Schoenberg and Schopenhauer

8/10/2019 Schoenberg and Schopenhauer

1/10

_ ~ _ _

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.


2/10

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.


3/10

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.


4/10

44

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.


5/10

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.


6/10

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.


7/10

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."


8/10

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


9/10

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


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.

Schoenberg and Schopenhauer

Documents

Transcript of Schoenberg and Schopenhauer