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E-grāmata: Schoenberg's Program Notes and Musical Analyses

Edited by (Associate Professor of Music Theory, University of South Carolina)
  • Formāts: EPUB+DRM
  • Sērija : Schoenberg in Words
  • Izdošanas datums: 07-Mar-2016
  • Izdevniecība: Oxford University Press Inc
  • Valoda: eng
  • ISBN-13: 9780190614010
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  • Formāts: EPUB+DRM
  • Sērija : Schoenberg in Words
  • Izdošanas datums: 07-Mar-2016
  • Izdevniecība: Oxford University Press Inc
  • Valoda: eng
  • ISBN-13: 9780190614010

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In 1950, as Arnold Schoenberg anticipated the publication of a collection of 15 of his most important writings, Style and Idea, he was already at work on a second volume to be called Program Notes. Inspired by this idea,Schoenberg's Program Notes and Musical Analyses can boast the most comprehensive study of the composer's writings about his own music yet published. Schoenberg's insights emerge not only in traditional program notes, but also in letters, sketch materials, pre-concert talks, public lectures, contributions to scholarly journals, newspaper articles, interviews, pedagogical materials, and publicity fliers. The editions of the texts in this collection, based almost exclusively on Schoenberg's original manuscript sources, include many items appearing in print in English for the first time, as well as more familiar texts that preserve musical and textual information eliminated from previous editions. The book also reveals how Schoenberg, desirous to communicate with and educate an audience, took every advantage of changes in technology during his lifetime, utilizing print media, radio broadcasts, record jackets--and had he lived, television--for this purpose. In addition to four chapters in which Schoenberg illuminates 42 of his own compositions, the book begins with chapters on his development and influences, his thoughts about trends in modern music, and, in a nod to the importance of the radio in providing a venue for music analysis, a chapter about Schoenberg's radio broadcasts.
Preface xiii
Acknowledgments xvii
Abbreviations xxi
Note on Texts and Translations xxv
About the Companion Website xxix
Introduction 1(19)
1 On Development and Influences
20(29)
1.1 Who Am I?/My Evolution (Retrospective/Looking Back), November 29, 1949
20(17)
1.2 My Models, June 6, 1928
37(1)
1.3 A Self-Analysis (Maturity), March 3, 1948
38(6)
1.4 Schoenberg Looks Backward---and Ahead, September 26, 1948
44(5)
2 On the Radio
49(40)
2.1 Discussion over Radio Berlin with Preußner and Strobel, March 30, 1931
49(17)
2.2 First American Radio Broadcast, November 19, 1933
66(5)
2.3 Interview with Max van Leuven Swarthout, Fall 1935
71(5)
2.4 Radio Interview with Raoul Gripenwaldt, July 7, 1948
76(7)
2.5 To the Birthday of Broadcasts of Contemporary Music, September 12, 1948
83(1)
2.6 For the Broadcast, August 22, 1949
84(1)
2.7 For My Broadcast, August 23, 1949
85(4)
3 On Modern Music
89(20)
3.1 Polytonalists [ I], April 21, 1923, and Polytonalists [ II], November 29, 1923
89(3)
3.2 Notes for an Essay Entitled, "The Contemporary Situation in Music," 1929
92(2)
3.3 What Have People to Expect from Music? November 7, 1935
94(4)
3.4 Teaching and Modern Trends, June 30, 1938
98(3)
3.5 Advice for Beginners in Composition with Twelve Tones, 1951
101(6)
3.6 This is Probably the Solution to the Problem, Undated
107(2)
4 On Compositions: 1898--1907
109(72)
4.1 Polytonality in My Works, December 12, 1924
109(3)
4.2 Arnold Schoenberg Writes the Following about Himself and His String Quartet[ sic], October 21, 1902
112(1)
4.3 Program Notes to the Second Arnold Schoenberg Evening (Chamber Music in Large Halls), June 3, 1919
113(2)
4.4 Excerpt from the Harmonielehre about Ninth Chords in Inversion, 1922
115(2)
4.5 Constructives in Verklarte Nacht, 1932
117(3)
4.6 Letter to Bruno Walter, December 23, 1943
120(2)
4.7 Liner Notes for the Capitol Records Release o/Verklarte Nacht, August 26, 1950
122(7)
4.8 Symphonic Introductory Music to Pelleas und Melisande by Maeterlinck, perhaps 1902
129(1)
4.9 Proposed Program of Pelleas und Melisande, 1902--3
130(1)
4.10 Letter to Alexander von Zemlinsky, February 20, 1918
131(6)
4.11 Excerpts from the Harmonielehre about Whole-Tone Chords and Chords in Fourths, 1922
137(3)
4.12 Keywords for a "Free" Lecture in Boston with the Aid of Slonimsky, January 4, 1934
140(3)
4.13 Liner Notes for the Capitol Records Release of Pelleas und Melisande, 1949
143(5)
4.14 Foreword to a Broadcast of the Capitol Recording of Pelleas und Melisande, February 17, 1950
148(1)
4.15 Excerpts from an Analysis of Eight Songs, op. 6, no. 7, "Lockung," 1948
149(2)
4.16 Private Program for the First String Quartet, 1904
151(2)
4.17 Analysis of the First String Quartet, 1907
153(4)
4.18 Cues for a Lecture on the First String Quartet at the University of Southern California, ca. 1935
157(3)
4.19 Excerpts from The Musical Idea and the Logic, Technique, and Art of Its Presentation, 1934--37
160(3)
4.20 Liner Notes for the Dial Records Release of the First Chamber Symphony, 1949
163(8)
4.21 Rigoletto and Kammersymphonie, an Analysis, perhaps 1936
171(5)
4.22 Class Analyses of the Kammersymphonie, op. 9, after 1944
176(2)
4.23 Letter to Hermann Scherchen, June 23, 1923
178(3)
5 On Compositions: 1908-1922
181(62)
5.1 Class Analyses of the Second String Quartet, after 1944
181(2)
5.2 Program Notes for the Society for Art and Culture: New Compositions by Arnold Schoenberg, January 14, 1910
183(2)
5.3 Introduction to the Three Pieces for Piano, July 27, 1949
185(2)
5.4 Excerpt from the Berlin Diary, January 28, 1912
187(2)
5.5 Excerpt from the Harmonielehre about Erwartung, 1922
189(2)
5.6 Letter to Leopold Stokowski, July 2, 1945
191(2)
5.7 At the Time When I Painted, April 5, 1948
193(1)
5.8 Introductory Remarks for a New York Philharmonic Society Broadcast of "Lied der Waldtaube" from Gurrelieder, October 30, 1949
194(3)
5.9 Notes on the Gurrelieder, January 12, 1951
197(4)
5.10 Notes for the Columbia Records Release of Pierrot lunaire, 1941
201(2)
5.11 Breslau Lecture on Die gluckliche Hand, March 24, 1928
203(7)
5.12 The Simplified Study/Conductor's Score: Foreword to the Four Orchestral Songs, op. 22, September 1917
210(5)
5.13 Analysis of the Four Orchestral Songs, op. 22, February 21, 1932
215(25)
5.14 Program and Plan for a Symphony, before May 27, 1914
240(3)
6 On Compositions: 1923--1934
243(102)
6.1 Two Letters to Nicholas Slonimsky, June 3, 1937, and January 2, 1940
243(3)
6.2 About Wilhelm Werker's Study of the Symmetry of Fugues, etc. in Bach, September 20, 1928
246(2)
6.3 Method of Composing with Twelve Tones Only Related to One Another, 1935
248(31)
6.4 Preliminary Remarks about opp. 27 and 28 to Be Placed after the Title Page, before the First Page of Score (Unused), early 1926
279(4)
6.5 (Definite) Foreword to opp. 27 and 28, 1926
283(3)
6.6 Movement Titles for the Suite, op. 29, 1924
286(1)
6.7 Excerpt from a Letter to Rudolf Kolisch, July 27, 1932
287(1)
6.8 Interview with Myself (Ideas of Arnold Schoenberg), October 6, 1928
288(6)
6.9 Radio Lecture on the Variations for Orchestra, March 22, 1931
294(25)
6.10 A Letter and a Draft of a Letter to Olin Downes, November 8, 1938
319(3)
6.11 Radio Lecture for a Performance of Von heute auf morgen, February 27, 1930
322(5)
6.12 Draft of a Foreword for a Publicity Flier for Von heute auf morgen, after April 1, 1930
327(1)
6.13 Danger-Fear, 1929
328(1)
6.14 Letter to Walter Eidlitz, March 15, 1933
329(2)
6.15 The Transplanted Composer, 1950
331(1)
6.16 Letter to Pablo Casals, February 20, 1933
332(3)
6.17 About the String Quartet Concerto, before February 17, 1935
335(2)
6.18 Draft of a Foreword to the Suite for String Orchestra for College Orchestra Composed by Arnold Schoenberg, perhaps 1935
337(2)
6.19 Draft of a Letter to Olin Downes, October 1935
339(6)
7 On Compositions: 1936--1947
345(78)
7.1 Letter to Louis Krasner, March 3, 1939
345(2)
7.2 Program Notes to and Audio Commentary for the Kolisch Quartet Recording of the Four String Quartets, 1936
347(7)
7.3 Program Notes for the Juilliard String Quartet Performance of the Four String Quartets, end of December 1949 or early January 1950
354(42)
7.4 Letter to Alfred V. Frankenstein, March 18, 1939
396(2)
7.5 To Kol nidre, 1938 or later
398(3)
7.6 Draft of a Letter to Elliot E. Cohen, January 28, 1950
401(2)
7.7 Radio Interview with Lisa Sergio, November 1940
403(3)
7.8 Table of Motives, 1948
406(2)
7.9 Letter to Donald W. Gray, April 19, 1950
408(2)
7.10 How I Came to Compose the Ode to Napoleon, perhaps 1944
410(3)
7.11 Program for the Piano Concerto, 1942
413(1)
7.12 Two Documents about the Theme and Variations, perhaps 1944
414(4)
7.13 My Fatality, March 9, 1949
418(3)
7.14 Excerpt from a Letter to Kurt List, November 1, 1948
421(2)
Epilogue: Melodrama and Choir---Retrospective/Looking Back, Undated 423(2)
Personalia 425(20)
Select Bibliography 445(10)
Select Discography 455(2)
Index 457
J. Daniel Jenkins is Associate Professor of Music Theory at the University of South Carolina. His research focuses on music of the twentieth century, with particular emphasis on Arnold Schoenberg and Elliott Carter.