Abstract
Arnold Schoenberg Correspondence, comprising selected unpublished letters written between 1903 and 1950, is an engaging read. Within a broad framework, the correspondence chosen ill umi nates two lesser known facets of Schoenberg's musical persona, namely, an interest in Viennese Baroque music - demonstrated in the composition of basso continuo realisations and cadenzas for works by G.M. Monn, J.C. Monn and F. Tuma, and the composition of a violoncello concerto in D major after G.M. Monn - and a penetrating insight into the nature of his musical taste as revealed in exchanges with Olin Dowries and Aaron Copland.