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・ Heinrich I von Müllenark
・ Heinrich Ignaz Franz Biber
・ Heinrich II of Virneburg
・ Heinrich II von Rotteneck
・ Heinrich Isaac
・ Heinrich Isaacks
・ Heinrich Isser
・ Heinrich IV, Prince Reuss of Köstritz
・ Heinrich IX, Count Reuss of Köstritz
・ Heinrich Jacob Aldenrath
・ Heinrich Jacob Bashuysen
・ Heinrich Jacob Goldschmidt
・ Heinrich Jacobi
・ Heinrich Jacoby
・ Heinrich Jakob Fried
Heinrich Jalowetz
・ Heinrich James
・ Heinrich Jansen
・ Heinrich Jasper (biologist)
・ Heinrich Johann Nepomuk von Crantz
・ Heinrich Joseph Dominicus Denzinger
・ Heinrich Joseph Floss
・ Heinrich Joseph Johann of Auersperg
・ Heinrich Joseph von Collin
・ Heinrich Joseph Wetzer
・ Heinrich Jost
・ Heinrich Julian Schmidt
・ Heinrich Julius Holtzmann
・ Heinrich Jung
・ Heinrich Kaan


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Heinrich Jalowetz : ウィキペディア英語版
Heinrich Jalowetz
Heinrich Jalowetz (December 3, 1882,〔''Briefe an Heinrich Jalowetz'' (Schott, 1999: ISBN 3-7957-0396-4), p. 11.〕 Brno - February 2, 1946,〔''Briefe an Heinrich Jalowetz'', p. 12.〕 Black Mountain, North Carolina, USA) was an Austrian musicologist and conductor who settled in the USA. He was one of the core members of what became known as the Second Viennese School in the orbit of Arnold Schoenberg.
A musicology pupil of Guido Adler,〔Martin Brody, ''Black Mountain College: Experiment in Art'' (MIT Press, 2003: ISBN 0-262-11279-5), p. 246.〕 Jalowetz was among Schoenberg's first students in Vienna, 1904-1908. From 1909 to 1933 he worked as a conductor in Regensburg, Danzig, Stettin, Prague, Vienna and Cologne (as successor to Otto Klemperer). After emigrating to the USA in 1938 he taught at Black Mountain College, North Carolina. Though his name is less widely known than that of many of Schoenberg’s more famous students, Schoenberg regarded Jalowetz very highly indeed. He is one of the seven ‘Dead Friends’ (the others being Berg, Webern, Alexander Zemlinsky, Franz Schreker, Karl Kraus and Adolf Loos) to whom he once envisaged dedicating his book ''Style and Idea'', with the comment that those men ‘belong to those with whom principles of music, art, artistic morality and civic morality need not be discussed. There was a silent and sound mutual understanding on all these matters’.
== References ==


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