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

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

For Narrator, Men's Chorus and Orchestra. Par SCHOENBERG ARNOLD. Shortly after the war, Schoenberg composed in his 99-bar monumental work depicting the suffering and oppression of an entire people. The story written by the composer himself describes the terror of the Nazi regime by example of a typical scene in the Warsaw Ghetto. In the concluding part of the men's choir, Schoenberg draws on the Jewish Creed in a depressing manner. The close connection of the music with the text makes this work an important post-war composition which is now also available as study score./ Répertoire / Récitant, Chœur d'Hommes et Orchestre

Fassung für Orchester. Par SCHOENBERG ARNOLD. Composed between the spring of 1906 and July of the same year, the Chamber Symphony op. 9 for 15 solo instruments represents a point of culmination in Schoenberg's artistic development, the consequences of which not even the composer himself initially recognised.' Ulrich Krämer 'The 1914 version is not chamber music - however its sound is simply less aggressive than the later version. It is more limpid, lucid, less incisive, and that allows the voices to emerge more clearly.' (Philippe Jordan, 2012)/ Répertoire / Orchestre

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)

Par SCHOENBERG ARNOLD. SUVMU8Z01025 / Éducation musicale / Livre / Livre Musical

Par SCHOENBERG ARNOLD. Cette pièce de musique de chambre, composée en 1907?1908, marque une rupture non seulement dans l??uvre de Schönberg, mais aussi plus largement dans l?histoire moderne de la musique. Le système tonal majeur/mineur qui s?imposait depuis des siècles est, au fil des quatre mouvements, abandonné de manière toujours plus sensible au profit d?une atonalité libre. Cette rupture avec la tradition musico-historique va de pair avec un autre coup porté aux conventions: Schönberg introduit dans les deux derniers mouvements une voix de soprano pour mettre en musique deux poèmes de Stefan George. Avec la transition vers l?atonalité, Schönberg ouvre la voie à un nouveau langage musical, qui aboutira peu de temps après au dodécaphonisme. Pas de doute: son Second quatuor à cordes a marqué le cours de l?histoire de la musique. La nouvelle édition Henle a été réalisée par Ullrich Scheideler, spécialiste de Schönberg, sur la base des recherches les plus récentes. La partition Urtext Henle présente ce «classique de la modernité» dans une nouvelle gravure, très généreusement mise en page. / Date parution : 2022-06-14/ Répertoire / Quatuor à Cordes et Soprano