Hostname: page-component-669899f699-ggqkh Total loading time: 0 Render date: 2025-04-27T14:34:28.076Z Has data issue: false hasContentIssue false
  • English
  • Français

The Literary Sources of ‘Die Glückliche Hand’

Published online by Cambridge University Press:  22 January 2016

Tom Beck
Get access Rights & Permissions [Opens in a new window]

Extract

Schoenberg's second opera, Die Glückliche Hand (1910–13), is a work of crucial importance for the understanding of the composer's subsequent development. Not only does it foreshadow the later and incomplete Die Jakobsleiter, but in reaching out into related artistic fields it brings together for the first time in Schoenberg's career a number of threads that were to be of great significance for him both as man and creator.

Type
Research Article
Information
Tempo , Issue 189 , June 1994 , pp. 17 - 24
Copyright
Copyright © Cambridge University Press 1994

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Article purchase

Temporarily unavailable

References

1 Heller, Erich, The Disinherited Mind (London: Penguin Books, 1961), p.148 Google Scholar.

2 Read, Herbert, Vie Philosophy of Modem An (London: Faber & Faber, 1964), p.94 Google Scholar.

3 Mitchell, Donald, The Language of Modern Music (London: Faber & Faber, 1963), p.100 Google Scholar.

4 Schoenberg, Arnold, Texte (Vienna & New York: Universal Edition, 1926), p.26–7 (my translation)Google Scholar.

5 Quoted in Bennett, E. K., Stefan George (Cambridge: Bowes & Bowes, 1954), pp.22–23 Google Scholar.

6 Dehmel, Richard, Gesammelte Werke (Berlin: S. Fischer Verlag, 1906), Band 1, p.2 (my translation)Google Scholar.

7 Quoted in Rufer, Josef, The Works of Arnold Schoenberg, translated by Newlin, Dika (London: Faber & Faber, 1962), p.117 Google Scholar.

8 Quoted in Roubiczek, Paul, ‘Existentialism, For and Against’ (Cambridge University Press, 1964), p.58 Google Scholar.

9 de Balzac, Honoré, Seraphita, in Collected Works trans. Wormeley, K.P. (Boston: Roberts Brothers, 1885)Google Scholar.

10 ibid.

11 ibid.

12 ibid.

13 ibid.

14 Schoenberg, Arnold, quoted in Frankfurter Allgemeine Zeitung, 09 1974 (my translation)Google Scholar.

15 Quoted by Worner, K.H. in an article on Die Jakobsleiter in Schweizerische Musikzeitung, Sept/Oct: 11/12 1962 (my translation)Google Scholar. On the relationship of Seraphita to Schoenberg's concept of musical space see Busch, Regina, ‘On the Horizontal and Vertical Presentation of Musical Ideas and on Musical Space (I)’ in Tempo 154 (09 1985), pp. 8–10 Google Scholar.

16 Strindberg, August, A Dream Play, in Eight Expressionist Plays trans. Paulson, Arvid (Toronto: Bantam Books, 1965), pp.359, 388, 401Google Scholar.

17 Kokoschka, Oskar, Der brennende Dombusch, Scene 3, in Schriften ed. Wingler, Hans Maria (Frankfurt: Fischer Bücherei, 1964), p.82 (my translation)Google Scholar.

18 Kandinsky, Wassily, Über das Geistige in der Kunst (Bern: Benteli Verlag, 1963), p.43f. (my translation)Google Scholar.

19 Ibid, p.90ff, also Der gelbe Klang, in Der blaue Reiter, Marc, herausgeben von Wassily Kandinsky und Franz (Documentarische Neuausgabe von Klaus Lankheit (Munich: R. Piper & Co Verlag, 1965), p. 209ffGoogle Scholar. (my translation). The relationship, personal and artistic, between Schoenberg and Kandinsky has been exhaustively documented in Hahl-Koch, Jelena, ed., Arnold Schoenberg Wassily Kandinsky: Letters, Pictures and Documents, translated by Crawford, John C. (London: Faber & Faber, 1984)Google Scholar.