As a young artist & music scholar, I had a great fascination with the Second Viennese School since I was 18yrs old going into my sophomore year of Music college.
I currently am publishing a short ebook about Wozzeck on smashwords titled Aspects of Schoenberg and Berg in Wozzeck.
However I am omitting my more Occultic speculations.
One such, major, speculation is how Arnold Schoenberg was superstitious of the number thirteen. His avoidance of "acknowledging" the number itself is much like floors of a building left blank for use. Instead, he renames them and skips the idea deliberately.
It is an observation that his infamous Matrix for the twelve tone row is a 12x12 square. Much like the standard 12x13 magic square used in the enochoian magic system.
The magic square is a basis for some Occultic superstitions that Schoernberg observed religiously. Thus the concepts of inversion & retrograde can be mirrored by triangles for Earth of fire and fire of water in imagery linked to Schoernberg's self portrait painting he entitled South - North.
Akin to the triangles of the magical system with colors, an entirely different realm of magical system evolves in the tone row as he sets the code.
Though it may be entirely coincidental and from the original play of Woyzeck... I could not ignore the similarities. And if he took ideas from enochian magic coding concepts to impose in his music.
Thus the red moon symbolises Earth of fire where blood flows under the red moon shining. And fire of water where the spirit is drowned.
Though my book is a somewhat futile look through the composer's eyes for perspective on the Second Viennese School, it was well researched for the small nuggets of Berg's life he interjected into the work. It parallels more to Les Miserables a soldier's and citizens view of his surroundings. An opera for the soldier and commoner, yet written with demanding musical techniques for the vocalist and atonality or dissonance to the untrained ear.
