already immunized against an advanced and understood art. [...] What is represented in Sch&ouml;nberg&rsquo;s enigmatic paintings are neither feelings of the senses swarming hungrily in the darkened globe of the mind nor facts in physical light. They are more colorful recordings of moral man &ndash; in the sense of Kant &ndash; than one is accustomed to.&quot;&nbsp; \n(Albert Paris G&uuml;tersloh: Sch&ouml;nberg the Painter, in: Arnold Sch&ouml;nberg. Mit Beitr&auml;gen von Alban Berg et al<\/em>. Munich 1912)<\/p>\n\n<iframe allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/h7KaD9CrDP4\" title=\"YouTube video player\"><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"62","target":"blank","lightboxUrl":"denken-2-2","watermark_name":"76-cr060.jpg","hideInAll":0,"suffix":""}

Moses und Aron

Object #77

{"id":2845,"form_id":30,"category":"category-1","name":"77-t63_05_1.jpg","path":"images\/bagallery\/gallery-5\/77-t63_05_1.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/77-t63_05_1.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/77-t63_05_1.jpg","title":"Moses und Aron","short":"Object #77","alt":"","description":"Object #77<\/p>\n\nArnold Sch&ouml;nberg \nMoses und Aron<\/strong> \nDraft of the text \n1928<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\n&ldquo;Gold, senses, spirit &ndash; Great gods who have given you spirit. O golden of gods. Human virtue is gold-like.&rdquo; &ndash; Sch&ouml;nberg found the material for his opera Moses und Aron<\/em> in the Old Testament, and rewrote it in the form of poetry. He took the storyline from here as well: Moses&rsquo; calling by God, the exodus out of Egypt, the renunciation of God, the religious revelation: God&rsquo;s Covenant, the laws that God gave to the people through Moses, but also the spiritual tensions: the ambivalence of Aron, who is responsible for worshipping the golden calf. The intellectual property of Sch&ouml;nberg as a dramatist is primarily based on logic and consequence with which he elaborated the dialectic between Moses and Aron.&nbsp;<\/p>\n\n<iframe allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/Bi-q_frH1W0\" title=\"YouTube video player\"><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"61","target":"blank","lightboxUrl":"moses-und-aron-2-2-2-2-2","watermark_name":"77-t63_05_1.jpg","hideInAll":0,"suffix":""}

Self-Portrait

Object #78

{"id":2844,"form_id":30,"category":"category-1","name":"78-cr044.jpg","path":"images\/bagallery\/original\/78-cr044.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/original\/78-cr044.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/78-cr044.jpg","title":"Self-Portrait","short":"Object #78","alt":"","description":"Object #78<\/p>\n\nArnold Sch&ouml;nberg \nSelf-Portrait<\/strong> \nMarch 17, 1933 \nPen and ink on writing paper \n<a href=\"https:\/\/asc-online-shop.myshopify.com\/collections\/bucher-1\/products\/isbn-3-902012-07-2\" target=\"_blank\">Catalogue raisonn&eacute; 44<\/a><\/p>\n\nBelmont Music Publishers, Pacific Palisades<\/p>\n\nOn March 18, 1933 a meeting was held in the Prussian Academy of the Arts in Berlin focusing on the impending legal regulations governing the &ldquo;Restoration of the Professional Civil Service.&rdquo; These specified that Jewish teaching staff was to be removed from the Academy. Owing to recent events in Germany, Sch&ouml;nberg must have been fully aware of the political direction of this fateful Academy meeting. The day before, he drew a Self-Portrait (the original date has been corrected from March 18 to March 17, 1933). That day, Berlin media reported both on the symbolic directive issued by Josef Goebbels to remove Bruno Walter &ndash; who was Jewish &ndash; as conductor of the philharmonic concerts, and also on the decision to convert the Kroll Opera &ndash; where Sch&ouml;nberg&rsquo;s works were performed &ndash; into the provisional Reichstag building for the National Socialist authorities. Changes to the members of staff in the Prussian Ministry of Culture were a consequence of an &ldquo;act of cleansing&rdquo; in &ldquo;Judaized Prussian higher education&rdquo; (Vossische Zeitung, March 17, 1933). The drawing serves as a snapshot in time by the artist. It was created &ldquo;at a moment of great depression,&rdquo; Sch&ouml;nberg wrote to Roberto Gerhard on March 18, 1933 in a description of his precarious situation.<\/p>\n\n<a href=\"https:\/\/dfg-viewer.de\/show?tx_dlf%5Bdouble%5D=0&amp;tx_dlf%5Bid%5D=https%3A%2F%2Fcontent.staatsbibliothek-berlin.de%2Fzefys%2FSNP27112366-19330317-1-0-0-0.xml&amp;tx_dlf%5Bpage%5D=2&amp;cHash=892b2e3a3aff547135b9913716f4d55a\" target=\"_blank\">Vossische Zeitung, Evening edition, March 17 1933, p. 2<\/a><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"60","target":"blank","lightboxUrl":"selbstportrait-4-2-2","watermark_name":"78-cr044.jpg","hideInAll":0,"suffix":""}

Moses und Aron

Object #79

{"id":2843,"form_id":30,"category":"category-1","name":"79-ms63_2923.jpg","path":"images\/bagallery\/gallery-5\/79-ms63_2923.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/gallery-5\/79-ms63_2923.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/79-ms63_2923.jpg","title":"Moses und Aron","short":"Object #79","alt":"","description":"Object #79<\/p>\n\nArnold Sch&ouml;nberg \nMoses und Aron<\/strong> \nShort score, Akt 2, Scene 3 \n1932<\/p>\n\nArnold Sch&ouml;nberg Center, Wien<\/p>\n\nThe third scene of Act II forms the most extensive section of the opera. It is not until this point that the dramatic possibilities of the stage are used to full advantage, and action in itself gains insignificance. The theme of the entire scene &ndash; in antithesis to Moses&rsquo; idea of God &ndash; is heathen ritual worship. The people, led by Aron, have renounced God. The seventy elders sing a stirring hymn. \n&ldquo;The elements of this tremendous subject that I myself have placed in the foreground are: the idea of the inconceivable God, of the Chosen People, and of the leader of the people. My Aron rather more resembles your Moses, although I have not portrayed him in so many aspects or shown him in terms of his human limitations, as you have. My Moses more resembles Michelangelo&rsquo;s &ndash; of course only in outward aspect. He is not human at all. But what is interesting is that we come fairly close to each other in the introduction, formal presentation, and even in the orientation of the scene with the golden calf. \nFor me too this signifies a sacrifice made by the masses, trying to break loose from a soulless belief.&rdquo; (Sch&ouml;nberg to Walter Eidlitz, 1933) \n&nbsp;<\/p>\n\n<iframe allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/Tb1tTm_6vTw\" title=\"YouTube video player\"><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"59","target":"blank","lightboxUrl":"moses-und-aron-2-2-2-2-2-2","watermark_name":"79-ms63_2923.jpg","hideInAll":0,"suffix":""}

Self-Portrait

Object #80

{"id":2842,"form_id":30,"category":"category-1","name":"80-cr047.jpg","path":"images\/bagallery\/original\/80-cr047.jpg","url":"https:\/\/schoenberg.at\/images\/bagallery\/original\/80-cr047.jpg","thumbnail_url":"\/images\/bagallery\/gallery-6\/thumbnail\/category-1\/80-cr047.jpg","title":"Self-Portrait","short":"Object #80","alt":"","description":"Object #80<\/p>\n\nArnold Sch&ouml;nberg \nSelf-Portrait<\/strong> \nDecember 30,&nbsp;1935 \nWatercolor on paper \n<a href=\"https:\/\/asc-online-shop.myshopify.com\/collections\/bucher-1\/products\/isbn-3-902012-07-2\" target=\"_blank\">Catalogue raisonn&eacute; 47<\/a><\/p>\n\nBelmont Music Publishers, Pacific Palisades<\/p>\n\nOn December 25, 1935, Sch&ouml;nberg read in the Los Angeles Times about the death of his student Alban Berg. Several days later, Sch&ouml;nberg painted a black watercolor self-portrait, possibly as a gift of condolence for Berg&rsquo;s widow Helene.&nbsp;Its perspective and manner of presentation are unequaled among Sch&ouml;nberg&rsquo;s other paintings and drawings: The griever is profiled looking upward towards distant heights. Dated &ldquo;Hollywood 30\/XII. 1935&rdquo; (it is possible that the place was specifically named to underline his situation in exile), this picture remained in the possession of the artist. His letter of condolence to Helene Berg on January 1, 1936, contains only a few words: &ldquo;I still cannot believe that my dear Alban is gone. I still talk to him in my thoughts, as before, and imagine his answers, and it still seems to me as if he were only as far away as Europe is from America.&rdquo;<\/p>\n\n<iframe allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\" src=\"https:\/\/www.youtube.com\/embed\/TlbXJrOndv4\" title=\"YouTube video player\"><\/iframe><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"58","target":"blank","lightboxUrl":"selbstportrait-5-2-2","watermark_name":"80-cr047.jpg","hideInAll":0,"suffix":""}