1 Arnold Schoenberg, Style and Idea, ed. Leonard Stein (London, 1975), 30–53 (p. 49).Google Scholar

2 Ibid., 108-10 (p. 109).Google Scholar

3 Sketchbook III was begun in April 1906 and originally belonged to the legacy which was in the possession of Schoenberg's widow, Gertrud, together with all musical and literary manuscripts in Schoenberg's own handwriting (including first drafts and fair copies), sketches, sketchbooks and all paintings and drawings unless another owner is specified (see Rufer, Josef, The Works of Arnold Schoenberg: A Catalogue of his Compositions, Writings and Paintings, trans. Dika Newlin, London, 1962). It is currently housed at the Arnold Schönberg Center, Vienna, to which grateful thanks are due for the loan of all sketch material. The sketchbook is bound in a black cover with the inscription ‘Skizzen’ and consists of 175 numbered pages in oblong format, 19 × 36.5 cm, which have been written on up to p. 132; between pp. 139 and 156 eight leaves have been cut out. Where dates of sketches are available they are given in Table 1.Google Scholar

4 Cone, Edward T., ‘Sound and Syntax: An Introduction to Schoenberg's Harmony’, Perspectives of New Music, 13 (1974), 21–40.CrossRefGoogle Scholar

5 Forte, Allen, ‘Schoenberg's Creative Evolution: The Path to Atonality’, Musical Quarterly, 64 (1978), 133–76.Google Scholar

6 Schoenberg, , Style and Idea, 30-53 (p. 49).Google Scholar

7 Schoenberg, , II. Kammersymphonie, op. 38, ed. Christian M. Schmidt, Philharmonia score No. 461 (Vienna, 1952), 3–11 (p. 6).Google Scholar

8 Velten, Klaus, Schönbergs Instrumentation Bachscher und Brahmsscher Werke als Dokumente seines Traditions Verständnisses (Regensburg, 1975), 91.Google Scholar

9 Gould, Glenn, record notes for Schoenberg Works (conducted by Pierre Boulez), CBS Masterworks 79349 (1982).Google Scholar

10 Schoenberg, Arnold, ‘Affirmations’, cited in Schoenberg, ed. Merle Armitage (New York, 1977), 251–2.Google Scholar

11 Schoenberg, Arnold, letter to Alexander von Zemlinsky dated 12 December 1916. The original German, cited below, is given in Zemlinsky's Driefwechsel mit Schönberg, Webern, Berg und Schreker, ed. Horst Weber (Darmstadt, 1995), 158–9, and is translated here by the present author: ‘Ich habe mich entschlossen, meine II. Kammersymphonie, die ich 1907 (!) angefangen habe und die bis jetzt liegen geblieben ist fertig zu machen. Es sind 2 Sätze da. Der eine fertig bis auf die Schlußtakte, der andere zur Hälfte fertig. Die verschmelze ich zu einem Satz. Das ist der erste Teil. Ich plane nämlich einen Teil … aber es ist möglich, daß ich den doch nicht mache.’Google Scholar

12 Schoenberg, letter to Alexander von Zemlinsky dated 12 December 1916. The original German is given ibid., 159-60, and is translated here by the present author: ‘Ich werde aber das Stück nicht für Solo-Instrumente schreiben, sondern sofort eine ganz neue Partitur für (mittelgroßes) Orchester schreiben. … Mit der II hoffe ich in wenigen Tagen fertig zu sein – wenn nichts dazwischen kommt!’ Schoenberg's reference to the initial conception of the work for solo instruments emphasizes the relationship between the 1906 draft of the Second Chamber Symphony and the First Chamber Symphony, op. 9. To the 15 solo instruments of the latter he added a second flute, a second viola, a second cello and a double bassoon.Google Scholar

13 Mitchell, Donald, The Language of Modern Music (London, 1963), 71.Google Scholar

14 Passages that have been crossed out are placed in square brackets.Google Scholar

Text for the Second Chamber SymphonyGoogle Scholar

(Melodrama Title: ‘Turning Point’ Orchestral Work by ASGoogle Scholar

To continue further along this path was not possible.Google Scholar

A ray of light had lit up a sadness of both a generalGoogle Scholar

and a particular kind. Dependent [on whim] notGoogle Scholar

only on its [inner] constitution, but also on theGoogle Scholar

whims of external coincidences [strokes of good fortune], a soul canGoogle Scholar

respond to the stroke of good fortune with no less sensitivity thanGoogle Scholar

it did previously to misfortune, [and responds in/with/an initially]Google Scholar

In a sudden reversal it answers with [a] cheerful [elation]Google Scholar

contentment, then rises with a mighty, soaring movement,Google Scholar

dreams of blessed fulfilments, sees itself as victor,Google Scholar

rushes on, feels its [its] power grow more and more, and,Google Scholar

in the illusion that it can possess [conquer] a whole world, which it alreadyGoogle Scholar

considers its own, gathers together all that lies within its capability, toGoogle Scholar

reach a heavenly height in one mighty charge.Google Scholar

Chance provides what ought to come about through necessity:Google Scholar

just when the accumulated power should burst forth it fails;Google Scholar

a small but perfidious incident - a speck of dust in the clockwork - is capable of hindering its development.Google Scholar

After the collapse comes despair, then sorrow. The sorrow is first [of a general]Google Scholar

[again of a general and particular kind. Then also partic]Google Scholar

of a particular, then also of a general kind. Starting fromGoogle Scholar

the external incident, the soul first believes the cause [its abyss]Google Scholar

lies there, then seeks it in its own constitution.Google Scholar

That is the real completion of this [the] collapse. But that does not mean an end; it is on the contrary a beginning; a newGoogle Scholar

way to salvation appears, the only, the eternal way. To find thisGoogle Scholar

was the purpose of all previous experience.Google Scholar

15 See Arnold Schönberg, Sämtliche Werke, IV: Orchesterwerke: Kammersymphonien, Series B, xi/2, ed. Christian M. Schmidt (Vienna, 1979), 202.Google Scholar

16 These include the string-orchestra versions of Verklärte Nacht and the Second String Quartet, op. 10, in 1917 and c.1919 respectively, an arrangement for chamber ensemble (with Felix Greissle) of op. 16, nos. 1, 2, 4 and 5 in 1919, the full-orchestra version of op. 9 and an arrangement for mezzo-soprano, 17 instruments and percussion of ‘Lied der Waldtaube’ from Gurrelieder in 1922.Google Scholar

17 See Graubart, Michael, review of Stuckenschmidt, Arnold Schoenberg: His Life, World and Work, Tempo, 111 (1974), 44–9, MacDonald, Schoenberg (London, 1976), 6-7, and H. H. Stuckenschmidt, Arnold Schoenberg: His Life, World and Work, trans. Humphrey Searle (London, 1974), 93-7.Google Scholar

18 Schoenberg, letter 264 to Gustav Mahler dated 2 August 1910, Arnold Schoenberg Letters, selected and ed. Erwin Stein, trans. Eithne Wilkins and Ernst Kaiser (London, 1964), 297.Google Scholar

19 Schoenberg, Style and Idea, 108-10 (p. 109).Google Scholar

20 Schoenberg, letter 216 to René Leibowitz dated 4 July 1947, Arnold Schoenberg Letters, 248.Google Scholar

21 Schoenberg, letter to Fritz Stiedry (undated), cited in Rufer, The Works of Arnold Schoenberg, 64.Google Scholar

22 Schoenberg, letter to Fritz Stiedry dated 2 April (?), cited in Rufer, The Works of Arnold Schoenberg, 65.Google Scholar

23 Five sketch-sheets, one of which bears the date 5 November 1939, and the draft written in short score on loose sheets were originally contained in the legacy and are currently housed at the Arnold Schönberg Center. In the draft the composition is completely carried out, on three or four staves, to bar 542. From bar 542 the principal voice continues to bar 618 but countermelodies and harmonization are only partially carried out. There also exists a separate sheet containing another version of bars 534-5.Google Scholar

24 Schoenberg, Style and Idea, 258-64 (p. 263).Google Scholar

25 Schoenberg, cited in Willi Reich, Schoenberg: A Critical Biography, trans. Leo Black (London, 1971), 49.Google Scholar

26 Schoenberg, Style and Idea, 108-10 (pp. 108–9).Google Scholar

27 Schoenberg, cited in Dika Newlin, ‘Secret Tonality in Schoenberg's Piano Concerto’, Perspectives of New Music, 13 (1974), 137–9 (p. 137).Google Scholar