A bibliographical presentation of all the works of Arnold Schoenberg. What Kochel and Einstein did for Mozart, this author has done for Schoenberg. He has had access to Schoenberg's papers and scrupulously catalogued the legacy of the composer who has been described as the father of the new music of the twentieth century. Schoenberg's published and unpublished works, his editions and arrangements, his sketches and drafts, are meticulously documented in chronological sequence within clearly defined groups. In many cases, we can trace the composition of a work from its first stages to its ultimate shape. Letters in which Schoenberg himself has things to say about a particular work form part of the author's text. Thu the voice of the composer is heard throughout the book. Schoenberg was a many-sided artist and the author has not neglected to list his literary works, his many books and articles, and his remarkable paintings. For the student of Schoenberg, this book is an indispensable source of information. But its appeal is also much wider. From so fully illustrated a catalogue of works, there emerges an amazingly faithful portrait of the man and his music. As one moves from one historic composition to another - Pierrot lunaire, the five orchestral pieces, Moses and Aaron, a vivid impression is given of history in the making.

In 1997, twenty-five years after its first publication, Thematic Catalogues in Music-An Annotated Bibliography (Pendragon Press, 1972) appeared in a completely revised and expanded Second Edition. It contains almost twice as many entries as its predecessor; virtually every one of the original entries has been updated; and the following noteworthy features have been added.1. A second introductory essay detailing trends and innovations in thematic cataloguing brought about by the revolution in technology of the past twenty years. 2. Appendices listing thematic catalogues in series; both by national organizations and publishers; a detailed up-to-date, country-by-country report of activities worldwide; a listing of major computerized databanks. 3. New double-column format. 4. Numerous illustrations and reproductions of pages from thematic catalogues of historical significance. The second edition continues the policy of listing all known thematic catalogues and indexes, including those in doctoral dissertations, masters essays, and computer databanks, as well as in-progress and unpublished works, plus reviews, and literature about thematic cataloguing. The original numbering of the 1972 entries has been retained, with new items appearing in proper alphabetical/chronological sequence but with the addition of decimal numbers and/or letters (363.1 or 960a). Lastly, the original historical introduction and special appendices of the first edition have been retained with emendations where needed.

Excerpt from Catalogue of Early Books on Music (Before 1800) The "musical renaissance" movement is placing ever increasing treasures of olden time music before us in the form of "Denkmaler" and similar, more or less, monumental publications, edited by competent musical scholars. Thus the old masters of music are again accessible to libraries which could not and can not acquire them in the very costly and scarce original editions, and this remark applies for obvious reasons to practically all American libraries. While therefore the evolution of modern music may be fairly well reconstructed through the medium of these modern editions of old music, it is entirely different with the old books on music in which there lies stored such a great wealth of historical suggestion and fact. They are not accessible in reprint, if we except certain works by standard authors - I mention at random Altenburg, Agricola, St. Augustine, Bach, Blankenburgh, Boethius, Diruta, Glarean, Hawkins, Mattheson, Parfaict, Praetorius, Quantz, Ramos de Pareja, Schlick, Virdung, Zacconi. Confronted by this fact, the Library of Congress, immediately after the reorganization of the Music Division in 1902, undertook systematically to collect the old books on music in the original (because practically, only available) editions. In the short space of ten years it was, of course, impossible to acquire every rare book of moment and in some instances this was due less to rarity than to prohibitive cost. Fortunately, a few such books are available either in modern reprints at the Library of Congress, or they found their way years ago, when prices were less exasperating, to other American libraries, principally the Boston Public, the New York Public and the Newberry Library of Chicago. It would be unsafe to assume that an old book on music is not to be found in America because it happens to be wanting here in the largest American collection of the kind. Possibly, if fortune favors us, certain annoying gaps in our own collections, annoying because of the otherwise comprehensive character of the collections, will gradually disappear. But, whether or not fortune will so favor us, it was felt that the publication of a catalogue of the old books on music already in the Library of Congress - probably more than a third of the entire output before 1800 - had become advisable in the interest of musicology at home and abroad. One point, however, should not be overlooked. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.