Par SCHOENBERG ARNOLD. ?Friede auf Erden? op. 13 is regarded as Arnold Schoenberg?s last tonal composition and is one of the few choral works of the Second Viennese School. On the same day that he completed his op. 13, Schoenberg made the first sketches for his 2nd String Quartet, a key work in atonal music. Although Schoenberg later orchestrated ?Friede auf Erden?, he intended the piece to be performed unaccompanied.To help rehearsing the work, this choral score contains the piano transcription made by Anton Webern for use in rehearsals for the planned first performance. The text for op. 13 is a secular Christmas poem by Conrad Ferdinand Meyer. At the time of its composition (1907), Schoenberg thought the vision of a ?reine Harmonie unter Menschen? (pure harmony amongst people) described in the poem was conceivable, but he later distanced himself from this idea. What remained is a composition of great artistic power and depth ? a real showpiece for ambitious choirs! / Date parution : 2022-07-20/ Répertoire / SSAATTBB A Cappella

Arnold Schönberg: String Quartet No. 2 - F# minor for soprano and string quartet op. 10 PH229 Arnold Schoenberg's String Quartet No. 2 op. 10 with soprano (1907 /1908) is among the founding documents of New Music. Instrument: for soprano and string quartet Edition type: pocket score Composer: Schönberg Arnold 'This quartet adds a new element to Schoenberg's creative oeuvre: brevity. It was already indicated by the succinctness of the Chamber Symphony and is clearly expressed in the structure of the F sharp minor Quartet with four shorter movements. There is only a small step from the harmonic language of this work to a complete renunciation of tonality. The last movement - although, in the main, belonging to F sharp mayor - no longer carries a key signature. Chromatic alteration turns the fourth chords into harmonies never heard before, free from any tonal context.' (Anton Webern)

This is the most comprehensive study of Schoenberg's program notes and analyses of his own music yet published. Schoenberg's Program Notes And Musical Analyses illuminates 42 of Schoenberg's compositions through his own writings. This material in book emphasizes Schoenberg's deep concern for communicating with and educating his audience. 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 MusicalAnalyses 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.

Par DAHLHAUS CARL. A travers une série d'essais écrits entre 1964 et 1988, Carl Dahlhaus (1928-1989) aborde les différents aspects de l'oeuvre et de la pensée d'Arnold Schoenberg. Sa réflexion porte aussi bien sur les dimensions strictement compositionnelles que sur des questions esthétiques. C'est ainsi qu'il s'attache aux notions de «musique à  programme», de «variation développante» ou de «prose musicale», comme aux questions liées à  l'atonalité et au dodécaphonisme, ainsi qu'aux relations de Schoenberg avec la tradition et aux polémiques qu'il a suscitées. Les textes esthétiques situent le compositeur dans un vaste horizon historique, philosophique et musical. Les analyses font apparaître la cohérence des oeuvres en s'attachant avant tout au sens musical. Les concepts et les idées sont inscrits dans une perspective historique, épistémologique et musicale qui en éclaire avec précision la signification. Ces essais, écrits dans une langue à  la fois dense et précise, et riches d'un savoir immense, constituent une somme et une référence indispensable. Ce livre qui regroupe tous les essais que Dahlhaus a consacrés à  Schoenberg permettent d'approfondir l'oeuvre et la pensée d'un compositeur qui a marqué l'histoire de la musique et en a bouleversé le cours. / Broché / Livre / Livres

Arnold Schoenberg's Serenade Op.24 arranged for a Violin Cello and Piano chamber group by Felix Greissle.

The full score for Arnold Schonberg’s Serenade Op.24 a seven movement serenade for Chamber ensemble consisting of Clarinet Bass Clarinet Mandolin Guitar Violin Viola Cello and Bass Soloist (in the fourth movement). This is an exquisite work by perhaps the most important European composer of the last 150years.

Based On A Theme By Arnold Schönberg (Op. 19/4). Par ULLMANN VIKTOR. Viktor Ullmann a présenté son cycle de variations sur le quatrième du bien connu Six peu Piano Pieces op 19 par son professeur Arnold Schoenberg en trois versions à la fois - pour piano, pour quatuor à cordes et pour grand orchestre. Miniature atonal de Schoenberg est étendue ici en une forme plus grande, avec la Gavotte et Menuet également faire référence à des pièces pour Piano de Schoenberg opus 25. Le paramètre pour piano est un exploit virtuose sur une échelle qui rappellent de Max Reger. Des 21 variations originales dans une version antérieure qui n'a pas survécu, Ullmann sélectionné neuf pour sa version finale. Une version provisoire effectuée à la 1929 l'IGNM à Genève, composé de cinq variations et différant par de nombreux détails, est publiée en annexe./ Répertoire / Piano

Par SCHOENBERG ARNOLD. The two poems by Stefan George 'Litanei' and 'Rapture ' were worked by Schoenberg into a set of variations and into a finale far removed from traditional notions of form. The vocal reduction of the 3rd movement 'Litanei' is available as UE 6862, the vocal reduction for the 4th movement 'Entrückung ' is available as UE6863. The string parts are available as UE 2994. 'This quartet adds a new element to Schoenberg's creative oeuvre: brevity. It was already indicated by the succinctness of the Chamber Symphony and is clearly expressed in the structure of the F sharp minor Quartet with four shorter movements. There is only a small step from the harmonic language of this work to a complete renunciation of tonality. The last movement - although, in the main, belonging to F sharp mayor - no longer carries a key signature. Chromatic alteration turns the fourth chords into harmonies never heard before, free from any tonal context.' (Anton Webern)/ Répertoire / 2 Violons, Alto, Violoncelle et Soprano

Führer und Thementafel. Par SCHOENBERG ARNOLD. Analysen Musikalischer Werke Von Arnold Schönberg Nach Dem Text Der Berg-Gesamtausgabe/ Répertoire / Divers

on a Little Piano Piece by Arnold Schoenberg-This edition of variations is the only completely extant orchestral work by Viktor Ullmann. His compositional reflection on one of the best-known miniatures by his teacher Arnold Schoenberg covered a period of almost 15 years. Following the version for piano (ED 8433) and for String quartet (ED 9822) the orchestral version with detailed annotations is now available as a study score.

For Speaker And 5 Instrumentalists. Par SCHOENBERG ARNOLD. Pierrot lunaire marks the high point of Schoenberg's expressionistic period, the essence of which he described as renouncing tonal centers and systematic relationships, replacing them with the twelve-tone method he was later to develop, with its dodecaphonic principles. Dethroning tonality and 'emancipating the dissonance' led to a radical change in his understanding of form and the intensity of musical expression beginning in 1907/1908: 'And I am unconditionally approaching a new kind of expression - I can sense it. The sounds now are virtually becoming a bestially direct expression of sensual and intellectual feelings - almost as if everything had been directly propagated.' (Diary entry, March 1912.)/ Répertoire / Récitant et 5 Instrumentistes