We are continuing our insights into Schönberg’s daily and weekly routines with transcriptions and indexing of his calendars for 1918 and 1919; they are now accessible via our image archive.

The calendars provide overviews of his social activities, lists of addresses, miscellaneous notes, musical sketches and class schedules documenting his teaching work, both private and at the Composition Seminar at the Schwarzwald Schools in Vienna. The class schedule shown here at left names some of his pupils in 1918/19: Hugo Breuer, Karl Rankl, Olga Novakovic, Josef Rufer, Fritz Kaltenborn, Josef Travnicek, Max Deutsch and Franz Wittenberg.

Some of the pupils took on administrative and artistic functions in the Verein für musikalische Privataufführungen [Society for Private Musical Performances], which Schönberg founded in 1918. The idea for the society was born after 10 successful open rehearsals of his Op. 9 Chamber Symphony, held in the small concert hall of the Vienna Musikverein in June 1918.

A calendar entry (below right) refers indirectly to the public rehearsals. At the bottom right, Schönberg notes the name “Dr. Brons[c]ia | Koller | Oberwaltersdorf | a[n]/d[er] Aspangbahn.”

A letter from Schönberg’s pupil Alban Berg to his wife Helene dated 5 June 1918 documents the guests at the open rehearsals; they included the Schönberg family, as well as the painter Broncia Koller-Pinell and her son, Johannes Itten, Alma and Anna Justine Mahler, Franz Werfel, Adolf Loos, Elsie Altmann, Hugo Kauder and Erwin Ratz.

Schönberg knew works by Broncia Koller-Pinell from the Vienna Art Shows he had seen in 1908 and 1909, and possibly from an exhibition in the Miethke Gallery in 1911. There is no ascertainment that he visited Koller-Pinell’s home in Oberwaltersdorf, but it would have been easy to reach Oberwaltersdorf from Mödling, where Schönberg had been living with his family since 1918, via the Aspangbahn, changing trains at Biedermannsdorf. Although the main period of his visual art activity was several years behind him in 1918, Schönberg still painted sporadically (Self Portrait of May 1918) and continued to be close to the arts scene. Koller-Pinell’s salon included such luminaries as Egon Schiele (whose portrait Schönberg had painted the previous year), as well as Josef Hoffmann and Kolo Moser, who had both contributed in refurbishing the former estate house in Oberwaltersdorf.