About the Book
Arnold Schoenberg and Thomas Mann, two towering figures of twentieth-century music and literature, both found refuge in the German-exile community in Los Angeles during the Nazi era. This complete edition of their correspondence provides a glimpse inside their private and public lives and culminates in the famous dispute over Mann’s novel Doctor Faustus. In the thick of the controversy was Theodor Adorno, then a budding philosopher, whose contribution to the Faustus affair would make him an enemy of both families. Gathered here for the first time in English, the letters in this essential volume are complemented by diary entries, related articles, and other primary source materials, as well as an introduction by German studies scholar Adrian Daub that contextualizes the impact these two great artists had on twentieth-century thought and culture.
Table of Contents:
Foreword by E. Randol Schoenberg xi
Acknowledgments xvii
Introduction: California Haunting: Mann, Schoenberg, Faustus 1
by Adrian Daub
SECTION I. LETTERS, DIARIES, ETC.(1930–1948)
Schoenberg to Mann, November 1, 1930 31
Mann to Schoenberg, November 4, 1930 33
Schoenberg to Mann, November 8, 1930 35
Mann to Schoenberg, November 26, 1930 37
Mann’s Diary 38
Schoenberg to Mann, December 28, 1938 42
Mann to Schoenberg, January 9, 1939 44
Schoenberg to Mann, January 15, 1939 46
Mann’s Diary 49
Mann to Schoenberg, July 30, 1943 61
Mann’s Diary 62
Mann to Schoenberg, September 14, 1943 65
Mann to Schoenberg, September 14, 1943 66
Schoenberg to Mann, September 19, 1943 67
Mann’s Diary 69
Mann to Agnes Meyer, September 28, 1944 77
Mann’s Diary 78
Schoenberg to Mann, October 3, 1944 79
Schoenberg to Mann, October 11, 1944 80
Gottfried Bermann-Fischer to Schoenberg, November 6, 1944 81
Mann’s Diary 82
Schoenberg to Gottfried Bermann-Fischer, January 16, 1945 83
Mann’s Diary 84
Mann to Bruno Walter, March 1, 1945 85
Mann’s Diary 87
Schoenberg to Mann, June 6, 1945 89
Mann’s Diary 90
Mann to Theodor Wiesengrund-Adorno, December 30, 1945 91
Schoenberg to Mann, April 24, 1946 95
Mann’s Diary 96
SECTION II. LETTERS, DIARIES, ETC. (1948–1951)
Mann to Schoenberg, January 15, 1948 105
Mann to Michael Mann, January 31, 1948 107
Mann to Otto Basler, February 14, 1948 108
Mann’s Diary 109
Schoenberg to Mann, February 1948 110
Hugo Triebsamen, 1948 111
Mann’s Diary 113
Mann to Schoenberg, February 17, 1948 114
Mann’s Diary 116
Mann to Schoenberg, February 24, 1948 118
Mann’s Diary 119
Schoenberg to Mann, February 25, 1948 120
Mann’s Diary 122
Aline Valangin in Unsere Meinung, March 1948 123
Mann to Rudolf Jakob Humm, May 19, 1948 124
Aline Valangin in Die Auslese, April 1948 125
Mann’s Diary 131
Schoenberg to Josef Rufer, September 30, 1948 132
Schoenberg to Gottfried Bermann-Fischer, October 7, 1948 133
Mann’s Diary 134
Mann to Schoenberg, October 13, 1948 135
Gottfried Bermann-Fischer to Schoenberg, October 14, 1948 137
Schoenberg to Mann, October 15, 1948 138
Mann’s Diary 140
Gertrud Schoenberg to Alma Mahler-Werfel, October 19, 1948 141
Schoenberg to Josef Rufer et al., October 20, 1948 143
Mann to Erika Mann, November 6, 1948 145
Gertrud Schoenberg to Alma Mahler-Werfel, November 10, 1948 146
Schoenberg to the Saturday Review of Literature, November 13, 1948 147
Mann’s Diary 150
Mann to the Saturday Review of Literature, December 10, 1948 151
Mann to Theodor Wiesengrund-Adorno, December 11, 1948 154
Mann’s Diary 155
Theodor Wiesengrund-Adorno to Eduard Steuermann, December 22, 1948 156
Mann’s Diary 158
Schoenberg’s Note, January 6, 1949 159
Mann’s Diary 161
Manfred Bukofzer to Mann, January 20, 1949 163
Mann to Manfred Bukofzer, January 25, 1949 167
Schoenberg to Josef Rufer, February 8, 1949 169
Mann’s Diary 170
Willi Schuh in Neue Zu¨rcher Zeitung, February 12, 1949 172
Mann’s Diary 178
Der Monat, March 1949 179
H. H. Stuckenschmidt’s Biography of Arnold Schoenberg 181
Schoenberg Undated Notes 182
Leverku¨hn’s Twelve-Tone Goulash 182
Schoenberg’s Fragment on Mann’s “Author’s Note” from the Year 1949 182
Schoenberg’s Note (unpublished) 183
Mann’s Diary 184
Schoenberg in Music Survey (Fall 1949) 186
Schoenberg to H. H. Stuckenschmidt, December 5, 1949 192
Schoenberg to Josef Rufer, December 5, 1949 194
Schoenberg to Kurt List, December 10, 1949 196
Mann’s Diary 198
Mann to Schoenberg, December 19, 1949 199
Schoenberg to Mann (undated and not sent) 201
Mann’s Diary 202
Schoenberg to Mann January 2 and 9, 1950 203
Mann to Theodor Wiesengrund-Adorno, January 9, 1950 204
Mann to Schoenberg, January 12, 1950 205
Mann’s Diary 206
Schoenberg on Wiesengrund, 1950 207
Mann to Schoenberg, April 17, 1951 212
Schoenberg to Mann, April 20, 1951 213
Mann’s Diary 214
Mann to H. H. Stuckenschmidt, October 19, 1951 215
SECTION III. ADDITIONAL READING
The Story of The Story of a Novel 219
Richard Hoffmann
“Schoenberg Will End Our Friendship”: Concerning the Doctor Faustus Controversy between Arnold Schoenberg and Thomas Mann 228
Bernhold Schmid
SECTION IV. APPENDICES
Appendix I. Arnold Schoenberg, “A Four-Point Program for Jewry” (October 1938) 251
Appendix II. Thomas Mann Radio Address, “Listen, Germans!” (1942) 268
Appendix III. Thomas Mann, “The Fall of the European Jews” (1943) 271
Appendix IV. Arnold Schoenberg, “Composition with Twelve Tones” (1941) 275
Appendix V. Theodor W. Adorno, from Philosophy of New Music (1949) 306
Appendix VI. Thomas Mann, Chapter 22 of Doctor Faustus (1947) 319
Selected Bibliography 329
Works 335
About the Author :
E. Randol Schoenberg, the grandson of the composers Arnold Schoenberg and Eric Zeisl and the winner of numerous awards in the field of litigation, is an expert in handling cases involving looted art and the recovery of property stolen by the Nazi authorities during the Holocaust.
Adrian Daub is Professor of Comparative Literature and German Studies at Stanford University and the author of Four-Handed Monsters: Four-Hand Piano Playing and Nineteenth-Century Culture and Tristan's Shadow: Sexuality and the Total Work of Art after Wagner.
Review :
"Carefully conceived and beautifully edited, The Doctor Faustus Dossier invites readers to contemplate the limits of artistic freedom on the one hand, and of intellectual property on the other, especially in times of, as Adorno put it, 'damaged lives.'"
