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Arnold Schoenberg and the development

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Mentor Dr. Christian Leitmair

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25.Brand J. & Hailey C. Constructive dissonance: Arnold Schoenberg and the

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49.Carnegy P. Faust as musician: a study of Thomas Manns novel Doctor Faustus.
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Stockholmer Gesamtausgabe der Werke, (Bermann-Fischer, 1947).

52.Minden M. Thomas Mann. Modern literatures in perspective, (Longman, 1995).
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59.Brinkmann R. & Wolff C. Driven into paradise: the musical migration from Nazi
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61.Meyer C. Arnold Schoenberg in America: Bericht zum Symposium - Report of the
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66.Kenneth H. Marcus. Judaism Revisited: Arnold Schoenberg in Los Angeles. Southern
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67.Meyer C. Arnold Schonberg und sein Gott: Bericht zum Symposium - Report of the
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68.Ringer A. L. Arnold Schoenberg-- the composer as Jew. (Clarendon Press, 1990).
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70.Ena Steiner. Schoenberg on Holiday: His Six Summers on Lake Traun. The Musical
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71.Berry M. Arnold Schoenbergs Biblical Way: From Die Jakobsleiter to Moses Und
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72.Beller S. Rethinking Vienna 1900. Austrian history, culture, and society, (Berghahn
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Quarterly 93, 144181 (2010).

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78.Timms E. Karl Kraus, apocalyptic satirist: the post-war crisis and the rise of the
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79.Field F. The last days of mankind: Karl Kraus and his Vienna. (Macmillan, 1967).
80.Brown J. Schoenberg and redemption. New perspectives in music history and
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81.Frisch W. The early works of Arnold Schoenberg, 1893-1908. (University of California
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82.Meyer C. Arnold Schonbergs Wiener Kreis: Arnold Schonbergs Viennese Circle Bericht zum Symposium - Report of the Symposium 12-15 September 2000.
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84.Antokoletz E. & Pisk P. A. A Survivor of the Vienna Schoenberg Circle: An Interview
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97.Donald Harris. Some Thoughts on the Teacher-Student Relationship between Arnold
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Press, 1996).
105.Wilhelm K. Richard Strauss: an intimate portrait. (Thames and Hudson, 1989).
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109.Bailey K. Webern studies. (Cambridge University Press, 1996).
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115.ERINN E. KNYT. Ferruccio Busoni and the Absolute in Music: Form, Nature and Idee.
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118.Dunsby J. & Whittall A. Music analysis: in theory and practice. (Faber, 1988).
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124.John R. Covach. Schoenberg and The Occult: Some Reflections on the Musical Idea.
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131.Pillin B. Some aspects of counterpoint in selected works of Arnold Schoenberg.
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132.Sterne C. C. Arnold Schoenberg: the composer as numerologist. (E. Mellen Press,
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133.Simms B. R. The atonal music of Arnold Schoenberg, 1908-1923. (Oxford University
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134.Whittall A. Schoenberg chamber music. BBC music guides, (British Broadcasting
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135.Wright J. K. & Gillmor A. M. Schoenbergs chamber music, Schoenberg's world.
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137.Alfred Cramer. Schoenbergs Klangfarbenmelodie: A Principle of Early Atonal
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138.Karen Painter. The Public Life of Schoenbergs Early Musical Works. Le Mouvement
social 201207 (2007). at
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139.Bryn-Julson P. & Mathews P. Inside Pierrot lunaire: performing the Sprechstimme in
Schoenbergs masterpiece. (Scarecrow Press, 2009).
140.Martin Burgess Green. The triumph of Pierrot. (Pennsylvania State University Press,
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141.Dunsby J. Schoenberg, Pierrot Lunaire. Cambridge music handbooks, (Cambridge
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142.Manning J. Voicing Pierrot: A Practical, Analytical And Personal Guide To The Vocal
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145.MICHAEL CHERLIN. Pierrot Lunaire as Lunar Nexus. Music Analysis 31, 176215
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146.John C. Crawford. Die glckliche Hand: Schoenbergs Gesamtkunstwerk. The
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147.Dale C. Schoenbergs chamber symphonies: the crystallization and rediscovery of a
style. (Ashgate, 1999).
148.Eric McKee. On the Death of Mahler: Schoenbergs Op. 19, No. 6. Theory and
Practice 30, 121151 (2005).
149.Bryan R. Simms. From Song Cycle to Cantata: Arnold Schoenbergs Gurrelieder.
The Choral Journal 45, 813 (2004).
150.Bryan R. Simms. My Dear Herzerl: Self-Representation in Schoenbergs String
Quartet No. 2. 19th-Century Music 26, 258277 (2003).
151.Richard Swift. 1/XII/99: Tonal Relations in Schoenbergs Verklrte Nacht.

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19th-Century Music 1, 314 (1977).

152.Amy Lynn Wlodarski. An Idea Can Never Perish: Memory, the Musical Idea, and
Schoenbergs A Survivor From Warsaw (1947). The Journal of Musicology 24, 581608
(2007).
153.Antonio Baldassarre. Among the Best Striving Today, There are Secret
Relationships: The Kandinskij-Schoenberg Connection Reconsidered. Music in Art 29,
234255 (2004).
154.Butler C. Early modernism: literature music and painting in Europe, 1900-1916.
(Clarendon Press, 1994).
155.Hoberg A. Wassily Kandinsky and Gabriele Mnter. (Prestel, 2001).
156.Kutschbach D. & Belloli A. P. A. The blue rider: the yellow cow sees the world in
blue. Adventures in art, (Prestel, 1996).
157.Schoenberg A., Kandinsky W. & Hahl-Koch J. Arnold Schoenberg, Wassily
Kandinsky: letters, pictures and documents. (Faber, 1984).
158.Lockspeiser E. Music and painting: a study in comparative ideas from Turner to
Schoenberg. (Cassell, 1973).
159.Meyer C. Arnold Schonber: Catalogue raisonne.
160.Meyer C. Der Maler Arnold Schonberg: Bericht zum Symposium - Report of the
Symposium 11-13 September 2003.
161.Meyer Christian. Schonberg, Kandinsky, Blauer Reiter und die Russische
Avantgarde: Die Kunst gehort dem unbewulten - Art belongs to the unconscious.
162.Meyer C. Strindberg, Schonberg, Munch: Nordische Moderne in Schonbergs Wien
um 1900.
163.Mitchell D., Palmer C. & Cooke M. Cradles of the new: writings on music, 1951-1991
. (Faber and Faber, 1995).
164.Courtney S. Adams. Artistic Parallels between Arnold Schoenbergs Music and
Painting (1908-1912). College Music Symposium 35, 521 (1995).
165.Schoenberg A. Begleitmusik zu einer Lichtspielscene: (drohende Gefahr, Angst,
Katastrophe) = Accompaniment to a cinematographic scene:(threat[e]ning danger, fear,
catastrophe) = Accompagnement dune scne cinmatographique: (danger menaant,
peur, catastrophe): op. 34. (Heinrichshofen, 1930).
166.Schoenberg A. Drei Klavierstcke, op. 11: piano solo (revidiert 1924).
(Universal-Edition, 1938).
167.Schoenberg A. & Pappenheim M. Erwartung: Monodram in 1 Akt. (Universal Edition,
1950).
168.Schoenberg A. Fnf Klavierstcke =: Five piano pieces, op. 23. (Wilhelm Hansen,
1951).
169.Schoenberg A. Fnf Orchesterstcke =: Five pieces for orchestra: Opus 16:
Originalfassung. Edition Eulenburg, (C.F. Peters, 1960).
170.Schoenberg A., George S. A., Cassou J. & Deutsch M. 15 [i.e. Fnfzehn] Gedichte
aus Das Buch der hngenden Grten von Stefan George: Gesang und Klavier. (Universal
Edition, 1952).
171.Schoenberg A. Die glckliche Hand: Drama mit Musik. (Universal Edition, 1917).
172.Schoenberg A., Jacobsen J. P. & Arnold R. F. Gurre-Lieder: fr Soli, Chor und
Orchester. (Universal Edition, 1948).
173.Schoenberg A. & Zillig W. Die Jakobsleiter: Oratorium fr Soli, gemischten Chor und
Orchester. (Belmont Music Publishers, 1974).
174.Schoenberg A. Kammersymphonie fr 15 Solo-Instrumente op. 9. (Universal
Edition, 1950).
175.Schoenberg A. Kol nidre: for rabbi-narrator, mixed chorus, and orchestra, op. 39.
(Boelke-Bomart, 1980).

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176.Schoenberg A. Moses und Aron: Oper in drei Akten. [Moses and Aaron; opera in
three acts]. Edition Schott, (B. Schotts Shne, 1958).
177.Schoenberg A. & Byron G. G. B. Ode to Napoleon Buonaparte: for string quartet,
piano, and reciter, op. 41. (Belmont Music Publishers, 1973).
178.Schoenberg A. & Giraud A. Dreimal sieben Gedichte aus Albert Girauds Pierrot
lunaire: op. 21: fr eine Sprechstimme, Klavier, Flte (auch Piccolo), Klarinette (auch
Bass-Klarinette), Geige (auch Bratsche) und Violoncell. (Universal Edition, 1914).
179.Schoenberg A., Giraud A. & Hartleben O. E. Dreimal sieben Gedichte aus Albert
Girauds Pierrot Lunaire: fr eine Sprechstimme, Klavier, Flte (auch Piccolo), Klarinette
(auch Bass-Klarinette), Geige (auch Bratsche) und Violoncell: Melodramen: op. 21.
(Universal-Edition, 1941).
180.Schoenberg A. & George S. A. Streichquartett II: fr zwei Violinen, Viola, Violoncello
und eine Sopranstimme (im. 3. und 4. Satz, Litanei und Entrckung, Gedichte von Stefan
George), op. 10, neu revidiert 1921 = String quartet II. Philharmonia Partituren =, (London,
1940).
181.Schoenberg A. & Monod J. L. A survivor from Warsaw: for narrator, mens chorus,
and orchestra, op. 46. (Boelke-Bomart, 1974).
182.Schoenberg A. Theme and variations: Op. 43b. G. Schirmers edition of study
scores of orchestral works and chamber music, (G. Schirmer, 1944).
183.Schoenberg A. & Dehmel R. Verklrte Nacht: Sextett fr zwei Violenen, zwei Violen
und zwei Violoncelle, Op. 4. Universal Edition, (Dreililien, 19AD).
184.Schoenberg A. Concerto for violin and orchestra, op. 36. G. Schirmers edition of
study scores of orchestral works and chamber music, (G. Schirmer, 1939).
185.Schoenberg A., Smith E. & Blonda M. Von heute auf morgen: Oper in einem Akt =
opera in one act. (B. Schotts Shne, 1961).
186.Schreker F. & Gmeindl W. Die Gezeichneten: Oper in 3 Aufzgen.
(Universal-Edition, 1916).
187.Krenek E. Jonny spielt auf: Oper in 2 Teilen, op. 45. (Universal Edition, 1926).
188.Strauss R., Wilde O., Lachmann H. & Kalisch A. Salome: Op. 54: Musikdrama in
einem Aufzuge nach Oscar Wildes gleichnamiger Dichtung in deutscher bersetzung von
Hedwig Lachmann = music drama in one act after Oscar Wilde's tragedy, with
modifications for use on the English stage by Alfred Kalisch. (Hawkes, 1943).
189.Strauss R., Wilde O., Lachmann H. & Kalisch A. Salome. (Boosey & Hawkes, 1943).
190.Berg A., Klein F. H. & Bchner G. Georg Bchners Wozzeck: Oper in 3 Akten (15
Szenen): Op. 7. (Universal Edition, 1958).
191.Berg A. et al., sterreichischer Rundfunk, Wiener Staatsoper, Teletheater, and
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192.Craft R. et al., Nederlands Blazers Ensemble et al. The final chorale: based on
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193.Schoenberg A. et al., Teatro La Fenice and Dynamic (Firm). Von heute auf morgen:
opera in un atto, op. 32. (2011).
194.Schoenberg A., Nickler R., Grundheber F., Moser T. & Gatti D., Wiener Staatsoper,
Slovenska Filharmonia, and Arthaus Musik (Firm). Moses und Aron: opera fragment in two
acts. (2006).
195.Schreker F. et al., Konzertvereinigung Wiener Staatsopernchor, Deutsches
Symphonie-Orchester Berlin, EuroArts Music International GmbH., and Salzburger
Festspiele. Die Gezeichneten: Oper in drei Akten. Festspieldokumente, (2006).
196.Strauss R. et al., Royal Opera House (London, England). Salome. (1997).
197.Schoenberg A. et al. Cabaret songs: Songs, op. 2; Book of the hanging gardens:
op. 15.

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198.Schoenberg A. et al., Birmingham Contemporary Music Group and City of

Birmingham Symphony Orchestra. Erwartung.
199.Schoenberg A. et al., BBC Singers, BBC Symphony Orchestra, and New York
Philharmonic. Die glckliche Hand: op. 18; Variations for orchestra, op. 31; Verklrte
Nacht: op. 4: version for string orchestra. (1993).
200.Schoenberg A. et al., BBC Singers, BBC Symphony Orchestra, and Ensemble
intercontemporain. Die Jakobsleiter: (Fragment); Chamber symphony: no. 1, op. 9;
Begleitmusik zu einer Lichtspielszene: op. 34. (1993).
201.Schoenberg A., Solti G., Mazura F. & Langridge P., Chicago Symphony Chorus and
Chicago Symphony Orchestra. Moses und Aron. (1985).
202.Schoenberg A. et al., Budapesti Kamaraegyttes. Pierrot lunaire.
203.Schoenberg A. et al., Staatskapelle Dresden. Pierrot lunaire: Erwartung.
204.Schoenberg A. et al., Ensemble intercontemporain and BBC Symphony Orchestra.
Serenade, op. 24; 5 Pieces for orchestra, op. 16; Ode to Napoleon Buonaparte: op. 41.
205.Schoenberg A. et al., Neues Wiener Streichquartett. The complete string quartets.
DUO 20th century classics,
206.Schoenberg A. et al., BBC Singers, B.B.C. Chorus (1932-1935), BBC Symphony
Orchestra, and London Sinfonietta. Das Chorwerk: Chorus music; with, A survivor from
Warsaw.
207.Krenek E. et al., Leipzig Opernchor and Gewandhausorchester Leipzig. Jonny spielt
auf. Entartete Musik = Music suppressed by the Third Reich,
208.Berg A. et al., Bayerischer Rundfunk. Violin Concerto: Piano Concerto. (1972).
209.Webern A., Boulez P. & Soloist P. (if necessary), Performing Group and London
Symphony Orchestra. Complete works. (1978).
210.Berg A., Behrens H., Grundheber F., Abbado C. & Bchner G., Konzertvereinigung
Wiener Staatsopernchor, Wiener Sngerknaben, and Wiener Philharmoniker. Wozzeck.

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