* vol. XVII, numbers 1&2, June & November 1994, Los Angeles, 1995. Edited by Paul Zukofsky and copiously annotated and documented by Moshe Lazar and R. Wayne Shoaf, the double issue is entirely dedicated to Der biblische Weg. It was the principal source for the account of Schoenberg's drama which the present author contributed to the programmebook for the 1998 world première in Vienna of Propheten. In revising that account for the present occasion, the author has been much indebted to Ringer's, Alexander important book, Arnold Schoenberg: Tlie Composer as Jew (Oxford, 1990)Google Scholar, which among other things drew his attention to Werfel's Schoenberg-tribute. It is Professor Ringer who – observing every nuance of the German word ‘Weg’ and of Schoenberg's highly characteristic and idiosyncratic reading of the Old Testament – translates Schoenberg's title as ‘The Path of the Bible’, as distinct from ‘The Biblical Way’ favoured by the Schoenberg Institute.

* Speak Low (When You Speak Love): Tlie Letters of Kurt Weill and Lotte Lenya, edited and translated by Symonette, Lys and Kowalke, Kim H., London, Berkeley, 1996 Google Scholar.

† Author's, translation. The Symonette-Kowalke version in Speak Low (op.cit., pp.144–5)Google Scholar significantly alters the sense by substituting the adjective ‘tendentious’ for the noun which is the obvious translation of Tendenz, and is therefore obliged to remove the diacritic marks which are part of the sense, as mere tendentiousness is not. ‘Tendenzdichtung’ has an honourable place in the history of literature and drama (Schiller, Ibsen, Wedekind, etc. etc.); and although by definition its main purpose is to propagate specific ideas relating to problems of politics, religion, or society (cf. Schoenberg's description of Der biblisclie Weg as ‘ein Tendenzstück’) its claim to be more than mere propaganda, that is, to have some intellectual and literary content, presupposes a certain imaginative and intellectual openness – not at all the same as being tendentiously and perhaps covertly one-sided or reductionist.

* See Ringer, op.cit., pp.75–81 Google Scholar, for an invaluable discussion of the melody, its historical origins, and the uses Schoenberg made of it in his work of the same name and in other works, notably the Fourth Quartet.

† Der Weg/der Verheissung/ein Bibelspiel/von/Franz Werfel (Vienna, 1935)Google Scholar.

* See Tempo 206, September 1998, p.19.

* Sokel, Walter F., Vie Writer in Extremis, Stanford, 1967, p.228 Google Scholar.

* As far as the evidence of Lenya's tnie stature and natural gifts are concerned, two remarkable publications coinciding with her own centenary last October will be found invaluable: LENYA The Legend: A Pictorial Autobiography, edited and introduced by Farneth, David (Thames & Hudson, London 1998)Google Scholar; and LENYA, a magnificent production published by Bear Family Records (Germany) and containing in addition to Lenya's complete recordings on 13 CDs a very substantial hard-cover volume of documentation and pictures. Thanks to Farneth's meticulous editing of the ‘Pictorial Autobiography’ and the combined efforts of the many contributors to the Bear Family album, our present knowledge and understanding of Weill's lifelong if sometimes intermittent and wayward partner is much enhanced.