1. The parallel is not precise, but it is appropriate. See Werner J. Schweiger, "Zwischen Anerkennung und Verteuflung: Zur Rezeptionsgeschichte von Kokoschkas Frühwerk," in Oskar Kokoschka: Symposion, ed. Erika Patka (Salzburg: Residenz Verlag, 1986), 114-126.

2. This selection of premieres is based on the level of the public controversy they raised. The January 1910 concert at the Ehrbar Saal in which the op. 15 Stefan George cycle and op. 11 were premiered was less dramatic. The premiere of Pelleas in the winter of 1905 can be considered in the light of the subsequent discussion, however.

3. See Franz Grasberger, Richard Strauss und die Wiener Oper (Tutzing: Hans Schneider, 1969), 7-24.

4. Walter Frisch, The Early Works of Arnold Schoenberg 1893-1908 (Berkeley and Los Angeles: University of California Press, 1993).

5. See Schoenberg's "A Self-Analysis" (1948), "My Evolution" (1949), and "How One Becomes Lonely" (1937), in Style and Idea.

6. The best source for Viennese criticism of Mahler's music is Henry-Louis de La Grange, Gustav Mahler: Vienna: The Years of Challenge (1897-1904) (Oxford: Oxford University Press, 1995); for Strauss, see Leon Botstein, "Richard Strauss and the Viennese Critics (1896-1924)," in Richard Strauss and His World, ed. Bryan Gilliam (Princeton, N.J.: Princeton University Press, 1993).

7. See Leon Botstein, "Music and Its Public" (Ph.D. diss., Harvard University, 1985), 1,184-1,199.

8. See Ulrich Thieme, Studien zum Jugendwerk Arnold Schoenberg: Einflüsse und Wandlungen (Regensburg: Bosse Verlag, 1979), 40-53.

9. Alma Mahler, Gustav Mahler: Memories and Letters, ed. Donald Mitchell (New York: Viking Press, 1969), 77, 111-112.

10. See the text of Schoenberg's response to Karpath, and Kraus's supportive contextualization, in Die Fackel 272-273 (15 February 1909), 34-35.

11. Josef Rufer, The Works of Arnold Schoenberg, 147-148.

12. See Simon McVeigh, Concert Life in London from Mozart to Haydn (Cambridge: Cambridge University Press, 1993).

13. It is significant that in those mature works with a tie to the political realities of European anti-Semitism — Moses und Aron, Kol Nidre, Ode to Napoleon Buonaparte, and A Survivor from Warsaw — Schoenberg succeeded, without apology, in using music to reach an audience at first hearing, even in the case of the posthumous first performance of Moses und Aron. The Wagnerian impulse is discernible. A contrast becomes most apparent when one compares each of these works with other Schoenberg compositions written at the same time that lack this particular extramusical meaning.

14. See "Circular to My Friends on My Sixtieth Birthday" (1934), in Schoenberg, Style and Idea, 27; and Schoenberg Letters, 270. On Stravinsky, see the short comments by Schoenberg from 1926 and 1928 in Style and Idea, 481-483.

15. Schoenberg, "Tonality and Form," Style and Idea, 257; see also the scathing comment on page 97 about "the Viennese conductor" who rejected the op. 9.

16. David Josef Bach, "Feuilleton: Der neuste Fall Schoenberg," Arbeiterzeitung (Vienna), 2 January 1909, 1-2.

17. The 1911 Harmonielehre is perhaps the most significant example. One also thinks of the essays on Brahms and Mahler. Schoenberg's polemical writings are found in Schoenberg, Style and Idea ; of particular interest are the pre-World War I essays "About Music Criticism," and "Problems in Teaching Art," "A Legal Question," and ''The Music Critic." See also "Ein Interview" in Stil und Gedanke.

18. See the excellent opening statement in Ethan Haimo, Schoenberg's Serial Odyssey: The Evolution of His Twelve-Tone Method, 1914-1928 (Oxford: Oxford University Press, 1990), 2-6.

19. See Schoenberg Letters, 287.

20. The argument in this essay is abbreviated, of necessity, in terms of its detail. The reader may wish to consult any number of well-known books on turn-of-the-century Vienna, including the classic work by Carl Schorske, Fin-de-Siècle Vienna: Politics and Culture (New York: Alfred A. Knopf, 1980). For those interested in Schoenberg vis-à-vis Vienna, see Edward Timms, Karl Kraus: Apocalyptic Satirist (New Haven, Conn.: Yale University Press, 1986), 3-29.

21. Schoenberg Letters, 35. One might also compare Schoenberg's attitude toward Dehmel to that of Charles Ives toward Emerson.

22. Frisch, Early Works of Arnold Schoenberg, 266.

23. See John Daverio, Nineteenth Century Music and the German Romantic Ideology (New York: Schirmer Books, 1993).

24. See Reinhold Brinkmann, Late Idyll: The Second Symphony of Johannes Brahms (Cambridge: Harvard University Press, 1995), 84.

25. See letters of Richard Dehmel to Georg Ebers, 29 September 1891; to Wolfgang Kirchbach, 3 October 1891; and to Gustav Kühl, 21 September 1896 and 11 February 1897, in Richard Dehmel, Ausgewählte Briefe aus den Jahren 1883 bis 1902 (Berlin: S. Fischer Verlag, 1922), 58-69, 252-256, and 260-262.

26. Schoenberg to Dehmel, 13 December 1912, Schoenberg Letters, 35.

27. See Alexander L. Ringer, Arnold Schoenberg: The Composer as Jew (Oxford: Oxford University Press, 1990). Schoenberg's self-image as Jew and his reactions to anti-Semitism have a social-class dimension. In contrast to his critics of Jewish origin and other younger talents identified as Jews (including whose who had converted or who were born converted) — such as Kraus and Hofmannsthal — Schoenberg was relatively poor and represented the first generation of his family in Vienna to assimilate fully.

28. See Dehmel, Ausgewählte Briefe, 196-199.

29. See Leon Botstein, Judentum und Modernität (Vienna: Böhlau Verlag, 1991), 126-148.

30. See Michael Mäckelmann, Arnold Schoenberg und das Judentum: Der Komponist und sein religiöses, nationales und politisches Selbstverständnis nach 1921 (Hamburg: Verlag der Musikalienhandlung Karl Dieter Wagner, 1984).

31. See, for example, the impression made by Kraus on Berg in early 1915 during Kraus's tireless effort to expose the role of the press in glorifying the war effort; Berg-Schoenberg Correspondence, 229-230. See also Alexander Goehr, "Schoenberg and Karl Kraus: The Idea behind the Music," Music Analysis 4/1-2 (1985), 59-71.

32. Schoenberg, Style and Idea, 481.

33. A example of the type of Viennese publication directed at middle-class consumers of culture, particularly music, was the journal An der schönen blauen Donau: Belletristisch-musikalische Zeitschrift, which began in 1885 and appeared twice a month. It was a family magazine (" Unterhaltungsblatt für die Familie ") with a sheet-music insert in each issue, in addition to articles, poems, essays, and short stories.

34. See Helmut Federhofer, Heinrich Schenker: Nach Tagebüchern und Briefen in der Oswald Jonas Memorial Collection (Hildesheim: Georg Olms Verlag, 1985), and Nicolas Meeus, Heinrich Schenker: Une introduction (Liege: Mardaga, 1993). See also Allan Keiler's parallel discussion in his "The Origins of Schenker's Thought: How Man Is Musical," Journal of Music Theory 33/2 (fall 1989), 273-298. The argument that follows takes issue with some of Keiler's claims, but remains essentially consistent with his basic thesis.

35. Helmut Federhofer, ed., Heinrich Schenker als Essayist und Kritiker: Gesammelte Aufsätze, Rezensionen und kleinere Berichte aus den Jahren 1891-1901 (Hildesheim: Georg Olms Verlag, 1990), 249-250.

36. Ibid., 100.

37. Ibid., 138-140. It is possible to speculate that the mature Schoenberg's concentration on a row of twelve pitches and its permutations as a basic underlying unit of composition mirrors the very same understanding of music's essence as is exhibited in Schenker's discussion of intervallic relationships within the thematic unit as containing the structural cell in complex — as regards surface and duration — works of musical art.

38. Ibid., 62.

39. See Heinrich Schenker, Harmonielehre (1906; Vienna: Universal Edition, 1978).

40. Consider, for example, Webern's 1932 performance of his arrangements of the Schubert German Dances. Included in the Boulez Webern set SONY SM3K 45845.

41. Federhofer, Schenker als Essayist, 154-166, 216-221, 248-252.

42. Compare Schenker's 1894 description of Richter with Ludwig Karpath's 1898 essay. See Federhofer, Schenker als Essayist, 79; and Ludwig Karpath, "Hans Richter," in 50 Jahre Hoftheater: Geschichte der beiden Wiener Hoftheater unter der Regierungszeit des Kaisers Franz Josef I, ed. Rudolph Lothar and Julius Stern (Vienna: Steyermühl, 1898), 81-83. Schenker also wrote an essay in 1901 critical of Mahler's performance (with reorchestrations) of Beethoven's Ninth Symphony; see Schenker als Essayist, 259-268.

43. Federhofer, Schenker: Nach Tagebüchern, 238-239, 257-259; Federhofer, Schenker als Essayist, 230-235.