Dear Friends of the Arnold Schönberg Center, 
Dear Ladies and Gentlemen:

Schönberg and Kandinsky: the meeting of these two minds is the impetus for possibly the greatest event in the history of the Arnold Schönberg Center. An exhibition to be displayed in all of the exhibit rooms of the Center, with over 200 objects, accompanied by a symposium, a workshop and concerts, such as a “Pierrot lunaire” with Anja Silja, the faithful reproduction of the memorable Schönberg concert which Kandinsky and his friends (those later to be part of the “Blaue Reiter”) attended in 1911 in Munich, will give insight into one of the most fascinating encounters in the history of art of the 20th century. With rare loans from the Centre Georges Pompidou, Paris, the Städtische Galerie im Lenbachhaus, Munich, the State Russian Museum, St. Petersburg, we will be showing large scale paintings by Wassily Kandinsky and by other members of the “Blaue Reiter,” with special attention given the works of Alexej von Jawlensky, who will be represented by masterworks from the collection of the Jawlensky Art Foundation in Vaduz as well as from Museum of Ostwall Dortmund. Other works on view will be those of Gabriele Münter, Kandinsky’s partner in those years, and Russian avant-gardists, foremost among them David Burljuk and Kasimir Malewitsch. A large portion of the works will be seen for the first time in Vienna, some even for the first time in Europe.
 Approximately 50 of Arnold Schönberg’s paintings will be exhibited, among them three of the four works with which he had been represented in the legendary exhibition “Blauer Reiter,” of 1911/12 in the gallery Thannhauser in Munich. A folder with information concerning the details of the exhibition “Schönberg, Kandinsky, Blauer Reiter and the Russian Avant-garde – Art belongs to the unconscious” scheduled to open on 9 March 2000, is available. This exhibit, open daily, will also provide an opportunity to see the Schönberg Center for all those who might long have wished to do so.
 Last year as well there were a number of memorable events, most of which centered around Schönberg’s 125th birthday on 13 September 1999: President Nuria Schoenberg Nono and City Councellor for Cultural Affairs Dr. Peter Marboe opened the exhibition “Arnold Schönberg’s Viennese Circle” which represented last year’s theme, and attracted over 12,000 visitors, 50% of which were international guests. In July we sent a representative selection of Schönberg’s paintings on loan to St. Petersburg. With the exhibition of “Arnold Schönberg and the Russian Avant-garde,” the State Russian Museum in Michailovsky Castle presented the first comprehensive contact with Schönberg’s œuvre since his concert tour in 1912, when he conducted his “Pelleas” with the Petersburg Philharmonic.
 With the reopening of the Schönberg-House in Mödling on the 11th of September, the last phase of construction was completed. The house in which Schönberg had lived between 1918 and 1925 and developed his twelve-tone method, and which was recently renovated in record time by Architect DI Michael Wagner, was memorialized by President Nuria Schoenberg Nono, Secretary of State Dr. Peter Wittmann and representatives from the government of Lower Austria and the City of Mödling. In the rooms of Schönberg’s former apartment there is a permanent exhibit about the life and work of the great master, with pictures, diagrams, show cases, video and CD stations, and Schönberg’s personal instruments, which both highlight Schönberg’s time in Mödling as well as the history of the Schönberg-House. On 13 September, Mödling’s mayor, Mr. Harald Lowatschek, unveiled the Schönberg monument by the sculptress, Elisabeth Ledersberger-Lehoczky, in the presence of family members from both of Schönberg’s marriages. Almost at the same time, Minister of Education Dr. Caspar Einem opened the first symposium of the Center, at which two dozen international scholars participated in discussing this year’s theme. Especially good news was the announcement of the official naming of Professor Christopher Hailey as first guest professor of the Arnold-Schönberg-Institute of the University of Music and Dramatic Arts in Vienna. After numerous further events, a concert in honor of the 100th anniversary of “Verklärte Nacht,” op. 4, featuring Elisabeth Orth, the Aron Quartet and members of the Alban Berg Quartett, and a concert by the Ensemble Wiener Collage, based on the theme “Strindberg – Schönberg,” conducted by Alexis Hauser, with soloists Anna Maria Pammer, Johannes Marian and René Staar, with recitation by Andrea Eckert, closed the festivities of this anniversary year.
In December, the founding of the Schönberg Center was able to be closed financially as well: the installation of the Center actually cost ATS 50,0 million. The City of Vienna produced ATS 30,2 million, the Republic of Austria ATS 6,5 million; Sponsors and other supporters donated more than ATS 5,0 million. Management and operational costs of the establishing phase 1997–1999 amounted to ATS 27,6 million, of which the City of Vienna and the Republic of Austria produced 23,9 million which amounted to 86,6%.
In this edition of the Newsletter, the archive will report about an especially exciting project of conservation: the removal of pasted layers in the first written score of the “Gurrelieder,” an undertaking commissioned by the editors of the Arnold Schönberg Gesamtausgabe (p. 5–9).
Friends and Patrons of our foundation will not only receive immediate information and price reductions, but they can also obtain tax deductions for their donations either in the USA or in Austria (p. 15).
The “Journal of the Arnold Schönberg Center” is the continuation of the extremely valuable periodical for Scholarship initiated by the Arnold Schoenberg Institute in Los Angeles, which, since the Seventies, has continually provided new insights. Suscribers will not only receive the first two issues for the year 2000, but also the last volume “Preliminary Inventory of Schoenberg Correspondence” and the official report of a symposium on “Schönberg and Wagner” held on the occasion of the first performance in Graz of “Moses and Aron” (p. 11).
This Newsletter of the Arnold Schönberg Center offers scholars and Schönberg devotees as well as curious guests the greatest number of activities and spheres of interest to date. 

Yours sincerely,
Dr. Christian Meyer
Director 


From the Archive

One of the essential prerequisites for research is the complete accessibility of autograph sources, not only to clarify readings, but also to trace the compositional process. For the most part Schönberg’s autograph material (whether sketch, draft, first manuscript or fair copy) is preserved among his musical estate. Yet questions remain concerning the genesis of a work when – as in the case of the first manuscript copy of the “Gurrelieder” – the author himself (temporarily) destroys all evidence of his thought process by cancellations and pastings. At the encouragement of the Arnold Schönberg Gesamtausgabe in Berlin, the archive has commissioned an extensive restoration project with the hope not only of revealing still existing secrets surrounding the origins of the composition, but also of allowing a glimpse into Schönberg’s musical workshop.
 In a letter of 24 January 1913 to Alban Berg, Schönberg provides information concerning the opening and closing dates for the composition of the “Gurrelieder,” based upon Robert Franz Arnold’s translation of the original Danish “Gurresange” by Jens Peter Jacobsen: “In March–April 1900 I composed the first, second and much of the third part. […] March (namely early 1901) the remainder completed!! Then orchestration begun in August 1901 […] continued middle of 1902 […] worked on it for the last time in 1903 and completed to about page 118. Thereafter laid it aside and completely abandoned it! Took it up again in July 1910. Everything orchestrated except for the closing chorus. This completed in Zehlendorf in 1911.”
 On numerous pages of this uniformly notated “Gurrelieder” manuscript (vocal score with piano accompaniment, condensed score with and without indications for the instrumentation), Schönberg pasted over rejected material, sometimes using narrow strips of paper, sometimes obscuring entire pages or groups of pages: unknown intermediate compositional steps are found on a total of nine pages in all three parts of the work. The musical text preceding Schönberg’s corrections can be recovered only by means of a complicated process of restoration, whereby the end result must depend upon the nature of the ink and the glue. 
 The first attempts to separate the pasted portions were preceded by a detailed examination of the corpus. The volume contains five different paper types produced by the firm J.E. (Josef Eberle) & Co. Both the recto and verso of all of the leaves are filled with notation in dark ink (black, black-brown and brown) and contain frequent cancellations with lead pencils of various degrees of hardness and with blue or red pencil. The various reactions of the writing utensils to moisture and/or steam confirms the graphological finding.In addition (as will be shown in the course of the restoration), Schönberg used not just one, but three different types of plant adhesives that differ not only in appearance but also in nature. Adhesive A, most favored by him, is clear and glossy yellow, and in cold water dissolves to a sticky fluid. After being moistened, it dries immediately, which indicates minimal water content. Spot-fixed areas are very taut. The glue could therefore derive from dextrin, gum arabic, or sugar-molasses, an example of the latter being Korfix (made by the Kores firm), which was often used in Vienna at the turn-of-the-century. This glue, in colour and viscosity similar to honey or syrup-like substances, was sold in glass bottles in shops. Adhesive B is dark yellow to brown in color, opaque and matte. It does not dissolve in water, although it swells and for a short period of time, as a sticky, rubbery mass, can be removed mechanically. Adhesive C – used on two leaves and for numerous pastings – is white, opaque, matte and crumbly, and very taut. It cannot be dissolved in water at room temperature, and after swelling in warm water it can be removed mechanically only with great difficulty. Nuria Schoenberg’s recollection of her father dissolving adhesive “in a little pot on the kitchen range” corresponds to the findings of Adhesive C. On all of the leaves with pastings, the ink bled through to the other side. As a result, pages still moist from the glue and laid one upon the other show the ink impression from the facing page.
 Restoration plans include not only the reinforcing of brittle corners worn from too much handling and the gluing of small tears, but also the smoothing of creases arising from the pasting over of entire pages with the taut Adhesive C.

The procedure to remove pastings
Papers with moisture-sensitive writing can be dampened in controlled areas by means of Gore-Tex felt. This well-known material of the textile industry, similar to Teflon, is waterproof yet vapour permeable. In this case a membrane of the material is laminated to a polyester felt. For the purposes of dampening, water from a saturated blotting card penetrates the felt and departs the membrane as water vapour. The object to be treated is placed on a piece of felt. The treatment ensues in a closed system. The first attempt with leaf 2225/2226 proved that the leaves could easily be separated from one another after a period of 1,5 hours. The yellow adhesive was removed with moistened cotton rollers. The same method proved workable for three additional sheets.
 With leaf 2215/2216 the adhesive showed little sign of swelling even after two hours of treatment with the Gore-Tex procedure. Only after additional treatment with the Albertina compress could the pasted papers be separated and the adhesive mechanically removed. This enzyme compress (for sale since the summer of 1999) was developed in Vienna expressly for dissolving starch-based adhesives that do not readily absorb moisture. The manufacturer’s instructions recommend placing a thin piece of separating paper on the object to be treated, on top of this a fleece that has been saturated with the enzyme, and on top of this a blotting paper that has been saturated with water. The compress is to be covered and weighted during the treatment process. 
 With leaves 2221 to 2224 (Adhesive C) treatment with the Albertina compress initially failed. Even treatments up to three hours failed to produce results, possibly because the Albertina compress contains amylase, an enzyme that decomposes starch. If the adhesive material is a flour paste, then theoretically protease should also be used since flour contains the protein gluten in addition to starch. Another apparent factor is the amount of moisture applied, which initially was kept to a minimum in order not to harm the ink. To ascertain the best way to proceed, test objects were produced: A paste similar to Adhesive C was prepared just by cooking flour with water. Both were simply briefly stirred together with no special attention paid to the congealing temperature. Two papers similar to the original were pasted together. In an attempt to separate them after applying the Albertina compress for different periods of time and with different concentrations of moisture, the flour paste, not fully congealed, corresponded in appearance and nature to that of the original paste, which was very sticky and dried again quickly. It was tightly bonded with the paper fibers of the facing leaves, which meant that the papers would repeatedly tear in an attempt to separate them. It therefore seemed impossible to avoid applying more moisture. A substantial increase in the amount of moisture applied to the thin separating leaf allowed separation of the papers glued with Adhesive C. The glue, once dampened, could also in many cases be removed, but where it was strongly bonded to the notation, it was only reduced. All tears were mended with wheat-starch paste and reinforced with small strips of Japanese paper. Before smoothing in the press, all of the leaves were again moistened with the Gore-Tex felt. Once all of the individual parts have been scanned, the pastings will again be afixed to the leaves. This could be accomplished by means of hinges made of Japanese paper, so that the pastings could be folded back to view the original notation.
 Assuming that Schönberg revised and pasted over sections chronologically, the following pattern emerges: Adhesive B is used on the first leaf (Archive number 2215/2216) and is no longer available, or is discarded as unsuitable, for the next leaf where revisions occur; C is prepared and is used for 2221 to 2224. The shortcomings of the paste are immediately visible. Schönberg purchases Adhesive A in a shop and uses it for all future revisions. Only for the last leaf, 2265/66, does he resort to Adhesive C for two of seven pastings.

The first manuscript copy of the “Gurrelieder” presently reveals the following:

2213/2214 and 2215/2216:
Part I, No. 12: Song of the Wood-dove
post correcturam: one bifolio, four pages (with two pastings: 2215 above, 2216 below, each covering one staff)
ante correcturam: one bifolio, four pages
new: notation once covered by the two pastings

2221/2222
Part II, No. 13: Waldemar
post correcturam: three leaves glued together, two pages (with one pasting: 2222 below, covering three staves)
ante correcturam: three loose leaves, six pages (five of which contain notation)
new: 2222 verso, one new leaf recto/verso (earlier draft of No. 13, dated 14 April 1900)
2222 recto, notation once covered by the pasting

2223/2224 
Part II, No. 13: Waldemar
post correcturam: one leaf, two pages (with one pasting: 2223 above, covering two staves)
ante correcturam: one leaf, two pages
new: notation once covered by the pasting

2225/2226
Part III, No. 14: Waldemar
post correcturam: two leaves glued together, two pages
ante correcturam: two leaves, four pages (three of which contain notation)
new: 2225 verso

2227/2228
Part III, No. 14: Waldemar
post correcturam: two leaves glued together, two pages
ante correcturam: two leaves, four pages (three of which contain notation)
new: 2228 verso

2233/2234
Part III, Orchestral interlude between No. 15 and No. 16 
post correcturam: one leaf, two pages (with one pasting: 2234 in the middle, covering three staves)
ante correcturam: one leaf, two pages
new: notation once covered by the pasting

2263/2264
Part III, No. 18: Klaus Narr
post correcturam: one leaf, two pages (with two pastings: 2263, each covering one staff, and one pasting: 2264, covering almost the entire surface of three staves)
ante correcturam: one leaf, two pages
new: notation once covered by the three pastings

2265/2266
Part III, Orchestral interlude between No. 18 and No. 19 
post correcturam: one leaf, two pages (with two pastings: 2265, and five pastings: 2266, each covering one staff)
ante correcturam: one leaf, two pages
new: notation once covered by the seven pastings

Detailed descriptions of the autograph sources of “Gurrelieder” are published in: Arnold Schönberg, Sämtliche Werke, Part V, Series A, Volume 16, edited by Ulrich Krämer (projected date of publication: 2002, critical commentary: 2001). Because of the newest discoveries resulting from the restoration process, the early version for piano will be issued in a separate volume in Series B (vol. 16/2), together with the sketches (projected date of publication: 2003).

Verena Graf, Certified Conservator
Therese Muxeneder, Archivist
 

Activities of the Arnold-Schönberg-Institute of the
University of Music and Dramatic Arts in Vienna

The Arnold-Schönberg-Institute of the University of Music and Dramatic Arts in Vienna was founded in June 1996 and, under the direction of Prof. Dr. Hartmut Krones, is engaged a wide range of activities. In June 1997 Prof. Krones together with Prof. Karl Steiner (born in Vienna in 1912 and a student of Olga Novakovic) held a series of lectures and master classes on analysis and interpretation of the music of the Viennese School in Vienna, and again, in October 1999, at the University of Toronto and McGill University in Montreal. In October 1998 the Institute, in collaboration with the Jewish Museum of the City of Vienna, held its first Symposium, “‘Die Wiener Schule,’ der Nationalsozialismus und der Ständestaat” and in June 1999, together with the department of Music Pedagogy of the University of Music in Vienna, it organized two symposia on Music in Exile at the Universities of Jalapa and Mexico City. In September 1999 the Institute, together with the Arnold Schönberg Center, presented the symposium “Arnold Schönbergs Viennese Circle” and in July, 2000, as a part of the Chor-Olympiade 2000, the Institute will host a major international congress, “Arnold Schönberg and the Choral Tradition.”
The Schönberg-Institute, which is formally associated with the International Schönberg Society, houses the Society’s library, as well as a large portion of the library (books, scores, recordings and tapes) from the library of Prof. Walter Szmolyan, former president of the ISS. Important portions of Prof. Karl Steiner’s extremely broad collection of manuscripts and documents relating to Schönberg reception in Shanghai and Canada (including the legacy of the Berg student Julius Schloß) have recently arrived in Vienna and will become part of the collection of the Archive of the Gesellschaft der Musikfreunde. 
 The Arnold-Schönberg-Institute, in coordination with the Archive of the Arnold Schönberg Center, is engaged in several long-term research projects, including a survey of Schönberg reception in Viennese newspapers, periodicals and journals (from 1895) and locating, evaluating, and indexing correspondence relating to the Schönberg circle.
On 1 October 1999, Dr. Christopher Hailey took up his position as the first visiting professor of the Arnold-Schönberg-Institute of the University of Music and Dramatic Arts in Vienna and held his inaugural lecture (“1913 – Jahr des Durchbruchs”) on 5 November 1999. Dr. Hailey’s assistant, Dr. Matthias Schmidt, serves in addition as a research fellow of the Arnold-Schönberg-Institute. The Institute’s fall course offerings include a repertory survey class focusing on the chamber music of Schönberg and his circle, and a correspondence seminar that includes original research projects drawing on sources in the archive of the Arnold Schönberg Center. Dr. Hailey likewise serves as an advisor Schönberg-related master’s and doctoral projects. Spring semester course offerings will be coordinated with the Center’s “Schönberg – Kandinsky”-exhibition and will include a research seminar on Schönberg and Art and a repertory survey of pre-World War I experimental opera.


Subscription »Journal of the Arnold Schönberg Center«

We are continuing the series of the scholarly journal which began in 1976 in Los Angeles as the “Journal of the Arnold Schoenberg Institute.” With the exception of only a few issues which are currently out of print, past issues are available through the Arnold Schönberg Center.
 Included in the subscription is the catalogue of the exhibition “Schönberg, Kandinsky, Blauer Reiter and the Russian Avant-garde” (JASC 01/2000), a report of the symposium “Arnold Schönberg’s Viennese Circle” (JASC 02/2000), also the special publication “Schönberg and Wagner,” (in cooperation with the Wagner-Forum, Graz), and, as a supplement to the “Journal of the Arnold Schoenberg Institute,” the preliminary inventory of the Schönberg Correspondence (JASI 18–19/1995–96).
 In subsequent years, the JASC will focus on the Center’s yearly theme and continue along the same lines of the Arnold Schoenberg Institute, with approximately one or two issues per year.

Preliminary Inventory of Schoenberg Correspondence
(now available) •••  ATS 495  EUR 35,97

Schönberg and Wagner – Report of the Symposium 1998
(now available)  • ATS 248 EUR 18,02

Schönberg, Kandinsky, Blauer Reiter and the Russian Avant-garde
(now available) •• ATS 413 EUR 30,01 *

Arnold Schönberg’s Viennese Circle – Report of the Symposium 1999
(available September 2000) ••• ATS 495 EUR 35,97

Subscribers will receive the four volumes at a special price of ATS 1376/EUR 100, and future publications at a reduced rate.

Preview 2001:
Arnold Schönberg in Berlin – Report of the Symposium 2000
••• ATS 495 EUR 35,97

*  Until 28 May 2000 the catalog for the exhibition will be available at the Arnold Schönberg Center at the subscription rate of ATS 344/EUR 25.


Press statements

House of the “Twelve-Toners”
Schönberg-House: Exhibition, Symposia

Vienna’s Arnold Schönberg Center in the Palais Fanto at the Schwarzenbergplatz has been a well-known concept for quite some time, also internationally: Exhibitions, Archive and Library have made the Center a focal point for musicians, researchers, and Schönberg-fans. Recently a “showpiece” has been added, which is also “a must” for all to see. ...

Oliver A. Láng, Neue Kronen Zeitung, 30 September 1999

Contemporary Schönberg

... Under the aegis of the title “Contemporary Schoenberg,” the Ensemble 20th Century, the Mezzosoprano Mihaela Ungureanu and the Burgtheater mime Martin Schwab examined tracks with expert virtuosity. The interpretation of Ferrucio Busoni’s “Berceuse elegiaque” was particularly exciting; stringent were the interpretations of Debussy, Ravel, Schreker, Webern, and the Schönberg, completely natural. Mihaela Ungureanus’ first live venture into the realm of the art-song was convincing. With ever-changing intonation, Martin Schwab achieved the highest level of expression both with theoretical ideas about music as well as witticisms. In sum, an ideal homage to Arnold Schönberg.

Peter Jarolin, Kurier, 9 October 1999 

With all the comforts of the new age

... But even more crucial is the modern, radical, public-oriented self-awareness of the Center. Crooked bureaucratic paths from privy-councillors to Foundation Excutive Boards to Archivists and back again, the Kafkaesque running the gauntlet for neo-feudal access privileges – all that does not exist here. By contrast, this openness seems like air from a different planet. It even flows from the family of the composer itself. His children from his marriage to Gertrud Kolisch, Nuria, Ronald and Lawrence, honor the institution of the legacy in an extraordinary manner ... Take, for example, Lawrence Schoenberg’s essential contribution of lending his expertise for the realization of the ambitious goal of the Center to make all documents available over the Internet. Schönberg himself, by the same token, might have felt himself to be understood through this act of rationalization, for did he not claim that Twelve-Tone Music “was equipped with all the comforts of the New Age”?
Schönberg’s intellectual legacy in Vienna, his influence there as the central figure of Modernism, was the topic of the first symposium hosted by the Center, “Arnold Schönberg’s Viennese Circle.” The discussions were especially informative and productive when they focused on the open-ended process of research, rather than presenting finely-polished versions of an already finished product. Many over-stated perceptions in Schönberg’s biography lost their deceptive matter-of-factness by this fresh approach. Also, the Schönberg-House in Mödling, where the composer lived from 1918 to 1925, was recently reopened, renovated and made accessible to artists and scholars. During a celebration of Schönberg’s 125th birthday, resplendent with torchlights and buffet, for a brief moment you were swallowed up into the unworldly atmosphere of the suburb, so strange by contrast to the titanic universality of the composer.

Julia Spinola, Frankfurter Allgemeine Zeitung, 12 October 1999 

A “Classic” celebrates his birthday
The Viennese Aron Quartett ... and two of their teachers (Thomas Kakuska and Valentin Erben of the Alban Berg Quartett) made music. It was a rousing, exciting evening ... the poem by Richard Dehmel, upon which it was based, was, of course, delivered by Elisabeth Orth with great self-possession. In any case, "Verklärte Nacht" can certainly be declared a classic. ... The Aron Quartett certainly knew how to build up tension ...
Harald Hebling, Kurier, 3 December 1999 

Opposition of form and soul
Arnold Schönberg greatly admired his work; the long-cherished dream of collaboration was brought to an end by the death of the poet. August Strindberg had left his mark in Schönberg’s compositions as well as in his reflections. Poesie and music found their way to a completely brilliant unity. The Ensemble Wiener Collage, directed by Alexis Hauser, the enchantingly subtle actress, Andrea Eckert, the composer, violin soloist, and member of the Philharmonic, René Staar, and the young soprano Anna Maria Pammer – with artists such as these Schönberg’s “intellectual meeting” with Strindberg became an event. Good dramaturgy helped to create better understanding for the struggle for form and expression of these two geniuses. Texts, music and pictures permitted the “dance of death” of principles to become a homogenious voyage into the interior of the artistic soul. Further honors were reaped by the Arnold Schönberg Center: no less than three premieres (Herbert Lauermann, Zdzislaw Wysocki, Wladimir Pantchev) opened up a vista into the next century. A work by René Staar and, of course, Schönberg and Webern, illustrated the virtuosic “search for the incomprehensible.”
Peter Jarolin, Kurier, 18 December 1999

Schönberg’s Villa: Twelve Tones
... Just last September, in time for Schönberg’s 125th birthday, the newly renovated Villa opened as a memorial and museum. Now it offers ... an exhibit: in addition to the composer’s Ibach grand piano there is an easel and his harmonium ... and the four music stands for string quartet players, built of black wood by the composer, according to his own design, are a telling reminder that Schönberg’s inventions and constructions were not limited to music alone.
Susanne Kübler, Tages Anzeiger Zürich, 31 December 1999

»Arnold Schönberg in Berlin« 
Musicological Symposium
28 September–1 October 2000

From 28 September (official opening ) to 1 October 2000 the Arnold Schönberg Center and the Arnold-Schönberg-Institute of the University of Music and Dramatic Arts in Vienna will host a musicological symposium devoted to “Arnold Schönberg in Berlin.” We herewith extend an invitation for papers to deal with the following topics: Schönberg’s Berlin compositions, his teaching activities in Berlin during his three residencies there (1902 to 1933) and his “Method of composition with twelve notes related only to each other” (1926 to 1933).
 The musicological events will be accompanied by musical workshops and performances, as well as by brief presentations of sources from Schönberg’s legacy.

Applications for papers should be submitted with an abstract of approximately 30 lines no later than 30 May 2000. Please direct all correspondence to:
Arnold Schönberg Center, Dr. Christian Meyer (Director), Schwarzenbergplatz 6, A-1030 Wien, e-Mail: meyer@schoenberg.at
 

Friends of the Arnold Schönberg Center

Since the opening of the Arnold Schönberg Center in Vienna in March 1998, our new cultural Institution has become a center for Schönberg research and has grown to be one of the most interesting venues for exhibitions and events. From the first minute, private investors also helped financially to support the transfer of this cultural legacy which was so important for Austria. To assure its permanent existence, the City of Vienna and the International Schönberg Society became founders, the Republic of Austria, Bank Austria, Kika, BAWAG, the Austrian Lottery, and the Vienna Philharmonic Orchestra benefactors of our institution.
 Since 1998, sponsors and patrons have supported the work of the Center with more than 14 Million Austrian Schillings (US-$ 1 Million). With their financial support, we were able to open the attractive and spacious premises at the Schwarzenbergplatz, renovate the Schönberg-House in Mödling, sponsor a large festival for the opening, and, most recently, finance our newest project, the “Schönberg – Kandinsky”-exhibition.
 This was made possible since the Arnold Schönberg Center was awarded tax exempt status in Austria as well as in the United States. Donations to our Foundation in Austria as well as in the United States are tax deductible.
 During the 20 years of its existence, the Arnold Schoenberg Institute in Los Angeles was able to sustain a group of “Friends of the Arnold Schoenberg Institute.” The Viennese Arnold Schönberg Center would like to continue this rewarding affiliation so beneficial to Schönberg research by establishing the “Friends of the Arnold Schönberg Center,” with the goal of broadening its membership world-wide. 

Membership in the “Friends of the Arnold Schönberg Center” is ATS 1000/EUR 72,67 annually

For their support, the “Friends of the Arnold Schönberg Center” will receive 

– the following scholarly publications, four issues of the “Journal”: Preliminary Inventory of Schoenberg Correspondence; Schönberg and Wagner; Schönberg, Kandinsky, Blauer Reiter and the Russian Avant-garde; Arnold Schönberg’s Viennese Circle (price on sale ATS 1651/EUR 120)

– free admission to all exhibitions at the Schönberg Center

– 10% discount on admission to all events at the Arnold Schönberg Center (concerts, introductory concert lectures)

– a pair of free tickets to one event of your choice per year at the Arnold Schönberg Center (reservations with advance notice up to 10 days prior to the event and dependent upon availability)

– invitations to special events

– 10% discount on all in-house merchandise and publications in our Giftshop (postcards, T-shirts, “JASC”)

“Patrons of the Arnold Schönberg Center” 
ATS 13760/Eur 1000 annually
For their support, “Patrons of the Arnold Schönberg Center” will receive 

– all of the “Friends”-benefits

– free admission to all events at the Arnold Schönberg Center (concerts, introductory concert lectures – reservations with advance notice up to 10 days prior to the event and dependent upon availability)

– an annual Patrons’ meeting with the President of the Foundation, Mrs. Nuria Schoenberg Nono