Oversize full score of the composer's first opera.  Large upright folio.  Wrappers present.  Lithograph of manuscript score.  [No PN].  [1] (title), [2] (list of characters, list of orchestral instruments, instructions for performance), [3]-164 pp. Facsimile of the fair copy, partially in Schoenberg's own hand (pp. 3-9, 18, 29, 34, 38, 46, 48-49, 57, 66, 72-73, 79, 89, 92, 102-164), partially in that of an unknown copyist. Typeset copyright notice to p. 3: "Copyright 1930 by Arnold Schönberg, Berlin." Facsimile note to lower right corner of final page of music: "beendet 3. VIII. 1929." Titling to upper wrapper identical to that of title but without imprint.  In German throughout.  From Mitropoulos's personal collection.  "Op. 32" has been written in pencil to cover beneath the title in an unknown hand.  17.5 x 13 inches (44.5 x 33.5 cm).  Some bleeding; general wear to front cover; spine mostly perished; final leaf and lower wrapper detached, with tear to the left side; still, a very good copy overall. 

Von heute auf morgen was both the first twelve-tone opera and Schoenberg's only comedy.  The libretto was by "Max Blonda," a pseudonym used by Gertrud Schoenberg (née Kolisch, 1898–1967), the composer's second wife.  After its 1930 premiere in Frankfurt and a radio performance in Berlin shortly thereafter, the opera was never again performed in Schoenberg's lifetime.

Dimitri Mitropoulos was Greece’s most prolific conductor and New York Philharmonic Music Director from 1949-1958.  Widely regarded as one of the most significant conductors of the twentieth century, he is best remembered for his significant recorded legacy and for his commitment in bringing new compositions to the stage of major symphony orchestras.  Indeed, it is thanks to his efforts that many of our current symphonic standards made their way into the repertory.  He gave World and American premiers of seminal works such as Gustav Mahler’s Symphony No. 6 and Schoenberg’s Erwartung, as well as other major works by Schoenberg, Shostakovich, Prokofiev, and many others.  His personal collection has been held in private hands since his death in 1960, when it passed to conductor James Dixon, his student and protégé.  Mitropoulos came to consider Dixon his son, introducing him to conductors and performing arts institutions around the world, jumpstarting his career.  When Mitropoulos died in 1960 he left all his belongings, including his scores, to Dixon.  The bulk of the musical library has been subsequently gifted to the University of Iowa’s music library, but a selection of rare items have been selected to be offered for sale exclusively by Schubertiade Music & Arts.  These examples, many inscribed to the conductor from composers or associates, have only occasional markings from the conductor himself who committed all music to memory before his first rehearsal of the repertoire - a highly unusual method!  Some of these scores, however, were also subsequently used by James Dixon as part of his working reference library for many years and include his occasional markings.