Avenir Foundation - Research Grants 1998–2017

WHEAT RIDGE / COLORADO

AVENIR FOUNDATION

Research Grants 1998 – 2017

Avenir Foundation, Wheat Ridge / Colorado The Avenir Foundation of Wheat Ridge, Colorado, has supported the Arnold Schönberg Center since its establishment in 1998. Research grants enable international students and scholars to conduct academic work in connection with the Schönberg Estate. Over the course of almost 20 years the Arnold Schönberg Center has used funds from the Avenir Foundation to award grants to 47 recipients, with a total of 53 research visits.

With this publication we thank the Avenir Foundation for its generous support with responses from the recipients of the research grants.

Die Avenir Foundation, Wheat Ridge / Colorado, fördert das Arnold Schönberg Center seit seinem Bestehen im Jahr 1998. Forschungsbeihilfen ermöglichen internationalen StudentInnen und WissenschaftlerInnen die wissenschaft­ liche Arbeit mit dem Schönberg-Nachlass. In fast 20 Jahren konnte das Arnold Schönberg Center aus Mitteln der Avenir Foundation 47 StipendiatInnen bei insgesamt 53 Forschungsaufenthalten unterstützen.

Mit dieser Publikation danken wir der Avenir Foundation mit den Stimmen der Forschungsempfän­gerInnen für deren großzügige Unterstützung.

Bisherige EmpfängerInnen einer Avenir Foundation Forschungsbeihilfe Recipients of the Avenir Foundation research grant 2015 Mark Berry, London / UK Rethinking narratives of post-Wagnerian musical history: The case of Arnold Schönberg Charles Stratford, Boston / USA Schönberg, the Serenade, op. 24 and Classicism 2014 Fusako Hamao, Santa Monica / USA Dating Schönberg’s Unidentified Sketches: A Study of Music Manuscript Paper Jean Paul Olive, Paris / France Musikalische Prosa und instrumentale Geste: Arnold Schönbergs Pierrot lunaire Franciszek Araszkiewicz, Kraków / Poland Coherence of serial technique and counterpoint in Arnold Schönberg’s dodecaphonic works 2012 Josep Barcons, Barcelona / Spain Moses und Aron 2011 Simon Walsh, Michigan / USA Die glückliche Hand, op. 18 Avior Byron, Yavne / Israel Aufführungspraxis bei Arnold Schönberg Vera Emter, Berlin / Germany Von heute auf morgen op. 32

2010 Golan Gur, Berlin / Germany History as Progress: Arnold Schönberg and the Ideology of Progress in Twentieth-Century Musical Thinking Charles Stratford, Brigham Young University / USA Pierrot lunaire, op. 21 Thomas Giraud, Paris / France Die wirtschaftlichen Bedingungen der Kunstproduktion Arnold Schönbergs von 1904 bis 1921 2009 Sabine Feisst, Arizona State University, Tempe / USA Arnold Schönberg in America Gordon Root, State University of New York, Fredonia / USA Models for Beginners in Composition Nuria Nabieva, Academy of Arts, Ufa / Russian Federation Symbolism 2008 Bryan Proksch, McNeese State University, Lake Charles / Canada Schönberg und Debussy Hasan Isben Önen, University Ankara / Turkey Remarks to Form in Architecture and Music J. Daniel Jenkins, University of South Carolina / USA Schönberg as Energeticist Eric Lecler, Université de Provence Aix-Marseille / France Moses und Aron Charlotte Cross, New York / USA Manuscripts T37.08 and T35.2 from Schönberg’s Gedanke Project: A Publication of Transcriptions, English Translations and a Commentary Eva Schönnenbeck, Université Paris Saint Denis / France Die Bedeutung der Polyphonie in den atonalen Werken Schönbergs

2007 Renate Rohlfing, New York / Hawai / USA Buch der hängenden Gärten Deborah H. How, Mount St. Mary’s College, Los Angeles / USA Arnold Schönberg’s Piano Suite, op. 25: Paradoxes and Innovations in Music after World War I Stefanie Rauch, Philipps-Universität, Marburg / Germany Die Arbeitsweise Arnold Schönbergs – Kunstgenese und Schaffensprozess 2006 Markus Böggemann, Universität der Künste, Berlin / Germany Schönbergs Mozart: Zwischen Radikalisierung und neuer Normativität sowie Arnold Schönbergs musikalischer Expressionismus zwischen avantgardistischer Kunstprogrammatik und Historismusproblem 2005 Alfred W. Cramer, Pomona College, California / USA The Sound of Atonality Jean-Jacques Dünki, Musik-Akademie Basel / Switzerland Schönbergs Zeichen. Wege zur Interpretation seiner Klaviermusik Alexander Carpenter, University of Prince Edward Island / Canada Research on the waltz as it occurs in Arnold Schönberg's music Matthias Pasdzierny, Musikhochschule Stuttgart / Germany Die Aufführungs­lehre Arnold Schönbergs Russell Knight, University of California / USA Arnold Schönbergs Erwartung op. 17 Hasan Isben Önen, Middle East Technical University, Ankara / Turkey On Arnold Schönberg. The abstraction of abstract. A socio-cultural study Elizabeth Keathley, University of North Carolina / USA Arnold Schönberg’s female students

2004 Daniel Callahan, New York University / USA Transfigured Text: Richard Dehmel's Weib und Welt and the Music of Arnold Schönberg's Dehmel-Jahr Esteban Buch, École des Hautes Études en Sciences Sociales, Paris / France Arnold Schönberg und die Musikkritik bis zum Skandalkonzert 1913 2003 Jean-Jacques Dünki, Basel / Switzerland Arnold Schönberg’s Piano Music Florian Heesch, University of Cologne / Germany The influence of August Strindberg on opera in the first half of the 20th century Ralf-Alexander Kohler, TU Berlin / Germany Zur Werkgenese der Jakobsleiter Stephen Peles, University of Alabama Tuscaloosa / USA Moderne Psalmen Sokol Shupo, University Tirana / Albania Harmonielehre (Quellenrecherchen und Übersetzung ins Albanische) Felix Wörner, Staatliches Institut für Musikforschung Preußischer Kulturbesitz, Berlin / Germany Untersuchungen zur frühen Schönberg-Biographik; Dodekaphonierezeption 2002 Ina Karr, Universität Freiburg / Germany Arnold Schönberg and the Stage Áine Heneghan, Trinity College Dublin / Ireland The relationship between principles of the Schönbergian Formenlehre and the early evolution of the twelve-tone method

2001 Annegret Seidel, Kunsthaus Dresden / Germany Arnold Schönberg: Paintings and drawings (Kuratierung) Matthias Herrmann, Universität Dresden / Germany Schönberg und Dresden / Leipzig Ralf-Alexander Kohler, TU Berlin / Germany Arnold Schönberg: Spätwerk Markus Böggemann, Hochschule der Künste Berlin / Germany Arnold Schönberg: Suite for String Orchestra Andreas Jacob, Folkwang-Hochschule Essen / Germany Arnold Schönberg als Musiktheoretiker Richard Kurth, University of British Columbia, Vancouver / Canada Arnold Schönberg: Echoes of the Unrepresentable. The Art of Cadence Michelle Duncan, Cornell University Ithaka / USA Music and Memory Marinella Ramazzotti, University of Bologna / Italy Pierrot lunaire, Moses und Aron 2000 Andreas Jacob, Folkwang-Hochschule Essen / Germany Arnold Schönberg: Der musikalische Gedanke 1999 Marc Kerling, University of Bonn / Germany Moses und Aron 1998 Elisabeth Sommernes, University of Oslo / Norway Arnold Schönberg: Paintings and drawings

Franciszek Araszkiewicz PhD Candidate Music Academy in Kraków

Avenir Foundation Grant 2014

I was awarded Avenir Grant in early 2014, in order to pursue research con­ cerning the coherence of use of contrapuntal techniques and twelve-tone pitch organization in Arnold Schönberg’s œuvre. This support allowed not only investi­gation of the evolution of Schönberg’s use of contrapuntal devices throughout his compositions, but also careful study of his thoughts concerning this matter (including ones incorporated in unpublished personal notes). The outcome was an important part of my Master of Arts thesis (Music Academy in Krakow, 2015). It was also a vital source of inspiration in my work as a compo­ ser implementing the contrapuntal devices in newly discovered composition techniques, including music for electronics governed by scanning of brain­ waves and electromagnetic fields (Brainfields), and re-translating these musical structures into instrumental music (Monoliths 2:3:5).

Arnold Schönberg: Why strict counterpoint? (Arnold Schönberg Center, Wien [T48.09])

Josep Barcons Palau

Director of the Escola de Música Casp

(Barcelona) and researcher at the Bibliotheca

Mystica et Philosophica Alois M. Haas (Pompeu Fabra University) Avenir Foundation Grant 2012

After years of research, and after a first visit to the Arnold Schönberg Center in 2003, I went back to Vienna in 2012 supported by the Avenir Foundation Grant, with some chapters of my PhD already written. After collaborating in the Catalan translation and edition of Moses und Aron’s libretto, that stay allowed me to review again the broad bibliography preserved in the Center, meet Larry Schoenberg and ask him about some personal memories of his father, to consult the archive, and to live in the same house that Schönberg inhabited in Mödling almost a hundred years ago.

As part of analysing Moses und Aron, my PhD puts forth the idea that there is a key concept configuring Schönberg’s intellectual and musical production: the notion of “relationship.” That is, this notion is the basis of the linguistic prob­ lem between man and God exposed in Moses und Aron, and is at the core of the definition of the “method of composition with twelve tones related only to one another.” It also lies at the basis of many canvases and designs and is central element in the oratorio Die Jakobsleiter.

Thus, the support of the Avenir Foundation Grant allowed me not only to deepen in my research and achieve the title of European Doctor, but they also provided me with the opportunity to have personal contact (lets say: relation­ ship) with Schönberg’s legacy and spirit.

Arnold Schönberg: Staircase and Pile of Wood, ca. 1907 – 1909 (Arnold Schönberg Center, Wien [CR142])

Mark

Berry Reader, Senior Lecturer Department of Music Royal Holloway, University of London Avenir Foundation Grant 2015

The Avenir Foundation generously afforded me a month’s study in Vienna for work on a biography of Arnold Schönberg. It is being written for Reaktion Books’s “Critical Lives” series; the manuscript will be submitted at the end of June 2017.

At first, it seemed that my visit would be plagued by bad luck, it coming in the wake of the fire at the Palais Fanto. The library was still out of use, and would be for two weeks out of the four weeks’ stay. However, that liberated me to carry out in greater detail what I might otherwise not have done, namely to dwell on the importance of Viennese urban geography and to visit as many of the sites associated with Schönberg and his school and Viennese musical and cultural life as I could. That in turn strongly informed my successful application for a British Academy Mid-Career Fellowship (2017) on “Arnold Schoenberg and Intellectual Biography.”

I also carried out further research on stagings of Moses und Aron, which made its way into the revision of my colloquium paper for the Journal of the Arnold Schönberg Center, “Representing a Representation of the Unrepresentable: Staging – and Filming – Moses und Aron.” It was published in the 2016 edition.

Romeo Castellucci’s 2015 Paris staging of Moses und Aron (© Bernd Uhlig)

Markus Böggemann Professor für Historische Musik- wissenschaft Universität Kassel Avenir Foundation Grant 2001 & 2006

Der Avenir Foundation verdanke ich die Finanzierung zweier Forschungsauf­ enthalte im Arnold Schönberg Center in den Jahren 2001 und 2006, die meine Arbeiten zu Schönbergs expressionistischer Kunstprogrammatik und zu seinen Tonalitätskonzepten entscheidend gefördert haben. Ohne das dadurch ermög­ lichte intensive Studium der Originalquellen im Archiv des Arnold Schönberg Center und ohne die Gelegenheit zu konzentrierter Arbeit im Mödlinger Studio hätte nichts davon realisiert werden können. Beiden Aufenthalten verdanke ich darüber hinaus bleibende Erinnerungen an zwei große Sommer in Wien, die Bekanntschaft mit Kollegen, die zu Freunden wurden – und die Erfahrung, dass Wissenschaft nicht nur ein kaltes Bad, sondern auch ein warmer Regen sein kann. Dafür mein Dank den Regenmachern von der Avenir Foundation!

Arnold Schönberg: Notizen zu einem Vortrag am Stern’schen Konservatorium (Arnold Schönberg Center, Wien [T58.05])

Esteban Buch

Directeur d'études à l'EHESS &

Directeur du CRAL in Paris Avenir Foundation Grant 2004

In the Summer 2004, thanks to a research grant of the Arnold Schönberg Center, I spend several weeks in Vienna, doing research on Schönberg’s early reception (1896–1913). During that time, I had the privilege of staying at Schönberg’s beautiful house in Mödling. I worked mostly at the archive on Schwarzenbergplatz, where I greatly benefited from the assistance of the Center’s personell, especially Therese Muxeneder. There, I studied the historical newspaper-clippings collection in detail. This collection contained most of my sources, namely the reviews of Schönberg’s concerts in the Viennese press between 1896 and 1913. I also analysed the collection of printed programs of these concerts, the composer’s drafts for his first essays on musical criticism, and parts of his correspondence. During the last part of my stay, I worked mostly at the Österreichische Nationalbibliothek on Josefsplatz, to complete my book with hitherto unknown documents, copies of which are now avail­able at the Center. That unforgettable stay in Vienna, one of the very best of my life as a scholar, allowed me to complete the sources for my book “Le cas Schönberg – Naissance de l’avant-garde musicale,“ published in Paris in 2006 at the Bibliothèque des Idées by Editions Gallimard. In this book, translated into Spanish in 2010, I address two related historical ques­ tions: How was Schönberg’s music first perceived, interpreted, and evaluated?

How did these early representations influence Schönberg’s retrospective views on his work, and his way of composing? »Das nächste Wiener Schönberg-Konzert«, in Die Sonntags-Zeit. Beilage Nr. 3781, 7. April 1913

Daniel M. Callahan Assistant Professor of Music Boston College Avenir Foundation Grant 2004

The Avenir Foundation allowed me – then a twenty-one year old college junior, who had previously taken Allen Forte’s summer course at nineteen and held an archival internship at the Center at twenty – to devote my summer to research on Dehmellieder and Verklärte Nacht for my senior thesis on representations of women in Schönberg’s early works. This research helped me stand out when applying to doctoral programs in musicology. While my research interests took a turn in graduate school – a Master’s thesis on Tina Turner, a doctoral dis­ sertation on American modern dance that culminated in chapters on Cage and Cunningham – topics I explored that summer have fascinated me ever since, especially the complicated relationships between an artist’s life and work.

After receiving my PhD in Musicology at Columbia University, I held a Mellon Postdoctoral Fellowship in Music at the University of Chicago before becoming an Assistant Professor in Music at Boston College. I am forever indebted to the Avenir Foundation and the Arnold Schönberg Center (especially the brilliant, fabulous, generous Therese Muxeneder) for supporting me as a young scholar and launching me on my professional career.

Mathilde Schönberg, Villa Rumpler in Payerbach, 1903 (Arnold Schönberg Center, Wien [PH4181])

Alexander Carpenter Associate Professor of Music University of Alberta Avenir Foundation Grant 2005

The Avenir Foundation Research Grant, which I received in 2005, supported a two-week stay in Austria to undertake research on the topic of Arnold Schönberg and the waltz at the Arnold Schönberg Center. This research was predicated on the hypothesis that Schönberg, notwithstanding his reputation as an arch-modernist, was also a prolific waltz composer, and that the waltz held special significance and meaning for him.

The outcome of this research has been two invited conference presenta-­ tions – one at the international symposium “Schoenberg’s Chamber Music, Schoenberg’s’ World” at Carleton University, Ottawa in 2007; and one at the “Schoenberg at 140” symposium at Canterbury Christ Church University, U.K. in 2014 – and a book chapter published in “Schoenberg’s Chamber Music, Schoenberg’s World” in 2009. In addition, this waltz research has informed part of another publication – a book chapter on “Schoenberg and popular music,” which appeared in De-Canonizing Music History – and is the subject of a new book chapter currently under review with Oxford University Press, on “Schoenberg, waltzes and nostalgia.”

Arnold Schönberg: Playing Card, ca. 1906–1910 (Arnold Schönberg Center, Wien [CR247 30r])

Alfred Cramer Associate Professor of Music Pomona College Claremont, California Avenir Foundation Grant 2005

The page from Ravel’s Daphnis et Chloé (arranged for two pianos by Léon Roques) shows several stages of the preparation of a performance, from care­ ful preliminary work to detailed – and at times frenzied – rehearsal. The work was performed by pianists Olga Novakovic and Ernst Bachrich for the Verein für musikalische Privataufführungen on 25 January 1920 and three times thereafter. Schönberg made notations in red pencil evidently before rehearsals began. Besides a rehearsal number, dynamic markings, and even a pedaling indication, Schönberg used brackets to show something of the work’s layering.

In other hands we see traces of the performers’ work to realize that layering in practice.

The markings are much more than a record of how the musicians executed the works. They show Schönberg’s analytical mind at work and record the practi­ ces and personal relationships that formed Schönberg’s circle. I have spent the past years developing ideas about how the tones of music and language function within a community, and that path was set by my direct encounter, in Vienna, with these parts and the human musical interactions they represent.

Maurice Ravel: Daphnis et Chloé, arranged for two pianos by Léon Roques. Copy from Arnold Schönberg's Library (Arnold Schönberg Center, Wien [SCO R2])

Charlotte Cross Manhattan School of Music in New York City

Avenir Foundation Grant 2008

With the help of a grant from the Avenir Foundation, I completed the research for a bi-lingual edition of an undated manuscript from Schönberg’s theoreti­ cal project on Der Musikalische Gedanke [The Musical Idea]. The edition, which included an extensive commentary, was published as “The Second Manuscript T37.08 at the Arnold Schönberg Center,” in Theoria: Historical Aspects of Music Theory 19 (2012): 101–185. By being able to study Schönberg’s original manuscript and compare it with other original manuscripts, I confirmed that Schönberg wrote T37.08 as early as 1921 and that it has a dual identity as part of both Schönberg’s earlier project on musical coherence and his later Gedanke project. I am currently re-evaluating the significance of Schönberg’s coherence and Gedanke projects in the context of contemporaneous intellectual history.

Arnold Schönberg: Der musikalische Gedanke, seine Darstellung und Durchführung (Arnold Schönberg Center, Wien [T37.07])

Jean-Jacques Dünki Musiker, Basel Avenir Foundation Grant 2003 & 2005

Dank dem Rückhalt meiner Musikhochschule in Basel und der großzügigen Förderung durch die Avenir Foundation durfte ich in zwei Forschungsaufent­ halten meine Vorbereitungen zum Buchprojekt »Schönbergs Zeichen / Wege zur Interpretation seiner Klaviermusik« im Archiv und in der Bibliothek des Arnold Schönberg Center vertiefen und meine Entdeckungen und Einsichten im täglichen Kontakt mit den wunderbar engagierten Schönberg-Forschern vor Ort auf die Probe stellen. Im Schönberg-Haus Mödling zu wohnen und gar auf seinem Ibach-Flügel zu spielen empfand ich überdies als außerordentliche Ehre. Am Ende meines zweiten Aufenthalts im April 2005 nahm ich in Schön­ bergs ehemaligem Arbeitszimmer dessen Solowerk für Klavier für den ORF auf und gab zuletzt ein Rezital. Ein gutes halbes Jahr später erschien mein erstes Buch im Lafite Verlag Wien – ich war überglücklich und noch heute bin ich dankbar für alle empfangene Hilfe.

Jean-Jacques Dünki: Schönbergs Zeichen. Wege zur Interpretation seiner Klaviermusik. Wien: Lafite 2006

Sabine Feisst Professor School of Music Arizona State University Avenir Foundation Grant 2009

In 2008–09, an Avenir grant allowed me to finalize the research for my book “Schoenberg’s New World: The American Years“ (Oxford University Press 2011 and 2017) and several book chapters and articles on Schönberg in such pub­ lications as “The Cambridge Companion to Schoenberg,“ “The Fruits of Exile,“ and “The New Grove Dictionary of American Music.“ During my stay at the Schönberg Center I had access to a wealth of documents I could not have examined otherwise, including unpublished writings, interviews, music sketches, images, and archival recordings and films. I was also privileged to have conversations with other Schönberg scholars and conductors such as the late Pierre Boulez. Without doubt, the Avenir grant contributed to the success of my book which won the coveted Irving Lowens Award for the most outstan­ ding book on American music in 2011 and helped me lay the foundation for “Schoenberg in Words,” a 9-volume set dedicated to Schönberg’s writings in English translation, edited by Severine Neff and myself for Oxford University Press.

Sabine Feisst: Schoenberg’s New World. The American Years. Oxford: Oxford University Press 2011

Golan Gur Research Fellow IFK Internationales Forschungszentrum Kulturwissenschaften Kunstuniversität Linz in Wien Avenir Foundation Grant 2010

Schönberg’s centrality in the history of musical modernism is beyond dispute; yet, how and why did his musical innovations become so influential among generations of composers? When I first embarked on my research of Schönberg and his notion of musical progress I knew that answering this question will involve looking at the history of the idea of progress in Wes­ tern thinking and studying aspects of the reception history of the Second Viennese School. Supported by a grant, I researched at the Arnold Schönberg Center texts and musical pieces related to Schönberg’s positions on progress, avant-garde, and New Music, and explored his relations with various musicians and theorists, including Busoni, Adorno, and Schenker. The book that resulted from this study (Bärenreiter, 2013) was also the point of departure for a new research: my current project on the musical culture of the former East Germany which similarly touches upon the work of Schönberg and his associates (especially Eisler and Dessau) – this time from the viewpoint of the East German state apparatus and Marxist aesthetics. Both these projects would have been inconceivable without the impulses I received during my research stays at the Arnold Schönberg Center sponsored by the Avenir Foun­ dation.

Golan Gur: Orakelnde Musik: Schönberg, der Fortschritt und die Avantgarde. Kassel: Bärenreiter 2013

Fusako Hamao Independent Scholar Santa Monica Avenir Foundation Grant 2014

Dating Schönberg’s Unidentified Sketches: A Study of Music Manuscript Paper My research consisted of dating unidentified sketches written on the recto of a loose sheet, whose verso includes a draft for Eyn doppelt Spiegel- und Schlüssel-Kanon for vier Stimen gesetzet auf niederlandsche Art. I examined all manuscripts written on this type of paper – J.E. & Co. Protokoll Schutzmarke No. 12a 20 linig. – deposited in the Arnold Schönberg Center. This led me to believe that these sketches must have been written in early 1922, since they were written on the same stock in similar conditions as the sketches for his unfinished violin concerto, drafted in February 1922, both of which are colored yellow and in a fragile state. In the course of the study, I found that there are two different kinds of the paper: one is yellow and of poor quality, the other whiter with a smooth surface. Schönberg mostly used the former for works composed in the 1920s, the latter in the 1900s. With this pivotal discovery, I was able to complete “Schönberg’s Earliest Mirror Canon and His Twelve-Tone Method,” published in Journal of the Arnold Schönberg Center 12 (2015).

Arnold Schönberg: Eyn doppelt Spiegel und Schlüssel-Kanon (Arnold Schönberg Center, Wien [MS95.07, 2v])

Florian Heesch Universitätsprofessor für Populare Musik und Gender Studies am Department Kunst und Musik Universität Siegen Avenir Foundation Grant 2003

Ein Stipendium der Avenir Foundation ermöglichte mir im April 2003 einen zweiwöchigen Forschungsaufenthalt am Arnold Schönberg Center. Das Ziel meiner Archivforschungen bestand darin, Schönbergs Rezeption der Dramen und Bücher des Schweden August Strindberg möglichst umfassend zu rekon­ struieren. Meine Schönberg-Forschungen waren eingebettet in ein musikwis­ senschaftliches Dissertationsprojekt zur Strindberg-Rezeption in der Oper.

Mit den Resultaten aus Wien im Gepäck trat ich Anfang 2004 eine Anstellung als Doktorand an der Göteborger Universität an, wo ich am schwedischen Fachdiskurs teilhaben konnte und die Promotion Ende 2006 abschloss. Meine Erfahrungen mit transmedialen Bezügen zwischen Literatur und Musik konnte ich auch in meine Post Doc-Forschung einbringen, insbesondere zur Rezeption nordischer Mythologie und Heldensage. Heute forsche und lehre ich zu kultur­ wissenschaftlichen Aspekten der Musik der Gegenwart mit Schwerpunkten in den Bereichen populäre Musik und Gender.

Hermann Bahr an Arnold Schönberg, 18. April 1909 (The Library of Congress, Washington D.C.)

Áine Heneghan

Assistant Professor of Music Theory University of Michigan

Avenir Foundation Grant 2002

I was fortunate to receive a generous research grant from the Avenir Founda­ tion when I began work on my PhD. This grant enabled me to live in Mödling for several months and thus afforded me the opportunity to examine a broad range of materials at the Center, both primary and secondary. Following the completion of my dissertation (“Tradition as Muse: Schoenberg’s Musical Morphology and Nascent Dodecaphony,” University of Dublin, Trinity College), it became clear that that long-term visit had shaped, and formed the foun­ dation for, my post-doctoral research. I remember when I first consulted the Gedanke manuscript of 1934 and could recognize in a very tangible way the fascinating geography of that document. My interest in Schönberg’s theoreti­ cal writings was thus piqued and I am now examining the sources for Funda­ mentals of Musical Composition, which he began in 1937, and completing a book (“Schoenberg on Form,“ Oxford University Press) that explores the relationship between his writings in German and in English and tracks the evolution of terminological concepts as he sought to express himself in a new language.

Arnold Schönberg: The Concept of Form, from: Fundamentals of Musical Composition (Arnold Schönberg Center, Wien [TBK 1, folder 13])

Matthias Herrmann Professor für Musikgeschichte

Hochschule für Musik Carl Maria von Weber Dresden Avenir Foundation Grant 2001

Im Vorfeld der Ausstellung von bildkünstlerischen Werken Schönbergs, die 2001 zum 50. Todestag in der Landeshauptstadt Dresden veranstaltet wurde, entstand folgende Publikation: »Arnold Schönberg in Dresden«, Hellerau Ver­ lag, 152 S., zahlr. Illustrationen (ISBN-Nr.: 3-910184-84-7). Sie basiert auf den Beständen des Arnold Schönberg Center Wien. Darin wird das Beziehungsge­ flecht Schönbergs zu Personen, Klangkörpern und Institutionen in Dresden, einer Kunst- und Musikstadt von Rang, entfaltet: Es begann 1907 mit der Aufführung des I. Streichquartetts op. 7 und setzte sich fort mit Initiativen der Dirigenten Ernst von Schuch und Fritz Reiner (Hofoper und -kapelle), den Interpreten zeitgenössischer Musik Erwin Schulhoff und Paul Aron, mit Jaques Dalcroze (Festspielhaus Hellerau) und bildenden Künstlern. Trotz der Formalismus-Doktrin pflegten sowohl die Philharmonie als auch die Staatskapelle die Zweite Wiener Schule in der Nachkriegszeit. Herausragend dabei 1975 die »szenische Erstaufführung im sozialistischen Lager« von Moses und Aron im Großen Haus der Staats­theater Dresden (Dirigent: Siegfried Kurz, Regie: Harry Kupfer). Zudem enthält der Band zahlreiche unveröffentlichte Briefe, gepaart mit neuen Erkenntnissen.

Erwin Schulhoff an Arnold Schönberg, 22. März 1920 (The Library of Congress, Washington D.C.)

Deborah H. How Executive Director The Conservatory of Performing Arts in Los Angeles Avenir Foundation Grant 2007

The Avenir Foundation Grant supported the research to complete my PhD (historical musicology) dissertation at the University of Southern California (USC) Thornton School of Music.

The history of Arnold Schönberg’s Prelude (1921) from the Suite for Piano, Op. 25 (1921–1923) is rife with paradoxes and discrepancies, conflicts and conundrums. The Suite for Piano is historically significant not only because it is the first of the composer’s large works to be unified by a single twelve-tone row, but also because its composition sits astride one of the most complex stylistic and technical changes – the passage from freely atonal to twelvetone serial composition. These changes, recorded in the Suite for Piano, coin­ cide, ironically, with a widespread rejection of the very aesthetic basis for Schönberg’s music. Their tangled history, along with their consequent effects on musical historiography, has led to a simplified and substantially incorrect account of how Schönberg’s conception of twelve-tone music, self-proclaimed as one of music history’s greatest compositional “inventions,” developed. The reality concealed by this account is considerably more complicated, confusing as it does major stylistic, technical, and organizational transitions while reflec­ ting the musical spirit of the times.

Arnold Schönberg: Suite für Klavier, op. 25 (Arnold Schönberg Center, Wien [MS25, 27H])

Andreas

Jacob Professor für Musikwissenschaft Folkwang Universität der Künste Avenir Foundation Grant 2001 & 2002

In den Jahren 2000 und 2001 konnte ich von finanziellen Beihilfen profitieren, mit deren Hilfe ich am Arnold Schönberg Center Wien forschte. Anhand des im Archiv des Center versammelten Nachlasses, von dem ich Schönbergs theore­ tische Schriften samt Skizzen einsah, erstellte ich wesentliche Teile der Habili­ tationsschrift »Grundbegriffe von Arnold Schönbergs Musiktheorie«. Die zwei Bände dieser 2002 an der Friedrich-Alexander-Universität Erlangen-Nürnberg angenommenen Qualifikationsschrift (veröffentlicht 2005 im Olms-Verlag) beinhalten im ersten Band eine Genealogie des Schönbergschen Musikden­ kens, die ihn als Musiktheoretiker in seiner Entwicklung und in seinen Kon­ texten beschreiben soll, und im zweiten Band transkribierte Quellentexte, die anderweitig zu diesem Zeitpunkt noch nicht publiziert worden waren. Ohne die Forschungsbeihilfen der Avenir Foundation wären mir die mehrwöchigen Aufenthalte in Wien und das Erstellen der Arbeit nicht möglich gewesen. Mein ganz herzlicher Dank geht an die Avenir Foundation!

Andreas Jacob: Grundbegriffe der Musiktheorie Arnold Schönbergs.

Hildesheim Olms 2005 (= Folkwangstudien 1)

Daniel J. Jenkins Associate Professor / Music Theory University of South Carolina Avenir Foundation Grant 2008

I received a research grant from the Avenir Foundation in 2008 for a project called “Schoenberg as Energeticist.” As part of my research, I looked at various pedagogical materials including drafts of textbooks and student notes. Though not my main focus at the time, these documents would prove essential to my research in the years to come. Some of them found their way into an edition of Schönberg’s program notes and analyses that I edited, and I was also able to publish an article about a series of music criticism lectures that Schönberg gave in southern California for specialists and non-specialists alike. In wor­ king on these projects, I gained a new appreciation for just how dedicated Schönberg was to the development not only of a musical elite, but of musical amateurs as well. At the moment, my scholarship is focused on public engage­ ment. I have been inspired by Schönberg’s pedagogical spirit and his zeal for new media and new means of communication. I believe the research I under­ took in 2008 set me on this path, and I am immensely grateful to the Avenir Foundation for that.

Arnold Schönberg in Los Angeles, ca. 1946–1951 (Arnold Schönberg Center, Wien [PH8739])

Elizabeth Keathley

Associate Professor Music / Historical Musicology

University of North Carolina, Greensboro Avenir Foundation Grant 2005

With the aid of an Avenir Foundation grant, I was able to research in the archi­ ves of the Arnold Schönberg Center and the Austrian National Library toward my long-term project of restoring to the historical narrative the important women librettists, performers, patrons, critics, and historians whose work helped to establish Schönberg’s career and to form the cultures of musical modernism. This research has contributed to many conference papers, including two at the American Musicological Society (one on Alma Mahler as a Schönberg patron, and one on Marya Freund as Pierrot lunaire interpreter in Paris), as well as several articles, including a recent one on Freund in the Schönberg journal, and two books, one a translated edition of Schönberg’s correspondence with Alma Mahler (Oxford, forthcoming), and one still in process on Schönberg’s women collaborators in Vienna, Paris, and Los Angeles. Crucially, the Avenir Foundation grant enabled me to get enough research into print that I was subsequently awarded a National Endowment for the Humanities fellowship, which allowed me to make substantial progress on the book projects. Heartfelt thanks!

Newspaper Article „Fra Generalprøven i Gaar paa Schönberg-Koncerten“. Arnold Schönberg, Marya Freund, Danish Chamber Ensemble. Performance of Kammersymphonie op. 9 & Lied der Waldtaube in Copenhagen, 30 January 1923 (Arnold Schönberg Center, Wien [Clippings])

Marc Kerling Diakon Erzbistum Köln Avenir Foundation Grant 1999

Als ich 1999 im Arnold Schönberg Center meine bisherigen – rein theologi­ schen und philosophischen – Studien zum Opernfragment Moses und Aron auch an den Original-Partituren, anhand der Manuskripte und Textentwürfe zum III., nicht vertonten Akt zu legitimieren begann, fiel der Startschuss zu ei­ ner mehrjährigen Beschäftigung mit diesem »opus magnum« von Schönberg, zugleich jenem uneinholbaren Bekenntniswerk des 20. Jahrhunderts.

Ohne den von der Avenir Foundation finanzierten Forschungsaufenthalt mitten im Präsenzgeschehen des damals jüngst von Kalifornien zurück nach Wien gekehrten Nachlasses wären meine Arbeiten zur Gottesfrage, zum Bilderver­ bot und der entsprechenden reziproken Interpretation von Text u n d Musik nicht möglich gewesen. Diese Weichenstellung bedeutete für mich aber über die wissenschaftliche Beschäftigung hinaus noch weit mehr: Ich lernte die Familie kennen, zahlreiche Kollegen und Mitarbeiter des Instituts – und wurde so gleichsam des Weges »geführt, den ich gewählt hatte«: Symposien, Publi­ kationen, Vertiefung und Inspiration nahmen damals ihren gesegneten Anfang.

Den herzlichsten Dank dafür!

Arnold Schönberg: Moses und Aron. Oper in drei Akten. (Arnold Schönberg Center, Wien [MS63, 2966])

Richard Kurth Director, UBC School of Music Professor / Music Theory University of British Columbia Avenir Foundation Grant 2001

I am sincerely grateful to the Avenir Foundation for supporting my first two trips to the Arnold Schönberg Center in Vienna, the first to participate in the Symposium “Arnold Schönberg in Berlin,” the second to pursue research in the Center. Those trips were my first direct exposure to Arnold Schönberg’s Vien­ nese milieu (transposed by about 8 decades), and to a contemporary Viennese musical culture that now clearly includes Schönberg among its heroes. On the first trip, I witnessed the extraordinary Wiener Staatsoper production of Die Jakobsleiter, and on the second trip, I heard a workers’ chorus sing in Schönberg’s honour in the garden of the Mödling Haus and heard talented young string quartets being coached in the Mödling apartment and performing Schönberg’s quartets in the Center’s concert hall. These diverse examples of Schönberg’s living musical presence were indelible influences on my understanding and appreciation (along with so many other experiences in the symposium and the archive). Heard in settings that revived his past, these performances also confirmed his music’s vitality for the future. Aptly named, the Avenir Foundation has done this too, by supporting me and so many other Schönberg scholars, enhancing our work by bringing us into closer contact with Schönberg’s multifaceted world. Thank you!

Arnold Schönberg: Dreimal tausend Jahre (Arnold Schönberg Center, Wien [MS 54, 681])

Eric Lecler Maître de conférences en Littérature comparée à l’Université Aix-Marseille Avenir Foundation Grant 2008

Im Jahr 2008 hatte ich die Ehre, als Stipendiat am Arnold Schönberg Center zu arbeiten. Mein Forschungsvorhaben umfasste eine vertiefte philosophi­ sche Lektüre der Werke Schönbergs, initiiert durch meine Arbeit »L’esthétique de l’indicible dans l’opéra, de Debussy à Schönberg«. Schönbergs Bibliothek umfasst eine Fülle philosophischer Literatur, aber reicht es, diese Bücher aufzuzählen, um Schönbergs Werk zu erklären? Ausgehend von meiner Arbeit zu einer phänomenologischen Interpretation der Erwartung op. 17 suchte ich in der deutschsprachigen Kritik über Schönberg und in seiner Korrespondenz nach weiteren Spuren einer solcher Beziehung, wie auch zur jüdischen Geis­ teswelt (Spinoza, Hermann Cohen, Jakob Klatzkin etc.)

Die großartige Bibliothek der Institution wie auch der angenehme Aufenthalt im Schönberg-Haus in Mödling erlaubten mir, meine Forschung über den Komponisten fortzuführen und 2010 ein Buch zu veröffentlichen: »L’opéra expressionniste«, Peter Lang: Bern etc. Wie Nicolas Derny, ein Kritiker der Zeit­ schrift Forum opéra bereits 2010 festgestellt hat, stellt die expressionistische Oper für mich den Kern von Schönbergs Schaffen dar.

Arnold Schönberg: Denken, vor Oktober 1910 (Arnold Schönberg Center, Wien [CR060])

Isben Önen Architect Ankara Avenir Foundation Grant 2005

The Abstraction of Abstract: A Socio-cultural Study The connection to the Arnold Schönberg Center and to Vienna and to my present life in Vienna, I owe to the Avenir Foundation. After a fleeing effort in 1997, here I found myself again in a town, which I was pretty much sure not to return to. I could not have known that this “Wiedersehen” triggered by the grant in 2005 were to change my whole life. The time I spent at the center could not be described with words. It was an experience of a lifetime that broadened the limits of my thinking and questioning. I was most fascinated by the tone cards with holders Schönberg used: Not only did they have a lot to say as objects but they represented an effort to structure and rationalize a musical artifact, to gain control over tangled musical ideas. These were the tools to set a new, subtle and sincere grammar. Within the following years after my return in 2007, this time enrolled at the University of Applied Arts, the library at the Arnold Schönberg Center became a place of intellectual refuge. My experience enabled through the grant also prepared the cognitive landscape for a future research, which eventually became my dissertation: “Form in Architecture and Music: Persistence of the Intellect.” I would like to thank the Avenir Foundation for investing in the values of enlightenment and making it possible for young researchers to grow wiser as time goes by.

Arnold Schönberg: Moses und Aron. Oper in drei Akten (Arnold Schönberg Center, Wien [MS 63])

Jean-Paul Olive

Professor in the Department of Musicology at Paris 8 University Avenir Foundation Grant 2014

With grant support from the Arnold Schönberg Center, and as part of the University of Paris 8’s “Musical prose and instrumental gesture” program, I had the opportunity to spend two weeks at the Schönberg House in Mödling in 2014, and to work in the Center. While there I enjoyed the particularly evo­ cative atmos­phere of Arnold Schönberg’s house and benefited from all the resources offered by the Center’s library. My research focused on the Pierrot lunaire and on the relationship between composition and interpretation.

Following my stay I held a seminar on the subject at the University of Paris 8, for which I organized a day’s workshop on Pierrot lunaire and a concert with the students from the Pôle Supérieur de Musique 93 which included a perfor­ mance of Pierrot lunaire. A documentary entitled “Les Pierrot” was filmed with the same students and I wrote two articles which will be published in 2017: “Temporal layers and expressive processes in the Pierrot lunaire of Arnold Schönberg” and “The writing of emotions in Arnold Schönberg’s Pierrot lunaire.” I am currently working on a book manuscript: “Arnold Schönberg’s Pierrot lunaire or Modern Metamorphosis.”

Arnold Schönberg: Playing Card for Whist/Bridge (Arnold Schönberg Center, Wien [CR 219])

Matthias Pasdzierny Wissenschaftlicher Mitarbeiter Universität der Künste Berlin Avenir Foundation Grant 2005

Mein von der Avenir Foundation geförderter Aufenthalt am Arnold Schön­ berg Center im Sommer 2006 stand unter dem thematischen Vorzeichen, in verschiedenen Korrespondenzen nach Äußerungen zur Aufführungslehre Schönbergs und seiner Schüler zu recherchieren. Untergebracht in Schönbergs ehemaligem Wohnhaus in Mödling, lernte ich schnell meinen Stipendiaten­ kollegen und Mitbewohner, Avior Byron aus Israel kennen. Auf unseren langen Spaziergängen in der Umgebung und täglich zum Mödlinger S-Bahnhof war schnell die Idee zu einem gemeinsamen Artikel geboren, der sich mit Schönbergs Konzeption der Sprechstimme auseinandersetzen sollte, wofür wir systematisch dessen briefliche Äußerungen dazu in Zusammenhang mit Aufführungen und Aufnahmen des Pierrot lunaire auswerteten. Der Artikel erschien im folgenden Jahr in Music Theory Online ("... though Mrs. Stiedry is never in pitch." The Sprech­stimme of Arnold Schoenbergs Pierrot lunaire reconsidered once again, in: Music Theory Online 13.2 [July 2007], http://mto. societymusictheory.org/issues/mto.07.13.2/toc.13.2.html). Für mich, damals noch ganz am Anfang meiner Karriere als Musikwissenschaftler, war dies die erste internationale Zusammenarbeit und Publikation, ein ebenso fruchtbares wie prägendes Erlebnis.

Benedikt Dolbin: Arnold Schönberg und Erika Stiedry-Wagner bei der Aufnahme von Pierrot lunaire op. 21, 17. November 1940

Stephen Peles

Associate Professor of Composition & Music Theory Alabama School of Music Avenir Foundation Grant 2003

Nothing happens in a vacuum.

Support for an individual scholar is also necessarily support for scholarship itself, just as support for an individual artist is also necessarily support for art itself. Any individual act of support is thus apt to reverberate in the future in ways that can never be fully foreseen.

My own first visit to Vienna (several more were to follow) was supported in part by the Avenir foundation, which enabled my first visit to the archives of the Arnold Schönberg Center (my interest in Schönberg’s sketch material goes back many years to my years as a graduate student at Princeton when I was kindly provided with a number of photocopies from the Arnold Schoenberg Institute in California). I spent that first visit examining the wealth of archival material having to do with pieces Schönberg began in the 1920s but never finished. A small portion of that research found its way into a paper presented at the Center’s 2004 Symposium, and a version of that paper appeared subse­ quently in the Journal of the Arnold Schönberg Center.

But of course it didn’t stop there. My work at the Center and elsewhere in Vienna continued to inform my research throughout the following years, enriching not only my own intellectual life but the lives of my students as well, who I hope will now go on to enrich the lives of their students.

Like I said, nothing happens in a vacuum.

Arnold Schönberg: Unfinished Work for Violin and Piano (Arnold Schönberg Center, Wien [MS91, U296])

Bryan Proksch Associate Professor of Musicology Lamar University Avenir Foundation Grant 2008 I was privileged to spend a month at the Arnold Schönberg Center through an Avenir Foundation Grant in 2008. The research I accomplished served as the foundation to my 2015 book, “Reviving Haydn: New Appreciations in the Twentieth Century“ and led to many published essays. These each worked to better understand how Schönberg situated his own music within the larger context of music history. The grant influenced my understanding of numerous early twentieth-century composers, so its effects can be seen in all of my publications. My teaching changed in positive ways too. Living in Schönberg’s house in Mödling, handling so many documents that he created and reading books that he annotated gave me a unique perspective on the man and the teacher. By the same token the many non-research opportunities fostered by that month in Vienna – to attend conferences and concerts, to meet Schönberg’s children – affected me and my teaching in a personal way that will be passed on to students as long as I am a professor. I will always be gra­ teful to the Avenir Foundation for making that wonderful month possible.

Schönberg's analysis of Haydn's Symphony No. 104, from: Der musikalische Gedanke (Arnold Schönberg Center, Wien [T65.03])

Stefanie Rauch (verh. Acquavella-Rauch) Akademie-Juniorprofessorin für Musikwissenschaft Johannes-Gutenberg-Universität Mainz & Gluck-Gesamtausgabe (Mainz)

Avenir Foundation Grant 2007

Die Avenir Foundation förderte mich während der Arbeit an meiner Disser­ tation »Die Arbeitsweise Arnold Schönbergs – Kunstgenese und Schaffens­ prozess« im August 2007 und ermöglichte mir damit die Nutzung der hervor­ ragenden Forschungsinfrastruktur des Arnold Schönberg Center. Neben der Bibliothek betraf dies vor allem diverse Quellen, die ich während meines Aufenthalts im Original untersuchen konnte, um meine Analysen zu stützen und zu überarbeiten.

Als mindestens genauso wichtig empfand ich die Atmosphäre vor Ort: Anstatt alleine mit meinem Projekt beschäftigt zu sein, war ich umgeben von Men­ schen, die sich für meine Forschung interessierten und mit denen ich mich austauschen konnte, die meine Gedanken spiegelten und mir Impulse gaben.

Es war für mich überaus bedeutend, gleichsam Tag und Nacht mit Materialien und Orten aus dem Leben Schönbergs in Kontakt zu sein, weil sie mich dem Denken Schönbergs auf eine indirekte, aber umfassende Weise näherbrach­ ten. Das Wohnen und Schreiben in einem der Studios im Schönberg-Haus in Mödling mit Blick auf den spätsommerlichen Apfelbaum im Garten ließ mich einen Durchbruch im eigenen Arbeitsprozess erleben und versorgte mich auch später immer wieder mit einer besonderen Kraft.

Apfelbaum im Garten des Schönberg-Hauses, Mödling

Gordon Root Professor for Music Theory

State University of New York at Fredonia Avenir Foundation Grant 2009

It is with the utmost fondness and appreciation that I recall the summer of 2009, a period in which, through the generosity of an Avenir Grant, I was fortu­ nate enough to visit the Arnold Schönberg Center and stay at the Schönberg House in Mödling. Studying in the archives and experiencing the culture, nature and concert life of Vienna and its surrounding areas was truly a life changing experience for which I will be forever grateful. This opportunity afforded me by the Avenir Foundation of Wheat Ridge, Colorado, and the research it allowed me to undertake at the Arnold Schönberg Center, led directly to the publica­ tion of a new edition of “Schoenberg’s Models for Beginners in Composition“ (2016).

Gordon Root: Schoenberg's Models for Beginners in Composition (Schoenberg in Words).

Oxford: Oxford University Press 2016

Elisabeth Sommernes Norwegian Broadcasting (NRK) Avenir Foundation Grant 1998

In meiner Magisterarbeit habe ich mich mit dem Thema »Arnold Schönberg als Expressionist – unter besonderer Berücksichtigung seiner Verbindung zu Kandinsky und Munch« beschäftigt. Im Oktober 1998 habe ich Wien und Mödling besucht, um dort zu recherchieren. Während dieser Zeit hatte ich das Privileg, im Schönberg-Haus in Mödling zu wohnen. Besonders gern erinnere ich mich an die Konzerte, die in Mödling und am Arnold Schönberg Center in Wien stattfanden. Sehr bereichernd war auch die Begegnung mit Richard Hoffmann, dem ehemaligen Sekretär von Arnold Schönberg. Während meines Aufenthaltes in Mödling verbrachte auch er einige Tage in dem Haus.

Mein Forschungsaufenthalt wurde durch ein Stipendium meines Arbeitgebers, des norwegischen Rundfunks, unterstützt. Dadurch hatte ich die Gelegenheit, mich über Musikproduktionen des ORF sowohl im Musikverein als auch im Wiener Konzerthaus zu informieren.

Nach Abschluss meiner Studien in Wien habe ich mich in meiner weiteren For­ schungsarbeit vor allem auf die Beziehung zwischen Schönberg und Kandinsky konzentriert. 2009 habe ich meine Doktorarbeit unter dem Titel ‚»Das Ideal der Harmonie – Eine Betrachtung von Kandinskys Weg in die Abstraktion im Lichte der Poetik Arnold Schönbergs« an der Universität Oslo eingereicht.

Ich danke der Avenir Foundation und dem Schönberg Center dafür, mir während meiner Recherchen für dieses Projekt einen inspirierenden und von kreativem Geist geprägten Raum zur Verfügung gestellt zu haben.

Arnold Schönberg an Wassily Kandinsky, 24. Januar 1911. Brief samt Foto mit Widmung (Centre Pompidou, Paris)

Charles Stratford PhD Candidate in Musicology Brandeis University

Avenir Foundation Grant 2010 & 2015

In the summer of 2009, I was awarded a generous grant by the Avenir Founda­ tion for a three-month paid internship at the Arnold Schönberg Center, where I worked on a website commemorating the centennial of the premiere of Pierrot lunaire, as well as introductory notes to Das Buch der hängenden Gärten.

This internship gave me the unique opportunity to use first-hand access to archival materials in order to gain valuable insight into Schönberg’s life and works. In a short period of time (and with the aid of Center archivists Therese Muxeneder and Eike Feß), I sharpened my skills as an archival researcher; this formative experience prepared me for a lifelong study of Schönberg’s music. It has been a pleasure and privilege to continue working with the Center staff in participating in the International Schönberg Symposium, as well as developing content for the Journal of the Arnold Schönberg Center. The support of the Schönberg Center staff has enabled me to pursue avenues of research that would have been otherwise impossible. I commend the Avenir Foundation for supporting one the world’s cutting-edge music archives.

Poster, first public performance of Arnold Schönberg's Pierrot lunaire, Berlin, 16 October 1912

Felix Wörner Dozent am Musikwissen schaftlichen Institut der Universität Basel Avenir Foundation Grant 2003

Während meines 14-tägigen Forschungsaufenthaltes am Arnold Schönberg Center im Frühjahr 2003 konnte ich mich der Vorbereitung von zwei Studien widmen. Das erste Vorhaben beschäftigte sich mit einem Aspekt des Schönberg-Bilds seiner Zeit, nämlich dem Entwurf einer Biographie seines Schülers und Freundes Heinrich Jalowetz. Die vorherige Auswertung von dessen Nachlass, der sich in der Paul Sacher Stiftung Basel befindet, konnte durch weitere Quellenstudien am Arnold Schönberg Center ergänzt werden.

Die Ergebnisse, vorgetragen bei einer Schönberg-Konferenz zu Ehren von Ivan Vojtêch in Prag, wurden unter dem Titel »Das Schönberg-Bild von Heinrich Jalowetz« in der Hudební vêda (2004), H. 1-2, S. 49-62 veröffentlicht.

Für das zweite Vorhaben, einer kürzeren Studie zur Vermittlung von Schönbergs Zwölftontechnik im deutschsprachigen Raum in den 1950erJahren am Beispiel von Eimert, Jelinek und Rufer konnte ich im Rahmen meines Aufenthalts am Center ebenfalls ergänzende Materialien in Archiv und Bibliothek konsultieren. Die Ergebnisse dieser Forschung wurde am Arnold Schönberg Center präsentiert und im Journal of the Arnold Schönberg Center 2005 veröffentlicht. Über die unmittelbaren Ergebnisse dieser Forschung hinaus hat die Förderung der Avenir Foundation mir geholfen, Kontakte zu internationalen Schönberg-Forschern aufbauen zu können; u. a. konnte ich so im Jahr 2007 am Mannes Institute for Advanced Studies in Music Theory (Schoenberg and his Legacy) in New York teilnehmen.

Aus dem Fotoalbum »Dem Lehrer Arnold Schönberg«, 13. September 1924 (Arnold Schönberg Center, Wien [PH4831])

Impressum Medieninhaber: Arnold Schönberg Center Privatstiftung Direktorin Mag. Angelika Möser Palais Fanto, Schwarzenbergplatz 6 A – 1030 Wien Telefon +43 1 712 18 88 www.schoenberg.at FN 154977h; Handelsgericht Wien Stand: Juni 2017

Arnold Schönberg Center Privatstiftung

Coverfoto: Arnold Schönberg, Berlin, ca. 1930 (Arnold Schönberg Center, Wien [PH1165])

Palais Fanto Schwarzenbergplatz 6 A – 1030 Wien

Tel. +43 1 712 18 88 www.schoenberg.at office@schoenberg.at