simms - who first composed twelve-tone music, schoenberg or hauer? november1987.pdf

108

Josej Matthias Hauer. Lithograph by Carry Hauser, 1922.

109

or

SR Y AN R. SlMMS

of course, upon one's definition of UV~1l1Ull~ in which all twelve classes are con-

and recirculated were written Hauer U'~6"1111U6 in 1919 and Schoenberg from about 1920, perimented with twelve-note thematic materials pieces. These Hauer and ,",,,HU,,UU,,' dissimilar in

in twelve-tone music became a matter of the utmost concern w both men. For Hauer it was a preoccupation that led him to his signature with a rubber stamp that "The and

many still the sole expert and tone music."

For Schoenberg the question was scarcely less His especially those that he did not intend for ences to his in twelve-tone composition. In an article on Hanns Eisler in the Musikbltter des Anbruch H. H. Stuckenschmidt wrote, "Arnold Schoenberg and so me of his students discovered the twelve-tone system, the last refuge of atonality, after Josef Mat-thias Hauer." Beneath this sentence, Schoenberg noted in the "be-

Josef Matthias Hauer!!" In an essay on Hauer appearing in the same during the same year, Stuckenschmidt "At the end of atonal] development stands the discovery, a very fateful one, of

a means of bringing form into the anarchie experiments of atonal " To this Schoenberg "which he [Hauer] made some

months after I did. We agreed that this was the case when we discussed it in 1924."

In order to c1arify the question of priority and influence, it will be useful to review the relationship of Schoenberg and Hauer, especially in light of hitherto unpublished correspondence and notes, as weIl as to compare their music composed just prior to and in the early stages of development of their twelve-tone methods.

I L

110 BRYANR.S1MMS

The first contact between Hauer and occurred in 1913, when then a school teacher in Wiener Schoenberg in Berlin. this letter is veals that Hauer wished to travel to Berlin to consult recent work. I Hauer probably intended to show ",-HV;'HU'-"

later published as Nomos for piano, op. It was indeed hirn to seek the advice and guidance of Schoenberg, because this was written in the new atonal with wh ich c'LllUCll!JCI associated. Prior to 1912 Hauer had ,"V.1lHJVc';,U manneT, but, following his musical an atonal and

dissonant language. Schoenberg's reply must have been to the young com-

poser. He responded that Hauer should first consult one of his Viennese students-he mentions Webern, Berg, and Karl Linke-since he was him-self "far too much at sea regarding all artistic matters, technical ones, to give you any hope of obtaining a valuable

Hauer moved permanently to Vienna in 1915, in order IO his family doser to his wartime Iocation. The war years necessitated a tem-porary break in his work as a composer, but witnessed an increased attention to theoretical issues. These were at first guided his the

Ferdinand Ebner, and inspired his reading of Goethe's Zur Farbenlehre and of the culture of ancient Greece.

His first published theoretical in which he relied upon Ebner's ideas, was ber die Here he theorized that musical perception at its highest level is a and

which is identical to the ideal

colors. The interval of the octave corresponds to white and all smaller intervals to colored refractions of light.. J ust as spectral colors can be arranged around a cirde, so too can the twelve tones of music be as a circle of fifths. Keys thus have color counterparts as weIl as ethic ef-fects latter suggested to Hauer by his of Greek G

the note for example, is analogous to and heaviness; F major (green) suggests pastorallife. The key of F# major, antithetical satanic, and impure.

In practical terms, Hauer's theories had little effect on his other than to convince hirn that keyboard instruments and temperament, were superior in the expression of the pure and music that he envisioned. Orchestral instruments, he tended toward untempered intervals and thus produced a "noise" that was dis-ruptive of spiritual hearing. About 1915 or Hauer returned to his

WHO FIRST COMPOSED TWELVE-TONE MUSIC? 111

"H1JWJH'.'-''', opp. 1,2, and 5, and revised them as "'lorks. was retitled to suggest a con-

of colors in the biblical Book of Revela-were both retitled

interes! in ancient Greek music. Hauer's wish to establish contact with U'-.UV'-'H'U'-" was

1917, when he visited Schoenberg three dmes in PTTPU"O"P for advice ab out his music. Hauer's visits coincided with

a of considerable stress for who was then bese! financial difficulties and faced wirh the prospect of renewed service. He was in no mood to be with the younger composer, and

Hauer recorded some of '-",""UV'''-WJCl in a letter to Ebner dated tional" element of Hauer's ternary forms and to the traditional harmonie

chromatic lines. He criticized Hauer's ","",H'''",e,') excessive use of fermatas. In the

no ted that "the ideas are without and you can call them ideas at

and

the "tradi-

of anti-semitic remarks-directed toward

Hauer's music that was ,"V.UiI-JUO,CU novative structural ideas or told it showed talent and had passages of All of Hauer's

his op. 18 'Nere wriUen or revised as music for har-or one or more voices. are all short character

or collections of miniatures. op. I-one of the which for Schoenberg in their meetings of 1917-is

music from this early The work was written for large orchestra in 1912 and called a in seven ; it was revised for and

and it was in 1918 or 1919. 1) is abrief character Traditional

does not a there is upon the dass B at the condusion and a cadential progression of loc~l significance in measures 6-7. Hauer' s harmonic is as he touches upon a of chords and collections that were much in currency at the time the work was written. The left hand in the opening measures presents a succession of inversions of fourth measure 9 in the fight hand is a statement of the Petrushka chord (a conflation of

triads on Band which is a subset of the octatonic collection. The remainder of the middle section works out several octatonic sets.

diegoalonsotomasHighlight

112 BRYAN R. SIMMS

Example 1 * 9

:::::--, I

f1 .1.1 '1.~J '1 espresso I .-"i~ IIV~ ~ f!';,~cel. '-'- rit. 1 1'; I'

.,;:;;;" ~ f:::~:::: \!/ p,----".a.....:: _u __

-f !

* In an musical examples, accidentals pertain solely to the notes to which they are attached.

WHO FIRST COMPOSED TWELVE-TONE MUSIC" 113

In other movements of Hauer shows a for whole-tone lines and and the diminished and half-diminished seventh chords which were then of the harmonic idiom. A small form is created in the sixth movement, as the music returns in measure 11, to a cadence on a B-

the composer avails himself of al1 chromatic uct'''YC~, the music is in no sense "twelve tone."

music com-in its use of familiar chords and

was thus ac-curate when he told Hauer after his music that it was "incorrect" for both composers that Hauer should be considered a student of

After their Hl'~""I.H'5 self an opponent of In 1918 he Hanslick to lecture at the Viennese "Institut fr occasion he belittled aspects of audience to die

to declare him-

music was directed toward rhe senses rather than toward the intellect. A letter to Hermann Bahr ll, 1918) 1S

cannot separate himself from sensual orchestral effects. He sinks ever deeper into this quicksand. His are truly and all the trash thai follows it oozes rotten, . Schoenberg

up his orches-with its resomees cease to exist as a

composer, beeause he is unmusical. 5

What was the source of this exaggerated response to ~""HV""HU'" no doubt fueled Hauer's anti-semitism and his manie He reacted to other in an distorted manner. In 1918, for example, he set to music selections from Kar! Kraus's

which were to the writer. VI/hen no response was forth-Kraus

hatreds could turn to one of the But Hauer's

as soon occurred with

.... 0""'""""6 in 1918 Hauer's music and theories began to reach a larger With money that he received from a he

lished several musical works and his essay His ideas about color attracted the attention of the

114 ER Y AN R. SIMMS

and Elsa Bienenfeld. He made the acquaintance of Adolf troduced hirn to Dr. Eugenie Schwarzwald and Peter r>.ll.CHUCl was previously acquainted with two musicians in u,",UV"~H'J,",' Rudolf Reti and Egon Wellesz. At Loos's the public rehearsals of Schoenberg's Chamber 1918. Thanks to these personal contacts, Hauer proached Schoenberg's musical milieu.

ap-

Hauer's music was repeatedly heard in 1919 and 1920 in concerts of Schoenberg's Verein fr musikalische Privatauffhrungen. The first per-formance took place on February 2, 1919, when Reti Hauer's Nomos, op. I, and Nomos, op. 2. Anton Webern coached rehearsals of these pieces, giving Hauer the opportunity to meet another central in Schoenberg's circle. Hauer described the rehearsals in a letter to Ebner of January 17, 1919:

Yesterday afternoon, [Reti] had to for Webern, and I was there. was royally pleased that Webern criticized hirn precisely as I had earlier done .... At the conelusion he wanted to make aremark the rehearsal was not superfluous), but Webern bristled at the word "superfluous" and cut hirn off straightaway. On this occasion and also earlier (I played for Webern a few days before in his res iden ce in Mdling), I have come to know Webern better. He is a good musician ... but, in artistic and inteHectual maUers, he is terminally Schoenberged (verschnbergt) . ... Reti must now be glad that he is playing my material, because there are lots of good pianists among Schoen-berg's people, and several of them (e.g., like Webern) are discovering my music. Geyerin is quite "enraptured" by my Hlderlin songs .... Schoenberg is very friendly toward me. He is always asking me how things are going. 6

despite the performances the Verein, the first cant attention which Hauer's music had received, his relations with Schoenberg's circle were still far from smooth. In a performance Eduard Steuermann in the Verein of Hauer's Seven Little Pieces, op. 3, and Dance, op. the composer was so distraught by a single wrong note that he, his and Ebner promptly walked out of the concert. 7 But although Hauer's resentment and misgivings about Schoenberg the stage was set for a detente between the two.

Before Hauer renewed his acquaintance with Schoenberg, he entered a new phase in his career as a composer. This was the result of his discovery of what he termed the "twelve-tone law" or with building blocks of all twelve not es of the circle fifths]." He recounts the stages leading to this discovery in the artic!e "Die Tropen" bltter des Anbruch, 1924):

In August 1919 I had the idea of studying my much maligned to see if I could not find in them an outwardly perceptible "practical" law. Un-

WHO FIRST COMPOSED TWELVE-TONE [VIUSIC? 115

then I had worked largely from instinct, without the s!ightest external without cognizance, and

therefore the and with slow-ness and much hesitation .... Even earlier it had occurred to me that I dealt extensively with very short phrases "cadences") and linked them togerher, thus building up forms by simple abbreviation, and exten-sion. It remained for me only to study closely these formal elements, these single "building blocks." ... After long indecision, I finally came upon the

counted the different tones of blocks, and discovered that thefe were always more than the seven notes of major or minor keys, usually nine, ten, eleven, or all twelve notes of the elosed [i.e., cir-cle of fifths or fourths, but among which there was no of modulation.

did the same to music by Schoenberg and Webern and found my discovery confirmed there wo. All that was then needed was the fortitude to make the

deduction from these data .... I very that build-twe!ve notes circle are the real structural elements, the

ones that are musically the most fertile [pp. 18-20]. The notion of the ' i5 fundamental to

Hauer's music and to his theories of musical structure. states in this essay, a block is a musical measures in and an entire ,",VH'!JV,""VH units. Blocks may be either intact or with

aU"j..!U;OHl'UH or change of register, but In,..,rrlPrH of common motives. The image of the

to Hauer's aesthetic which

of musical ideas.

block is ap-and.

to compo-

Hauer announced his new of in several books and articles that began to appear in 1920. As stated in Vom Wesen des A1usikalischen the earliest of these the twelve-tone law rests upon the avoidance of tonic stress on any note, a condition which i5 continual melodie recirculation of all twelve

classes. In atonal melody, the sensual, as weIl as the trivial and sen-timental are, so far as possible, exeluded. Irs "law," its "nomos," is that, within a given succession of tones, no note may be and none may be omit-ted. The primallaw of [atonal] "melody," in general, is that no note receives physical stress or a dominating role as a fundamental [po 53]. Hauer's first systematic blocks was

in his Nomos for piano, op. in 1919. In this as in most pieces which he LVUllJVO,LU until about 1922, the



116 BRYAN R. SIMMS

non-rigorous. His music from this period begins with a succes-sion of several building blocks in each of which the twelve tones occm linearly. These works then evo!ve into more elaborate textmes, often smaller numbers of tones. Few of Hauer's pieces composed to 1922 are continuously dodecaphonic.

An example is the "Prludium fr Celesta," composed in ~e:pte:mIJeI 1921 and published shortly thereafter in the journal_Melos. This brief work exemplifies Hauer's severe objectivity and primitivization of texture, so clearly at odds with late romantic grandiloquence, but aH the more attuned to the classicizing direction of European music in the 1920s. The VVCHJH.>; six measures are shown in Example 2a. This passage contains three suc-cessive blocks, each of twelve tones. The order in which notes appear in the different blocks is not related by systematic transformations such as inversion, retrograde arrangement, or transposition.

Example 2a

~bAAb. ~~b*fuK~&z~

The final four blocks, shown in Example 2b, contain ten not es each. Hauer's music from 1919 to 1922 thus represents a transitional stage to a more continuous and rigorous dodecaphonic practice, which was in-augurated when he developed the "trope" as a aid.

WHO FIRST COMPOSED TWELVE-TONE MUSIC' 117

Example 2b

.0

(;JT"'. I 'U !1!..J {L.J ""0-lt v1JlQ '"",

'" t!~ b't" ,,.... 5" .;s.

as stated article tropes are defined as referential sets of

six pitch classes. These were usable ihe composer in different different and different

that each melodic statement of a trope was hexachord with which it had no in common. tary tropes would thus create a twelve-tone block and the twelve-tone law. According to this early there are a total of tropes, that eighty unordered sets of six classes that are not lent transposition. Hauer writes:

Wirhin a statement of the twelve tones, no note may be repeated and none omitted .... Like tones must be separated from one another as far as possi-bIe: this is done by dividing them into two groups, each of six tones. There are eighty possible groups .... A good atonal is thus built upon tropes [p.132].

1924 Hauer changed his conception such that a trope was defined as a pair of complementary hexachords. Considered as rarher than as single sets, the number of tropes is reduced to These wefe first listed in the article "Die in which Hauer describes their musical function:

Ey Christmas 1921 I was sufficiently advanced to be able to survey all twelve-tone lines and to categorize them inro larger and smaller classes.




118 BRYANR.SIMMS

I discovered the "tropes," which then came into in lieu of earlier tonah-ties. From the very beginning of my work with tropes in mind, the mle presented itself: separate as far as possible from one another like tones in order to engender the greatest tension, the strongest "movement," within the melos. I accomplished this by using a constantly changing "constellation" of six notes, two of which groups would contain all of the twelve tones [po 20]. Hauer's Etden fr eomposed in 1922 and

published eolleetion of works that and revea! the tweive-tone law and the applieation of tropes. These studies were dedieated to Sehoenberg upon their publieation in 1925 Of 1926, no eopy of them is found in Sehoenberg's library. Their eomrlOSlWJl deviees are highly diverse, but Hauer is consistent in in eaeh study a succession of building blocks that contain all twelve tones. 8

The fourth study is typical. Measure I (Example contains the first building block. Its ascending line states trope 31, which in its referential form has the content A A~ C Db EH / B D Eb F G G~. In its ini-tial eompositional presentation, the hexachords of the trope are reversed in order, transposed up a semitone, and their notes in sucees-sion. The accompanying chord in the left hand eontains notes extracted from the li ne above, doubling them at the oetave. The music of measure I is then repeated two octaves higher in measure 2. The parallel descend-ing line in measures 3 and 4 is made from trope 12, and, in measures 6 and 7, the line in measures 1-2 is repeated a whole step higher. this

Hauer often repeats blocks sequentially at various levels of trans-position. There is no application of intervallie inversion (as in

other than in sequential repetitions, the reordered.

texture is in measures 4l-48 wh ich the composer termed "das Liegenlassen der

Melodietne. " In the first four measures of this example, aversion of trope 18 is distributing its notes successively into three phonic lines. This building block is repeated a step lower in 45-48. The end of the 149-58) is shown in Example 3c. A statement of trope II oecurs in the first two measures, in which a homophonic texture is ereated by presenting simultaneously selected tones from each trope half in the fight hand line and accompanimental chords. This block is then repeated a sixth higher in the following two measures. of all of these studies, this piece ends on a triad, here constructed from three notes from the final trope half.

During the period when he was refining his own twelve-tone H"_LUV," Schoenberg was unquestionably aware of Hauer's construetive and of some of his reeent music. He was probably present at the coneen

WHO F!RST COMPOSED TWELVE-TONE MUS!C? 119

r,XIJrr!fJiI-" 3a

8 _________ . ____ . _______________ . ______________ _

~~ 1. , :

3b

3e

,~ 17\ ~r.-.

! 17\ ~ ,17\ \;.I \;.I

"'" = '"



120 BRY AN R. SIMMS

of the Verein on 28, 1920, when Hauer his 19 (altheughmsic for ihis work is notfound in Scnoenberg's Schoenberg's legacy contains heavily annotated copies of Vom Wesen des lv!usikalischen and "Sphrenmusik" and the "Prludium fr Celesta" mentioned above. Dates assigned to his marginal notes suggest that he studied Vom Wesen in the summer of 1921 and "Sphrenmusik" and the "Prludium" in the summer of 1922. His copy of this music contains ana-lytic marks that divide the work into its component building blocks. Since the end of the piece is made from blocks of less than twelve tones, Schoen-berg noted ironically in the margin: "this is not built from ' so it is not a good atonal composition" (see the above from Hauer's essay "Sphrenmusik'

Even prior to 1921-22, Schoenberg had formulated the general outline of his method. In severa! works from his atonal period 1908 to 1921), there exist passages in which all twelve tones are grouped together. Example 4 shows measures 13-15 of the orchestral song "Seraphita," op. 22, no. 1 Here six note chords in the violins are juxtaposed with lines in the celli or clarinets that contain the other six notes. The twelve-tone aggregates that result are shown in the ",,-uU'f."" within boxes.

Example 4

~ [ ,_-----4.1

mDpf .f

-----.

i ::rL-======~ i$,L !

In March 1920, Schoenberg sketched the beginning of a ' for Orchestra" whose lines collectively present a twelve-tone row. significant that the two hexachords of this se ries are pitch content to the hexachords from "Seraphita" shown in ,-,A.(;W1Vj,,, measures 14-15. These hexachordal sets, which are all by trans-posltlOn dass 6-20), are symmetrie and have many special intervallic properties. They were further refined as components of twelve-tone rows later in Schoenberg's in the Suite, op. 29, the Ode to Buonaparte, op. and the Moderner Psalm, op. 50c.

V/HO FIRST COMPOSED TWELVETONE MUSIC? 121

"V.CH;''''''_'''" twelve-tone work. In this a row line in the opening three measures. The series then structures of Its recurrences are varied and arrangement. There is a consis-

tent division of the row into three four-note groups, the order of of these tetrachords is the order of not es within the tetrachords is fixed.

the month to this read Hauer's Vom Wesen des Musikalischen. At this time he ,,'las \-Ulll,Jll-C-

the revised version of his and his interest in recent theoretical and

or a

adds in the mar-stated in my Harmonielehre of 1911. See the first

lines 10/ 1."

a

a kind of fundamental tone , which it should not be." Schoenberg that Hauer's twelve-tone law was by his

own doctrines. In a marginal note in his of the first edition of the Schoenberg elaborated upon this

loser Hauer (Vom Wesen des Musikalischen, p. 53) has also subscribed to this idea of late. Otherwise, he wishes w know about me \vhich, however, his compositions are evidence), while he almost literally quotes my idea

Grundton). This honors me all the more, since his concurrence appears only now, long after he had read my book, so ,hat he wiote this sen-tence feeling that it was his own. Hefe, as in many other situations, he does not mention my name. 21 lune 1921.'0

Schoenberg returned to Hauer's ideas in the summer of 922, a rela-fallow but a time of further refinement in

his twelve-tone method. In he read Hauer's article " which had appeared in Melos. In this essay, Hauer reiter-

ates his twelve-tone law and broaches the notion of the trope as a means to the He ends the article with a dismissal of composers of "genius," who try 10 follow laws of their own making_ "Common like Hauer must



122 BRYAN R. SIMMS

shoulder the responsibility of conforming to eternal musicaliaws. Schoenberg's curiosity about Hauer's music is now plainly

as he copiously annotates the article and seeks out an of Hauer's music (the "Prludium fr Celesta") in order 10 examine its ma-terials. Into his copy of Hauer's essay, Schoenberg tipped a draft of a letter to Hauer that shows his awareness of the similarities of their two methods. The complete text of this letter follows:

From your article "Music of the Spheres" in Melos, as weH as from a few of your other publications that are known to me, I gather that you have ("jp'.rp"~n~'r1 a theory whose putative laws I sought to clarify first in 1910 in my harmony book and whose further development over the 12 years since that time I have substantially pursued. In particular, it appears that what first stated in the har-mony book you have taken as a basis, even using my words: that the of single tones (in dose succession) is forbidden, since this would create the danger of these notes being brought into prominence and functioning as fundamentals.

As you can imagine, I have not been asleep these 12 years. I have been con-cerned with the further elaboration of these ideas. Unfortunately, I am not so far advanced that I can make the fmits of my inquiries public. On the contrary, there will still be some time before I can write my "Lehre vom musikalischen Zusammenhang" ['Theory of Musical Coherence'] in which the fundamentals of "Composition with Twelve Tones" will be expounded.

Where my inquiry has led me and where it stands at the present 1 communi-cated to my students in a few lectures given several months ago. Even if the results of more than 10 years of thinking and investigating may have led to a perhaps paltry outcome in theoretical terms, it has not been so in practical ones, since I have succeeded in applying to twelve-tone composition the logic wh ich formerly mied in music.

I am greatly interested that you, in different ways from me, are concerned more with the cosmic relations of a new art. This is a direction in thought toward which I (as the astrologers fear, which was unknown to me until now) am sympathetically inclined. Accordingly, a short time aga in the new edition of my harmony book (I will have a copy sent to you), I praised your strivings in the warmes! way and expressed my disagreements in a moderate tone, which was intended only to redouble the praise which 1 enunciated.

You will wonder why I am writing this. Here is the reason: It appears dear to me-as also to several others-that the last two sentences of your article "Music of the Spheres" refer to some particular person. It wou!d be very kind of you if you could let me know: 1) if I am wrong in this, and also 2) to whom you refer. I await a friendly reply, and send my kindest regards.

Arnold Schoenberg. Traunkirchen. 25 July 1922. Not sent, because the resuit would no doubt be some offensive

from MT. Hauer. Or, at best, nothing would come of it, nothing reasonable.' ,

WHO FIRST COMPOSED TWELVE-TONE MUSIC' 123

the most bit of information which .OLilLICLiUC.l out in this unsent letter is that several months before 1922 he had met with students to reveal his twelve-tone method as it existed at that time. It has that met with students for this purpose in

Who were the students who received this Webern was almost among them. Webern had traveled that summer to Traunkirchen

to be near and he was in contact wilh his mentor almost 26, 1922, he sketched ideas for the song "Mein " later inc!uded as the fourth number of his op. 15.

124 BRYAN R. SIMMS

4) "Repeated." The repetition of a tone can occur at latest as the twelfth tone. H this is required of all the notes in use, then each one will occur every tvvelfth note and the same series will be rendered over and over. Ir only one or two not es are shifted in position, there will obviously be a recurrence of other notes sig-nificantly earlier. So the law 5) "!ike tones must ... be separated" is practicable only in the sense of "as far as possible." Really, it is not practicable at all. And this is the case in purely monophonie eomposition! 6) "By dividing them into two groups." (I have done this too, bejore Hauer, in Jakobsleiter. Granted, I was inspired by Scriabin's procedure as described in Der blaue Reiter!) 7) The idea of tropes is not bad, even if entirely arbitrary. Ir is certainly not impractical to proceed in this way, and such hexachords have been used for similar purposes. The main advantage is that the smallest distance within a line between [recurrences] of the same note is six. This is not much and not very cosmic, instead, purely human. In this sense it can't be faulted. But my experiments are better and more musical. J 5

In this commentary, Schoenberg touches upon a major difference be-tween his twelve-tone method and Hauer's. For Hauer, twelve-tone music consisted primarily in a succession of structurally and motivically ..... ~,..~ .. dent melodie phrases, each of which contained twelve different classes. The harmonies which accompanied these lines did not ill::;'vC;~"al pertain to the twelve-tone law, which, as Hauer repeatedly was solelya shaping force of the "melos." For Schoenberg, on the contrary, the method was a unifying device which contributed to intervallic related-ness within both horizontal and vertical dimensions. He elaborated upon the integrative power of his method in "Twelve-Tone -(1923): "The weightiest assumption behind twelve-tone composition is this thesis: Whatever sounds together (harmonies, chords, the result of part-writing) its part in expression and in presentation of the musical idea in just the same way as does all that sounds successively phrase, sentence, melody, and it is equally subject to the law of com-prehensibility."! 6

In his commentary to "Sphrenmusik," Schoenberg also makes the striking remark that he had used a compositional device similar to Hauer's tropes in his Die Jakobsleiter and that he was inspired to do so by Scria-bin's procedures as described in the almanach Der blaue Reiter. Since it is very unusual for Schoenberg to admit influence from any of his contem-poraries, this remark may weH have co me during an unguarded momenL

The article to which he referred is "Prometheus von Skrjabin" Leonid Sabaneyev. The author (an acquaintance of the Russian "VJ'H\..IU~C;i first summarizes Scriabin's theories of musical color and his

WHO FIRST COMPOSED TWELVE-TONE MLJSIC? 125

aesthetic. He then traces Scriabin's harmonie practice, was at first intuitive and in Prometheus

This practice is based on a ' or ' six tones, which is said to mise from the overtone series in scalar fashion

, C D E H A B~), but which is then as a and augmented fourths (e.g., C F# Br E

Sabaneyev underEe all melodie and lines. "This harmony," he states, "contains in itself a sig-

greater element of than the customary which is a componem of this ... Due to its large number of tones,

the composer is almost able to avoid passing notes and chang-

concludes Prometheus with harmonie

to it. All melodie parts are built upon the tones are submitted to this

themes from chord is present

in the vertical dimension varied

content of the basic hexachord or its OI subsets. ,..,.,nor'Acc>rJ most of the music of Die Jakobsleiter 917

to which a small amount was added in 1922. The oratorio was later cited the composer as a step in his transition toward twelve-tone

In " he writes: In 1915 had sketched a the theme of the Scherzo of which acciden-tally consisted of twelve IOnes. Only two years later a furrher step in this direc-tion was taken. I had to build an the main themes of my unfinished oratorio, Die Jakobsleiter, out of the six tones of this row: C~ D E F G Ab. 1S What did Schoenberg's procedure owe to Scriabin? the basic

hexachords used by the two composers are not very similar. Scriabin's chord-a pervasive feature of structures in his later music-is related to the whole-tone scale, since one of its deviates

from a whole-tone arrangemenL Schoenberg's basic hexachord in Die on the other is a subset of the octatonic

ing of alternating half and whole steps. Schoenberg's Jakobsleiter is related to Sabaneyev's description of in the way that their respective hexachords are used. In both single set of pitch classes underlies many of the lines and chords of an en-tire and integrates these two dimensions. The hexachords thus contribute to the fulfillment of Schoenberg's basic requirement of musical coherence.




l

126 BRYAN R. SIMMS

Schoenberg reiterated his disagreements with Hauer in aseries of notes written in the spring and fall of 1923. 19 In a copy of Die Musik contain-ing Hauer's essay "Atonale Musik" 1923), noted in the margins that his Symphony of 1915 is the prototype of Hauer's twelve-tone law. He returns to his contention that a viable twelve-tone technique must aim toward the integration of vertical and horizontal dimensions. Hauer wrote in his article, accustomed to listen fr the Schoenberg added in the margin:

!! Yes, if one considers the second dimension of musical sound solely as a sup-plement to melody. In art, however, it is an [esssential] component of the space in which occurs the representation of the idea. '0

Hauer's Hlderlin song "Vor seine " op. 23, no. 1, was as a supplement to this issue of Die as he had done in the "Prludium fr Celesta," Schoenberg entered a cursory in which twelve-tone blocks are marked off and their recurrences noted. Schoen-berg added this commentary:

From this analysis, which I made in a few minutes straight from the page, one can see that Hauer's technique is not new to me! I can only say that mine is more artistic! I have only one question: is the voice a tonal instrument (proper for yodeling or piping) or is it an atonal one?'1 At the same time as he made light of Hauer's theories, was

sympathetic toward his impecunious situation during the inflation of the early 19205. In 1923, Schoenberg wrote severalletters recommend-ing Hauer fr aid a relief fund for German and Austrian musi-cians sponsored the American Society of Friends. In received Kronen, incredibly, an amount obtained in for $5.00. On November 29, 1923, Hauer wrote to Schoenberg to thank hirn for this assistance and to express condolence over the re cent death of Schoenberg's Mathilde. This began an exchange of between the two which continued until Schoenberg's m 1925.

Hauer's letter of November 29 was decidedly humble in tone. "In times such as these," he wrote, ' are a great example for me, since your life has not been a bed of roses, instead, covered with thorns." Hauer then proposed a collabration in the form of a school for atonal music:

I now have in al! seriousness the intention of being in the future your true help-mate, should you offer me the chance of being so. From early on I have been a good school teacher, and I can imagine nothing lovelier than to instruct and to teach under your guidance and thus to earn my daily bread. It is cer-

WHO FlRST COMPOSED TWELVE-TONE MUSIC? 127

tain that we mutually complemem one another. I can teach the pure atonal, melic piano This would be the level. Y ou, Mr. Schoenberg, could build on this in the advanced level, through which I too would receive of different kinds. Webern and Berg could also teach in the advanced level in case you should only wish to take over the administration. 22

in a letter dated December I, 1923. 23 He had a collaboration with Hauer on a book deal-

he wrote, but Hauer's idea of a school might be even better. Hauer answered on December 6, agreeing that had in-deed both discovered the same principle, from different He relished the prospect of their collaboration:

Schoenberg and I, we shall make soup from water by with the ordinary twe!ve tones of our European temperament, and we shall use al! twelve. This much is from our compositions (even the early ones), although we then sometimes used only 8, 9, 10, or 11 tones. At that time we were not aware of, we did not "hear," the twelve-tone law. I orient exclusively tO'ward

instruments and well-tempered human voiees and avoid ',Nhere pos-sible all that is dramatic or element al. Schoenbergdares to use the orchestra, the strongly the "problematic," wh ich gladlyavoid,"

Schoenberg returned Hauer's letter the next 25 While he mUSI not have been pleased vifith Hauer's of his music as soup made from water, he agreed to meet personally with Hauer on December 10 for further discussions. Little is known of what at this Bi';;CI.iU!=;

it is that the two composers continued to seek a common for their music.

Almost Schoenberg of his method was to integrate the vertical and horizontal dimensions of a work in the presentation of musical ideas. Hauer that his method also had this capability. This issue can be deduced from a type-

of a lecture on "Atonal Music" that Hauer had delivered in Novem-ber 1923 and sent to Schoenberg after their meeting. In a handwritten addendum, Hauer tries to show that in his method lines and chords can also be unified:

Essentially, things would not be changed at all if one stacked several twelve-tone lines under one another verticaHy, according to this plan: 1 2 3 4 5 6 7 8 9 10 11 12 4 5 6 7 8 9 10 11 12 1 2 3 7 8 9 10 11 12 1 2 3 4 5 6 10 11 12 2 3 4 5 6 7 8 9


128 BRYAN R. S1MMS

There are stillfour building blocks in successionl [Example 5] Each of the four voices is also a horizontal building block, while each measure contains all twelve tones vertically. The whole can, of course, be more complicated.2(,

Example 5

1

6 #;t!t> #l~~it Other recollections of the meeting of December 10 are recorded

Hauer in his article "Melische Tonkunst" (Der 1925). Schoen-berg, he wrote, takes his departure in twelve-tone from vertical or harmonic considerations, as he finds them in the Prelude to Wagner's Die Meistersinger. His on the contrary, begins with the linear, monophonic melos, from which a1l other formal ele:m,:;nts. including rhythm, harmony, and counterpoint, are later derived.

On December 14, 1923, Hauer again wrote to Schoenberg to express satisfaction with their "compromise" (Ausgleich). He also proposes a concert of their music, to be sponsored by the Gesellschaft zur moderner Kunst in and he urges Schoenberg to have his new W ood-wind Quintet premiered at this event. Schoenberg answered on 14, 1924. He could not agree to a concert, he wrote, because he had long re-jected open concerts and publications of his music in Vienna. He also in-formed Hauer that he was unsuccessful in helping hirn to find opportunities for publications and lectures.

In a letter dated January 1924, Hauer pleaded for Schoen-berg to reconsider and to resurne a more public role in the of new music in Vienna. Schoenberg also received letters from Hauer dated January 18 and 21, which contain further clarifications of Hauer's theories and renewed pleas for contact with Schoenberg. In the letter of January 21, Hauer declared that he wished to renounce the ' wastelands" of pure atonal composition for the "friendly green of orchestral music. He asked Schoenberg to recommend a student who could assist hirn in revising his piano works for instrumental ensembles. Indeed, Hauer returned to orchestral and chamber media in his compo-sitions shortly after this time. -

It is not known if Schoenberg responded to these letters, but, their cordial relations during this period, it is that Schoenberg and Hauer were again in personal contact in 1924. Schoenberg, and Hauer were then in Donaueschingen for concerts devoted to twelve-tone music. Webern's Trakl songs, op. and Bagatelles for string quartet, op. 9, were heard as were Hauer's First String Quartet, op. and a group

WHO FIRST COMPOSED TWELVE-TONE MUSIC? 129

of Hlderlin songs. Serenade, op. 24, received its first in the course of the same concerts.

After the the two composers were less often in touch. Schoen-wrote to Hauer on 5, 1925, expressing regret that he had not

heard from Hauer Schoenberg reported his enthusiasm for a book Studien ber die Symmetrie im Bau der und die motivische der Prluden und Fugen des

Klaviers von J. S. Bach 922). "I believe that we are on the same mean you, he, and 1." Werker's book

traces motivic connections within the and fugue in Bach's and its author also delves into number

that he finds in these pieces. "I have also made wrote to Hauer. ' for CA,tULl;Jl'C;,

in the measures constitute the and the entire movement is 77 measures thai 11 .... Perhaps you will have time to but

so that I can be because I am very hard. Personal contact between Schoenberg and Hauer came to an end

December 1925 or 1926. Universal Edition had Hauer's treatise Vom Melos zur Pauke: Eine

and Hauer forwarded a copy to Schoenberg, to whom the work is dedicated. Schoenberg responded with a " as Hauer noted

to Schoenberg dated December 16. Schoenberg had one final meeting before his removal to and Hauer sug-

gested that meet at his house in the Josefstdterstrasse and then by students, at a nearby inn. "We can drink

health and complete recovery this not be the right thing for lives so unable to be available until 6 and since on it is uncertain whether this finallllt;cLJ.ll"'-There is no evidence of correspondence or other the two figures after 1926.

In later years, Hauer back into his earlier feelings toward Schoenberg. To Paul Pisk he wrote on H, 1935, fiftieth birth-

was ignored my colleagues, all of including Schoenberg, are my "28 Before a performance of Schoenberg's Third String Quar-tet in 1939, he said to Alois "Yes, let me say ihis to you: there is not a single correct note in it. It's all wrong! All wrong! And I'll prove it to yoU!"29

Who first '-V1U,JV1,CU. twelve-tone music? The UC:>C1UH defies a simple



130 BRYAN R. SIMMS

answer not only because the dodecaphonic idea was embodied in differ-ent ways in the works of Hauer and Schoenberg, but also because it was the outcome of a gradual historical evolution. The careers of these two figures, all the same, were significantly intertwined. Hauer Schoenberg to make public his compositional method, wh ich contributed to its spread beyond his immediate circle. Hauer found in a focal point-alternately an object of love and hatred-which oriented his own work and inspired his pursuit of the idea which his music.

The concern of these two composers with questions of historical "',-."w,,,,, is understandable given the relative lack of public attention to their music. Priority, after all, confers a prestige that outlives the critics' barbs. And so Hauer and Schoenberg vied for future esteem beyond the me re recog-nition of contemporaries. In a letter 10 his grea1 riyal, Hauer to this more enduring objective:

People someday ... shall fail to comprehend how Schoenberg and Hauer could have opposed one another. We both know now that we cannot add or subtract a thing from the other and that we both must wait-with patience, persistence, and great self-control-until ... our destiny has been settled. 3o !I

Notes

1. Schoenberg's letter to Hauer, dated "Berlin-Sdende 23/6. 1913," is reprinted in facsi-mile in Walter Szmolyan, fosef Matthias Hauer, sterreichische Komponisten des XX. Jahrhunderts, vol. 6 (Vienna: Verlag Elisabeth Lafite, 1965), pp. 41-42. 2. The letter is reprinted in Alois Melichar, Musik in der Zwangsjacke (Vienna and SWtt-gart: Eduard Wancura Verlag, 1958), pp. 276-80. Melichar does not give the name of the ad-dressee, but it is clear that it was sent to Ebner. See Ebner's Schriften, ed. Franz Seyr (Munieh: Ksel-Verlag, 1965), m:168. 3. Melichar, Musik in der Zwangsjacke, p. 276. 4. See letter no. 346 from Hauer to an unnamed correspondent in Amold Schn berg: Gedenkausstellung 1974, ed. Ernst Hilmar (Vienna: Universal Edition, 1974), p. 295. 5. The letter is published in Rudolf Haase, "Hermann Bahr und das harmonikale Denken," sterreich ische Musikzeitschrift, 31 (1976), 162. 6. Ebner, Schriften, 1!!:238-39. 7. Ebner, Schriften, 1l:1070. 8. A detailed account of Hauer's compositional procedures is given by Johann Sengst-schmid in Zwischen Trope und Zwlftonspiel, Forschungsbeitrge zur Musikwissenschaft, vol. 28 (Regensburg: Gustav Bosse Verlag, 1980). 9. This concert was originally planned for May 14, when Schoenberg was in Amsterdam. This is the date given in Walter Szmolyan, "Die Konzerte des Wiener Schnberg-Vereins," in

WHO FiRST COVlPOSED TWEl.VE-TONE MUSIC? 131

Schnbergs Verein fr musikalische Privalauffhrungen, eds. Heinz-Klaus Metzger and Rainer Riehn, Musik-Konzepte 36 (1984). An announcement to members of the Verein stales that [he concen was postponed until May 28, after Schoenberg's return to Vienna. 10. Dieser Idee hat sich in letzter Zeit auch Joset" Hauer (Vom Wesen des \1usikalischen, Seite 53), der sonst nichts von mir 'vvissen will (\vogegen allerdings seine Kompositionen zeugen) angeschlossen, indem er sie nahezu wnlich citiert Grundton). Das ist fr mich urnso ehrender, als diese Zustimmung, wohl erst so lange nachdem er mein Buch gelesen hat, zustandekam, dass er diesen Satz im Gefhl, er sei von ihm. geschrieben hat und wie bei vielen anderen Gelegenheiten, so auch hier, meinen Namen nicht nennt. 2i.VI.1921 [Used by per-mission of Lawrence Schoenberg and the Arnold Schoenberg Institute]. I}. Aus Ihrem Aufsatz "Sphrenmusik" in Melos so\vie aus einigen mir bekannt gev/ordenen Schriften entnehme ich, dass Sie scheinbar eine Theorie \\!eiter ausgebaut haben, deren muth-massliche Gesetze ich als erster 1910 in meiner Harmonielehre anzudeuten versuchte und an deren \Veiterbildung auch ich in den seither vergangenen 12 Jahren erhebliche Fortschritte gemacht habe. Insbesondere scheint fr Sie grundlegend gev.,rorden zu sein, der von mir eben-don zuerst ausgesprochene und von Ihnen nahezu \vrtlich bernommene Satz: dass sich die \Viederholung einzelner Tne (resp. ihre nahe Aneinanderfolgung) verbietet, v/eil die Gefahr entsteht, dass das Hervorgehobene grundtonartig wirke.

\Vie Sie sich denken knnen~ habe auch ich in diesen 12 Jahren nicht geschlafen, v/ar bemht, diese Ideen v.leiter zu entwickeln. Leider bin ich nicht so\veit~ dass ich Ineine Ergebnisse bereits verffentlichen knnte; es \-vird im Gegenteil noch einige Zeit bis dahin \/ergehen, weil ich vor Allem meine "Lehre vom musikalischen Zus3lnmenhang J " schreiben \vill in der Grundstze ausgesprochen \verden auf denen auch die "Komposition rnie 12 Tnen" beruht.

\Aloher mein Weg war und wo ich gegenwrtig halte, habe ich \/Of mehreren \'lonah;D in einigen Vortrgen meinen Schlern mitgeteilt. 'Nenn auch die Ergebnisse rneines mehr als 10-jhrigen Denkens und Probierens in theoretischer Hinsicht vielleicht krglich genannt v/erden drfen, so sind sie es doch nicht in praktischer, da es Inir gelingt, die Logik, die bisher die musikalischen Kunst\lv'erke geregelt hat darzusteHen und auf die Komposition rnit 12 Tnen anzuwenden.

Es interessiert mich im hchsten Grad, dass Sie sich-auf anderen Wegen als ich-mehr darum bemhen die kosmischen Zusammenhnge einer neuen Kunst zu finden; es ist dies eine Gedankemichtung, der ich (wie die Astrologen befrchten, was mir bis jetzt unbewusst ge-blieben ist) mit meinen Sympathien zuneige. Darum auch habe ich vor Kurzem an einer pas-senden Stelle der Neubearbeitung meiner Harmonielehre (ich lasse Ihnen einen Abzug senden) Ihr Bestreben in wrmster Weise gewrdigt und meinen Vorbehalten eine massvolle Form gegeben, welche an sich das gespendeTe Lob zu vervielfachen geeignet ist.

Sie werden sich wundem, warum ich Ihnen das schreibe. Das hat folgenden Grund: in Ver-bindung mit manchem andern, \vas mir seit LangelTI bekannt worden ist, scheinen mir die beiden letzten .Abstze Ihres Aufsatzes "Sphrenmusik" auf eine bestimmte Person abzuzie-len. Es wre sehr freundlich von Ihnen, wenn Sie mir mitteilen wollten, 1) ob ich mich irre; und eventuell 2) wen Sie meinen.

!eh bin in Erwartung einer freundlichen Antwort in Hochachtung ergebenst Amold Schn-berg. Traunkirchen 25/Vlll.l922.

Nicht abgeschickt; weil wahrscheinlich das Resultat nur irgend eine beleidigende Antwort des Herrn Hauer gewesen wre, sonst aber nichts dabei herausgeschaU! htte. Wenigstens nicht [ver]stndiges [Archives of the Arnold Schoenberg Institute. Transcribed by Anita M. Luginbhl].



132 BRYAN R. SIMMS

12. See Hans Moldenhauer and Rosa!een Moldenhauer, Anton von Webern: A Chronic!e of His Life and Work (New York: A!fred A. Knopf, 1979), p. 252 and 663 (n. ]6). Schoen-berg also later recalled the date of his meeting with students as 1923. See "Schoenberg's Tone Rows," in Style and Idea, ed. Leonard Stein (Berkeley and Los Ange!es: University of Califor-nia Press, 1984), p. 213. 13. A facsimile of this sketch is found in Moldenhauer, Anion von Webern, p. 31l.

14. "Anton Webern: Klangfarbenmelodie, in Style and Idea, p. 484. 15. Das ist bloss darum (bis zu einem gewissen Grad) selbstverstndlich weil ich etwas hn-liches in meiner Harmonielehre gesagt habe, was Herr Hauer sich aber nicht gut gemerkt hat. Im Uebrigen aber ist es gar nicht so selbstverstndlich, sondern in dieser Form direkt falsch! Denn:

1) "Innerhalb 12 Tnen." Wo beginnt dieses "innerhalb"? Wird es jedesma! eigens ein-markiert? Beginnt nicht irgend ein anderes "innerhalb" frs Ohr an irgend einer anderen Stelle? Besteht keine "innerhalb-Bezeichnung" zwischen den 2-3-4 oder mehr Stimmen eines mehrstimmigen Satzes? 2) darf (siehe' 'selbstverstndlich") 3) ausgelassen wurden (siehe wiederholen) 4) Wiederholen: die Wiederholung eines Tones kann sptestens als 12. Ton erfolgen. Bean-sprucht man dieses Recht fr alle verwendeten Tne, so kommt jeder als 12. also immer die selbe Reihenfolge. Verschiebt man aber nur einen oder zwei, so erfolgt natrlich die Wiederholung anders um ein bedeutendes Frheres so dass das Gesetz 5) Gleiche Tne mssen . .. entfernt werden eigentlich nur hinsichtlich des "soweit wie mglich" erfllbar, also eigentlich unerfllbar ist. Und das im einstimmigen Salz! 6) "indem man sie in 2 Gruppen trennt" (auch das habe ich schon vor Hauer in der Jakobs-leiter getan und zw. angeregt durch Skriabins Verfahren das im "Blauen Reiter" geschil-dert war) 7) Die Idee der Tropen ist nicht bel, wenn auch durchaus willkrlich. Es ist gewiss nicht unpraktisch so vorzugehen und derartige Hexachorde hat man ja zu hnlichen Zwecken schon angewendet. Der Hauptvorteil ist, dass der geringste Abstand gleicher Tne in ein-er Stimme 6 ist. Das ist nicht viel und nicht sehr kosmisch, sondern blass menschlich, aber in diesem Sinn kann man es gelten lassen. Mein Versuch aber ist besser und musikalischer

[Archives of the Arnold Schoenberg Institute. Transcribed by Anita M. Luginbhl]. 16. Style and ldea, p. 207.

17. Der blaue Reiter, eds. Vassily Kandinsky and Franz Mare (Munieh: R. Piper, 1912), p. 61. 18. Style and Idea, p. 88.

19. Three of these are found in Slyle and Idea, pp. 209-13.

20. !! Ja wenn man die zweite Dimension des musikalischen Klanges wirklich nur als eine Beigabe zur Melodie ansieht. In der Kunst aber ist sie ein Theil des Raumes in welchem die Darstellung des Gedankens sich vollzieht [Archives of the Arnold Schoenberg Institute]. 21. Aus dieser Analyse, die ich in wenigen Minuten, sozusagen vom Blatt weg gemacht habe, kann man sehen, dass mir Hauers Technik nichts neues ist! Ich kann nur sagen, dass die meinige kunstvoller ist! Nur eine Frage: ist die Singstimme ein tonales (zum Jodeln und Dudeln bestimmtes) Instrument, oder ein atonales? [Archives of the Arnold Schoenberg Institme]. 22. Nun habe ich in allem Ernst die Absicht, Ihnen in Zukunft ein treuer Helfer zu sein, falls Sie mir Gelegenheit dazu bieten wollen. Ich bin von Haus aus ein guter Schulmeister, und

V/HO FIRST COMPOSED TWELVE-TONE MUS!C? 133

ich knnte mir nichts Schneres vorstellen, als unter Ihrer Leitung lehren, unterrichten, mir auf diese Weise das tgliche Brot verdienen zu drfen. Es ist ganz sicher, dass wir uns gegen-seitig ergnzen. !eh kann den strengen, rein atonalen melischen Satz lehren, den Klaviersatz; das wre die Unterstufe. Sie, Herr Schnberg, knnten darauf aufbauen in der Oberstufe, durch die ich wieder Anregungen mannigfacher An empfangen wrde. Auch Webern und Berg knnten in der Oberstufe unterrichten, falls Sie nur die Leitung bernehmen wollten [Library of Congress]. 23. Printed in Arnold Schoenberg Leiters, ed. Erwin Stein (New York: SI. Martin's Press, 1965), letter no. 78. 24. Schnberg und ich, wir machen die Suppe mit ~lasser, wir komponieren mit den z\vlf blichen Tnen unserer europischen Temperatur, wobei wir allerdings afle zvv'lf Tne gehrig ausntzen. Das geht aus unsern Kompositionen (von allem Anfang an) schon klar hervor, wenn wir auch frher manchmal nur 8, 9, 10 oder II Tne genommen haben, zu einer Zeit, wo wir das Zw!jtngesetz noch nicht so genau gekannt, "gehrt," haben vlie jetzt. Ich halte mich zwar ausschliesslich an gleichschwebende Instrumente und an die wohltem-perierte menschliche Singstimme, meide womglich alies Dramatische, Elementare in meiner Musik, Schnberg aber wagt es mit dem Orchester, geht auch dem stark Rhythmischen, dem "Problematischen" nicht aus dem \Hege, dem ich gern ausweiche [Library of Congress]. 25. Arnold Schoenberg Letlers, letter no. 79.

26. Im Wesen der Sache ndert das gar nichts, wenn einer z.B. mehrere Melosflle untereinanderstellt; nach dem Schema: [etc.] Es bleibt trotzdem, l.B. hier, bei vier Bmmei-nen nacheinander! [Example 5] Jede der vier Stimmen ist ein Baustein (horizontal), jeder enthlt ebenfalls alle zwfjTne (vertikal). Das Ganze kann natrlich noch viel komplizierter sein [Library of Congress]. 27. !eh glaube wir arbeiten am seI ben Gegenstand: ich meine Sie, er und ich .... Aber anders, z.B. habe auch ich in meinen eigenen Vi/erken bereits Zahlensymmetrien betrachtet (etwa im 1. Quarrett, wo soviel durch 5 teilbares-unbewusst-vorkommt. Oder in der Serenade, wo in den Variationen 2 x 14 Tne in II Takten das Thema bilden und der ganze Satz-bewussl-77 Takte lang ist. D.i. 14/2 x 11 ... ). Vielleicht haben Sie einmal Zeit, mich zu besuchen. Aber schreiben oder telefonieren Sie vorher, bitte, damit ich mirs einrichten kann. Denn ich arbeite sehr viel [sterreich ische Nationalbibliothek, Vienna]. Also see Schoenberg's essay "On Wilhelm Werker's Studies of Fugal Symmelry, elc. in BACH," in Leonard Stein, "Schoenberg: Five Statements," Perspectives ofNew Music, 14 (1975),161-73. 28. Quoted in Moldenhauer, Anton von Webern, p. 309. 29. Melichar, Musik in der Zwangsjacke, p. 250. 30. Die Menschen werden einmal ... nicht begreifen knnen, wie Schnberg und Hauer sich fremd gegenberstehen konnten. Nun, wir wissen wohl beide, dass wir nichts hinzutun und nichts hinwegnehmen knnen, dass wir beide warten, mit Geduld, Ausdauer und grosser berwindung abwarten mussten, bis sich ... unser Lebensweg geklrt hatte [Library of Congress].

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