1. Schoenberg, "Heart and Brain in Music," in Style and Idea, 53-75, esp. 54.

2. Ibid., 57.

3. Ibid., 58.

4. Ibid., 74-75.

5. The comments of the Berlin critic Fritz Ohrmann about the Variations for Orchestra, op. 31 (which appeared in Signale für die musikalische Welt in its issue of 12 December 1928), are typical of such attacks: "Arnold Schoenberg's latest work . . . is calculated and excogitated musical mathematics dictated by intellect alone to one obsessed with a single eccentric idea." ( Arnold Schönbergs neuestes Werk, Variationen für Orchester, ist eine errechnete und erklügelte nur vom Intellekt diktierte musikalische Mathematik eines von einer verstiegenen Idee Besessenen. ) Translated and quoted in Nicolas Slonimsky, ed., Lexicon of Musical Invective: Critical Assaults on Composers since Beethoven's Time (Seattle and London: University of Washington Press, 1965), 161.

6. Schoenberg to Busoni, n.d. [August 1909], Busoni Letters, 387-390, esp. 389.

7. Schoenberg to Kandinsky, 24 January 1911, Schoenberg/Kandinsky Letters, 23.

8. His description of the Orchestra Pieces, op. 16, in a letter of 14 July 1909 to Richard Strauss as "completely unsymphonic, devoid of architecture or construction, just an uninterrupted change of colors, rhythms and moods" clearly does not adequately characterize the first three movements, which he had by then completed, with their thematic organization, recurring harmonies, and pervasive contrapuntal devices. Letter translated and quoted in Nicolas Slonimsky, ed., Music Since 1900, 4th ed. (New York: Charles Scribner's Sons, 1971), 207.

9. See, for example, his letter to Busoni of 24 August 1909: "Yes indeed, when a new art seeks and finds new means of expression, almost all earlier techniques go hang: seemingly at any rate, for actually they are retained but in a different way (to discuss this would lead me too far)." Busoni Letters, 391-397, esp. 393.

10. Jan Maegaard has established that whereas the early movements of opp. 11 and 16 dated from the winter and spring of 1909, the last movements of both pieces were composed in August, shortly before Schoenberg began Erwartung; see Maegaard, Entwicklung des dodekaphonen Satzes, 1:63-76.

11. Important earlier studies of op. 18 include John Crawford, "Die glückliche Hand: Schoenberg's Gesamtkunstwerk," Musical Quarterly 60/4 (1974), 583-601; Alan Lessem, Music and Text in the Works of Arnold Schoenberg: The Critical Years 1908-1922, Studies in Musicology, no. 8 (Ann Arbor, Mich.: UMI Research Press, 1979); Siegfried Mauser, Das expressionistische Musiktheater der Wiener Schule, Schriftenreihe der Hochschule für Musik, München, vol. 3 (Regensburg: G. Bosse Verlag, 1982); and Michael Mäckelmann, "Die glückliche Hand: Eine Studie zu Musik und Inhalt von Arnold Schönbergs `Drama mit Musik,'" in Musiktheater im 20. Jahrhundert, Hamburger Jahrbuch für Musikwissenschaft, vol. 10, ed. Constantin Floros (Laaber: Laaber Verlag, 1988), 7-36.

12. The present study draws upon my dissertation, "Schoenberg's Compositional and Aesthetic Transformations 1910-1913: The Genesis of Die glückliche Hand" (Ph.D. diss., University of Chicago, 1991); and my article "Schoenberg's Aesthetic Transformations and the Evolution of the Form in Die glückliche Hand," Journal of the Arnold Schoenberg Institute 12/2 (November 1989), 103-128. My account of Schoenberg's aesthetic development has been influenced in particular by John Crawford, "Schoenberg's Artistic Development to 1911," in Schoenberg/Kandinsky Letters, 171-186; Robert P. Morgan, "Secret Languages: The Roots of Musical Modernism," Critical Inquiry 10/3 (1984), 442-461; and Glen Alan Bauer, ''A Contextual Approach to Schoenberg's Atonal Works: Self-Expression, Religion, and Music Theory" (Ph.D. diss., Washington University, 1986), 77-115, 166-189.

13. Many of the materials for the staging are reproduced in Schoenberg/Kandinsky Letters, plates 20-28.

14. For a further description of the sources and the compositional chronology, see Auner, "Schoenberg's Compositional and Aesthetic Transformations," 36-149.

15. Schoenberg, "Gustav Mahler," in Style and Idea, 449-472, esp. 458.

16. An exception is the Second String Quartet, op. 10 (1907-1908), for which a considerable number of sketches survive, especially for the second and third movements. More typical is Das Buch der hängenden Gärten, op. 15 (1908-1909), where preliminary materials survive for only three songs. Rudolf Stephan has pointed out that when Schoenberg ran into difficulties with a composition he was more likely to set aside the first draft and start again from the beginning. For the later works of 1909 there are even fewer sketches. No sketches are preserved for op. 11, and with the exception of the deletion of a section of eight measures in the final movement, the draft manuscript is virtually free of changes. Fragmentary sketches survive for the first four movements of the Five Orchestra Pieces, but significantly, there are no sketches for the final and longest movement. See also Maegaard, Entwicklung des dodekaphonen Satzes, 1:55-66; and Rudolf Stephan, "Über Schönbergs Arbeitsweise," in Arnold Schönberg, Gedankaustellung 1974, ed. Ernst Hilmar (Vienna: Universal Edition, 1974), 119.

17. With the exception of the draft manuscript (ASC/LC) and the fair copy of the full score in the archives of Universal Edition in Vienna, all sources are in the archives of the ASI. The sketch pages are identified by their microfilm numbers (2,432-2,452); sketches in the Compositions Vorlage, by their position in the manuscript. The sketches are described in detail in Auner, "Schoenberg's Compositional and Aesthetic Transformations," 463-469. See also Maegaard, Entwicklung des dodekaphonen Satzes, 1:66-68; and Harald Krebs, "New Light on the Source Materials of Die glückliche Hand," Journal of the Arnold Schoenberg Institute 11/2 (November 1988), 123-143.

18. The alterations primarily involve extending the two-and-a-half measure sketch into four and a half measures in the score. A number of other Compositions Vorlage sketches represent a similar compositional approach. Only the sketches for the beginning of the third scene show Schoenberg modifying his original idea. Other sketches in the Compositions Vorlage were abandoned when he rewrote passages in the later stages of the composition. See Auner, "Schoenberg's Compositional and Aesthetic Transformations," 236-267, 321-342.

19. This is obviously not to say that there are no similarities between melodic shapes in the finished score of this section. For example, the figure in the second half of measure 58 in the double bass is clearly a variation of the initial gesture in the sketch, yet already the variation is significantly different in intervallic content and rhythm. More important, the material introduced in this gesture — marked Nebenstimme — does not continue in the bass and is not taken up in its original form by other voices. Instead of conventional motivic references, Schoenberg creates more tenuous relationships by pitch class and pitch-class set recurrences; see Auner, "Schoenberg's Compositional and Aesthetic Transformations," 260-265.

20. Schoenberg, "Franz Liszt's Work and Being," in Style and Idea, 442-447, esp. 444.

21. Schoenberg to Busoni, n.d. [August 1909], Busoni Letters, 388.

22. Bauer makes this point in "Schoenberg's Atonal Works," 163.

23. Schoenberg to Busoni, 24 August 1909, Busoni Letters, 393.

24. Schoenberg, "Problems in Teaching Art," in Style and Idea, 365-369, esp. 368.

25. Schoenberg, "Composition with Twelve-Tones (1)," in Style and Idea, 214-245, esp. 218.

26. Es soll nicht gesagt sein, dass Ordnung, Klarheit und Verständlichkeit die Schönheit beeinträchtigen können, aber sie sind nicht ein notwendiger Factor, ohne den es keine Schönheit gäbe, sondern ein zufälliger.
Schoenberg, Harmonielehre (1911), 31.

This passage from the first edition was substantially revised in the third edition of 1922; it is translated and quoted in Roy E. Carter's translator's preface to Theory of Harmony, xvii-xviii.

27. Schoenberg to Busoni, n.d. [August 1909], Busoni Letters, 389.

28. Morgan, "Secret Languages," 461.

29. Schoenberg to Kandinsky, 19 August 1912, Schoenberg/Kandinsky Letters, 54-55.

30. Toward the end of 1911 Schoenberg wrote to Berg: "I am unusually depressed. . . . I'm not composing anything at all right now. At any rate: I've lost interest in my works. I'm not satisfied with anything any more. I see mistakes and inadequacies in everything." 21 December 1911, Berg-Schoenberg Correspondence, 59-60.

31. Schoenberg, program notes from 14 January 1910; quoted in translation in Reich, Schoenberg: A Critical Biography, 49. Charles Rosen writes of this passage: "To speak of an inner compulsion is to recognize one's own unwillingness to yield, to feel the weight of the opposition and even partially to admit its validity"; see Rosen, Schoenberg, 7.

32. Schoenberg, Style and Idea, 444.

33. Ibid., 442.

34. Schoenberg, Theory of Harmony, 413. The Harmonielehre, written in 1910-1911, is deeply marked by Schoenberg's ambivalence about the interaction of the intellect and intuition, and the relationship of composition to theory and tradition. Written at the request of Emil Hertzka, the director of Universal Edition, the theory book served many functions for Schoenberg beyond the much needed one of immediate financial reward, and these contradictory goals are reflected in some of the book's peculiarities. Undoubtedly Schoenberg's efforts to secure a teaching position made it important to demonstrate his theoretical knowledge. Beyond the practical aims of the book, the Harmonielehre can be seen as part of an attempt to examine and articulate his own compositional philosophy. See also Auner, "Schoenberg's Compositional and Aesthetic Transformations," 288-295.

35. In October 1910 Schoenberg mounted a one-man exhibit of his works, and the following year his works were included in the first of Kandinsky's Der Blaue Reiter exhibitions. The importance that Schoenberg attached to his paintings, and the extent to which this affected how he was viewed, is indicated by the emphasis on his paintings in the special Schoenberg issue of Der Merker 2/17 (1911), which included the libretto of Die glückliche Hand, and the 1912 testimonial volume prepared by Berg and Schoenberg's other students, Arnold Schönberg (Munich: R. Piper & Co., 1912; facsimile ed., Wels, Austria: Druckerei Welsermühl, 1980). For reproductions of Schoenberg paintings, see Thomas Zaunschirm, ed., Arnold Schönberg: Das bildnerische Werk (Klagenfurt: Ritter Verlag, 1991).

36. Schoenberg viewed as his most significant works the series of paintings called "gazes" and "visions," which deemphasized traditional representation; he identified his more realistic paintings and portraits — favored, incidentally, by Kandinsky — as ''finger exercises, scales" ( Fingerübungen, Skalen ), as he writes in a letter to Kandinsky of 14 December 1911; see Schoenberg/Kandinsky Letters, 40.

37. Schoenberg to Carl Moll, 16 June 1910, translated and quoted in Jane Kallir, Arnold Schoenberg's Vienna (New York: Galerie St. Etienne and Rizzoli, 1984), 44. The relationship between professional artistic or musical training and intuitive expression is the subject of considerable ambivalence in Schoenberg's writings throughout this period. In the essay "Über Musikkritik" ("About Music Criticism"), first published in Der Merker in 1909, Schoenberg insisted that intuition must be based on first mastering the technical aspects of a craft and then dispensing with them; see Schoenberg, Style and Idea, 191-197, esp. 191-192. See also Schoenberg, Theory of Harmony, 410-417.

38. Schoenberg to Kandinsky, 8 March 1912, Schoenberg/Kandinsky Letters, 48.

39. Carl Dahlhaus traces Schoenberg's mingling of religious and psychological imagery to nineteenth-century ideas; see Carl Dahlhaus, "Schoenberg's Aesthetic Theology," in Schoenberg and the New Music, trans. Derrick Puffett and Alfred Clayton (Cambridge: Cambridge University Press, 1987), 81-93.

40. Schoenberg, Theory of Harmony, 400.

41. Schoenberg to Kandinsky, 19 August 1912, Schoenberg/Kandinsky Letters, 54. Schoenberg commented on the commission, from Albertine Zehme, at several points in his diary. See, for example, the entry of 18 February 1912 in "Schoenberg, Attempt at a Diary," trans. Anita Luginbühl, Journal of the Arnold Schoenberg Institute 9/1 (June 1986), 7-51, esp. 30; for the original text, see Arnold Schönberg, Berliner Tagebuch, ed. Josef Rufer (Frankfurt am Main: Propyläen Verlag, 1974).

42. "Schoenberg, Attempt at a Diary," entry of 13 March 1912, 41.

43. Adorno, "Arnold Schoenberg," 163.

44. See Reinhold Brinkmann, "What the Sources Tells Us . . . A Chapter of Pierrot Philology," Journal of the Arnold Schoenberg Institute 10/1 (June 1987), 11-27.

45. Schoenberg to Alexander Zemlinsky, 9 January 1915, partially quoted in translation in Oliver Neighbour, "Arnold Schoenberg," in The New Grove Second Viennese School (New York: W.W. Norton and Co., 1983), 47.

46. Schoenberg, "Composition with Twelve Tones (1)," in Style and Idea, 216.

47. Schoenberg, "Das Tempo der Entwicklung," quoted in Jean Christensen, "The Spiritual and Material in Schoenberg's Thinking," Music and Letters 65/4 (1984), 344.

48. "Schoenberg, Attempt at a Diary," 39.

49. He later characterized the meaning of the title with this phrase, borrowed from the concluding chorus: "Glückliche Hand, die zu packen sucht, was ihr nur entschlüpfen kann, wenn sies hält." Schönberg, "Die glückliche Hand," in Schoenberg, Gesammelte Schriften, 1:239.

50. Still, o schweige; Ruheloser! Du weisst es ja; du wusstest es ja; und trotzdem bist du blind? Kannst du nicht endlich Ruhe finden?. . . . Willst du nicht endlich glauben?. . . . Immer wieder glaubst du dem Traum; immer wieder hängst du deine Sehnsucht ans Unerfüllbare; immer wieder überlässt du dich den Lockungen deiner Sinne, die das Weltall durchstreifen, die unirdisch sind, aber irdiches Glück ersehnen!
Schönberg, Die glückliche Hand, Drama mit Musik (Wien: Universal Edition,
1917), 1-5; trans. David Johnson in Schoenberg/Kandinsky Letters, 91-92.

51. Schoenberg, "Composition with Twelve Tones (1)," in Style and Idea, 215.

52. Schoenberg, "Heart and Brain in Music," in Style and Idea, 53.