In the beginning, relations between Mahler and Schoenberg seem to have been somewhatstormy. In fact, there were not only frictions of character between Schoenberg and Mahler, but also substantial differences in their conception of composition. In contrast to the prevalent opinion expressed in the copious literature on the topic, the relationship between Schoenberg and Mahler resembled that of two composers who were fundamentally alien to each other musically, but who, through human solidarity, a common ethical view of uncompromising artistic coherence and a closeness that grew over the years, decided to approach each other compositionally as well. Several examples from Schoenberg’s works will be shown in the chapter to substantiate this thesis.

Performers have played a crucial role not only in communicating Schoenberg’s music and musical thought to a wider audience, but also in framing expectations and reception. This chapter places Schoenberg in a Romantic context of aesthetic, not least emotional, expectations and of exacting extension of performance possibilities and requirements, and suggests that some of the difficulties Schoenberg’s music experienced with audiences may be attributed to inadequate performance or to the unwillingness of musicians to perform it. Various performances of Schoenberg’s music are considered, starting with Schoenberg himself, taking in artists such as Alexander Zemlinsky, Marie Gutheil-Schoder, Eduard Steuermann, Marya Freund and Rudolf Kolisch, and concluding with conductor advocates such as Hans Rosbaud and, posthumously, Pierre Boulez.

This chapter considers the crucial role Alexander Zemlinsky played in exposing Central European audiences to the music of Schoenberg and other musical modernists. From the early years in Vienna, through his tenures in Prague and Berlin and up to his emigration to the United States, Zemlinsky consistently programmed new works as a conductor and offered practical assistance and spiritual camaraderie behind the scenes. He was also an inspiring figure as a teacher and composer, first for Schoenberg and later for their many mutual students and colleagues. Despite various strains and breaks in their personal relationship, Zemlinsky remained a steadfast public ally for Schoenberg and members of his circle, sharing in and preparing the way for their struggles and successes.