W. Kandinsky
Ainmillerstrasse 36, I
Munich
18 January 1911
Dear Professor, Please excuse me for simply writing to you without having the pleasure of knowing you personally. I have just heard your concert here and it has given me real pleasure. You do not know me, of course – that is, my works – since I do not exhibit much in general, and have exhibited in Vienna only briefly once and that was years ago (at the Secession). However, what we are striving for and our whole manner of thought and feeling have so much in common that I feel completely justified in expressing my empathy. In your works, you have realized what I, albeit in uncertain form, have so greatly longed for in music. The independent progress through their own destinies, the independent life of the individual voices in your compositions, is exactly what I am trying to find in my paintings. At the moment there is a great tendency in painting to discover the "new" harmony by constructive means, whereby the rhythmic is built on an almost geometric form. My own instinct and striving can support these tendencies only half-way. Construction is what has been so woefully lacking in the painting of recent times, and it is good that it is now being sought. But I think differently about the type of construction.
I am certain that our own modern harmony is not to be found in the "geometric"
way, but rather in the anti-geometric, antilogical [antilogischen] way.
And this way is that of "dissonances in art ["], in painting, therefore,
just as much as in music. And "today’s" dissonance in painting and music
is merely the consonance of "tomorrow." (What I might call the academic-"harmonic"
is of course not to be excluded by this: one takes what one needs without
worrying from where one takes it. And particularly "today," in the time
of the coming "Liberalism," there are so many possibilities!).
It has given me immense joy to find that you have the same ideas. I am
only sorry about one thing: I did not understand the last two sentences
on your program announcement (poster). In spite of repeated efforts I
could not arrive at an exact interpretation.
I am taking the liberty of sending you a portfolio
of my work (the woodcuts are nearly three years old), and I enclose
in this letter a couple of photographs
of my fairly recent pictures. I have no photographs of my most recent
ones. I would be very happy if these works interested you.
With feelings of real affinity and sincere respect,
Kandinsky
Letter [Pages 1
2
3
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Arnold Schönberg
Vienna XIII
Hietzinger Hauptstraße 13
24 January 1911
Dear Sir,
I thank you most warmly for your letter. It gave me extraordinary pleasure.
For the present, there is no question of my works winning over the masses.
All the more surely do they win the hearts of individuals – those really
worthwhile individuals who alone matter to me. And I am particularly happy
when it is an artist creating in another art from mine who finds points
of contact with me. Certainly there are such unknown relationships and
common ground among the best artists who are striving today, and I dare
say they are not accidental. I am proud that I have most often met with
such evidence of solidarity from the best artists.
First of all, my heartfelt thanks for the pictures. I liked the portfolio
very much indeed. I understand it completely, and I am sure that our
work has much in common – and indeed in the most important respects: In
what you call the "unlogical" [Unlogische] and I call the "elimination
of the conscious will in art." I also agree with what you write about
the constructive element. Every formal procedure which aspires to traditional
effects is not completely free from conscious motivation. But art belongs
to the unconscious! One must express oneself! Express oneself directly!
Not one’s taste, or one’s upbringing, or one’s intelligence, knowledge
or skill. Not all these acquired characteristics, but that which is inborn,
instinctive. And all form-making, all conscious formmaking, is connected
with some kind of mathematics, or geometry, or with the golden section
or suchlike. But only unconscious form-making, which sets up the equation
"form = outward shape," really creates forms; that alone brings forth
prototypes which are imitated by unoriginal people and become "formulas."
But whoever is capable of listening to himself, recognizing his own instincts,
and also engrossing himself reflectively in every problem, will not need
such crutches. One does not need to be a pioneer to create in this way,
only a man who takes himself seriously – and thereby takes seriously that
which is the true task of humanity in every intellectual or artistic field:
to recognize, and to express what one has recognized!!! This is my belief!
Again, many thanks for the pictures. As I said, the portfolio pleased
me very, very much. I understand the photographs
[of the other pictures] less well, for the moment. One would have to see
such things in color. For that reason, I hesitate whether to send you
some photographs of my pictures. Perhaps you do not know that I also paint.
But color is so important to me (not "beautiful" color, but color which
is expressive in its relationships), that I am not sure whether a person
would get anything out of looking at the reproductions. Friends of mine
think so, but I have my doubts. However, if you are interested, I will
send you some. Although I paint completely differently, you will nevertheless
find points of contact – at least I find such points in the photographs;
most of all, in that you seem to be objective only to a very small degree.
I myself don’t believe that painting must necessarily be objective. Indeed,
I firmly believe the contrary. Nevertheless, when imagination suggests
objective things to us, then, well and good – perhaps this is because
our eyes perceive only objective things. The ear has an advantage in this
regard! But when the artist reaches the point at which he desires only
the expression of inner events and inner scenes in his rhythms and tones,
then the "object in painting" has ceased to belong to the reproducing
eye.
I am sorry that I was not in Munich. Perhaps then we could have got to
know each other. In any case that will happen one day, either when I come
to Munich or you to Vienna. I think we would have a lot to say to each
other. This thought gives me pleasure, and I hope to hear from you soon.
Until then, warmest regards,
Arnold Schönberg
Quite right: I do not have the [concert] poster at hand, and can’t find it. Thus I myself don’t know which sentences you mean – these sentences were put on the poster by the Gutman concert agency without my knowledge. To me, such advertising is unwanted and distasteful, but I could do nothing about it except complain to the agency. I didn’t even have the right to do that, since the concert was arranged by this agency at its own risk (for which I am otherwise very grateful). Thus I had no influence at all [on the wording of the announcement].
The sentences [reproduced below} are taken from an article entitled "A Chapter from my Theory of Harmony," which appeared in the October issue of Die Musik
Sch.
W. Kandinsky
Murnau
Oberbayern
26 January 1911
Dear Professor,
Your letter has given me a lot of pleasure. I thank you warmly, and look
forward very much to knowing you personally. I have often turned several
of these ideas over in my mind (for instance, conscious vs. unconscious
work). Fundamentally, I agree with you. That is, when one is actually
at work, then there should be no thought, but the "inner voice" alone
should speak and control. But up to now the painter has thought too little
in general. He has conceived his work as a kind of coloristic balancing
act. But the painter (and precisely so that he will be able to express
himself) should learn his whole material so well and develop his sensitivity
to the point where he recognizes and vibrates spiritually at the difference
between = and ^ ! Inner knowledge is just that. Then there can be building
and construction which results not in geometry, but art. I am very pleased
that you speak of self-perception. That is the root of the "new" art,
of art in general, which is never new, but which must only enter into
a new phase – "Today!"
I would be very happy to receive some photos from you. Actually, I can
get along even without colors. Such a photo is a kind of piano reduction.
Thank you in advance for sending them.
Now for another question which is very important to me. The second touring-"Salon"
will soon begin in Russia. This is an international art exhibition which
will be taken to the principal cities of Russia and which is devoted to
the "new" art. The organizer, the sculptor Mr. V. v. Izdebskii, is a good
friend of mine. As usual, he has asked me to help him organize the exhibition
and also to recommend to him particularly good and interesting articles
on art (all the arts, thus also music), or to name suitable authors. Yesterday
I got his letter and immediately wrote to him about you. Since this matter
is very urgent, I took the liberty of ordering a couple of copies of Die
Musik in order to send one immediately to Izdebskii. If you are opposed
to this use of your article, please write to me by return mail, so that
I can cancel the translation. But I hope very much that you will not deprive
us of permission! The catalog is to be a kind of art periodical, and will
be read by many people with great interest. The whole enterprise really
deserves every support. It is always a great joy to me when artists of
different countries work together on a cause. Such a disregard for political
boundaries is of great consequence and will bring a rich future harvest.
With feelings of affinity and esteem,
Kandinsky
At the moment I am in the country, but in two weeks again in Munich.
W. Kandinsky
Ainmillerstr. 36, 1
Munich
6 February 1911
Dear Professor,
Many thanks for the package. I am very sorry that I have to return the
album. Would you permit me to keep it another ten to fourteen days? I
am really enthusiastic about your pictures: their sources are a natural
necessity and a fine sensitivity. I have long felt that our period – which
is after all a great one – will bring forth not one, but many possibilities.
In a work which many like well, but which has not yet been accepted by
a publisher, I speak among other things of the fact that in painting the
possibilities can become so rich that it will not only reach both extreme
limits, but well-nigh go beyond them. And these very widely separated
limits (= two poles) are complete abstraction and purest realism. For
my own part, I incline more and more to the first. But the second is just
as welcome to me and I await its appearance with impatience. I believe
it will come tomorrow! Now, particularly in your pictures I perceive the
real especially strongly. Naturally, this realism is in no way like that
which we have already gone through. And inwardly, the opposite: there,
res – goal; here – the means. And isn’t one means as good as another,
as long as it leads to the goal? Here I think again of your "forbidden"
parallel octaves. Among us painters, it is the res which is forbidden.
And therefore I am glad when it appears. This human tendency toward the
fossilizing of form is shocking, even tragic. Yesterday, the man who exhibited
a new form was ruined. Today, this same form is immovable law for all
time. This is tragic, because it shows over and over again that human
beings depend mostly on externals. I have considered this question at
length, and have even found some comfort. But at times my patience is
ready to explode.
Do you exhibit your pictures? Would you perhaps furnish something for
the Russian "Salon" of which I have written you, and for which I asked
you for the article? I have translated it myself, because I wanted to
familiarize myself properly with it, in spite of lack of time. It pleases
me extraordinarily. And I am very glad that I have got to know you, if
only by correspondence. In the same way, my wife, Gabriele Münter,
takes great pleasure in your pictures and letters. In her pictures she
has decided points of contact with you. I will send you some one day.
They also show something of a healthy realism, though very different from
yours.
With many cordial greetings and feelings of real affinity,
Kandinsky
Munich
9 April 1911
Dear Professor,
it gives me very special pleasure to send you a photo of myself. Would
you like to give me the same pleasure by sending me a photo of yourself?
I envy you very much! You have your Theory of Harmony already in print.
How immensely fortunate (though only relatively!) musicians are in their
highly advanced art, truly an art which has already had the good fortune
to forgo completely all purely practical aims. How long will painting
have to wait for this? And painting also has the right ( = duty) to it:
color and line for their own sake – what infinite beauty and power these
artistic means possess! And yet today the beginning of this path is already
more clearly visible. In this field as well one may now dream of a "Theory
of Harmony". I already dream and hope that I will write at least the first
sentences of this great future book. Perhaps another will do the same.
All the better! Just as many as possible. I am also taking the time to
look into musical theory somewhat (naturally only very superficially:
my powers are not sufficient for a deeper look), so that I know approximately
how this theory is constructed. When one has understood to some extent
how St Stephan’s in Vienna is built, perhaps one will be in a position
to stick together a rough little hut.
I warmly wish you much success in your work. I will wait patiently for
the detailed answer which you promise.
With many friendly greetings, Yours,
Kandinsky
Since there was a great rush, I took the liberty of translating your
article from Die Musik without permission from "Universal Edition" and
sending it for publication. Otherwise this highly important matter might
have been postponed for a whole year.
Dear Mr. Schönberg,
I am glad that I will after all get a chance to see you. I have just
arrived from Munich and found your letter here. Could you perhaps come
to us on Sunday? You go from Berg – steamer – at 2.10 (runs Sundays and
holidays), are in Tutzing at 2.45, board the express train there (leaves
Tutzing at 3.00), and are in Murnau at 3.46, where I will pick you up
at the station. We spend the day together, you stay the night here, and
the next morning (naturally!! if you are so inclined) we go on foot to
Sindelsdorf in the vicinity of Lake Kochel, where my good friend Franz
Marc (painter) and his wife live, who are very interested in you. It would
be a great joy for them to get to know you. If you wish, you can be home
again by Monday evening. Otherwise, we could all stay overnight in Sindelsdorf.
Next week, I could come to you: I would like it if we could meet at least
twice.
If my plan suits you, I will be at the station Sunday. If not, perhaps
you could telegraph me: the time is too short for a letter. If you are
not yet acquainted with Murnau, it will give you great pleasure.
With warmest greetings, also from Miss Münter.
Kandinsky
Berg on the Starnberger See
c/o Frau Widl
26 August 1911
Dear Mr. Kandinsky,
I thank you heartily for your invitation. Unfortunately, I cannot come to you this Sunday, because I cannot be away from my work for such a long time right at the moment. Also, my wife is not really well, and on that account alone I did not think I could be away. Therefore I would be glad if you would visit us, as you suggested, in the coming week. In about a week I will be finished with my work and then I will certainly return your visit. But please: let me know which day as soon as possible so that I can make arrangements. I should also go to Munich once during that week and if I know in plenty of time when you are coming, then I can easily arrange my schedule. I already look forward to the pleasure of meeting you, and greet you cordially.
Your Arnold Schönberg
Murnau
Sunday [probably 29 August 1911]
Dear Professor,
I received the telegram yesterday, the letter today. Many thanks! After
long deliberation I have decided to come to you the day after tomorrow
(Tuesday). It is very difficult for me to find another day this week and
to postpone it to next week would be too long for me. Actually, it was
already arranged with the Marcs that we would go there on Monday, so I
can leave from there on Tuesday and arrive at Schloss Berg by boat about
11.40. I would be able to stay until 5.35.
If this is in any way inconvenient for you, please cancel by telegraph.
Address: Marc, Sindelsdorf. If I do not receive a telegram there tomorrow,
I will set off the day after tomorrow.
With kindest regards,
Your Kandinsky
Murnau
7 September 1911
Dear Mr. Schönberg,
Many thanks for the letter. I also got a letter from Marc yesterday. He asks when I am expecting you and requests, if possible, putting off our all meeting to next week, since this week it would be very difficult for him to come. So perhaps we should arrange it for everyone’s convenience, that you come on Wednesday of next week (as early as possible!) and, if this day suits you, the Marcs will also come to our house. As soon as I have your answer I will pass it on to Mary. – The two issues of the Merker have just arrived. Many thanks. Now they will be studied.
With kind regards and my respects to your wife,
Your Kandinsky
Of course we expect both of you!
Depart Berg 7.50, Arrive Tutzing 8.10
Depart Tutzing 8.41, Arrive Murnau 10.00
Berg on the Starnberger See
10 September 1911
Dear Mr. Kandinsky, I hope that nothing will prevent me. I will come to you Wednesday, as you suggest. If something comes up, I would indeed have to telegraph and then come Thursday instead. But I think that it will work. My wife will probably come with me, and is looking forward, as am I, to the meeting. In the meantime, then, kind regards,
Your Arnold Schönberg
My timetable:
Depart Leoni 7.50, Arrive Tutzing 8.10
Depart Tutzing 8.41, Arrive Murnau 10.00
I will not visit Strauss this time!
Berg on the Starnberger See
11 September 1911
Dear Mr. Kandinsky, I cannot come on Wednesday after all. I forgot something
which I will tell you about. – Rather, I will come instead Thursday the
14th for certain, if you do not write to the contrary. I can also come
Friday or Saturday, perhaps even Sunday.
Then I must ask you about something else. Can you recommend me a doctor
(perhaps a specialist) for the following matter: my daughter has had for
some time a skin ailment on her feet – open, festering sores. We think
it is a constitutional problem, connected with malnutrition and anemia,
and have adequate grounds for this opinion.
Now I would very much like to know of a competent doctor, who does not
demand colossal sums. I am not a rich man. Quite the contrary – I am a
capable musician! Therefore I can on no account pay the fees which these
"professors" demand from visitors or rich residents. I should therefore
be glad if you could give me the name, and if possible recommend to me,
someone from Munich who could charge me "artists" prices‘ as it were.
I would be grateful if you could write to me immediately about this. In the meantime, goodbye, with many kind regards,
Your Arnold Schönberg
18 September 1911
Dear Mr. Schönberg,
Wednesday or Thursday I must be in Munich, for two or three days in fact. So I will telephone you about eleven on Wednesday, in order that we can make an appointment. Your visit gave us all great pleasure. I send you many hearty greetings. Give my regards to your wife.
Your Kandinsky
[almost certainly Tuesday, 21 September 1911]
Dear Mr. Schönberg,
Our Munich address is Ainmillerstrasse 36,1, Gh [garden house]. I promised
to inform you of it, and now it suddenly occurs to me. We travel to Munich
tomorrow evening and will be staying there until about Monday or Tuesday.
I will telephone you tomorrow about eleven.
Kind regards from both of us.
Your Kandinsky
Murnau
[probably end of September 1911]
Dear Mr. Schönberg,
On the third day of the work on Der blaue Reiter, we think again how fine it would be if we could all be together once more – if only for a short time. And kindest regards from
Maria Marc Aug. Macke
Elisabeth Macke
(Münter's handwriting) If we just could be [together] for a short time – or better, for a long time!
Kind regards, G. Münter
Kandinsky
[Münter's handwriting]
Munich, 27 September 1911
Dear Mr. Schönberg,
Here is the reminder. Please be so good as to see to it that the article
which was mentioned from the Pocketbook in question reaches Kandinsky’s
hands as soon as possible – and also other good things which you have
written. You would also do a very good turn if you would have sent to
us directly good reproductions (photographs or plates) of pictures by
Kokoschka, who as you know is also in Berlin. If not, may we ask for Kokoschka’s
address, so we may apply to him ourselves? Work on Der blaue Reiter is
forging ahead. A mass of work. The printing should be started, so help
us! Forge with us, so that the goal is reached.
We are anxiously awaiting articles and material for illustrations. And
how are you and your family getting along in Berlin? You will surely excuse
Kandinsky for not being able to write himself today. I must also write
to Mr. Berg immediately about your pictures.
And now – I too must hurry. Kindest regards and best wishes from both of us, in which the Marcs also join.
Yours truly,
Gabriele Münter
Munich
7 October 1911
Dear Mr. Schönberg,
Did you feel today (that is, particularly today) that here among us your
music and yourself were much spoken of?
Many thanks for the Pocketbook. (Today I received the second copy directly
from the publisher.)
Will you send something more for Der blaue Reiter? The beginning of "Teaching"
is unbelievably fine: every sentence like a pistol shot. Bang! Bang!
Bang! One would like much more of that: it tastes too good. And the piano
piece?? Mr. Alban Berg has written to me that he is sending your pictures,
short composition of his own (I asked him for it), and that he is taking
charge of your moving arrangements. Has your move been definitely decided?
Has it already been settled? Write me something about yourself and your
family. How are you?
Do you see Kokoschka? Is he doing fine things? Could one obtain photos?
Don’t be annoyed. You know, after all, how important it is that the first
number of the Reiter comes out well: varied, serious. If it is in any
way possible, give me yet another article (even if a very short one).
Even if not till November!
Don‘t forget that you still owe me your picture, I mean your photographic
portrait. I can wait still longer, but I must have it!
Many cordial greetings from us both, also to your wife.
Your Kandinsky
Arnold Schönberg
Berlin-Zehlendorf, Wannseebahn
Machnower Chausee, Villa Lepke
11 November 1911
Dear Mr. Kandinsky,
I am already very curious about Der blaue Reiter. When will it finally
appear then? Or have you not yet reached that point?
I have still not found the time to write you an essay for the second number,
but perhaps I will get to it soon. At the moment, it would hardly be possible,
since from 20 November on I will have begun a series of 8 – 10 lectures
on "Aesthetics and the Theory of Composition" at the Stern Conservatory.
As you can well imagine, the object is to overturn both. Perhaps I will
prepare one of these lectures in written form and give it to Der blaue
Reiter.
Besides that I cannot tell you much about my stay here yet. So far no
students have been found here for me. That will probably take more time.
On the other hand, Rosé will play my First Quartet here in December.
Other performances are also at hand. In Paris a whole evening of chamber
music and Lieder. Then in Prague my Second Quartet, and a concert in which
I will conduct. In Munich the Sextet. In Vienna a choral work. All that
will certainly be useful.
In Berlin people must of course first get to know me, and that I expect
from my lectures. I hope that I may still succeed in making Hell hot for
the Berliners.
Now I must also tell you that your pictures made a great and lasting impression
on me. Much is still before my eyes. The dreamlike nature of the impressions,
that which is wild and nevertheless clearly controlled, and in particular
the incredibly strong effect of the colors. I would love to see them again.
And I have also reflected often on Miss Münter’s pictures. The remarkable
and yet womanly strength of her works touched me extraordinarily.
I would like very much to see you both again. You wanted to come to Berlin:
is there some prospect of this?
I am living in great style here. Right in the woods!! Actually right in
the country. Almost an hour away from Berlin proper. I wish that you could
see it. The Berlin landscape has a peculiar beauty which is completely
different from that of the Viennese landscape. Particularly the woods
and the atmosphere. It suits me extraordinarily – although I am very,
very fond of the Austrian landscape. Perhaps for that very reason.
Now I hope that you will write something to me soon. I would also like
to know what you have to say about my pictures, which you now have there
in the original. By the way, do you need them much longer? Have you already
made photographs of them?
Many kind regards to you and your wife from me and my wife.
Your
Arnold Schönberg
Dear Mr. Schönberg,
Your letter pleased me very much. Fine – all those concerts! When will
the one in Munich be? I am tremendously happy about it. A whole evening
in Paris – really splendid. There I could get something into the press
through Le Fauconnier. Would you like that? I am also happy that you are
so nicely housed. Perhaps we will come to Berlin in January. Now, the
Blaue Reiter! It will not appear before the middle of January, perhaps
even at the end. And therefore you have more than a month for your article.
First number without Schönberg! No, I won’t have it. We will quite
certainly have 3-4 articles on music – France, Russia. One of these is
long, is entitled "Musicology," comes from Moscow and will turn many things
upside down. Give us 10-15 pages! As I said, it must not be without Schönberg.
In your pictures (which I received from the carrier only yesterday: we
have been back in Munich two days) I see a great deal. And two roots:
1) "pure" realism, that is, things as they are, and at the same time their
inner sonority. It is that which I foretold in my book as "fantasy in
the most austere subject matter." It is at the opposite pole from my own
art and . . . grows spiritually out of the same root: a chair lives, a
line lives – and that is finally, and fundamentally, equivalent. This
"fantasy" I love very much, most particularly as it occurs in your pictures!
The "Self-Portrait", the "Garden" (not the one I wanted, but also a very
good one). 2) The second root – dematerialization, romantic-mystical sonority
(thus, also that which I create) pleases me less in this application of
the principle. And . . . yet these things are good too and interest me
very much. Kokoschka also has this second sonority (= root) (seen three
years ago, so "had"), along with the element of "strangeness!" That interests
me (I am happy to see it) but does not make me vibrate spiritually. For
me it is too binding, too precise. When something of the sort stirs in
me, I write (I would never paint it). And I say merely: he had a white
face and black lips. That is enough for me, or rather, it is more. I feel
more and more strongly: in every work an empty space must remain, that
is, not bind! Perhaps this is not an "eternal" law, but a law of "tomorrow."
I am modest, and content myself with "tomorrow!" Yes, indeed!
Please write to me also about how my works in the "Neue Secession" affect
you. I was actually always sure that you would understand and be sensitive
to Münter. In general, very few people are sensitive to her work.
Yes, these dear elephant hides! I am fortunate: I bruise the hides of
the dear little beasts! Here the means of both of us match perfectly.
So make Hell properly hot for these Berliners! Those fellows must be made
to sweat and writhe. Naturally we won’t need to provide for this deliberately.
I have a friend who, without meaning to, squeezes your hand so hard on
shaking hands that everyone says "ouch!" Then he immediately begs your
pardon. We are not that well brought up.
I have a lot of work. And many wishes as a painter. Why is there so little
time? Also, I feel particularly strongly at this time that all of us will
"live" often again. I mean, in body. And this long, long path.
I shake your hand warmly and we both greet you and your wife. Has the little one completely recovered?
Your Kandinsky
Munich
6 December 1911
Dear Mr. Schönberg, The three of us have read a review of your D minor Sextet in the "M.N.M." [Münchener Neueste Nachrichten] and are very happy for you and also for our common cause. We shake your hand cordially and send kindest regards to your wife.
Kandinsky
Please write again!!
[Marc's handwriting]
At New Year I and my wife will be coming to Berlin, and I look forward very much to seeing you again there. Naturally, I will write to you beforehand. Kind regards, F. Marc
[Münter‘s handwriting]
Because of lack of space I will just add kind regards, Münter
Berlin-Zehlendorf
14 December 1911
Dear Mr. Kandinsky,
I have still not read all of your book, only two thirds of it. Nevertheless,
I must already write to you now that I like it extraordinarily. You are
certainly right about so many things, particularly what you say about
color in comparison to musical timbre. That is in accord with my own perceptions.
Your theory of forms is most interesting to me. I am very curious about
the "Theory" chapter. I am not in complete agreement with some details.
In particular, I do not agree when you write, if I understand you correctly,
that you would have preferred to present an exact theory. I do not think
that is necessary at present. We search on and on (as you yourself say)
with our feelings. Let us endeavor never to lose these feelings to a theory.
Now I must write to you about your pictures. Well: I liked them very much
indeed. I went immediately, on the day after I got your letter. "Romantic
Landscape" pleased me the most. The other pictures are not hung very advantageously.
There is something that I cannot reconcile myself to: the format, the
size. I also have a theoretical objection: since it is only a question
of proportions, for example
black 24 : white 120
by red 12 : yellow 84
it cannot possibly depend on the format, because I can certainly say the same thing if I reduce it, for example by 12:
black 2 : white 10
by red 1 : yellow 7
I believe it is easier to grasp this equation if it is reduced.
Practically expressed: I feel these color-weights less, because they disappear
too much from my field of vision. (A few escape me entirely.) I had to
stand far away, and then of course the picture is smaller, the equation
"reduced".
Perhaps I have for this reason less of an impression of the very large
pictures, because I could not take them in as a whole.
Now to Miss Münter’s pictures: although I did not immediately remember
them, they attracted my attention at once as I entered the room: They
are really extremely original and of salutary simplicity. Absolute naturalness.
An austere undertone, which is certainly a characteristic feature, behind
which goodness and love are hidden. I enjoyed the pictures very much.
Mr. Marc’s pictures also pleased me very much. There is a curious gentleness
in this "giant". I was actually surprised by this, but I soon managed
to bring it into harmony with the impression I had of Marc. Very likeable,
in any event. Otherwise, not much pleased me in the exhibition. Best of
all a Mr. Nolde, whom I then met, but I did not like him personally very
much. Then from Prague: Kubišta. He is affected, but has talent and courage!!
The Berliners will turn their hand to anything. Especially to what is
the "latest modern," I guessed immediately that there must be a Frenchman
who painted "Bathing Women". These you will find five or six times in
the room. Exactly like Cézanne. On the other hand, I would be glad
to find out which Frenchman provided the original for the many "circus
people!"
I am very sorry that you don’t like my pictures very much. Also, the most
important ones were not sent to you in every case. But nevertheless in
large part.
Now to the Blaue Reiter. I believe I can after all give you some of my
music for reproduction. How long may it be? May it be four to five pages?
Or shorter? Write to me about this at once! On the other hand, I have
still not written anything for you. My lectures at the Stern Conservatory
take up so many of my thoughts. Perhaps it will still come!
Now something else:
I am to send my pictures to Budapest for an exhibition. I have been alloted
a whole room for twenty-four paintings.
Now I have no idea which ones you have. Could you not notify me? And:
would you be willing to send the pictures directly to Budapest? That is,
those that I specify to you (charges to be collected on delivery!). The
others come to me. That is to say, I am exhibiting no portraits or such,
but only those paintings which I call "Impressions" or "Fantasies". I
believe you have eight paintings there, but there are certainly portraits
(finger exercises, scales) among them. Please write to me immediately
about this. And you will be so good, won’t you, as to send on the pictures
as soon as I write you.
I recommended to the painter Gütersloh that he get in touch with
you.
Adolf Loos, the most outstanding architect, has also written to you at
my suggestion. Also concerning Kokoschka! What have you arranged with
him?
I hope you can read my letters more easily than I yours.
I have sent you my Theory of Harmony. You will be astonished at how much
I say that is closely similar to you.
Today I am at last sending you my photo.
Please greet Miss Münter most warmly for me. I will write separately
to her soon. Then also Mr. Marc and the others whom I found on your card.
Many kind regards to you. In sincere friendship,
Your Arnold Schönberg
Munich
15 December 1911
Dear Mr. Schönberg,
Many thanks for your picture, your book and your letter. All that has given me much pleasure. I will just say that immediately. I am very tired, but cannot put off the letter till tomorrow. – I wanted to exhibit the following of your pictures (the exhibition begins Tuesday the 19th): "Self-portrait," "Lady in Pink" (perhaps "Landscape") and two or three "Visions", which make a strong impression on everyone, just as they do on me (but I love the realistic ones). Our exhibition is becoming very interesting, with a variety of forms. With regard to Budapest, I will naturally be very glad to do everything. – More later! Both of us greet you warmly, and your wife as well.
Your Kandinsky
Munich
16 December 1911
Dear Mr. Schönberg,
Please let me know your prices right away. We will not be able to produce a real catalog: no time, but simple typewritten lists. Also printed circulars. Kind regards!
Your Kandinsky
Munich
20 December 1911
Dear Mr. Schönberg,
Many thanks for the letters, and especially for the promised music. It would be better not to go over four pages, but one cannot set fixed limits in such a case. I will take care of your pictures. Four are already hanging in the first Blaue Reiter exhibition: "Self-portrait," "Landscape," and two "Visions." If you wish, I will send you these by mail on 30 December. If possible, leave them with us: we are very probably going on tour. You should not be missing. The exhibition is ff! [= Fortissimo sic.] And makes an impression . . . . In two days, five sales. In haste! Kind regards, from Miss Münter too!
Your Kandinsky
PS I am still swamped with work.
Berlin-Zehlendorf
12 January 1912
Dear Mr. Kandinsky,
I have heard nothing from you for a long time now, but I would like to
know if you sent my pictures to Budapest promptly. Then: what did people
say about them? Reviews, etc.? And finally, how is the Blaue Reiter coming?
When should I send you my musical supplement? And: what have you to say
about my Theory of Harmony? I still haven’t heard a word from you about
it. I sent it to you immediately after I got it, as I was getting ’flu.
Please greet Miss Münter very cordially from me. When are you coming
to Berlin? On 28 January there is to be (??) an evening of my compositions
here (???).
Many kind regards,
Your Arnold Schönberg
Munich
13 January 1912
Dear Mr. Schönberg, I am really very ashamed. But it isn’t laziness!
I will just briefly list for you what I am doing: 1) the Blaue Reiter,
that is, write, read and correct articles, etc., 2) arrange Exhibition
I of the B.R., 3) prepare Exhibition II of the B.R., 4) invite Germans,
Frenchmen and Swiss for the exhibition in Moscow (I have unlimited authority,
therefore also unlimited responsibility), 5) help in the buying and selling
of unfamiliar pictures, and as a result constantly 6) read and write letters
which are always hurried, and often complicated, often very unpleasant
(there are days when I get letters with each of the five mail deliveries,
there are days with twenty incoming letters, and there is never a day
without letters), 7) I owe letters, 8) I don’t paint, 9) I neglect my
own affairs. In two weeks I have written over eighty letters. My only
hope is that it will change when the Bl. R. is finally printed, and the
exhibitions are arranged. I am already tormented by two pictures which
I would like to paint – one is finished in my mind, the other I would
like to attempt – So don’t be angry with me! After all, you also do not
answer my letters very carefully. I asked you for the prices of your pictures
a long time ago and whether we could keep some for our B.R. exhibition.
I sent everything to Budapest long ago with the following exceptions:
1) "Self-portrait," "Landscape," and two "Visions" were exhibited by us
2) the portrait "Lady in Pink" you did not wish to have sent (it is still
with me). Following your wish, I separated "Landscape" from group I (it
is at Thannhauser’s); the other three travelled with our exhibition to
Cologne, and have the firm intention of travelling still further. These
pictures have done very well with us. And who told you that I do not like
your pictures? lt is only that the origin of the "Visions" is not clear
to me, and I would be very pleased to hear something soon about this.
lt’s very important to my article in the B[laue] R[eiter]!!
I was firmly convinced that I thanked you immediately for your book. It
really gave me great pleasure. And the dedication! I had scarcely stuck
my nose into it when Hartmann came and grabbed the book away from me.
He wanted to read it without fail and immediately and could not find it
on sale here yet. I must get it back one of these days. I was annoyed
with Hartmann and grateful too, because he explained to me a lot which
I certainly would not have understood in your book. We spoke about it
for hours, and what I have already got from it pleases me very much. Wouldn’t
you send your book to the Moscow Conservatory? lt is a pity that Hartmann,
who originally wanted to travel from Prague to Petersburg by way of Berlin
(mainly to meet you), had to travel directly to Russia after all.
Your letter about the visit to the Neue Secession pleased us all very
much, and most particularly the detailed reports on our (also Marc’s)
pictures. All the same, I must disagree, naturally! In mathematics 4:2=8:4.
In art – no. In mathematics 1+1=2, in art 1-1=2 can also exist. Secondly:
are you against the doubling of orchestral forces? Now, that is only enlargement
(and thus complication) of the means. But thirdly: it is precisely my
intention (sometimes) to prevent, by means of the dimensions, the pictures
being taken in at a glance. Fourthly, size is a force, a means – such
a candlestick and such as one are two completely different beings!
Around this time Marc and his wife will be visiting you, or have already
visited you. He has become a rather enthusiastic art-Berliner. lt is true
that much more is going on there. Think of living there! But just between
ourselves, I see no great personality emerging there as yet.
Perhaps I will travel to Russia in spring. If so, by way of Berlin. Then
I will see you. One can say so little in a letter. And many of us put
off writing letters, don’t you think? And many of us excuse it, isn’t
that so?
Kind regards from both of us to you and your wife.
Your Kandinsky
PS Can you please send me your music quickly? And the article? Must I
get along without it? Write something quickly! How can German music not
be represented by an article? There will be two on Russian music.
Munich
16 January 1912
Dear Mr. Schönberg,
I am very sorry that I have inflicted something unpleasant on you. I only thought that your pictures would help the ensemble of the exhibition, and that at the same time they would be shown in various cities, and in good company, which could be helpful to you. Perhaps I wrote to you unclearly in December! So please excuse my arbitrary action! Won’t you? – I scarcely believe that they are still waiting for those pictures in Budapest. In any case, I would ask you, if you do want the pictures sent, to write by return post to Miss E. Worringer – Gereonsclub, Gereonshaus, Cologne – about it. I will write to her at the same time as this letter and ask her to act according to your wishes. I will have the "Nocturne" sent from here (by mail). I have already taken various steps about your concert – in Moscow and Petersburg. Perhaps it will be useful in the end. The new Petersburg society "ARS" also wants to put on concerts. I already wrote to them in the early autumn about your music. And they showed a lot of interest in you. But the society is not yet completely organized. – So, I expect your article and am happy about it! Today I gave the last manuscripts to the printer. So send it with all speed! And the music? I have just ordered your self-portrait in Cologne to be photographed. This is for the B[laue] R[eiter], which is to be completely ready (printed, and so on) in five to six weeks. If you only knew what a job it is! – May I send you something for revision? lt is an article about Scriabin, which I had to translate myself, and I am in mortal fear that I have misused various specialized terms! Oh, do help me please! The article is quite short. Would you? – Tomorrow I am going away for two or three days to settle my head more or less in the right place again – at the moment it’s somewhere else! Kind regards from house to house, and don’t be offended with me if I behave somewhat unclearly.
Your Kandinsky
[Münter’s handwriting]
[probably between 17 and 27 January 1912]
Dear Mr. Schönberg,
I only want to let you know quickly that your article, "The Relationship to the Text" has arrived, and most of all, that I am very delighted by your contribution to the BL[aue] R[eiter] and by this article (which has just come, and which I have just glanced at) as by everything of yours. Yesterday Kandinsky went away for a few days’ rest. He really needs it: these have been frantic months! Publisher, editor, article writer, arranger of several exhibitions, picture-selling agency – in this situation the painter and the human being no longer have a chance. Yesterday "Night" went off to Budapest and "Lady in Pink" to you. The former insured for 300 marks. The latter had already been sent off, and I hope very much that it arrives in good condition. I have taken up my pen so quickly because your beautiful contnbution immediately filled me with enthusiasm!
I hope the Marcs will visit you soon now. They have been intending to for a long time and something has always prevented it. Kind regards to you and your wife.
Your G. Münter
Have already read article, which is very fine! I only disagree about
the "portrait." Who is right? (Of course, it is only a question of words.)
[Münter’s handwriting]
Munich
27 January 1912
Dear Mr. Schönberg,
Many thanks for your friendly note. So your concert is tomorrow, and
by the time you get my letter, it will already be over and I hope I do
not disturb you too much. [...]
One of these days Kandinsky will send the short article which you are
kindly willing to revise. He also asks you particularly to send your music
as soon as possible. Kandinsky does not know Koussevitsky personally.
However, he knows about him and also attended a concert conducted by him
in Moscow last year. He is one of the most radical young conductors.
And how will your concert have gone? I wish that I could be there. What
is being performed, pure Schönberg? It. would be nice if you would
report a bit about it. How is the public in Berlin? The Marcs will be
back any day now. Did they finally visit you?
Kind regards from our house to yours.
Your Gabriele Münter
[undated slip of paper, probably beginning of February 1912]
Dear Mr. Kandinsky,
Wouldn’t you also like to ask for a contribution from Busoni? He is very closely connected with us. Read the 1 February issue of Pan or his New Aesthetics of Music.
[Unsigned]
Munich
6 February 1912
Dear Mr. Schönberg,
We are very happy that the concert went so well. We congratulate you
heartily and wish you GREATinner and outward success in Prague. Would
you send us reviews? You would get them all back in good order. When is
your concert here? Various acquaintances here are asking about it. And
we are too.
I hope I do not startle you too much with the Scriabin revision. If you
would be so good as to undertake it after the concert. I am afraid that
we have shoved all sorts of musical nonsense into our translation. I would
be very, very grateful to you.
To "complete" your title was Piper’s doing. I have also written to him
that I am curious what you will think of it. Can I take charge of the
second proofs myself?
It made me very happy that you sent music after all. I had already begun
to give up hope. Fortunately, it was still possible for me to mention
it in the prospectus, which just today went back to the printers after
the correcting of the first proofs. Very fine!
Now I hope you will not be annoyed that I have given Piper instructions
to order by telegraph a photo of your "Lady in Pink" for the Blaue Reiter.
I had to have it in time! And there is a GREAT hurry.
And I am also in a great hurry! Many kind regards from us both to you and your wife.
Your Kandinsky
(PS) I hope that you have already sent the photo. As I said, I must have
it very quickly.
[Telegram from Munich to Schönberg, c/o Zemlinsky, Prague, Hawliczekgasse 9. Probably February 1912, when Schönberg conducted his Pelleas und Melisande, Mozart, and Bach-Mahler in Prague]
Thinking of you warmly.
Münter Kandinsky
Munich
4 March 1912
Dear Mr. Schönberg,
The heartiest congratulations from both of us and from Marc (he is in
Munich at the moment) on your splendid success. That even our dear "M.N.N."
[Münchener Neueste Nachrichten] allowed itself to be inspired to
an enthusiastic review of your concert is as significant as it is unheard
of! I am impatiently awaiting your promised letter, in which you will
certainly write fully about your concert. I had a very great desire to
travel to Prague for the concert, but how should I have done it – I, poor
slave of the Blaue Reiter. Day after day passes in unceasing concern over
it: the book, the exhibitions, and so on and on. I have no time for anything
else. I await the book’s appearance with longing. If you only knew how
I yearn for my work, how I would like to draw and draw, paint, paint and
paint. But enough sentiment, and let us proceed to serious business.
The editorial staff of Der Sturm is producing an
exhibition which will apparently be really splendid (the French, Hodler,
Munch, Kokoschka) and has invited our first exhibition as a whole: freight,
our own rooms. We have accepted. Now comes the urgent and heartfelt request:
please let us have the pictures by you which are already mentioned in
our catalog and – the portrait of a lady which hangs in your dining room
as well! I am unfortunately not clairvoyant, and ask especially for this
portrait, as Marc is always talking about it with great enthusiasm. Please
do us this favor! The pictures must be delivered to Mr. Herwarth Walden
(at present Berlin W. 9, Potsdamerstr. 18), with details of price and
title. Please paste the slip on the back and also notify me of the price
and title. Will you really be so good as to do all that – and above all
to send the portrait??
We greet you warmly, and also your wife.
Your Kandinsky
[PS] When is your concert here? Aren’t you coming in person?
Munich
4 March 1912
PS to today’s letter! Dear Mr. Schönberg, Piper is a manuscript collector. His father began it. He has autographs of Beethoven, Liszt and so on. He is very enthusiastic about your music and asked me timidly if you would not give him the manuscript for the Blaue Reiter. When I told him I would ask you he was delighted. Naturally, I said that I would be glad to ask you about it, but that I had no idea whether you would be willing to do it. Please be so good as also to mention this request in your letter, which I eagerly await.
Once again, many greetings,
Your Kandinsky
Berlin-Zehlendorf
8 March 1912
Dear Mr. Kandinsky,
To begin with, I must tell you that your article about my pictures gave
me really enormous pleasure. Above all, the fact that you considered my
pictures worth the trouble. But then also what you say. And what you say
over and above that: you are such a full man that the least vibration
always causes you to overflow. Hence on this occasion too you bestow an
abundance of the most beautiful ideas. I am very proud to have found your
respect and tremendously glad of your friendship.
Now to my Prague concert. I cannot say much about it, since I did the
whole thing in a half-conscious state compounded of anxiety and fatigue.
I was anxious, about the conducting, and I was tired on account of the
many social evenings and nights, which completely destroyed my usual peace.
Therefore I had no strong impression. Subjectively, I believe the performance
was very good. The audience response was remarkably excited. More than
twenty minutes of the loudest hissing and applause! It was exactly the
same on 5 March in Berlin, with Rosé, who performed my First String
Quartet. Here I am engaged in a violent feud with the Berlin critics,
brought about by two articles, which I published in Pan against Leopold
Schmidt (on 20 and 27 February). The rest of the critics are taking revenge
on me on behalf of their pope!! But perhaps the affair will go still farther!
Now about the exhibition, above all, I thank you
very much for the invitation, which is a great honor for me, but I don’t
know yet whether I can take part. Mr. Walden delivered himself at one
time of a really coarse review of Pelleas und Melisande (an act of vengeance)
and so I cannot very well take part unless he asks me directly. Even then
I believe, although I by no means take him so seriously, that I cannot
take part. But moreover: I do not believe it is advantageous for me to
exhibit in the company of professional painters. I am surely an "outsider,"
an amateur, a dilettante. Whether I should exhibit at all is already a
question. Whether I should exhibit with a group of painters is almost
no longer a question. In any case, it seems disadvantageous to me if I
exhibit paintings other than the ones in which [I] believe! And I would
certainly have to show at least 10 to 12, if people are to get from them
what I wish.
So don ’t be annoyed at me – please, you already know how fond I am of
you, and how unwillingly I would do anything disagreeable to you – if
I do not take part in the exhibition for the time being.
Before I forget: if it is the manuscript of my article that Mr. Piper
would like to have, it would be a pleasure for me to let him have it.
On the other hand, I should be glad if I could have a few (5 - 10) offprints
or galley-proofs of this article. I can also only let him have the manuscript
of the songs if I can have offprints (I need these for performances).
Up to now I have not yet been able to answer Miss Münter’s letter.
I have so terribly much to do. However, as soon as I can somehow find
time, I will write in detail. Please give her many kindest regards from
me.
At the moment I have to prepare a lecture which I am to give in Prague.
On "Gustav Mahler." I would be very happy to give it in other cities as
well, because I attach great importance to it. I would like, since I feel
that it is my duty as an artist, to speak up for his works everywhere.
Could the Blaue Reiter perhaps organize this in Munich? However, I really
don’t want to burden you still more with arrangements. I really only say
it because it has just occurred to me at the moment and I won’t mind if
you want to forget it again in the same moment.
Actually, I took it for granted that you and Miss Münter would visit
us in Berlin! Can this perhaps still take place? Or have you given up
the idea? It would be really fine! I would love to get together with you
again!!!
When will the Blaue Reiter appear? I am already extraordinarily anxious
to see it.
And now, many, many kindest regards from your
Arnold Schönberg
[Münter’s handwriting]
Munich
9 March 1912
URGENT
Dear Mr. Schönberg,
A quick business letter. Kandinsky welcomes your lecture at the Blaue
Reiter with joy. He had already spoken of asking you to give a lecture
at our exhibition if you come. Dr Stadler, an art historian, gave a short
lecture at the exhibition, which was followed by lively discussions –
the lecture has been further developed and extended, and will be repeated
today. The M.N.N. [Münchener Neueste Nachrichten] have refused to
print the notice announcing the lecture with the excuse that as they had
done it once, they did not need to do so again! So the event is only posted
and people will surely come. Now Dr Stadler is speaking about the exhibition.
J. A. Lux, a journalist and writer whom you perhaps know, offered to Kandinsky
to give a lecture on literature at the exhibition. That is to take place
on the 13th. The exhibition closes on 18 March. When could you give your
lecture? Naturally, it need not necessarily be during the time of the
exhibition. This evening we will discuss it with Goltz, who is a very
capable and likeable man and will be glad to organize the event – in his
rooms or elsewhere. Lux could perhaps be put off, if you wanted that particular
time. We have of course been hoping that you will come to Munich for the
performance of your composition. Is that indeed to be on the 14th? K[andinsky]
and I were both delighted by your very kind letter. I am now reading the
book Arnold Schönberg with great interest.
This is in haste – please let me know what you think by return mail –
K. will probably shed light on anything missing in my explanation.
Kind regards,
Your G. Münter
I look forward to your answer; just give it to me frankly! Kandinsky
is very sad that your pictures are not to be exhibited jointly in the
B[laue] R[eiter] in Berlin, since he esteems you very highly, and it is
after all exactly his principle of great freedom and multiformity which
he is advocating in the B.R. But there is certainly nothing to be done
about it now! Your reasons are clear. I am really curious as to how it
will turn out there. Walden seems to value K[andinsky]’s art particularly.
What attitude will he take toward the B[laue] R[eiter]? Please answer
immediately, so that K. will have exact details on your lecture! He also
sends many greetings.
[Münter’s handwriting]
Munich
15 March 1912
Dear Mr. Schönberg,
In reading through the most recent proofs, the passage once again struck me which had already seemed peculiar to me once before and, since I believe it only came about through carelessness, I would like to ask if you really find it satisfactory that Kokoschka’s name should stand before that of Kandinsky. I have heard that he is still very young, and as far as I know he has not done much aside from extremely talented pictures and also [has] scarcely [had] time for any significant development. If you so desire and answer immediately, it can perhaps still be corrected, that is, if it is not already correct in your eyes. You no doubt are aware that the order is of importance. Thank you, dear Mr. Schönberg, very much for your obliging, quick, answer. K. will write to you shortly.
Kind regards,
Yours truly, G. Münter
Munich
28 March 1912
Dear Mr. Schönberg,
I recently got the news that your piano pieces were played at the ARS Society (Petersburg), and made a "great and strong impression". This makes me very happy. I have just inquired whether it would not be possible for the ARS to organize a concert by you. – You will certainly get offprints of your music and your article, and two complete copies of the B.R., which is now definitively in press.
With a hearty handshake,
Your Kandinsky
Munich
25 April 1912
Dear Mr. Schönberg,
How are you? You have forgotten us completely. Were you in Prague for
the lecture on Mahler? Goltz doesn’t dare to present the lecture on a
large scale and his large room (exhibition room) doesn’t belong to him
at the moment. He thinks it would be best to seek help from a concert
management. – I have not been very well: I have had terrible rheumatic
pains and am still feeling the consequences. For more than two weeks I
was confined to the house and for a long time couldn’t move my head either
down or up, right or left, even so much as a millimeter. I had to drop
everything. Only now have I taken up my work again. Fortunately the Blaue
Reiter was already finished and in print. Now it is being sewn, bound,
etc. In two weeks it should finally come out! I enclose two proofs for
you that were wrongly placed, since the printer thought they belonged
in your book. Perhaps you can use them. You will also receive two author’s
copies and offprints.
I also enclose the little book by Lux. Perhaps the contents will interest
you, or you can use them for your music. After all, you are not a futurist
and may use foreign texts! What do you think of the exhibition of these
"free" Italians? In their manifesto they say much that is right and important.
But at the same time there are also so many immature, obsolete, strange
thoughts and for my taste too much. . . police: "go right!" (perhaps left!),
"don’t stand still!!" and so on. And what do you think (I’ve wanted to
ask for such a long time) of Scriabin? Do you know his latest, larger
works?
And once again: how are things? with you? with your family? I would like
so much to get together with you again. We have always seen each other
only fleetingly and the topics which interest us are unlimited in number.
Many kind regards from both of us to you and your family.
Your Kandinsky
Please write!
[undated – after 25 April 1912]
Dear Mr. Kandinsky,
I had already sent off the proofs when this prospectus and the music
arrived. But I don’t need them anyway.
Now I would like to ask you particularly: Would you please immediately
inquire whether my pictures were sent from your travelling exhibition
to Budapest – because the Budapest exhibition (which has just closed)
sent my pictures back to me and four pictures are missing. Please arrange
to have them sent directly to me ("Landscape", "Self-portrait Walking",
and two "Visions").
Warmest regards,
Your Schönberg
Berlin-Zehlendorf
22 May 1912
My dear Mr. Kandinsky,
I just want quickly to entreat you and your wife not to be angry with me because of my long silence. I have a great deal to do, and will have no peace until I am finished. But in two weeks I will have reached this point, and then I will write to you in detail. In the meantime, then, accept both you and Miss Münter, my very kindest regards.
Arnold Schönberg
[postcard
Baltic Sea Resort
Carlshagen
Villa Concordia]
postmark: 6 July [1912]
Dear Mr. Kandinsky, esteemed Miss Münter,
Are you angry with me? I have heard no word from you for such a long time!! I myself have been working very hard, I am now probably going to work still harder, and I have various worries – that is why I have not found the time to write to you! How are you? Are you both working hard? And on what? Now I intend to finally compose my Glückliche Hand, if I have a lucky hand. Many kind regards to both of you, from my wife as well.
Your Arnold Schönberg
Munich
2 August 1912
Dear Mr. Schönberg,
You should not have such ideas! It is true that one experiences such things that finally everything seems believable. But if I were to have something against you, I would certainly tell you openly of my doubts or anger. And I expect the same from you. A few weeks ago you gave notice of a substantial letter. I waited for it, and planned then to write at greater length myself. Furthermore, I have felt unwell the whole summer, and was glad to put off writing letters. Finally I had to decide on an Operation (you see from my style that I am still not completely recovered), which I underwent three weeks ago. I have been home for a week and my recovery is proceeding rapidly, but I am still capable of very little work. In four or five days we plan to go back to Murnau, where I hope to recover my lost energy. We read in the "Vosstante" that you were offered a professorship at the Royal and Imperial Academy. Why have you refused it? Or is Vienna really not a [suitable] base? On the other hand, I find it most proper that you want to devote yourself completely to composition.
So don’t be angry with me, and write me the long letter which you promised. We both greet you and your wife most warmly.
Your Kandinsky
Dear Mr. Kandinsky,
I was sorry to learn that you have been ill and had to be operated on.
What actually was the matter? You don’t mention that at all. Was it something
dangerous? And above all, are you well now, and unlikely to have a recurrence?
I imagine it was your appendix. I hope that was it. That at least is no
cause for concern.
I do not have very much to report. You know that I was to go to the Vienna
Academy as professor and that I declined. But not, as I would have liked,
in order to "devote myself completely to composition," for I have unfortunately
not yet reached that point. But rather, because I considered it unsuitable
that I, who left Vienna for a reason of primary importance, should go
back for a reason of secondary importance. A pensionable post and a steady
income, to be sure, and that is something I need very much. But a relatively
limited field of activity, since Schreker was engaged at the same time
as myself, and Novak also was supposed to come. – I have been living the
whole summer in Carlshagen on the Baltic. Very beautiful. For once completely
without thoughts, purely in tranquil mindlessness. Thus actually less
beautiful than lazy. But it seems that’s what I needed. I had been very
irritable and tired lately. I have written a [. . .] Perhaps no heartfelt
necessity as regards its theme, its content (Giraud’s Pierrot Lunaire),
but certainly as regards its form. In any case, remarkable for me as a
preparatory study for another work, which I now wish to begin: Balzac’s
Seraphita. Do you know it? Perhaps the most glorious work in existence.
I want to do it scenically. Not so much as theater, at least not in the
old sense. In any case, not "dramatic." But rather: oratorio that becomes
visible and audible. Philosophy, religion that are perceived with the
artistic senses. Now I am working on my Glückliche Hand without making
real progress. Soon it will be three years old and it is still not composed.
That is very rare with me. Perhaps I shall have to lay it aside once more,
although I am very content with what is finished up to the present.
I must also speak to you about your contributions to the Blaue Reiter
– thus: your stage composition pleases me extremely. Also the preface
to it. I am completely in agreement. But how does all this stand in relation
to "construction?" It seems to me to be the opposite. It seems to me that
he who constructs must weigh and test. Calculate the bad capacity, the
relationships, etc. Der gelbe Klang, however, is not construction, but
simply the rendering of an inner vision.
There is the following difference:
An inner vision is a whole which has component parts, but these are linked,
already integrated. Something which is constructed consists of parts which
try to imitate a whole. But there is no guarantee in this case that the
most important parts are not missing and that the binding agent of these
missing parts is: the soul.
I am sure that this is only a quarrel over words and that we agree completely
about essentials. But "construction," though it is only a word, is nevertheless
the word of yours with which I do not agree. Even though it is the only
one. But as I said, Der gelbe Klang pleases me extraordinarily. It is
exactly the same as what I have striven for in my Glückliche Hand,
only you go still further than I in the renunciation of any conscious
thought, any conventional plot. That is naturally a great advantage. We
must become conscious that there are puzzles around us. And we must find
the courage to look these puzzles in the eye without timidly asking about
"the solution." It is important that our creation of such puzzles mirror
the puzzles with which we are surrounded, so that our soul may endeavour
– not to solve them – but to decipher them. What we gain thereby should
not be the solution, but a new method of coding or decoding. The material,
worthless in itself, serves in the creation of new puzzles. For the puzzles
are an image of the ungraspable. And imperfect, that is, a human image.
But if we can only learn from them to consider the ungraspable as possible,
we get nearer to God, because we no longer demand to understand him. Because
then we no longer measure him with our intelligence, criticize him, deny
him, because we cannot reduce him to that human inadequacy which is our
clarity. – Therefore I rejoice in Der gelbe Klang, and imagine that it
would make a tremendous impression on me when performed.
I would have been glad to hear what you think of my Theory of Harmony.
Have you read it? Then also my article in the B[laue] R[eiter]. There
are also many things in it which are very dose to what you say in your
preface to Der gelbe Klang.
I hope to hear something from you soon. How is Miss Münter? I owe
her an answer to her very delightful letter. It should follow soon. Although:
in just a few days I will be having rehearsals for Pierrot Lunaire which
will be performed by Mrs. Albertine Zehme on a big tour. But after that,
I will find time for it. So for today, once again: warmest regards to
both of you, from my wife as well.
Your Arnold Schönberg
What about your visit to us in Berlin???
[Münter’s handwriting]
Murnau, 20 August 1912
Dear Mr. Schönberg,
I have been waiting to write to you for weeks, but somehow could not quite get to the point of doing it. So here it is: I would like to draw your attention to a book which I think would bring pleasure and enjoyment to you as well. And also to make you aware of its author, who must certainly be a remarkable and rare person. His name is Volker and his book is entitled Siderische Geburt ["Siderial Birth"], Karl Schnabel Verlag, Berlin, 1910. Volker’s address is Luckoffstrasse 33, Nikolaussee, near Berlin. I am only slowly plodding through it, and unfortunately with interruptions. I only take from it as much as I can absorb. I cannot accept it entirely, and in particular its ending will probably be too exalted for me. But I feel that it is like a heavy golden chain passing through my hands link by link, sentence by sentence. And I believe there is something there for you! How are you? Next Sunday we must go back to Munich again, in order that K’s new publication, an album with woodcuts and texts, can come out soon. He is gradually recovering, has in fact written to you about his illness, and the doctor is pleased with his progress. I am well, but I don’t work and waste time. Please let us have a really long letter from you.
Kind regards to you and to your wife from both of us.
Your Münter
[PS] I got to this point yesterday evening and left off – today your splendid letter arrived. And now I am completely sure that Volker is your man! At the bottom of page 31 he describes the elements of Kandinsky’s Compositions II, IV, and V and so on. Naturally not in connection with K, since he probably knew absolutely nothing of him and his work at that time. I think such men should get to know each other. (Just as I found your address that time.)
Now to your question. It was a double hernia operation, along with an operation on a new varicose vein. The doctor had spoken of it as a trifle, but later we saw everything that was added to it, and how long it will still take before Kandinsky is his old self again. He has unfortunately not reached that point yet, and wants to visit his parents in South Russia in about a month. [Kandinsky’s handwriting] Your letter gave me much pleasure. Soon I will write to you in detail. Kind regards,
Your Kandinsky
Murnau
22 August 1912
Dear Mr. Schönberg,
What is so stupid and always irritates me, is that I cannot read works
about music. The parts of your book that are generally understandable,
I read with great pleasure and the special joy which I get from all your
writings. As far as I understand it you do not let one "principal," not
one "law" of existing theory escape your sharp analysis. Everything is
given a real shaking, and it is proved (and this is what is most important!)
that everything succumbs to this shaking, and everything, taken in the
abstract, is only relative and temporary; that only human narrow-mindedness
(or "stupidity") remains unshakeable. And against this the gods fight
. . . and so on! As I said, what irritates me is that I cannot understand
the positive side of your book. How much I would like to talk to you about
it one day! Perhaps at the end of October! Since we will perhaps be in
Berlin then. In October my fairly large collective exhibition will be
in the Sturm gallery. I myself will be in Russia, and only hope at the
end of October to come back by way of Berlin. Münter will probably
be there before that.
The fact is that the greatest necessity for musicians today is the overthrow
of the "eternal laws of harmony," which for painters is only a matter
of secondary importance. With us, the most necessary thing is to show
the possibilities of composition (or construction) and to set up a general
(very general) principle. That is the task which I have begun in my book
– in very "free" strokes. "Inner necessity" is just a thermometer (or
yardstick), but one which leads to the greatest freedom and at the same
time sets up the inner capacity to comprehend as the only limitation on
this freedom. In the continuation of the work, which now is ripening in
me step by step (and has been for some years), I touch in moments of illumination
on the universal root of all forms of expression. Sometimes I would like
to bite my elbow with rage that the work advances so slowly. – As regards
your article in the B[laue] R[eiter], I read it with constant pleasure.
At the end, I wanted to say: or, the opposite, that is to say, when one
departs from the root, every possibility of combination becomes an "or
the opposite." But sometimes one is forced to illumine only one side glaringly
and obtrusively, and that is how I understand your article. My preface
to Der gelbe Klang is written in a somewhat similar vein. Unfortunately,
only a few can grasp this "or the opposite," and this is the reason the
Ten Commandments were also given only one-sidedly and "positively." This
is why Christ said, "the rest you cannot grasp today." We stand today
on the threshold of the "rest" – which is our greatest good fortune. Finally,
this is the sense in which I also understand construction, which does
not, in your opinion, combine harmoniously with Der gelbe Klang. Surely
you understand me already! Up until now the word construction has only
been viewed one-sidedly. But everything has at least two sides – "or the
opposite." In this particular case: by c[onstruction] one understood up
until now the obtrusively geometrical (Hodler, the Cubists, and so on).
I will show, however, that construction is also to be attained by the
"principle" of dissonance, (or better) that it [construction] now offers
many more possibilities which must unquestionably be brought to expression
in the epoch which is beginning. Thus is Der gelbe Klang constructed;
that is, in the same way as my pictures. This is what people call "anarchy,"
by which they understand a kind of lawlessness (since they still see only
one side of the Ten Commandments) and by which they must come to understand
order (in art, construction), but one which has its roots in another sphere.
– Briefly stated, there is a law which is millions of kilometers distant
from us, towards which we strive for thousands for years, of which we
have a presentiment, which we guess, apparently see clearly, and therefore
give various forms. Thus is the evolution of "God," religion, science,
art. And all these forms are "right," since they have all been seen. Except
that they are all false, since they are one-sided. And evolution consists
only of this, that everything appears many-sided, complicated. And always
more and more so. For example, the history of music is like this: monophony,
melody, and so on.
And behind this final law, much farther away still, is another one, since
this first [law] is also only one side. It could drive you mad or make
you sing Hosanna.
We greet you and your wife. Most warmly,
Your Kandinsky
Odessa (South Russia)
Skobelevstrasse 12
23 October 1912
Dear Mr. Schönberg,
Your letter gave me great pleasure. It’s fine that you have so much to
do and that you are being performed so much. But on the other hand, such
successes have bad consequences. They come, chop up your time and devour
it. I am very happy that you are yourself coming to Petersburg. I will
write Dr Kulbin about it, a pleasant, congenial, energetic doctor, military
academy professor, artist, organizer, etc. He will give you the best advice,
and certainly help you sincerely in every way. I know Petersburg only
slightly as a city. Two years ago I stayed a few days in the Hôtel
d’Angleterre. Old Pet. style, no 2000 liftboys or similar unappetizing
hotel extras in the grand manner. The tone is simple elegance. Very popular
with the serious English people, not swanky (!) Americans. Very finely
situated and at the same time very quiet. I paid four r[ubles] a day for
a large room with two windows on Isaac Square. Pet[ersburg] is expensive!
Four rubles are about 9 marks. If you let Kulbin know your time of arrival,
he will certainly pick you up at the station and assist you. His address
is St Petersburg, Glavny Stab, Dr N. J. Kulbin.
K. knows everything, that is, he also knows all the artists of importance.
My relations with liberal (not radical) Pet[ersburg] are bad. I believe
K. knows these circles as well. Not much is going on in Pet. in our sense.
Moscow takes first place in this as well, though of course the Petersburgers
don’t want to admit it. Hartmann also lives in Moscow as a rule (at the
moment he’s in Naples) but perhaps will be in Pet. during November and
December.
In two weeks I travel to Moscow in order to stay 3 or 4 weeks there. Then
perhaps a few days in Petersburg and back to Munich by way of Berlin (?)
where I will arrive in the middle or second half of December. How are
you dividing up your time? Please write to me about this by return mail,
even if very briefly.
My exhibition is – Königin-Augustestr. 51 (Der Sturm) and remains
in Berlin until the end of Oct. Then Holland. January – Munich, and so
on.
In haste!
Many kind regards to you and your wife.
Your Kandinsky
I await your prompt answer, then. Your letter to me I sent on to Münter.
St. Petersburg
18 December 1912
Dear Mr. Kandinsky,
I certainly hoped to see you in Petersburg or Berlin. I wrote to you in Odessa, but you didn’t answer me. Now today I am here with Mr. Kulbin and very happy to find him as you led me to expect. – Kind regards to you and Miss Münter. (When I get to Berlin, I will write to Miss Münter.)
Your Arnold Schönberg
[In Russian]
Greetings and good wishes N. Kulbin
Although we do not know each other, I have heard a lot about you, and even written to you, unfortunately without receiving an answer. I take the liberty of sending you my regards.
N. Dobycina
Arnold Schönberg
Berlin-Südende
Berlinerstr. 17a
28 September 1913
Dear Mr. Kandinsky,
I am perpetually having to do unpleasant things and struggle with weariness
afterwards. It is sad that one has no time to catch one’s breath. When
I am tired I have no desire to do anything: neither to work or to write
letters. Don’t be angry with me!
Many thanks for your very kind letter. I will ask Universal Edition to
send the music. I hope they will do so. They are very petty about such
things.
I will be very glad to let the periodical Die Kunst have my article on
"Teaching the Arts." Should I send it directly to them? I have no idea
whether I have a copy. – I have just found one and will send it there.
I will mention your name.
Unfortunately, I will not be in Petersburg this year, but I hope next
year. However, my Gurre-Lieder will be coming out in Munich in February.
I certainly do not look down upon this work, as the journalists always
suppose. For although I have certainly developed very much since those
days, I have not improved, but my style has simply got better, so that
I can penetrate more profoundly into what I had already had to say earlier
and am nevertheless capable of saying it more concisely and more fully.
Thus I consider it important that people give credence to the elements
in this work which I retained later. Then on 18 November Fritz Soot is
singing some of my older songs. Although they are not as old as the Gurre-Lieder
(about four to six years later), all the same I like them less, to some
extent. Still, few [songs] are written which are so good, but they are
the most constrained of anything I have written. At that time I believed
I [still] had to learn what I had long been able to do better, and I labored
over things. This gives me little pleasure today. Perhaps you would have
the inclination and time to hear one or two!
I am very happy that I am having success in Russia. People are more interested
in me on the whole abroad than in Germany. But it seems that people will
do as little justice to my earlier works as to those of Mahler. People
have such a fixed conception of modernity, of a fashionable modernity,
which completely forgets personality and only grants validity to stylish
technique, that I have little chance with my earlier works. The classification
(!!) is approximately this:
Strauss, or Debussy, or Scriabin and perhaps my latest things.
I believe, however, that this is all nonsense. Style is only important
when everything else is present! And even then it is still not important,
since we do not like Beethoven because of his style, which was new at
the time, but because of his content, which is always new. Naturally,
for someone who otherwise hears nothing in a work, a modern style is a
convenient means of establishing a relation with the author. But that
doesn’t give me much joy. I would like people to take notice of what I
say, not how I say it. Only when people have perceived the former will
they realize that the latter is inimitable.
It is ridiculous that I am speaking of myself. But I would like it if
you would do the same, and would tell me about yourself! I know almost
nothing about you any more. Nor about Miss Münter. I am sorry that
I still have not answered her delightful letter. I will certainly do so
soon. Please ask your dear wife for me to take the will for the deed.
Kindest regards to both of you.
Your Arnold Schönberg
[Münters’ handwriting]
8 November 1913
Dear Mr. Schönberg,
Just a few hurried words: Have you visited the First German Autumn Salon yet? Don’t miss it. There is much there that will interest you. Kind regards from both of us.
Your G. Münter
[Kandinsky’s handwriting]
Kind regards and thanks for the letter, which must certainly be answered! I have had an awful lot to do.
Your Kandinsky
5 February 1914
Dear Mr. Schönberg,
Often I have wanted to write a few lines to you. And your letter gave me great pleasure . . .months ago. One really becomes giddy – the four seasons – white, pink, green, orange – rush by so. One imagines in one’s mind twenty such rotations and sees oneself as an old man. And the work is really only beginning. New possibilities are always revealing themselves in bits and pieces, and in rare, fortunate hours as a totality. Perhaps one should sit from time to time in a tower and be locked in, in order to be able to shake off all worries. But "life" scrambles up the tower too and flows in through the keyhole. So the most important thing is to be able to shut oneself up mentally and fumigate one’s mind, disinfect it. On the other hand, I believe that more peace will now come from the outside as well. In any case, in painting the explosive period seems to be more or less over. On the scene (of life) the great sieve appears, and what is small and trivial falls through. All the more, people will try to gobble up what is left in the sieve. What is now appearing just in the way of "art books"! The catch-words have become generally known; they can be bought for a few pennies in the newspaper – and it is no longer any great difficulty to write a book. A witches’ Sabbath of frenzied writing! The coinage becomes smaller and greasy from many fingers. Woe to him who uses an "easier" form and is more "intelligible", more explicable. Art is made into a menagerie: the fine specimens sit in cages and a daring animal trainer with a whip in his hand explains the characteristics of the artists. Everything becomes unbelievably easy; the secret has become marketable. Be glad that no one wants to understand what you create. Let the dirty fingers grope about your form! He who will really make use of the content will come in time. He will be recognizable by his clean hands. Now, you see that I am not in a particularly good mood. But that is partly the fault of influenza, which has left behind its poison in all my limbs, and this bad poison hinders me in my work. And that is not exactly favorable to one’s good humor.
Many kind regards from house to house, and do not completely forget
Your Kandinsky
27 March 1914
Dear Mr. Schönberg,
Today the portfolio arrived with your letter and the letter from Mr. Müller. It is very painful to me to be in any way unhelpful to you. Please believe this of me! But I cannot bend my conscience. The woodcuts are not bad and not lacking in talent, but are rather far from what is graphic art or painting in my eyes. The forms are modern-conventional, everything done quickly, without feeling, or with so little feeling that I cannot see it. I don’t know what the intention of it all is. Believe me that your music is little honored by it. These objects are not "inspired" by anything at all, or only and exclusively in a superficial way. What is called "creation" is not in them. How could I champion them? I am very sorry that I must declare this sharp judgement, but I cannot do otherwise. And the title-page! Such things must be created. They should not be "prettily" painted with a brush. Where would this leave your music, which is so completely felt and thoroughly thought out and, most of all, is a real construction? There is one Schönberg and ten thousand or many more of such sheets of paper.
Don’t be angry with me! Both of us greet you and your wife most warmly.
Your Kandinsky
I am constantly reading about you in the Moscow Music: your London successes,
etc., etc. And each time I rejoice.
Dear Mr. Schönberg,
We are very happy that you and your family are coming to Bavaria this
summer. Really fine! Münter suggests Uffing to you – a quiet spot
on the Staffelsee (Two hotels: "Seerose" – simple, pleasant; "Kurhaus
Staffelsee" – expensive, not very good.) or Seehausen, much nearer to
us. Both places with very fine opportunities for bathing and boating.
From Uffing to Murnau – one hour by boat, the same on foot. From Neuhausen
[= Seehausen] – twenty minutes.
Uffing is pleasanter. But you can just as well take lodgings in Murnau
– except that M. is highly situated and one is therefore forced to clamber
up the hills after swimming or rowing. The very best would be for us to
journey together to the Murnau region and you could look everything over
for yourself. Do you want a lodging with kitchen? Or will you not be doing
any housekeeping?
Here there are all sorts of theater plans, which you have already heard
about from Marc. You are therefore awaited with particular eagerness.
Many kind regards from house to house.
Your Kandinsky
[Münter’s handwriting]
Uffing pleased me particularly in 1908 because of its nearness to the
lake, and I wanted to go there the following year instead of to Murnau.
Possibilities for swimming seemed good to me – but I cannot guarantee
this.
[Münter’s handwriting]
Murnau, Sunday, 7 May 1914
Dear Mr. Schönberg – we have just seen an excellent detached cottage. The address is Jos. Staib, 6 Seidlstrasse, Murnau. The landlord is out the whole day and only comes back to sleep. His wife is also out, so you would have the kingdom entirely to yourself. The husband is a particularly likeable type, the cottage is charming, pretty garden with a large summerhouse. Kerosene lamps. Toilets upstairs and down – a little veranda facing west as well – on the east a roofed balcony.
[Here Münter sketched the ground plan of the house]
Mr. Jos. Staib is awfully cheap – for the four rooms for five weeks he wants 300 marks. He will provide storage space for trunks as well. For three rooms, so that he keeps No. 1 for himself, he wants 250 marks. But in that case two or three beds could be put in one room. For example, Room Four
[small sketch]
so that the sofa would go in the center in front of the window.
So what do you say to all this? Please answer immediately, preferably
direct to Staib.
The little "Seefried" houses are really too primitive and small for you.
Villa Wild is certainly paradise – but with people. Or perhaps you have
written to Mr. Wild about "Achilles" – he was even willing to perhaps
rent it more cheaply for five weeks. Now we are curious – and eating lunch
– the fish is just coming.
[Kandinsky’s handwriting]
The fish was good! Castle postcards [?] – as well!! And the beer!!! So,
to your good health!
The Staib cottage is a simple farmhouse (not a villa), but very clean,
free from odors, and has just been painted, put in order, and so on. Neither
children nor dogs in the house. The man is young (and newly married) and
really very nice. About fifteen minutes away from the lake. But the situation
is very good and solitary. The drawing is very compressed: the house is
farther from the street, the railroad tracks much farther from the house,
also the lake,
[Kandinsky’s PS]
The cottages on the lake are much too small.
[Münter’s PS]
View of the mountains. About five minutes from us. Peaceful location,
somewhat off the beaten track, isolated.
[Münter’s handwriting]
[undated; 7 May 1914?]
Sunday around six.
Dear Mr. Schönberg,
in our opinion, the wooden cottage on the lake is too small, too primitively
furnished – the gnats will bite you too much. Cupboards and comfort are
mostly lacking – in bad weather you would sit right in the water and catch
cold. It is not for five people, one of whom wants to work. On the contrary,
we ask you to choose between the Staib house at 6 Seidlstrasse (fully
described today) and the Villa Achilles at the lake. Tomorrow we will
telegraph you the price of the Achilles after we have inspected it – it
is also a completely detached villa – see the list of lodgings! With every
comfort – down by the lake. It is probably more expensive than Staib,
but the landlord will certainly come down from his 1000 marks, since you
only need it for five weeks. The Staib house has the advantage of being
heatable and that up near the town there are fewer gnats and that it is
very inexpensive and that everything you need is near at hand. The kitchen
seems amply equipped.
The beds are sure to be good at Staib’s – at Seefried’s they look somewhat
makeshift. I will again leave the conclusion to K, so that we don’t forget
anything.
[Kandinsky’s handwriting]
At Staib’s there are good tiled stoves. Your express letter was received about four o’clock. By Tuesday you will have the Staib description and the price of the Achilles. Please telegraph us then as to which we should take. The Bavarian summer can be cold, and stoves and wood necessary.
Your Kandinsky
[Sketch]
12 May 1914
Dear Mr. Schönberg, a few days ago we were in Murnau. There we spoke, as intended, with the former owner of our cottage, who now has another, larger house and rents out rooms. She is a very respectable, conscientious, and pleasant woman, whom we both can recommend most warmly. She has various rooms available, which are free until 4 July (after that everything is rented). The prices are: one mark per bed on the first floor. Second floor – 80 pfennigs. And you can also have two rooms, or three, use of the kitchen included. I unfortunately do not know whether there is a special charge if you wish to use the kitchen alone, that is, if you wish to lay claim to it just for yourselves. I believe – not. All the same! 80 pfennigs a day. If you would be interested to learn more details, just write to Mrs. Xaver Streidl, Kohlgruberstrasse, Murnau on the Staffelsee, Upper Bavaria. Very beautiful view of Murnau and of the lake from some windows. Beautiful balcony. Rooms on the east (Murnau) and south sides (mountains), important for cold Bavaria. Through pleasant parks and woods to the lake. Many rabbits! N.B. for the younger generation!! Meadows, solitary hills. Woods, where deer often show themselves and sing very beautifully.
[Small sketch of the site with lake and Kohlgruberstrasse to Kohlgrub and Oberammergau, to which an electric railway also runs]
Five - eight minutes from us! We would be very happy if you would rent
from Streidl. But I have forgotten one thing! I do not know how long you
will stay in our vicinity! Since the rooms are only free until 4 July.
But then you could move on to the neighbourhood of Kochel – Kochel itself
or the beautiful Walchensee. But Kochel is also fine! We just find Murnau
more varied, freer.
I will quickly put this letter in the box. Do write us a few words as
to what you decide! Agreed?
Many warm domestic greetings,
Your Kandinsky
Berlin
25 May 1914
Dear Mr. Kandinsky,
Warmest thanks for your very delightful letter. But you have misunderstood
me: I intend to spend the holidays in Bavaria – that is from 4 July to
13/14 August. And since I would like to compose a lot, I must live very
peacefully and undisturbed. Preferably in a small, separate house.
It must also be a real residence, where not even the eye of a stranger
is admitted. Thus [it must be] completely self-contained. I have no idea
whether you have time to concern yourself with this matter. In any event,
I am sending you a "questionnaire," on which everything I desire is stated
precisely. What is particularly important to me I have marked in red.
You see that I am unfortunately very exacting. This is explained by the
fact that I must use the summer for work and it is therefore important
to me to have everything which is available in the way of rural pleasures
as dose as possible, since I will not be able to devote many hours of
the day to them; and: to live comfortably. It seems I must be getting
old, since I need so many conveniences.
I would be very glad if it were possible for you to pursue this matter
a little. If, on the other hand, you have no time, I would understand
that completely. It would be a great joy to me if we could be together
this summer.
Many kind regards to you and Miss Münter.
Your Arnold Schönberg
[Münter’s handwriting]
4 June 1914
Dear Mr. Schönberg – in haste –
I. Mrs. Anna Andre. House 2 -5 min. from the lake on the lake promenade.
Beautiful garden. A nice, small, brown dog, who perhaps barks rather a
lot, is included. The ground floor is rented to a family with three or
four well-behaved children, school-age boys and a younger gin. The second
floor is to let. Two rooms with four beds and one room with one bed, that
could also be made into a sitting room without a bed. Third floor – maid’s
room – storage space sufficient, or even good (it seems to me). Well-appointed
kitchen. Toilet on this floor – but not a water closet. Price 470 marks
(for two months – she doesn’t want rent in any other way). Running water.
II. On a spit of land in the lake, cosy, idyllic wooden cottage – a real
temporary summer dwelling. Very out-of-the-way, but not too lonely. Shared
use of boat and bathing. Approximate diagram on the next page.
[ground plan of the house by Münter]
The house is in the middle of a space with trees – right on the lake.
The site on which the cottage stands is not large, and also includes a
pond. There are eight beds in the house – it is not terribly comfortable.
Toilet without water. Good drinking water one minute from the house from
a flowing spring. Approximate diagram of the ground floor. The proportions
of the diagram are certainly wrong. Everything is very small. Up above,
there is also a balcony on the front. One wardrobe and one place with
a curtain to hang clothes and one rack. Price for the season 400 - 500,
but surely it could be had for 80 or 70 per week. Screens to keep out
the gnats at the lake will probably be provided. The young lady could
say nothing completely definite, but that is [nevertheless] certain. There
are only two of these tiny little houses. One is lived in by the landlord
and is situated somewhat farther from the lake and somewhat higher. Probably
it can easily get cool and damp so near the lake. Perhaps they would let
you have the other cottage where they are at present living themselves,
but it is somewhat smaller still – to make up for this it has a larger,
beautiful meadow-garden and a summerhouse. We find this last place charming
– if it is not too small. Built completely of wood – only the weather
side is sheathed with tin – with slate in II. Six beds in III. Layout
is similar to the other house. Address: Mrs. Seefried, Murnau. Villa Seefried.
IV. On the same spit of hand is a large house in a gigantic park-like
garden. A nice eccentric lives there and is visited by his relatives and
the ground floor is probably also rented. A piano is available, would
perhaps be given over to you? It can also be played in the people’s part
of the house, by way of exception. For your consideration the second floor.
Three rooms, five - six beds, kitchen – with all conveniences. The landlord
said 70 - 80 per week, as you require. Dog allowed only with precautions,
because there are tame animals and birds everywhere in the park which
are easily scared away. Private swimming place. Fishing, boat, sailboat,
tennis court, etc. – all for your use – rifle range, etc., etc. This is
a very beautiful place! There is a great rush and you are asked to give
your decision immediately as to which place you are considering.
Villa Wild – always in demand. In general it is already rather late and
most places are rented. On Seidlstrasse there is perhaps still something
– but that is far from the lake. The park is now five acres. Sun-bath.
Picture enclosed.
[at the margin of first page of letter]
Mr. Wild also owns Villa Achilles – he is willing to discuss the price
for five weeks – we haven’t seen it yet – write to him if you would rather
have Achilles to yourself than Villa Wild. See Villa Achilles on the list
of dwellings.
Berlin
6 June 1914
Dear Mr. Kandinsky,
or actually, as I conclude from the handwriting (in spite of the signature),
Dear Miss Münter, warmest thanks. Your answer pleases me very much.
All the more so as it means that in any case we will be together this
summer. For I have already made up my mind.
I would like the larger of the two wooden cottages (the one on the lake,
slate-covered, with eight beds and pond) – but is it really for exclusive
habitation??!! Piano and dog allowed, my existence permitted?? – for the
time from 4 July (day of arrival, in the morning) until 9 August inclusive
(departure morning of the 10th), if the landlady will provide it for 400
marks at the most. Of course I would prefer it, if you could persuade
her – by appealing to the fame that she could thereby win in the history
of music – to accept 50 or more marks less (I hope this Frau Seefried
is ambitious).
I could send a deposit by telegraph, in the event that you want to give
her one in advance – please send me notice by telegraph of how much is
necessary.
I am assuming that the kitchen is completely equipped for cooking.
Is there a place for the maid to sleep?
I would be very grateful if you would answer a couple of questions for
me:
I. How many habitable rooms does the house have?
II. Do you think that I can put an upright piano in the dining room?
Quite right: I have just read this letter once again, and see that I have
not expressed myself clearly.
I will therefore repeat:
Please be kind enough definitely to rent the above-mentioned house for
me, if the above stipulations (framed or underlined in blue) prove correct.
Please notify me of the agreement by telegraph. A stamped telegram is
enclosed.
I am very happy that I will be together with you, and thank you most warmly once more. Many kind regards,
Your Arnold Schönberg
Murnau
10 June 1914
Dear Mr. Schönberg,
So everything is arranged. I hope you will be satisfied. 50 marks received and today your telegraphic letter. Before we definitely decided to follow your latest instructions, we fought more than a little with doubts and hesitations Wild (Achilles) is near the lake, has its own bathhouse, a good garden, and the rooms are much (though not very much) larger than Staib’s. On the other hand: no stoves (kerosene was promised, which is known to have more effect on the nose than of the body temperature – and even July can be cold here sometimes), far from the village (shopping, doctor, pharmacy, which can be very important for children), not much of a view from house and garden, and finally 50-100 marks more expensive. At Staib’s: everything freshly painted and put in order (Achilles is in a very neglected state at the moment; the prospect of repairs was held out, but what if they should fail to take place?), a stove in every room, good beds, completely equipped kitchen (Achilles – incomplete), vast sweeping view, more opportunities for walks, a very nice landlord, pharmacy very near by, also doctors, situated almost in the village, but completely off the beaten track all the same. We (I?) only reported one thing wrongly: 15 minutes from the lake – correct, but for you (and perhaps for me, since I walk fast), but with children it will probably take 20 - 25 minutes. This point displeases me very much. To make up for it (aside from the money question), you are closer to people at Staib’s, but nevertheless more "solitary": your neighbours would be real Murnauers, who as a rule are nice and reserved. Achilles, however, lies on a spit of land which is like a little provincial town: nothing but educated neighbours, who generally like to stick their noses into other people’s business when they are cut off from the "world." In bad weather it would be too dismal there and perhaps damp and ... gnats. So we considered the matter repeatedly and stayed with Staib all the same. Now I will soon go to him (he doesn’t come home till about six), pay the 50 marks, and put the letter in the mailbox.
Many warm greetings to you and your family from both of us.
Your Kandinsky
[Münter’s handwriting]
[undated – between 10 and 25 June 1914]
Dear Mr. Schönberg,
Your landlord, Mr. Josef Staib, asks if you would be kind enough to give
him your arrival time well in advance. He wants to take time off from
work that day and pick you up at the station. He was of the opinion that
most of the people who come are usually females, who cannot walk around
with baggage, so he is glad to help. If you arrive early in the day, the
necessary changes in your accommodations can perhaps be made according
to your instructions – if, however, you arrive in the evening, people
should know beforehand which room you want to assign to the servant gin.
It seems to me it should be the upper one on the north side, since she
will certainly want to have sunshine for herself and the children. That
is, the north room has windows on the N, W, and E, and there are two beds
in it, but the one on the south side (built just like the north one),
see plan [here follows Münter’s small sketch], has one bed and a
sofa. The downstairs room has two beds. The best thing would be for you
to see and then decide for yourself, but if you will be arriving late,
please give us written orders and we will see to it.
We must send you back your fifty marks; they were not wanted here. Now,
until we meet again soon.
Kindest regards from house to house.
Yours truly, Gabriele Münter
[Münter wrote to Schönberg’s wife Mathilde on 25 June(?) 1914 about housekeeping details. On 1 July the latter answered: "We are already reproaching ourselves greatly for having caused you and Mr. Kandinsky so much trouble."]
[Editor’s note: The weeks which Schönberg and his family spent near Kandinsky during the summer of 1914 were interrupted by the outbreak of World War I. Kandinsky then returned to Russia and all contacts were broken off between the two until after Kandinsky’s return to Berlin in December 1921.]
Weimar
State Bauhaus
3 July 1922
My dear Schönberg,
I was very disappointed when I arrived in Berlin and heard that you were
no longer there. When our journey was first being planned, I rejoiced
to think that I would find you in Berlin. However, I was told: Schönberg
has left and will not be coming back any more. And letters are such an
awkward substitute. I had hoped that we would see each other very often
and discuss so many questions. Everything has really changed since our
time together in Bavaria. Much that was a daring dream at that time has
now become the past. We have experienced centuries. At times I am amazed
that anything from the "old" days is still to be seen. Here in Germany
I have been overwhelmed by new impressions. You know of course that we
lived in Russia for four years – seven in all – completely cut off from
the whole world and had no idea of what was taking place here in the West.
I came with mouth wide open and gulped and gulped – until I felt completely
different. I have not worked at all myself, and now lie buried under a
mountain of different tasks which I must quickly finish. There is so much
I must do that I do not know where to begin. But it is a lovely feeling
to have so much of one’s own work before one. In Russia I did a great
deal of work, but for the "public Good" my [own] work was always left
behind; I stole the time for it from the public Good. And I arrived so
drained and worn out that I was ill a whole month – could only lie down
and read stupid books.
Do write to me and tell me everything you’re doing. In Berlin I tried
to send your Theory of Harmony to the Russian Academy of Fine Arts through
the Russian Commission. However, up until now I have not succeeded – lack
of money at the Commission. The Russian musicians are hungry for your
book. We spoke of you a great deal at various meetings. A good friend
of mine, the young composer A. Shenshin, who also has a fine theoretical
mind, is particularly devoted to you. Perhaps he will come to Germany.
I shake your hand most warmly, and hope that you will soon tell me your news. Kindest regards to your family and associates. My wife sends you her best regards.
Your Kandinsky
My dear Kandinsky,
I’m very glad to have heard from you at long last. How often I’ve thought
of you with anxiety during these eight years! And how many people I have
asked about you, without ever getting any definite and reliable information.
You must have been through a great deal!
I expect you know we’ve had our trials here too: famine! It really was
pretty awful! But perhaps – for we Viennese seem to be a patient lot –
perhaps the worst was after all the overturning of everything one has
believed in. That was probably the most grievous thing of all.
When one’s been used, where one’s own work was concerned, to clearing
away all obstacles often by means of one immense intellectual effort and
in those 8 years found oneself constantly faced with new obstacles against
which all thinking, all power of invention, all energy, all ideas, proved
helpless, for a man for whom ideas have been everything it means nothing
less than the total collapse of things, unless he has come to find support,
in ever increasing measure, in belief in something higher, beyond. You
would, I think, see what I mean best from my libretto "Jacob’s Ladder"
(an oratorio) (Shall I send you the book? I’d like to know what you think
of it.): what I mean is – even though without any organizational fetters
– religion. This was my one and only support during those years – here
let this be said for the first time.
I can understand your being surprised by the artistic situation in Berlin.
But are you also pleased about it? Personally, I haven’t much taste for
all these movements, but at least I don’t have to worry that they’ll irritate
me for long. Nothing comes to a standstill sooner than these movements
that are brought about by so many people.
For the rest, all these people aren’t peddling their own precious skins,
but ours – yours and mine. I find it perfectly disgusting, at least in
music: these atonalists! Damn it all, I did my composing without any "ism"
in mind. What has it got to do with me?
I hope you’ll soon be able to get down to work. I think it’s precisely
these movements that can do with your putting some hindrances in their
way. – What are your plans? – How is your book Das Geistige in der Kunst
["On the Spiritual in Art"] getting on? I think of it because it appeared
at the same time as my Harmonielehre [Theory of Harmony], a much revised
new edition of which I am just sending to the printers. – It may interest
you to know I am at present working on "Jacob’s Ladder". I began it several
years ago, but had to break off work (at one of the most rapt passages)
in order to join the army. Since then I’ve never got back into the mood
to go on with it. It seems, however, that it is meant to go ahead this
year. It will be a big work: choir, solo voices, orchestra. Apart from
that I plan to write a smaller theoretical book, Lehre vom musikalischen
Zusammenhang [Theory of Musical Unity], which has also been in my mind
for several years and which is always being postponed – probably because
it hasn’t yet matured. For the rest: chamber music, etc. Further, I am
thinking about a Theory of Composition, for which I’ve been making preliminary
studies for years now.
Well, now I’ve gone jabbering on like a small child, which I actually
stopped being some decades ago. But that’s the way it is with letter-writing:
by the time one’s warmed up, one is also worn out.
Will you be able to come to Austria one of these days? I’d very much like
to see you.
In any case I hope to hear from you more often now; it does me a lot of
good. I greet you most warmly [. . .] also your wife. Greetings as well
from my wife and daughter, now Mrs. Gertrud Greissle (née Schönberg).
My boy is already an enthusiastic football player, who is making my name
known in wider circles – I am the father of Georg Schönberg, the
well-known football player.
Many, many kind regards,
Arnold Schönberg
N.B.: My Theory of Harmony has been out of print for three years (I have
been working almost that long, with interruptions, on the new edition);
that is why you can’t buy it anywhere. I will send it to you as soon as
it is published.
Dear friend,
Your letter gave me much pleasure, and only the frantic tempo of present-day life can explain my long silence. It is exactly like a bad dream – you want to jump on to a departing train, run with all your might, but your legs cannot keep up with you so fast. I thought at first that this was only a Russian way of living, and hoped to find another life here – with more possibility for concentration. In Berlin I led a particularly hurried life, which I regarded as temporary, since I hoped to find sufficient peace in "quiet Weimar". This was an illusion, however. I never can accomplish half of what I would like to. And all the same it is nice here: there are many possibilities and above all the possibility of forming a center that can radiate out and ignite others. But to do this, prominent forces beyond our restricted circle are necessary. How often I have said to myself: "if only Schönberg were here!" And imagine, now he could perhaps come, since a circle has formed here which has a certain influence on the necessary authorities. Perhaps the decision only depends on you. In confidence: the music school here is to get a new director. And so we immediately thought of you. Do write to me as immediately as possible, whether you would be agreeable just in principle. If the answer is yes, then we will immediately set to work with a will.
Many warm greetings to you and your family, from my wife as well. As ever, your Kandinsky
Has the new edition of your Theory of Harmony appeared? The Russian musicians
await it eagerly.
Mödling bei Wien
Bernhardgasse 6
19 April 1923
Dear Mr. Kandinsky,
If I had received your letter a year ago I should have let all my principles
go hang, should have renounced the prospect of at last being free to compose,
and should have plunged headlong into the adventure. Indeed I confess:
even today I wavered for a moment: so great is my taste for teaching,
so easily is my enthusiasm still inflamed. But it cannot be.
For I have at last learnt the lesson that has been forced upon me during
this year, and I shall not ever forget it. It is that I am not a German,
not a European, indeed perhaps scarcely even a human being (at least,
the Europeans prefer the worst of their race to me), but I am a Jew.
I am content that it should be so! Today I no longer wish to be an exception;
I have no objection at all to being lumped together with all the rest.
For I have seen that on the other side (which is otherwise no model so
far as I’m concerned, far from it) everything is also just one lump. I
have seen that someone with whom I thought myself on a level preferred
to seek the community of the lump; I have heard that even a Kandinsky
sees only evil in the actions of Jews and in their evil actions only the
Jewishness, and at this point I give up hope of reaching any understanding.
It was a dream. We are two kinds of people. Definitively!
So you will realize that I only do whatever is necessary to keep alive.
Perhaps some day a later generation will be in a position to indulge in
dreams. I wish it neither for them nor for myself. On the contrary, indeed,
I would give much that it might be granted to me to bring about an awakening.
I should like the Kandinsky I knew in the past and the Kandinsky of today
each to take his fair share of my cordial and respectful greetings.
[No signature on Schönberg‘s carbon copy]
Dear Mr. Schönberg,
Yesterday I received your letter, which shocked and grieved me extraordinarily.
In earlier days I would never have been able to suppose that we – of all
people – could write to each other in such a way. I do not know who, and
why, someone was interested in upsetting and perhaps definitively destroying
our (as I certainly thought) enduring, purely human relationship. You
write "definitively"! Whom would that benefit?
I love you as an artist and a human being, or perhaps as a human being
and an artist. In such cases I think least of all about nationality –
it is a matter of the greatest indifference to me. Among my friends who
have been tested through many years (the word "friend" has a great meaning
for me, so I seldom use it) are more Jews than Russians or Germans. With
one of these I have a firm relationship that began when I was in grammar
school, and thus has lasted forty years. Such relationships go on until
"the grave."
When I didn’t find you in Berlin – after my return to Germany – I was
very depressed, because I had looked forward for years to our reunion.
If I had met you in Berlin, we probably would have discussed, along with
many other urgent questions, the "Jewish problem" as well. I would like
so much to hear your opinion about it. There are times when "the devil"
scrambles up to the surface and seeks out brains and mouths suitable for
his activities. Since every nation has particular characteristics which
can move in a particular orbit, there are sometimes, in addition to "possessed"
human beings, "possessed" nations. This is a sickness which can also be
cured. During this sickness two dreadful characteristics appear: negative
(destructive) power and the lie, which also brings about destruction.
Surely you understand me? Only thus far can "lumping together" be spoken
of. Neither of us belong in the lump, and the sorriest sight would be
for us to mutually push each other into a lump. If one is not suited to
life in a lump, one can at least reflect on one’s nation cold-bloodedly,
or with pain, but always objectively, and examine its innate qualities
and the temporary variations in these qualities.
Such questions should only be spoken about by human beings who are free.
Unfree men misunderstand such questions and the consequence is gossip.
Why didn’t you write to me at once when you heard of my remarks? You could
have written to me that you objected to these remarks.
You have a frightful picture of the "Kandinsky of today": I reject you
as a Jew, but nevertheless I write you a good letter and assure you that
I would be so glad to have you here in order to work together! Dear Mr.
Schönberg, before you say "definitively" just think over whether
it is possible to send such a "[Kandinsky] of today" respectful regards.
Surely the "dis-" is missing there.
We, so few of us, who can be inwardly free to some extent, should not
permit evil wedges to be driven in between us. This piece of work is also
a "black" work. One must resist it.
I do not know whether I have been able to describe my feelings clearly
enough. It is no great fortune to be a Jew, Russian, German, European.
Better to be a human being. But we should strive to be "supermen". That
is the duty of the few.
Even if you disassociate yourself from me, I send you kindest regards and the expression of my high esteem.
Kandinsky
[At the top of page 2 of Schönberg’s carbon
copy:]
Written without first draft
Mödling
4 May 1923
Dear Kandinsky,
I address you so because you wrote that you were deeply moved by my letter.
That was what I hoped of Kandinsky, although I have not yet said a hundredth
part of what a Kandinsky’s imagination must conjure up before his mind’s
eye if he is to be my Kandinsky! Because I have not yet said that for
instance when I walk along the street and each person looks at me to see
whether I’m a Jew or a Christian, I can’t very well tell each of them
that I’m the one that Kandinsky and some others make an exception of,
although of course that man Hitler is not of their opinion. And then even
this benevolent view of me wouldn’t be much use to me, even if I were,
like blind beggars, to write it on a piece of cardboard and hang it round
my neck for everyone to read. Must not a Kandinsky bear that in mind?
Must not a Kandinsky have an inkling of what really happened when I had
to break off my first working summer for 5 years, leave the place I had
sought out for peace to work in, and afterwards couldn’t regain the peace
of mind to work at all. Because the Germans will not put up with Jews!
Is it possible for a Kandinsky to be of more or less one mind with others
instead of with me? But is it possible for him to have even a single thought
in common with HUMAN BEINGS who are capable of disturbing the peace in
which I want to work? Is it a thought at all that one can have in common
with such people? And: can it be right? It seems to me: Kandinsky cannot
possibly have even such a thing as geometry in common with them! That
is not his position, or he does not stand where I stand!
I ask: Why do people say that the Jews are like what their black-marketeers
are like?
Do people also say that the Aryans are like their worst elements? Why
is an Aryan judged by Goethe, Schopenhauer and so forth? Why don’t people
say the Jews are like Mahler, Altenberg, Schönberg and many others?
Why, if you have a feeling for human beings, are you a politician? When
a politician is, after all, someone who must not take any count of the
human being but simply keep his eyes fixed on his party’s aims?
What every Jew reveals by his hooked nose is not only his own guilt but
also that of all those with hooked noses who don’t happen to be there
too. But if a hundred Aryan criminals are all together, all that anyone
will be able to read from their noses is their taste for alcohol, while
for the rest they will be considered respectable people.
And you join in that sort of thing and "reject me as a Jew". Did I ever
offer myself to you? Do you think that someone like myself lets himself
be rejected! Do you think that a man who knows his own value grants anyone
the right to criticize even his most trivial qualities? Who might it be,
anyway, who could have such a right? In what way would he be better? Yes,
everyone is free to criticize me behind my back, there’s plenty of room
there. But if I come to hear of it he is liable to my retaliation, and
no quarter given.
How can a Kandinsky approve of my being insulted; how can he associate
himself with politics that aim at bringing about the possibility of excluding
me from my natural sphere of action; how can he refrain from combating
a view of the world whose aim is St Bartholomew’s nights in the darkness
of which no one will be able to read the little placard saying that I’m
exempt! I, myself, if I had any say in the matter, would, in a corresponding
case, associate myself with a view of the world that maintains for the
world the right view of the 2 - 3 Kandinsky’s that the world produces
in a century – I should be of the opinion that only such a view of the
world would do for me. And I should leave the pogroms to the others. That
is, if I couldn’t do anything to stop them!
You will call it a regrettable individual case if I too am affected by
the results of the anti-Semitic movement. But why do people not see the
bad Jew as a regrettable individual case, instead of as what’s typical?
In the small circle of my own pupils, immediately after the war, almost
all the Aryans had not been on active service, but had got themselves
cushy jobs. On the other hand, almost all the Jews had seen active service
and been wounded. How about the individual cases there?
But it isn’t an individual case, that is, it isn’t merely accidental.
On the contrary, it is all part of a plan that, after first not being
respected on the ordinary conventional road, I now have to go the long
way round through politics into the bargain. Of course: these people,
to whom my music and my ideas were a nuisance, could only be delighted
to find there is now one more chance of getting rid of me for the time
being. My artistic success leaves me cold, you know that. But I won’t
let myself be insulted!
What have I to do with communism? I’m not one and never was one! What
have I to do with the Elders of Zion? All that means to me is the title
of a fairytale out of a Thousand and One Nights, but not one that refers
to anything remotely as worthy of belief.
Wouldn’t I too necessarily know something of the Elders of Zion? Or do
you think that I owe my discoveries, my knowledge and skill, to Jewish
machinations in high places? Or does Einstein owe his to a commission
from the Elders of Zion?
I don’t understand it. For all that won’t stand up to serious examination.
And didn’t you have plenty of chance in the war to notice how much official
lying is done, indeed that official talk is all lies. How our brain, in
its attempt to be objective, shuts down on the prospect of truth forever.
Didn’t you know that or have you forgotten?
Have you also forgotten how much disaster can be evoked by a particular
mode of feeling? Don’t you know that in peace-time everyone was horrified
by a railway-accident in which four people were killed, and that during
the war one could hear people talking about 100,000 dead without even
trying to picture the misery, the pain, the fear, and the consequences?
Yes, and that there were people who were delighted to read about as many
enemy dead as possible; the more, the more so! I am no pacifist; being
against war is as pointless as being against death. Both are inevitable,
both depend only to the very slightest degree on ourselves, and are among
the human race’s methods of regeneration that have been invented not by
us, but by higher powers. In the same way the shift in the social structure
that is now going on isn’t to be lodged to the guilty account of any individual.
It is written in the stars and is an inevitable process. The middle classes
were all too intent on ideals, no longer capable of fighting for anything,
and that is why the wretched but robust elements are rising up out of
the abysses of humanity in order to generate another sort of middle class,
fit to exist. It’s one that will buy a beautiful book printed on bad paper,
and starve. This is the way it must be, and not otherwise – can one fail
to see that?
And all this is what you want to prevent. And that’s what you want to
hold the Jews responsible for? I don’t understand it!
Are all Jews communists? You know as well as I do that that isn’t so.
I’m not one because I know there aren’t enough of the things everyone
wants to be shared out all round, but scarcely for a tenth. What there’s
enough of (misfortune, illness, beastliness, inefficiency and the like)
is shared out anyway. Then, too, because I know that the subjective sense
of happiness doesn’t depend on possessions; it’s a mysterious constitution
that one either has or has not. And thirdly because this earth is a vale
of tears and not a place of entertainment, because, in other words, it
is neither in the Creator’s plan that all should fare equally well, nor,
perhaps, has it any deeper meaning at all. Nowadays all one needs is to
utter some nonsense in scientific-journalistic jargon, and the cleverest
people take it for a revelation. The Elders of Zion – of course; it’s
the very name for modern films, scientific works, operettas, cabarets,
in fact everything that nowadays keeps the intellectual world going round.
The Jews do business, as business-men. But if they are a nuisance to their
competitors, they are attacked; only not as business-men, but as Jews.
As what then are they to defend themselves? But I am convinced that they
defend themselves merely as business-men, and that the defense as Jews
is only an apparent one. I.e., that their Aryan attackers defend themselves
when attacked in just the same way, even though in somewhat other words
and by adopting other (more attractive???) forms of hypocrisy; and that
the Jews are not in the least concerned with beating their Christian competitors,
but only with beating competitors! and that the Aryan ones are in exactly
the same way out to beat any competitors; and that any association is
thinkable among them if it leads to the goal, and every other contradiction.
Nowadays it is race; another time I don’t know what. And a Kandinsky will
join in that sort of thing?
The great American banks have given money for communism, not denying the
fact. Do you know why? Mr. Ford will know that they aren’t in a position
to deny it: Perhaps if they did they would uncover some other fact much
more inconvenient to them. For if it were true, someone would long ago
have proved it is untrue.
WE KNOW ALL THAT! THAT‘S THE VERY THING WE KNOW FROM OUR OWN EXPERIENCE!
Trotsky and Lenin spilt rivers of blood (which, by the way, no revolution
in the history of the world could ever avoid doing!), in order to turn
a theory – false, it goes without saying (but which, like those of the
philanthropists who brought about previous revolutions, was well meant)
– into reality. It is a thing to be cursed and a thing that shall be punished,
for he who sets his hand to such things must not make mistakes! But will
people be better and happier if now, with the same fanaticism and just
such streams of blood, other, though antagonistic, theories, which are
nevertheless no more right (for they are of course all false, and only
our belief endows them, from one instance to the next, with the shimmer
of truth that suffices to delude us), are turned into reality?
But what is anti-Semitism to lead to if not to acts of violence? Is it
so difficult to imagine that? You are perhaps satisfied with depriving
Jews of their civil rights. Then certainly Einstein, Mahler, I and many
others, will have been got rid of. But one thing is certain: they will
not be able to exterminate those much tougher elements thanks to whose
endurance Jewry has maintained itself unaided against the whole of mankind
for 20 centuries. For these are evidently so constituted that they can
accomplish the task that their God has imposed on them: To survive in
exile, uncorrupted and unbroken, until the hour of salvation comes!
The anti-Semites are, after all, world-reforming busybodies with no more
perspicacity and with just as little insight as the communists. The good
people are Utopians, and the bad people: business-men.
I must make an end, for my eyes are aching from all this typing ... I
had to leave off for a few days and now see that morally and tactically
speaking I made a very great mistake.
I was arguing! I was defending a position!
I forgot that it is not a matter of right and wrong, of truth and untruth,
of understanding and blindness, but of power; and in such matters everyone
seems to be blind, in hatred as blind as in love.
I forgot, it’s no use arguing because of course I won’t be listened to;
because there is no will to understand, but only one not to hear what
the other says.
If you will, read what I have written; but I do ask that you will not
send me an argumentative answer. Don‘t make the same mistake as I made.
I am trying to keep you from it by telling you: I shall not understand
you; I cannot understand you. Perhaps a few days ago I still hoped that
my arguments might make some impression on you. Today I no longer believe
that and feel it as almost undignified that I uttered any defense.
I wanted to answer your letter because I wanted to show you that for me,
even in his new guise, Kandinsky is still there; and that I have not lost
the respect for him that I once had. And if you would take it on yourself
to convey greetings from me to my former friend Kandinsky, I should very
much wish to charge you with some of my very warmest, but I should not
be able to help adding this message:
We have not seen each other for a long time; who knows whether we shall
ever see each other again; if it should, however, him out that we do meet
again, it would be sad if we had to be blind to each other. So please
pass on my most cordial greetings.
[No signature on Schönberg’s carbon copy]
[Picture postcard from Juan les Pins, "La Girelle", to Schönberg
in Roquebrune, Cap Marta, Pavillon Sévigné.]
18 [May?] 1928
And indeed "chance" has brought us to the same region at any rate. Originally we wanted to go on farther along the ocean, but the heat and the beautiful countryside have kept us here. How would it be if you and your good wife were to visit us here? Kind regards,
Your Kandinsky
Do you know Juan les Pins? If not, then you must get to know it. It will be very nice if you visit us. Write to us beforehand.
Your Nina Kandinsky
Neuilly sur Seine (Seine)
135 Bd. de la Seine
France
1 July 1936
Dear Mr. Schönberg,
I was very happy to get a few lines from you through Mr. Danz. He visited
me a few days ago and made a very interesting impression on me. He also
gave me his book Zarathustra, which I have already read some of (it is
not so easy for me to read a lot of English), and where I repeatedly came
across your name accompanied by what I find to be very successful character
sketches.
I made repeated inquiries to Mme Scheyer about you and how you are doing,
and know that you are really doing splendidly, which gave me real pleasure.
Mr. Danz confirmed the earlier information and said you were now a (or
rather "the") dictator of music in California. Wonderful! I hope that
you yourself are happy with this appointment, [and] also your dear wife.
Both of us – you and I – have for many years led a really "active" life
– one just rushed around and often out. We do really have a little right
to some peace. Let us modestly say "relative" peace. My wife and I will
soon have been in Paris for three years, where we hoped to find this relative
peace. Actually we have it, although it is perhaps somewhat too relative:
there were a couple of times when we asked ourselves whether to "pack
our bags again". As regards myself, I have already packed them three limes
and think "all good things come in threes" – so . . . Now unfortunately
the Russians say "a (farm) house cannot be built without four corners."
So?
After I arrived here, I had a wonderful feeling of freedom. Twofold freedom
– external and inner – just because after fourteen years of teaching I
suddenly had no more fixed obligations. My wish would be to keep it, to
preserve it further, not to lose it any more. That unfortunately depends
upon [one’s] purse. In the good days before the time of crisis I had "put
something aside" from which we now live, for the most part, since current
sales would not be sufficient. So one is "eating up" one’s "capital".
But I hope that "Justice" will also remember artists at some point. Defenceless
artists who cannot even paint. Especially in Paris, there are other dark
sides as well, which cannot always be avoided. We live a rather retired
life here, that is, I in particular try to keep myself as far as possible
from "artistic politics", also from too close communication with colleagues.
But art politics is like a gnat, since if it is not actually small, it
is nevertheless petty and possesses the evil ability to slip through the
smallest keyhole. Communication with colleagues . . . I do not need to
tell you about. Still, we have our more intimate circle, which is very
congenial and very international. Otherwise one gets to see many foreigners
who come to Paris in the tourist season ([which is] right now, in summer),
and who are sometimes worthwhile and pleasant.
One can work very well here, which is the "sunny side" of Paris. Both
sorts of colour – physical and spiritual – are very stimulating here.
By spiritual I don’t really mean the painting that is done here, but rather
the spiritual atmosphere of Paris – God knows where it comes from or of
what it consists.
Indefinable. Of course the confusion and juxtapositions here suit the
Slavic soul. Surely in no other land could one hear an explanation of
a police decree such as I heard from a French policeman here: "Monsieur,
it’s idiotic – but that’s nevertheless the way it is". Here everything
lives at the same time – the oldest tradition and the avant-garde – side
by side. The Frenchman wants at the same time to "be left in peace" and
to revolutionize. He can flare up furiously and immediately afterwards
become profoundly good-natured. And that is reflected in everything –
confusion – juxtaposition. You know Paris, of course? Even externals reflect
the inner situation clearly – just take for example the wild contrasts
between houses (which cannot always be called houses, but Heaven only
knows what) in the so-called "decent" streets – a palace and right beside
it a "witch’s cottage" that slowly but surely for years has been falling
into ruin. Or: here it is thought unnecessary to remove old posters –
the rain will take care of it one day – and so you may see a fresh-looking
poster advertising a concert that took place a year ago. You ask a bus
conductor for the timetable of his line and get as an answer "yes, you
know, that varies". But how it "varies" you will scarcely find out from
anyone. One loses one’s temper, laughs and accepts it. For a true German,
such a state of affairs would be death.
Do you still remember, dear Mr. Schönberg, how we met – I arrived
on the steamer wearing short Lederhosen and saw a black-and-white graphic
– you were dressed completely in white and only your face was deeply tanned.
And later the summer in Murnau? All our contemporaries from that time
sigh deeply when they remember that vanished epoch and say: "That was
a beautiful time". And it really was beautiful, more than beautiful. How
wonderfully life pulsated then, what quick spiritual triumphs we expected.
Even today I expect them, and with the most complete certainty. But I
know that a long, long time will still be necessary.
The report which you requested from me has become long and detailed. I
shall wait for you to "return the favor". In the meantime, many very kind
regards, to your wife as well, in which my wife joins just as warmly.
Your Kandinsky
Yes, it would be lovely to come to America, even if only for a visit.
I have been planning it for years. But even apart from the not inconsiderable
costs there have always been all kinds of obstacles until now. During
the first years after emigration, I didn’t want to leave Paris at all,
in order to enjoy and turn to account as fully as possible the freedom
to work which had finally come. But the dream of some day seeing America
will persist.
