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38 JERRY >'lcBRlDE
Appendix
III Seminar
fOT
Composition 1919-1920 (Schwarzwaldschule)
Leo Brsger
Erny Estermann
Heinrich
Fath
Grete Feuer
Gustav Fuchs
Margit Halasz
Helene Herschel
Marianne Kirschner
Edith Komeiser
Lili Kowalska
Malvide Kranz
Friedrich Mahler
Hedwig Massarek
Hans Mayer
Alice Moller
Louise
Flohn
Erwin Ratz
Magda
Schwarz
Lisene Seybert
Christian Spanner-Hausen
Sofia Spatz
Lona
Wassertrudinger
39
SCHOENBERG AND SCHOPENHAUER
Pamela
C.
White
Feeling
is
afreadyJor m the fdea
is
afready he Ward.:
1 INTRODUCTlON TO DOCUMENTARY EVlDENCE:
SCHOENBERG'S
LIBRARY
In
one
of Schoenberg's
Bibles, 2 at Deuteronomy
f f V
Mose ), Chapter 22, there is an editorial subtitle which Schoen
berg underlined in red:
Vermischte
Vorschriften, besonders der
IVlenschenliebe und des lYliileidens mit Tieren Gesetze wegen Snden
und
Unkeuschheit
(Various prescriptions, especially of
lo-,, e and
compassioll, with laws against vice
and
unchasteness).
On
the next
page, which begins with Deut. 22:6 and ends with 23 :26, a manila
paper marker is
ripped in at
the top cf
the page. On it is viritten in
red pencil,
Siehe
Schopenhaueri The passage
meant
is indicated
by a red pencil in
the
margin
at
Deut. 22:6:
Vv enn
du auf dem V/eg findest ein Vogelnest auf einem Baum oder auf der
Erde,
mit
Jungen
oder
mit Eiern, und dass die Mutter auf den Jungen
oder auf
den
Eiern sitZI, so soilst
du
nicht
die
Mutter mit den Jungen nehmen.
If on
your
way you find a
bird's
nest in a rree or on the ground, wiril young
ones
or
witil eggs,
and
the
mather
sitting on the yaung
or
on
The
eggs, you
shall not
take toe
mother wirh
the yaung ones
This biI of marginalia which makes
the
connection bet\veen the Bible
passage
and Schopenhauer's
concept of Mitleid (pity), belongs ro
a \vhole se ries of marginal inscriptions, underlinings and inserted
notes in the
three
complete Bibles in Schoenberg's Ebrary.
ibis
par
ticular 1907 Bible, probably the first Schoenberg owned,
is
listed in
'Arno d Schoenberg,
Problems
in Teaching Art (1911),
Sryle {md Idea
ed. Leonard
Stein (New York: St. Manin's Press, 1975), p. 369.
zDle Bibel/oder die ganze/Heilige
Schrifl/des/Allen und
Neuen Te swmenls,/1 ach der
deutschen ()bersefzungID. arrill Lu/hers (Berlin: Britische und Auslndische Bibelgesell
schaft, 1907). Ar the Arnold Schoenberg Institute, Los
Angdes.
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40
PAMELA C.
\VHITE
his own library catalogue,; wirh an entry date of Jan. 23, 1913. VIhen
books do appear in this
eatalogue-in
which Schoenberg began in
January 1913 to list presumably all his books aequired up to that
date, and made his last entry in March 1918-it is of course then
possible to co me mueh eloser to the period of time in which Schoen
berg was eoncerned with them, altho ugh there is the obvious caution
that one may read a
book
wel before buying a copy
of
one's own,
and also one may buy a book and never read it. This sort of evidence
can only be useful in conjunction wirh other clues.
For example, many of the inseriptions oceur at various passages
which eoncerned Schoenberg at different limes, as related in his
letters or his vocal texts or essays.
The
passage from Deuteronomy
just cited probably was part
of
Schoenberg's reading in preparation
for Moses und Aron since it is part of a section of law traditionally
attributed to Mosaic revelation.
Another useful indicator
of
when eertain marginalia were written
is
Schoenberg's handwriting. The Siehe Schopenhauer note not
only pertains to Mosaic law, wh ich may suggest a possible connection
with Moses und Aron, but it is written in Gothic script, whieh Schoen
berg abandoned after leaving Germany, and therefore a date not
later
than
the period
of
writing Moses
und
Aron is indicated.
In the same Bible, a lavish braided ribbon marker aceompanies a
piece
of
paper laid in at Leviticus with Vershnungstag (Yom
Kippur or Day of Atonement) wrilten on it and three passages: 3
Mose 16," 23
and
27. This appears in Gothic writing, in the
purpie indelible peneil which Sehoenberg favored in sketches in the
1920's and early 1930's, and has to do with Schoenberg's coneern
about
the annulment
of
VOws
on
Yom Kippur
and
his re-entry
imo
the Jewish community, nullifying his earlier Christian conversion
a subjecr he was
to
address again in his unpublished notes
to
his
setting ofthe Kol Nidre, Op.
39
in 1938.'
3At the Arnold Sd'.Oenberg Institute. Adescription and lis[ of comems is published in
Clara Steuermann, From the Archives: Schoenberg's Librar)'
Catalogue, JASf,
3/2 (1979),
203-18. References to the same cmalogue are also made in
H H
Stuckenschmidt,
Amofd
Schoenberg: His L fe, World
and
Work,
trans. H.
Seade
(New York: G. Schirmer, 1977),
p.
183,
but are
not
entirely consistem with the catalogue
as it
no\\ stands.
4
Arno
ld Schoenberg, To KaI Nidre, [co 1938], unpubtished notes to Ka l\/feire
Op.
39
(in
English), at the
Arnold
Schoenberg Institute.
SCHOENBERG .A. W SCHOPEr\HAUER
41
Nlarkers
and
an notations in the Psalms
and
some of the
Prophets
are more generally
applicable-they
\vere important to his thought
late in life, but they are also reflected earlier in the blessing passages
of Moses und Aron Die Jakobsleiter, and Der Biblische Weg
The Bibles are on ly a sm all port ion cf the entire personal library
preserved in the Schoenberg Nachlass. Hundreds
of
volumes are
kept at the Arnoid Schoenberg Institute, many rieh in annotations,
underlinings, and inserted notes and markers, all of which provide
clues to when Schoenberg was reading them and what he vas think
ing about at the time.
Much
is
already known in a general '.,vay about Schoenberg's philo
sophical and literary interests and preferences, dra'vvn panIy from
the authors whose texts he chose to set: Dehmel, Balzac, etc., and
partly frem the company he kept and their recollections: comments
by contemporaries reveal a shared interest in Karl Kraus, Arthur
Schopenhauer, Friedrieh Nietzsche, and
others.'
The Schaenberg
library, however, provides
an
excellent primary rescurce for more
specific inquiries into this subjecL
6
2. SCHOENBERG AND SCHOPE NHAUER:
DOCUMENTARY EVIDENCE
The philosophy of Anhur Schopenhauer was plan ed firmly in
Schoenberg's mind, generally ,
and
also specifically in relation to
Schoenberg's probings for the text ef
lv oses
und Aron. The mar
ginalia described above demonstrate Schoenberg's interest in the
philosoph er. What further evidence exists concerning Schopen
hauer's
influence
on
Schoenberg,
and
of
what philosophical concepts
does Ihis influence consist?
'See, for cxampie, imerviews with Schoenberg's
comempo,aries in Joa /\lkn
Smh,
"Sprechstimme-Geschich(e: An Oral History
of
the Genesis
of
,he Twelve-Tone Idea,
Ph.D. diss. Princeron University,
1977.
Dctailed discussions of literary and philosophieal influene on Schoenberg's creative
process, incorporating evidenee from Schoenberg's library, especially in connection with fin
de-sieck literary ini1uenees on early voca texts, expressionist
tCX'1S,
Balzac, Schopenhauer
and
Kar Krau s, are given in my
Ph.D.
dissertation, Idea
and
Representation: Source
Criticai and Anaiytical Studies of Musie, Text and Religious Thought
in
Sehoenberg's
'Moses und Aron, ' Harvard University, 1983. A comple1:e listip.g of the coments of the
personal Ubrary, including notes on
insened
papers and marginalia in Sehoenberg's
hand,
firsl assembled in connection wh this research, l eurrently in preparation for pubiication
in the
Jomnal.
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42
?:\MELA C
WHrn:
Schoenberg owned alm ost all of the works of
Schopenhauer
in
his private library by
the
year 1913.
Extant
in
the
collection are the
Smtliche Werke,
all six volumes
of the
first Reclam edition, 1891,'
edited by
Eduard
Grisebach. These
are
all entered
by
Schoenberg in
his library catalogue with
the
date January 23, 1913. Marginal anno
tations
appear
in four volumes: in voL H, a marginal note"
Jakobs
leiter " on p.
264 of
Die Welt als Wille und Vorstellung;
in Vol. IV,
Parerga
un
Paralipofnena in the essay
"Von Dam,
was Einer Vor
stellt" marginalia plus a small sheet tipped in, as well as a small
sheet 01 notes inserted in "Baranesen und Marimen;" in Val. V,
ber religion, many
marginal notes plus two large pages tipped in
dated "12/XI1.1914" and
"5/12.1914";
and
in Vol. VI,
Farben
lehre,
a
brief note and
a longer sheet
dated "6.4.1922"
as well as a
separate sheet tipped in containing notes on God. In addition,
one
of the most well-worn
books
in the library is
the
Parerga
und
Para
lipomena: Kleine Philosophische Schriften,
vol. 2, a second copy of
the
Reclam
Werke.
The Book is not
listed in Schoenberg's own
catalogue,
and therefore
was
probably added
to
the
collection
after
1918. The margins of this book are heavily annotated, covering a
wide range of topics,
and
there is heavy pencil underlining on every
page, indi cating very elose reading.
Additional evidence exists for dating
Schoenberg's
interest in
Schopenhauer,
beginning as early as 1911, when Schoen'oerg
made
reference to
Schopenhauer
(Parerga und Paralipomena) in
the
first
edition of the Harmonielehre.'
The
following year, Schoenberg also
referred to
Schopenhauer
in two essays: "Gustav
Mahler,'' ' and
"The Relationship
to the
Text."
0 The
two
short
essays inserted into
the
Schopenhauer
Werke,
Vol. V,
both bear
dates indicating a simi
lar, only slightly later period of interest: "12/XIl
1914,"
and "5 l2
1914." In addition, the quotation
at
the
head of this article,
from
"Problems in Teaching
Art"
(1911), already contains the words
'Reclam
pI.
nos.
2761-5, 1781-5, 2801-5, 2821-5, 2841-5, 2861-5, date l d e n l ~ f i e d in
A r t ~ ~ r
Hbscher,
Schopenhauer-Bibliographie
(StuHgart; F. Frommann-G. Holzboog, 198
i ,
pp
.)-6.
STheory oJ Harmony,
trans, R.
Carter (Berkdey:
Univers)'
01 California
Press, 1978;
based
on
3rd German ed., 1922), p. 414.
9S
ly1e
and Idea,
pp 457-8.
I 0S{yleond deo, pp. 141-2.
"S{yle und
deo,
p.
369.
SCHOEl\BERG
A:- :D SCHOPEl\HAUER
43
"feeling" and "form,"
"idea/'
and word,)) the importance
cf
which
will oe
described below.
Schopenhauer continued to
be
important to Schoenberg through
out
the
1920's as \veIl:
an
unpublished
manuscript
in
the
Nachlass
entitled "Schopenhauer
und
Sokrates" is dated "Potsdach, 23.VII.
1927.
Oskar
Adler was
an important
personal inf1uence
on
Schoenberg's
philosophy and
Da
doubt abaut reinforced
the
latter's in te rest in
SchoDenhauer. Schoenberg acknowledged Adler as
an
importam
early influence
on
his philosophical thinking in
the
essay
"My
Evolu
tion"
(1949):
Through
him [Os kar Adler] llearned
of
the existence
of
a [heo y
of
music,
and
he directed my first steps therein. He also slimu aled
my
imeres[
in poeuy
arid phi osophy
and
ail my acquaintance wirh ciassical music derived from
piaying
quanets
\vith hirn, for even then he was already an excellem first
vioEnist.'2 (emphasis mine)
Adler's
personal influence has also been described by
CODl.:empo
raries of Schoenberg as communicating a specific im:erest in
the
philosophy of
Schopenhauer. Lona Truding,
one of the pianists in
the
Verein
fr
musikalische
Privatauffhrungen, and
a
student
of
Schoenberg
at the
Schwarzwald school seminar,
is
recorded as say
ing, 'Oskar Adler was a great
admirer
of
Schopenhauer and they
were all Kantians. That was
the
time. Yes, Kantianism
hadn't
died
out yet."'3
Karl Kraus, \vhose influence on Schoenberg \vas also very
impor
rant in
the formulation
of his philosophieal, literary
and
political
thinki ng, has also been described as deriving his philosophica l
orientation
from
Schopenhauer. Janik and Toulmin, authors
cf
JiVittgenstein
s
Vienna have written:
Kraus himsetf \vas no philosopher, sll less a scicntisL f Kraus ' s vic\vs haVe
a philosophical ancestry, this comes most assuredly horn Schopenhauer; for
alone among the great philosophers, Schopenhauer was a kindred spirit, a
man
of
philosophical profun dity, \vith a strang talent for poiemic and
a p h o r ~
i2S{) e
and
Idea,
pp. 79-80.
':-Quoted from a
personai
imcrvlew in
Joan
Allen
Smith,
"Sprechsti Eme-Gchichle,"
p.43.
:4This lOpic is discussed in detail in
my Ph.D. dissertation,
"ldea and Represcntation,"
pp.
126-34.
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PA '1iELA C \\'1-111"E
ism, a literary as weIl as philosophicat genius. Schopenhauer, indeed, was the
only philosopher \vho
at aB
appealed
to
Kraus.'
5
Schoenberg's
use of his
Schopenhauer
vo]umes
may
be compared
to his books by other philosophers: of Kant, Schopenhauer's direc
intel ectual forebear, he owned practically everything:
the
Reclam
Smtliche Werke in eight
volumes,
plus Kritik der reinen Verkunfl,
Kritik der Urteilskraft, and Prolegomena
zu
einer jeden Kunfiigen
Metaphysik, die als Wissenschaft wird auftreten knnen (also
undated Reclam
editions). Of
Hegel, no books at all
Of
Nietzsche,
who admitted a
great
debt to Schopenhauer," several works:
Der
Face Wagner: Gtzen Dmmerung, Nietzsche Contra Wagner, Um
wertung aller Werte, Dichtungen Vo .
VIII
(pub . 1904), Das Geburt
der Tragdie Vo . I (pub . 1903),
Also
Sprach Zarathustra (pub .
1906), and
Gedichte
und
Sprche
(Pub . 1901).
Other
philosophical
writings in his library include one v01ume of Feuerbach, Ein Ver-
mchtnis (1912); several volumes of
Hemi
Bergson;
complete
Werke,
volumes (1910),
Entweder/Oder,
2 vo1s. (1911),
and
Die Tagebcher,
vo . 2
of
two volumes (1923)
of
S0fen Kierkegaard; the
Wrterbuch
der Philosophischen Begriffe
by
Rudolf
Eisler (father of the com
poser
Hanns
Eisler),
(published
in Berlin in 1927
and
like]y acquired
there); as weIl as
Aristotle,
Nikomachische
Ethik
(1909);
Hippocra
tes, Erkenntnisse (1907); and
Plato,
8
volumes published
in
the
years
1906-1910,
including Platon Staat
(1909), wh ich contains a
book
mark
and one sm al
annotation,
and appears wel worn.
As for
the dating
of the period
during
which Schoenberg's interest
in
these other
phi10sophers
began, Schoenberg's own library cata-
10gue
further confirms
datings earlier
than the
1920's
for
his
reading
of
other philosophers. Schoenberg entered
eleven
volumes
of
Kant
in the catalogue on
January
23, 1913, with five
of
Bergson, four
of Nietzsche and one of
Swedenborg
in 1913 as wel .
Feuerbach is
i5
Allan
Janik and Stephen Toulmin, Wiugensrein's Vienna (New York: Simn and
Schusrcr,
1973), p. 74. The
~ m e amnors also liken Kraus
[0 Kierkegaard, pp. 79 alle 179fr.
Schopenhauer, Kant and Nietzsehe are all mentioned many times in Kraus' literaTY joumai,
Die Fackel.
IONierzsche wrmc of The Worid as Wit
and
Idea [hat it was
"a
mirror in "vhieh I eSDl0u
the wodd, life,
and
my o\\'n nature depicted wirh a frightfuJ grandeur," and "It seemed -1.5
if
Schopenhauer \vere addressing
me personally. I feIt
his enthusiasm, and seemed
O
see
him before rne. Every Ene cried
aloud
for renunciation, denial, resignation."
Trans.
"Vii
Duram,
The Story
ofPhifosophy
2nd ed. (New York: Simon and Schuster, 1961), p. 303.
SCI-IOE0iBERC AND SCHOPE;\H.\LER
43
listed with one
volume,
an undated
entry
probably made between
1915 and 1918, as
deduced from surrounding
entries in
Schoenberg's
library catalogue.
(Klerkegaard is
not
listed,
moving the
probable
date cf purehase of the [hree Kierkegaard volumes in the current
library to a date after 1918.)
Schoenberg
also made references ta
Nierzsche in essays
dated
as early as 1911," also in 1922," and as
late as 1947. "
It m y be seen from these data that Schoenberg's interesr in Scho
penhauer,
Kant
and Nietzsehe was wel developed by 1913 (Schoen
berg was then 39 years
old),
and he had done extensive
reading
cf
other
philosophers
by
that
time as
\Nell.
Vlhat is rem ar kable by its absence is any evidence in Sch oenberg's
library
of
the \vorks of
Ludwig
\Vittgenstein (1889-1951) and his
cirde. \A/hile Wittgenstein's writings became available as early as
1914, there is no evidence
that Schoenberg
ever investigared 'Chis line
of
philosophical
thought,
although it
was heing developed
viTtually
in his
Oi,vn
backyard. The curious
intermingling
of
philosophers,
artists and critics in
Vienna
at this time, and the resurgence
of
interest in Kant
J
Schopenhauer and Kierkegaard occurring simul
taneously
witt "modernist"
movements
in philosophy like logical
positivism,
are
described in more detail in
Wittgenstein 's Vienna
by
Allan
Janik and Stephen Toulmin.
20
3. THE INFLUENCE OF
SCHOPENHAUER
ON SCHOENBERG
The
influence of
Schopenhauer on Schoenberg's thinking can
be
seen in several different ways. First, the influenee S refleeted directly
in
Schoenberg's own
essays,
and philosophical
'Vvritings
about
music
and other matters. Schopenhauer's use of the Platonic Idea (Idee)
becomes
extremely important.
On the
basis of
the documentary
evi
dence from Schoenberg's
library,
it seerns that it
is
primarily through
Schopenhaner
that Schoenherg
became preoccupied wirh this con
cept
of dea, (Gedanke, Platonic Idee,
or,
as in Schopenhauer, Vor-
:7"Problems in Teaching An," Slyieand Idee , pp. 365-8.
:s"i\bout
Ornamems,
Primitive RhYIhms, ete. and
Bird
Song," S }' e und Idea, pp.
298-
302.
] "Brahms the Progressive, " Style und Idea, pp. 398,414.
v
ee especiaHy pp. 18- i 9, 92-119.
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46
PAMEL-\ C. \\ Hl:
L
siellung)," and
its
Represenration (Darstellung)."
These concepts had become
a
commonplace by
1910 in virtually
all fields
of
Viennese cultural debate, and were an importanr envi
ronmental influence
on
all creative artists of the time in one way
or
another. The discussion of these
concepts
inc uded,
for
example,
works before
1900
by
science
theorists Gustav Hertz
(1887-1973)
and Hermann Helmholtz (1821-1894), and
inspired
the linkage
of
philosophy and aesthetics with criticism
of
language (Sprachkritik)
and theory of knowledge in
the
first
decade
of the
twentieth eentury
by
such
philosophers
as
Ernst Mach
(1838-1916),
Fritz Mauthner
1849-1923),
Ernst Cassirer (1874-1945)
as wel as Wittgenstein.
Schoenberg did not own any writings by these authors, however, and
there is no documenrary evidence that they played a direet role in
the
formulation of his thoughts
about
ldea and
Represenration,
as
Schopenhauer's writings c1early did.
The
Platonic ldea
in
Schopenhauer
is
particularly expounded con
cerning
art.
The trmh
which lies
at
the foundation
of all
thaI
we
have hilherto said
about
an,
is
that the object of
an,
the Represemmion of which
is
the aim of the
artist, and the knowledge
of
which must therefore precede his \vork
as
its germ
and saurce,
is
an Idea in
Plato's
sense, and never anything else;
t lor
the par
Iicular thing, the object of
common
apprehension,
and not
the concept, thc
object
of
rational
thought
and
of
science.
cl
Schopenhauer
even develops a specific view of
the purpose
of
music,
from
which
the connection
with
Schoenberg is
easily
drawn:
The Platonic Ideas
are
thc adequate objec[jfication
of
\vill.
To
excite
or
suggest
the know edgc
of
these by means
of
the Representation
of
particular things
(for works
of
an
are themselves always Represenrations
of
panicular
things)
is
thc end
of all
thc
other arts, which
can only be attained
b ~ l
a corresponding
change in the knowing subjecL
Thus
all these arts objectify the
will
indireclly
2'For
example, sec
Schopenhauer's uses cf
the
term Vorstellung,
in
Die V/ei als }Vj/fe
und Vorste{{ung, cd. 1..
Berndl, Bibliothek
der
Philosophen
1lI;
Schopenhauers -Vake il
(Munieh:
Georg
Mller, 1912), pp. 3rT;
and
Vorstellung
as Platonic
Idee, pp 203fL
22Ibid., see especiall;.' Darstellung as
expression of
an
pp.
257ff.
"3For funher discussion
of
[his phiJosophical debale, see
Ja ik
a ld Toulr:lin, 0]). ci,
pp.
31, 120-66.
2 ~ S e e for
example, E.
Cassirer, Philosophie der s)"mboiischen Formen , Tei f: Dii? Sprach'.
(Berlin:
Bruno Cassirer,
1923).
25Trans. D. H. Parker in Schopenhauer, Selecrions
(New
York: CharJes Scribncr's Sons,
1928),
p.
154.
SCHOENBERG
A:--;D
SCHOPENHAUER
onl)' by means
of
the ldeas; and since
our
world
is
nothing but the manifesta
tion
of
the Ideas in multiplicity, through their entrance
into
the principle
of
individualit)' (the form
of
the knowledge possible for the individual as such),
musie also, since
it
passes over the Ideas,
is
emireI) independent
of
the phe
nomenai \\'orld. ignores it altogether, could
10
a cerrain extent exist
if
Ihere
\"..as no warld at all,
,"vhieh cannot
be said
of
the other arts. Music
is
as
d i f i ~ c t
an objectifica[ion
and
cOPY
of
the whole
will
as rhe world rtse f, nay, even
as [he Ideas, ',vhose multiplied manifestation constitutes the world
of
indi
vidual things. Music is thus by no means like the other ans, Ihe copy
of
the
Ideas, but the copy
of the Will
itself, whose objectivity the Ideas are. This 5
why
the effect
of
music
is
so much more po\verful and peneLrating
than that
of
the Lher ans, fr [hey speak only
of
shadO\vs, bur it speaks
of
the [hing
itself.
6
Schoenberg adopted these cnstructs
virtually \'vho1e.
The most
familiar expression
of
these ideas by Schoenberg in prose is the nov;,
famous essay New Music,
Outmoded
Music, Style and Idea'J
(1946), in which
the whole
issue of the
Idea
and
Represenration is
thrashed out,
and
the Idea
in
any true art form is proclaimed
as pri
mary, and
style
the servant
\vhieh expresses it,
and
never
the other
\.vay
around.
2i
In the same year, in
Heart
and Brain in I' Iusic/
l
Sehoenberg
also stated
that
in \.vriting Verkine lVachr he "'t,:anted
lO
express the idea
behind
the poem.
Schoenberg's
essays emitled
Der
musikalische
Gedanke,
seine Darstellung und
Durchfhrung,
and
Der
musikalische Gedanke und die Logik, Technik, und
Kunst
seiner Darstellung, unpublished manuscripts at the Arnold Schoen
berg Institute
Archive, (dated 6.7.1925
and '21, 22, and
29.6.34
"'lith
an
earlier
outline dated ~ ~ 5 . 6 . 3 4 and
a later
intro
duetion dated
Ende
September
1934"),2'1 reflee this artistic pre
occupation with Idea and RepresentaIion.
Schoenberg dealt
directly
and not
uneritically with
Schopenhauer's
demand
that
the
evaluation
of
works
of an can
only
be based
on
authority
in
~ ' C r i t e r i a fr the Evaluation of Music
(1946):
Unfortunately he does not say who bestows authority Dor how one can acquire
i[; nor
whe[her Ir
\vill
remain uncontested, and whal
will
happen if such an
26lbid., pp. 176-7.
rStpieand fdea, PD. 113-24.
:'''St:rfe cmd Idea,
p
55.
~ D c I a i l e d
descripIion 01'
this material are given in
Akxander
Goeh:, Schoenberg's
Cedanke
:vlanuscript,
JAS 2 (1977), pp.
4-25;
also described in
Rufer,
The ~ Y o r k s
0/
/-lrnofd Schoenberg, trans.
Dika
Newlin (London:
Faber
ar:d
Faber,
1962),
pp. 127-8.
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48
PA\1ELA
C, \VH1TE
authority
makes mistakes. Mistakes like his own, when hc, disregarding Bee-
thoven and Mozart, called Beliini's Norma the greatest opera.
30
Schoenberg criticized Schopenhauer's theory cf music
D1uch
earlier
in "The Relationship to the
Text"
(1912), beginning lhe essay
as
follows:
Even Schopenhauer, who at first says something really exhaustive about the
essence
of
music in his wonderful
thought. The composer
reveais the
inmOSE
essence
of
the \vorld
and
utters the most profound wisdom in a language \vhich
his reason does
not
understand, just as a magnetie somnambulist gives dis-
closures about things which she has no idea
of
when
awake-even
he loses
himself later \vhen he tries to transJate details
of
Ihis language which {h reason
does no{ undersland
imo our
terms.
Ir mUSI,
however, be dear to hirn that in
this translation into rhe terms
of
human Ianguage, which
is
abstraction, reduc-
[ion
to
the recognizable, the essential, the language
of
the \Vorld, \",hieh ouglll
perhaps to remain incomprehensible
and
only perceprible, is lost. But even so
he
is
justified in this procedure, sinee after all it
is
his aim as a p hilosoph er ro
represent [he essence
of
the world, its un5urveyable weallh, in terms
of
con
cepts \vhose poverty
is
all
wo
easily seen
through.
'
He also referred to
Schopenhauer's
distinction between sorrow and
sentimentality in regard
to
Mahler's music in his essay
"Gusta'
Mahler"
(1912;1948).
\iVhat is true feeling? Btil [hat is a quesIion
of
feeling
That
can only be
answered by feeling Whose feelings are
fight?
Those cf the man who disputes
the true feelings of anolher,
cr Ehose
of the man \vho gladly
grams another
his
[fUe feelings, so lang as he says
just
\'ihat he has
IO
say?
Schopenhauer
expiains
the difference between senmentality and t fue SOrrQ\\". He chooses as an exam-
pie Penareh, ivhom the painters of
broad
$r[okes would surely
caU
sentimental,
and shO\\'s [hat the differenee eonsists in this: true sorrow elevates itself w
resignation, \vhile sentimemal ity is ineapable
of
that,
but ahvays grieves and
mourns,
so
that one
has finally lost
'eanh and
heaven
together'
.
J
Like
the
references to
Schopenhauer
in "The Relationship to
the
Text,"
the untitled essay dated
"5/12
1914" inserted into Vol. V
of
the Schopenhauer Werke, ber Religion, also indicates that while
Schoenberg took Schopenhauer's writings very seriously, he did not
ab so
rb
them uncritical ly, whole. n In it, he criticizes Schopenhauer's
30Slyleand fdea, p.
136.
>IIbid., pp
1 4 1 ~ 2 .
32Ibid., p
457.
33Thanks
tO
David Schwarzkopf, Harvard
Music
Library, far assislance in lranscfloing
and
[ranslating these unpublished essays.
SCHOE;\,BERG
AND
SCHOPE?\HAL ER
49
attitude to\vard
ludaism
as careless and reDecting a personal a\'ersion
or prejudice. He criticizes very particular statements
of
Schopen-
hauer, pointing
out
that Judaism does not lack a messianic vision of
hope, and further criticizing Schopenhauer's uncritical lise
of
the
Ahasueras myth, citing the hardships
of
the chosen people as evi-
dence
that ludaism
continues
to
exist against all
odds,
because it
adheres to spiritual, not material rewards. (The shorter insened
essay, "12/ XII 1914,"
S
a curious and rnisogynist excursus, acknovv l
edged by Schoenberg himself as fancifu , expanding on a reference
by Schopenhauer to jealousy, stating that male jealousy is needed to
prevent women from fornicating \vith lo\ver life ferms and contami-
nating the human species )
The 1927 unpublished essay "Schopenhauer und Sokrales"
is
also
a critical one, accusing
Schopenhauer
of indefensibly dismissing
Socrates as a fiction
of
Plato. Schoenberg argues that Schopenhauer
should knov-/ that great ideas cannot always be expressed easily, and
mal'
be
especial y difficuit to
pul on paper.
Therefore, Socrales very
likely did exist but needed Plato for
expression-the
very issue cf
idea and Representation and
the
core issue of ] vloses und ron again.
In addition
to
these direcr references, elements
of
Schopenhauer's
thought seern to be echoed in oIher writings
of
Schoenberg as weIl.
Schoenberg comes
dose
to quoring Schopenhauer's philosophy of
art in a lette r (c. 1913) to Emil Hertzka about the
purpose
of
hls
opera"
Die Glckliche
Hand":
The
whole thing should have the eHeet (not
of
a
dream) but of
ehords.
Of
music. Ir must never suggest symbois,
cr
meaning, or
{hougt s,
but simply the
play 01 colaurs and forms.
Just
as music never drags a meaning around with
it, at ieast
not
in [he
form
in
which
it
(music) manifests irself, even
though
meaning
is
inherent in its naIUre, so wo this should simply be like sounds for
the ey'e, and so far as am concerned everyone i5 free to [hink or feel something
similar to \vhat he [hinks or f,,;els \vhile hearing muslc. 3"
A sirnilar passage occurs in a charming letter
of
Schoenberg to
\\ a
ter Koons
of
NBC, weilten in English in 1934. Note in addition to
3 ~ A r n o d
Schol nberg Leuers, ed. Erwin Stein, trans. Eithne \Vilkins and ErnsI Kaiser
(London: Faber
and
Faber,
1964; 1st
German
ed. 1958), p. 44.
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50
?A:VELA C. WHlTE
the definition
of
music,
the Schopenhauerian attention to the
theme
of
fulfillment of desires:
Music
is
a simultaneous and a
s u c c e s s i v e ~ n e s s
of tones
and
tone combinarions,
wh ich are so o rganized
Ehat
its impression on the ear
is
agreeable, and its im
pression
on
the intelligence 1S comprehensibie,
and that
these Impressions have
the po\',:er
W
influence occuit
pans of our
soul
and of our
sentimental spheres
and
that this influence makes
us
live in a dreamland of fulfilled desires,
or in
adreamed
hell of
. . . .
etc , etc , . . ,
What
is
water?
H,O;
and
\ve
can drink it,
and
can wash
us
by it;
and
Ir
is
transparent;
and
has no
eolom; and
we can use
it to
swim in
and to
ship;
and
it drives mills '
etc., ete.,
I know a nice
and
wuching
story:
A blind
man
asks his guide:
'How
looks milk?'
The Gui de ansvlI'ered: 'Milk looks \vhite.'
The Blind Man:
'What's
thm
'white'?
I\'1ention a thing \vhich
is
white['
The Guide: 'A swan. It
is
perfect white, and
iI
has a long whire
and
bem neck '
The
Blind Man:
'A
bent neck'? How
is
Ihm'?'
The Guide, imitating \vith his arm the form
of
a
swan's
neck, lets the blind man
feel the form of his arm
The Blind Man (flowing softiy with his
hand
along the arm of (he Guide):
'Nmv I know how looks milk.''':'
he
preoccupation
wirh
the
Idea
and
its Representation
is
clearly written into the text of l vioses Lind Aron. oe,
For exam
ple, the first mention of "Gedanke" is made by ivloses in
connection with
God:
"Gott meiner Vter,
Gott Abrahams,
Isaaks
und Jakobs,
der
du
ihren
Gedanken
in mir \viederenveckt hasL"
("God
of
my father;
God of Abraham,
Isaac
and Jacob,
who has
reawakened these ideas in me.") This passage may be
compared
to
the Biblical passage f rom wh ich it was
drawn,
Exodus 3:6: "And he
[God] said, 'I
am the God
of
your
father,
the God of Abraham,
the
God of
Isaac,
and
the
God of Jacob'"
echoed again at Ex. 3:
15
and
3:16.
The
concept of
the
Idea was Schoenberg's own addition
to the
original Biblical material.
5 fbid., p 186,
i6
A
fun her brief descriptior.
of
the dea
(Gedanke)
as cemral w S C h o ~ , l b e r g s lhough:
especial y in relation [Q / /foses und
Aron,
is given in Odil Hannes S,cck, Yluses und Am :
Die Oper
A Schn bergs
und ihr
biblischer
sroffCvlunich: Kaiser, 1981), pp
42-4
S C H O E ~ B E R ; 0
:\ SCHOPENHAUER 51
Schoenberg's "'\:\/ort"
or
\Vord is also
akin
to the conceDt of
Representation
Of Darstellung At
the end
of
Act II in the
e x t r ~ m e l y
powerful
moment
which eloses
the
musical
portion
of
the
opera as
it was left by
the composer,
Moses
addresse; God
as
the d e ~
itself:
"Unvorstellbarer Gottl
Unaussprechlicher, vieldeutiger Gedanke1"
("
nconceivable God Inexpressible, ambiguo us
Idea ")
Here the
nominalism
of
Kant
and
Schopenhauer
loudly resonates, equating
the ultimate ldea with the noumen which can never be directly
known. In reaction to the salvation of
the
people in splte of their
apostasy, Moses cries
out
in despair, "Lsst
du
diese Auslesung zu?
Darf Aron,
mein
Mund,
dieses Bild machen? ...
("Will
you allow
this
interpretation?
Is
Aron,
my
mouth, permined Co make
this
Image?") The problem again is of Gedanken VS. Bild. "So
habe
ich mir ein Bild gemacht, falsch, wie ein Bild nur sein kann So bin
ich geschlagen1 So \var alles \Vahnsinn, \vas ich gedacht
habe, ,"
~ S o have I created an image, false as an image can only bel So I am
defeated So all was madness
that
thought
before.")-the
ultimate
realization that the nournena can never be fully kno'vvn-"und
kann
und
d rf
nicht gesagt \verdenl 0 vVort, das mir
fehlt "
('-"and can
and
dares
not
oe
spokenl
0
word, thou
\vord
that
I lackl")
The \vords
of
the opening
formula
~ E i n z i g e r ,
c\viger, allgegen
wrtiger, unsichtbarer und unvorstellbarer Gott" appear frequently
throughout.
Essential
components cf
Schoenberg's personal theol
ogy, in lvfoses
und
Aron they take on an invocational,
almest
incan
tational quality.
The
words also
appear
periodically by themselves
or
in pairs, for example,
"unvorstellbar-unsichtbar"
in
Aron's
\vords in Act 1, Scene 2,
and,
as nouns: "Allmchti2:er" or ;'der
,:,
Allmchtiger."
01' all these adjectives,
"unvorstellba;n
is
the
e s ~
due to
the
philosophical genesis
of
Schoenberg's o\\'n
GOllesgedank.
T
h
.
"U . h b
.
oget ,er \V l tn
nSlC
t ar, unvorstellbar>? directly echoes the
language of
Schopenhauer, the
concept
of
;'Vorstellung"
and
"Dar
stellung"
and the nominalist principle
that
nothing can oe kno\vn
in irs essence,
but
on1y incompletely
through
the senses This though
is directly expressed in the dialogue between Moses
and Aron
in
Act I, Scene 2 in the
oratorio,
\vhen I\1oses says
"Kein
Bild
kann
Dir
ein Bild geben vom
Unvorstellbaren."
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52
PA.\1EL.:\ C. WH
11.:
Aron
responds with a similar
thought:
Nie wird Liebe
Ermden
sichs
vorzubilden.
Schoenberg's o\vn religious application
of
this
Schopenhauerian concept is
precisely in connection with the Biblical
idea of a Chosen People.
The
people are
happy
or blessed precisely
because they can
think about or
contemplate
and
love a
God
which
in its essence
is
invisible
and
unknowable.
This working
out of
Scho
penhauer's thought and
terminology
through
a religious,
and
specif
ically Old
Testament
mode,
is
perfectly exemplified in
the
following
excerpt from Act
1,
Scene 2 in the
oratorio
text:
Moses: Nur im Menschen kann Gott bekmpft werden. Nur in seiner Vor-
stellung.
Gou
aber bertriff[ jede Vorsle ung.
Aron: Gebilde der hcbsten Phantasie, wie dankt sie dirs, dass Du sie reizes::
zu bilden.
Moses: Kein Bild
kann
Dir ein Bild machen vom Unvorstellbaren.
Aron: Nie wird die Liebe ermden siehs vorzubilden. Glckliches Volk
das
so seinen GOlt liebt. Auserwhlres Volk, einen einzigen GOll,
e\-vig
zu lieben
mit
tausendmal der
Liebe mit der alle
andern
Volker ihre vielen
Guer
lieben
~ u n
sie wechseln.
)Aoses: Auserwhltes Volk: ein in einzigen, ewigen, unvorstellbaren, allge
genwrtigen, unsichtbaren Gott zu denken.
Aron: Unvorstellbar-unsichtbar-Volk, ausenvhlt den einzigen zu liebe, I,virst
Du ihn unvorstellbar wollen, \venn schon unsichtbar?
Moses: \-Vollen? Kann Gott sein, dass wir ihn uns vorsle en knnen"? 'Nenn
er sichtbar ist,
kann er
berblickbar sein? Wenn er berblickbar wre, also
nicht unendlich kann
er
dann ewig
sein-wenn
er endlich im Raum?
This is the central conflict of
the opera,
the tension betv/een Idea
(God)
and Representation -the
long chain of increasingly inac
curate communication
from
God
as thing-in-itself
at
the very open
ing (\vordless
sound,
like
Schopenhauer's
description
of
music, com
muning direetly with
the noumena or
Will),
IO God
speaking out of
the buming
bush to Moses,
through
Moses to
Aron, and
from
Aron
and
the priests
IO the
people.
37
T
his fundamenta fact has been remarked upon by
authors
as diverse as Theodo " .A.do,:w
in "Sakrales Fragmem: ber Schnbergs ':V1oses und :\roo', Gesammelte Schriften, ::-\0.16,
Musikalisches Schriften 3 (Frankfurt am
;vlain:
Suhrkamp, 1971), pp. 454-75; Ka:I \Vrner
in
Schoenberg's
ArIoses
und
Aroll,
trans.
P. Hamburger
(Londor:.:
Faber
and
Faber, 1963);
Hans Ke ier in
Schoenberg's
'Moses und Aron, ' The Score 21 (1957), pp. 30-45; a 1d
David
Lewin
in "Moses und Aron':
Some General
Remarks, and AnalYIlcal ~ O l e s fm"
Act I, Scene I, in B. Boretz and E. T. Cone, Perspeclives on Schoenberg and S m')insk)
(New York:
Vi.
\V.
Nonon,
1972),
pp.
61-77.
SCHOE? iSERG
At D
SCHO?E:--iH..cER
53
This \\ias
not
a ne\v theme to Schoenberg. A development can be
seen in Schoenberg's texts from expressionism,
the portrayal of
feel
ing,
of
ra\v
emotion
(either as
an
individual's unconscious, as in
r w a r t u n g ~
or as essences of subjective states, as in the Ich-drama
style
Die glckliche Hand),
to a more universal state-the
ldea.
Idea
is
equated
in
Jakobsleiler
as
weH
as in
jVloses
und Aron
with
the
holy, the universal.
Die Jakobsleiter S
the transitional \Vork, its
music stylistically
an amalgamation
of Schoenberg's pre-twelve-tone
compositional techniques, its text
rooted
in the rheosophical
and
S\vedenborgian Strindbergian influence described in the previous
section.
},;Joses und
Aron
inherits
that
stream
cf
development-the orgy
scene still retains some of the features of the expressionistlc \\lorks
a decade earlier.
The concept
of
Idea
is used in this context as simiIar
to
the
Platonic
archetype-the artist drawn from
anoIher
'"plane'
>,vhere
archetyp al images are eternally pr e-existent. This transcends
the more
lyrical heroic image
of
the
artist in
Die glckliche
Iiand.
The
dilemma 01' all art is
the
unattainability of
the
archetype-rhe
loss of the archetype to the concrete expression of it. It is impossible
to capture the
archetype in a
moment, on
canvas, ete.
The
artisI's
product
is always something less
than the unformed
VIsion. In
Sehoenberg's terms, Style ean hinder
the
Idea.
The
best use
of
style
is to
come
as close as possible to expressing the 1dea, the pre-existant
reality
equated
\vith
the
Ward, even \vith the Haly.
Thus,
in j vJoses
und
Aron the religious level
and
the level
of
meaning as
an
allegory
for
the
creative process are drawn
tagether
as the same mystery,
with the
word
as Idea and Holy at onee.
The
concept
of
Gedanke
is also
expounded
in a similar way in
Der
biblische Weg,
Schoenberg's play
about
founding a new Jewish
stare in Israel which
just
preceded his
work on jVloses und
Aron.
As in
,Vloses
und
Aron,
Schoenberg
is
concerned with the invisible
and inconceivable
God.
The hero of rhe play, Max
Aruns,
is very
similar to Moses
and
represents a kind of Schopenhauerian genius.
The
ring of
Schopenhauer's
philosophy is heard in
Aruns' and
his
aid
Pinxar's
words:
Aruns: Our belief in an invisibie and inconceivable God offers no material
fulfillment
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54
PA;v IELA C. WHTI E
Pinxar: Our
religion will never be a very popular oue: it is too inteHecmal
for
that.
Aruns: And for this very reason, our emire history is dominated by' religious
struggles. Everything in [his history culminates tn an attempt to explain the
pure
concept
of God.
Everything tries
to
make
[his
concept compreht: 1sible
and
popular.
H
Schoenberg links the concept of
the
Chosen People with Ihis com
prehension-that God c nn l be known. The
iengthy speech whieh
concludes the play is a didactic exposition of this belief, applied to
Schoenberg's vision of an ideal Jewish state, a political entity es poused
to
this philosophical
and
religious ideal:
The Jewish people lives for one ldea: the Idea
of
a single, immortal, etemal,
and inconceivable God. Our only desire is to esrablish the mle of this concepL
Perhaps this idea in irs purest form will some day rule all the
wodd
.
Our
destination
is
that
of
every aneient people: we muse spiritualize ourse ves.
We must disassociate ourselves f,om a material things.
But
there
ls
one
other
goal: we must all learn
to
think the
Idea
of
the
one,
etemal, invisible, and inconeeivable God.
'0/e wish to lead our spiritual life and shall allow
no
onc to hinder us
in
so
doing.
We wish to perfeet ourselves spirituaHy, \ve wish 10 be permitted to dream our
dream
of
God
iike all ancient peoples \vho have
overcome
materiaEsm and
left
it
behind them.
End of the Drama" 11
3SArnold
Schoenberg, The Bib ica Woy, trans. W. V. Blomster rom tr.-;:.
or;,ginal
P. 2.'1U-
script, Berlin, Jdy 18, 1927, at the Schoenberg Institu[e (unpublished manuscript v ~ d b i e
by
counes)'
of
the 1ranslator).
lbid., pp. 103-4.
SCHOE\'BERG A0JD
S C H O P E \ i H . ~ _ U E R
APPENDIX:
RELIGIOUS AND
PHILOSOPHICAL
WORKS IN
SCHOENBERG'S
LIBRARY
I
Bibles
55
Die Bibel/oder die ganze/Heilige Schrift/der llen
und
/\/euen Teslamenls,/nach
der deutschen OberselZung/D. lvfartin Luthers.
BerEn: Britische
und
Ausln
dische Bibelgesellschaft, 1907. Annotated, notes and braided ribbon marker
laid in.
Die Bibel/oder die ganze/Heilige Schrifl/der lfen und
/'v'euen
Tes arnents,/nach
der deulschen Dberseizung/D. /l;1arfin LUlhers. Berlin: Preussisehe HauDt-Bibel-
gesellschaft, 1925. Annotated, notes laid in. .
Die Heilige Schrijl//\/ach dem masorelischen Text neu bersetzt und erkidrt nebst
einer Einleilung von S. Bernfe d, 3rd
ed.
Frankfun: Kaufmann, 1919. Annotated.
Das ]\leue Testament. BerEn: Britische und Auslndische Bibelgesellschaft, 1901.
(missingpp.1-4,13-18.)
The /'v'ew Teslamen
in Hebre,', and
English.
London: TriniIarian
Bibie
Societv,
n.d.
-
Psalter
und
Buch Hiob.
Leipzig: Reclam,
n.d.
Selfbd.
[Listed in
Schoenberg's
o\>,:n
library caralogue, but now lost?]
11.
Other
Reiigious
and
Philosophica
Works
Adler, Oskar. Einfhrung in die Astrologie als Geheimwissenschaft. Vols. 1 and 2.
Vienna:
Oskar
Adier, 1935. Hand\\'riucn dedicmion
tO
Schocnben
-
8/10/2019 Schoenberg and Schopenhauer
10/10
56
PA\1ELA C
\,"/}-llTE
Haggadah: Erzhlung von Israels
Auszug
aus Aegypren. Fr die heiden Abende
des Pesach-Fesles.
(Passover Haggadah in Hebrew
and
German.) 'henna: los.
Schlesingers Buchhandlung, 1909.
Hippokrates. Erkenntnisse. (Greek-German) Trans. Theodor Beck. Jena: Diederich,
1907.
Josephus, Flavius.
Geschichte des Jdischen Krieges.
Trans. (Germ an) Heinrich
Clementz. Berlin: Benjamin Harz, 1923. Signed
by Otto
Klemperer on page
i.
Kandinsky, \\-'assily. ber das Geistige in der Kunst: Insbesondere in der kla erei.
Munieh: Piper, 1912. Dedication
cf author on
page
1;
two photographs
of
sketches laid in.
Kant, Immanuei. Kritik der reinen Vernunft. Leipzig: Reclam, n.d.
Kritik der Urteilskraft. Leipzig: Redam,
n d
Prolegomena zu einer jeden knstigen jlderaphysik, die als Wissenschafr
wird auftreten knne.
Leipzig: Reclam,
n d
(Also 8 other volumes in a collection of
Kant's
works.)
Kierkegaard, Soren. Gesammelte Werke. Vols. land 2: Entweder/Oder Trans.
Wolfgang Pfleiderer
and
Christoph Schrempf. Vols. 6
and 7: Philosophische
Brocken/
Abschliessende unwissenschaftliche .Nachlschrift.
Trans. H. Gottsched
and
Christoph Schrempf. Jena: Diederich, 1910-13.
Die Tagebcher.
2 vols. Trans.
Theodor
Haecker. Innsbruck: Brenner,
1923. (VoL 1 missing.)
Der Koran.
Abridged ed.
E.
Harder.
Leipzig: Insel,
n.d.
[no.
172],
Kraus, KarL Die Fackel. Selfod. Nos. 261-86 (1908-09), 293-314 (1910),
384 5-
405 (1913-15), 454-73 (1917), 474-507 (1918-19), 514-18 (1919-20 w pp.
miss
ing), 800-805 (1929), 890-905 (1934).
Die Letzten Tage der lVienschheit: Trgodie in fnf
Akien mit
Vorspiel
und
Epilog. '/ienna:
Verlag Die Fackel,
1918-19.
Selfbd.
Traumstck.
Vienna: Verlag Die Fackel, 1922.
Worte in Versen, 7
'lols. Leipzig: Verlag der Schriften von Karl Kraus,
1916-23. (Vol. VI missing; Vol.
IV
was a gift from Webern, \vith a letter laid in
daled 1919.)
Nietzsche, Friedrich.
Also Sprach Zarathustra: Ein Buch fr Alle und Keinen.
Leipzig: C. G.
Naumann,
1906.
Gedichte
und
Sprche.
Leipzig: C. G.
Naumann,
1901. Gift
wh
inscrip
tion: "In tiefer Verehrung 25.11.1905" [by Webern?].
Werke, Part I
Vol.
1:
Die Geburt der Trgodie; Unzeilgemsse Bezrach Ul
gen. Leipzig: C.
G. Naumann,
1903. Pan
I
Vol. 8: Der Fall Wagner; G61:;;en-
Dmmerung; j\iietsche contra Wagner; Umwethung alle Werrhe; Dichfungen.
Leipzig: C. G.
Naumann,
1904.
S C H O E ~ E R G
AND SCHOPENHAUER
57
Plato.
PlalOns
Apologie und
Kriton.
Trans. (German) Friedrich Schleiermacher.
Leipzig: Reclam,
n.d.
Selfbd.
---
Gasmzahl.
2nd ed. Trans. (German)
Rudolf
Kassner. Jena: Diederich, 1906.
--- Parmenides/Philebos. Trans. (German) Ouo Kiefer. Jena: Diederich, 1910,
Phaidon. Trans. (Germ an)
Rudolf
Kassner. Jena: Diederich,
1906.
---
PlalOns Phaidros.
Trans.
(German)
Rudolf
Kassner.
Jena:
Diederich, 1910.
---
Prolagoras/Theaitetos. Trans.
(German) Kar Preisen danz. Jena: Died-
erich,191O.
Staat. Trans.
(German) Karl Preisendanz. Jena: Diederich, 1909.
Schopenhauer, Arthur.
Smtliche Werke,
6v01s. Leipzig: Reclam [1891]_
Annotated
1,'lith
additional notes laid
in
-
Parerga
u
Paraiipomena: Kleine Philosophische Schriften, VoL 11 Leipzig:
Redam,
[1891].
Annotated
heavily.