Bryan R. Simms. the Atonal Music of Arnold Schoenberg 1908–1923

Copy Link

Document generated on 10/01/2021 1:27 p.m.

Canadian University Music Review Revue de musique des universités canadiennes

Bryan R. Simms. The Atonal Music of Arnold Schoenberg

1908–1923. Oxford and New York: Oxford University Press, 2000. ix, 265 pp. ISBN 0-19-512826-5 (hardcover)

Robert Falck

Volume 21, Number 2, 2001

URI: https://id.erudit.org/iderudit/1014493ar DOI: https://doi.org/10.7202/1014493ar

See table of contents

Publisher(s)

Canadian University Music Society / Société de musique des universités canadiennes

ISSN

0710-0353 (print) 2291-2436 (digital)

Explore this journal

Cite this review

Falck, R. (2001). Review of [Bryan R. Simms. The Atonal Music of Arnold Schoenberg 1908–1923. Oxford and New York: Oxford University Press, 2000. ix,

265 pp. ISBN 0-19-512826-5 (hardcover)]. Canadian University Music Review / Revue de musique des universités canadiennes, 21(2), 143–146.

https://doi.org/10.7202/1014493ar All Rights Reserved © Canadian University Music Society / Société de musique des universités canadiennes, 2002
This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online.

https://apropos.erudit.org/en/users/policy-on-use/

This article is disseminated and preserved by Érudit.

Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research.

https://www.erudit.org/en/

Recommended publications

View Becomes New." Anton Webern to Arnold Schoenberg, November, 25, 1927

J & J LUBRANO MUSIC ANTIQUARIANS Catalogue 74 The Collection of Jacob Lateiner Part VI ARNOLD SCHOENBERG 1874-1951 ALBAN BERG 1885-1935 ANTON WEBERN 1883-1945 6 Waterford Way, Syosset NY 11791 USA Telephone 561-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). To avoid disappointment, we suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. International customers are asked to kindly remit in U.S. funds (drawn on a U.S. bank), by international money order, by electronic funds transfer (EFT) or automated clearing house (ACH) payment, inclusive of all bank charges. If remitting by EFT, please send payment to: TD Bank, N.A., Wilmington, DE ABA 0311-0126-6, SWIFT NRTHUS33, Account 4282381923 If remitting by ACH, please send payment to: TD Bank, 6340 Northern Boulevard, East Norwich, NY 11732 USA ABA 026013673, Account 4282381923 All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. Fine Items & Collections Purchased Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c.
Hans Rosbaud and the Music of Arnold Schoenberg Joan Evans

Document généré le 27 sept. 2021 01:22 Canadian University Music Review Revue de musique des universités canadiennes Hans Rosbaud and the Music of Arnold Schoenberg Joan Evans Volume 21, numéro 2, 2001 Résumé de l'article Cette étude documente les efforts de Hans Rosbaud (1895–1962) pour URI : https://id.erudit.org/iderudit/1014484ar promouvoir la musique d’Arnold Schoenberg. L’essai est en grande partie basé DOI : https://doi.org/10.7202/1014484ar sur vingt années de correspondance entre le chef d’orchestre et le compositeur, échange demeuré inédit. Les tentatives de Rosbaud portaient déjà fruit Aller au sommaire du numéro pendant qu’il était en fonction à la radio de Francfort au début des années 1930. À la suite de l’interruption forcée due aux années nazies (au cours desquelles il a travaillé en Allemagne et dans la France occupée), Rosbaud a Éditeur(s) acquis une réputation internationale en tant que chef d’orchestre par excellence dédié aux œuvres de Schoenberg. Ses activités en faveur de Canadian University Music Society / Société de musique des universités Schoenberg dissimulaient le projet, que la littérature sur celui-ci n’avait pas canadiennes encore relevé, de ramener le compositeur vieillissant en Allemagne. ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Evans, J. (2001). Hans Rosbaud and the Music of Arnold Schoenberg. Canadian University Music Review / Revue de musique des universités canadiennes, 21(2), 41–59. https://doi.org/10.7202/1014484ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur.
Moses Und Aron and Viennese Jewish Modernism

Finding Music’s Words: Moses und Aron and Viennese Jewish Modernism Maurice Cohn Candidate for Senior Honors in History, Oberlin College Thesis Advisor: Annemarie Sammartino Submitted Spring 2017 !2 Table of Contents Acknowledgments 3 Introduction 4 Chapter One 14 Chapter Two 34 Chapter Three 44 Conclusion 58 Bibliography 62 !3 Acknowledgments I have tremendous gratitude and gratefulness for all of the people who helped make this thesis a reality. There are far too many individuals for a complete list here, but I would like to mention a few. Firstly, to my advisor Ari Sammartino, who also chaired the honors seminar this year. Her intellectual guidance has been transformational for me, and I am incredibly thankful to have had her mentorship. Secondly, to the honors seminar students for 2016—2017. Their feedback and camaraderie was a wonderful counterweight to a thesis process that is often solitary. Thirdly, to Oberlin College and Conservatory. I have benefited enormously from my ability to be a double-degree student here, and am continually amazed by the support and dedication of both faculties to make this program work. And finally to my parents, Steve Cohn and Nancy Eberhardt. They were my first teachers, and remain my intellectual role models. !4 Introduction In 1946, Arnold Schoenberg composed a trio for violin, viola, and cello. Schoenberg earned his reputation as the quintessential musical modernist through complex, often gargantuan pieces with expansive and closely followed musical structures. By contrast, the musical building blocks of the trio are small and the writing is fragmented. The composer Martin Boykan wrote that the trio “is marked by interpolations, interruptions, even non-sequiturs, so that at times Schoenberg seems to be poised at the edge of incoherence.”1 Scattered throughout the piece are musical allusions to the Viennese waltz.
ARNOLD SCHOENBERG's RELIGIOUS ODYSSEY Submitted

FROM THE LADDER TO THE MOUNTAIN: ARNOLD SCHOENBERG'S RELIGIOUS ODYSSEY Submitted in partial fulfihnent of the req~ements for the degree of Doctor of Philosophy in the Department of Music University of Natal. Durban, 1998 by ROSELINE SHAPIRO DECLARATION I declare that unless otherwise stated this is my own, original work ---------------il--------------slgnedfL4Luu lltP· .. R. Shapiro December 1998 CONTENTS ABSTRACT ........................................................................................... .iv ACKN"OWLEDGMENTS ........................................................................ v ABBREVIATIONS ................................................................................ vi INTRODUCTION ................................................................................ vii PROLOGUE .......................................................................................... 1 JEWISH IDENTITY IN VIENNA Notes ......................................................................................... 27 I. SCHOENBERG APPROACHING THE LADDER. ..................... .30 SOURCES OF DIE JAKOBSLEITER Notes ......................................................................................... 60 11. DIE JAKOBSLEITER .................................................................... 63 Notes ....................................................................................... 91 Ill. THE PATH OF THE BIBLE. ...................................................... 94 DER BIBLISCHE WEG Notes ......................................................................................
Tradition As Muse Schoenberg's Musical Morphology and Nascent

Tradition as Muse Schoenberg's Musical Morphology and Nascent Dodecaphony by Áine Heneghan A dissertation submitted in candidacy for the degree of Doctor of Philosophy to The University of Dublin Trinity College March 2006 DECLARATION I, Áine Heneghan, declare that this thesis has not been submitted as an exercise for a degree at this or any other University and that it consists entirely of my own work. I agree that the Library may lend or copy the thesis upon request, this permission covering only single copies made for study purposes, subject to normal conditions of acknowledgement. Signed __________________ Áine Heneghan March 2006 Summary of the Dissertation Tradition as Muse: Schoenberg's Musical Morphology and Nascent Dodecaphony by Áine Heneghan The University of Dublin Trinity College March 2006 This study reappraises the evolution of Arnold Schoenberg's method of composing with twelve tones by examining the interrelationship of his theoretical writings and compositional practice. Premised on the idea that theory and practice were interdependent for Schoenberg, I argue, on the one hand, that the richness and diversity of his nascent dodecaphony can be fully appreciated only in the context of the development of his musical thought and, on the other hand, that his terminological concepts—for example, Grundgestalt, 'unfolding' [Abwicklung], the distinction between Satz and Periode (sentence and period), and the differentiation of 'stable' and 'loose' construction—came about precisely because of his compositional experiments during the early 1920s. The discussion and musical analyses of selected movements from the Klavierstücke, Op. 23, the Serenade, Op. 24, and the Suite für Klavier, Op.
JASC 7-2005.Indb

Schachzüge Arnold Schönbergs Brilliant Moves Dodekaphonie und Spiele-Konstruktionen Dodecaphony and Game Constructions Bericht zum Symposium Report of the Symposium 3. – 5. Juni 2004 JJASCASC 77-2005.indb-2005.indb 1 222.01.20082.01.2008 114:03:254:03:25 Gedruckt mit Unterstützung von Bundesministerium für Wissenschaft und Forschung in Wien Wissenschafts- und Forschungsförderung der Stadt Wien, MA 7 – Kultur Cover-Abbildung: Arnold Schönberg: Bidirektionale Zwölftonreihe zur Suite op. 29 © Belmont Music Publishers, Los Angeles Impressum Redaktion: Eike Feß und Therese Muxeneder Medieninhaber: Arnold Schönberg Center Privatstiftung Satz: Schwarzenbergplatz 6 Forte OG, Thomas Stark A-1030 Wien www.schoenberg.at Koordination: Edith Barta Eine Kooperation von Arnold Schönberg Center Cover und Gestaltungskonzept: und Bohatsch Graphic Design GmbH Wissenschaftszentrum Arnold Schönberg der Universität für Musik und darstellende Kunst Wien Druck: Grasl Druck & Neue Medien, Bad Vöslau Herausgeber und für den Inhalt verantwortlich: © Arnold Schönberg Center, Wien, 2006 Christian Meyer ISBN 978-3-902012-10-2 JJASCASC 77-2005.indb-2005.indb 2 222.01.20082.01.2008 114:03:284:03:28 Richard Kurth Twelve-tone Compositional Strategies and Poetic Signification in Schönberg’s Vier Stücke für gemischten Chor, op. 27* I. Surveying Arnold Schönberg’s life-long compositional trajectory, one has the impression that every work plays some pivotal role in the evolution and mani- festation of his inexhaustible artistic energies. Each composition – and also each literary or graphic work – occupies a strategic position in the unfolding complex narrative of his artistic development. Like a brilliant chess move, each musical work advances compositional possibilities or strategies that were already at play, and also reconfigures future prospects, often radically, by introducing new dimensions and implications.
Schoenberg and the Gesamtkunstwerk Path to Abstraction By

Schoenberg and the Gesamtkunstwerk Path to Abstraction by John Blythe A thesis submitted to the University of Birmingham for the degree of MA by Research in the History of Art Dept. of Art History, Curating and Visual Studies, College of Arts and Law, University of Birmingham. February 2019. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. To the technicians Tom and Marlowe Contents Lists of Figures Lists of Illustrations Introduction page 1 Schoenberg’s First Exhibitions page 3 Review of literature page 14 National Gallery Exhibition page 20 Berlinische Exhibition page 27 Richard Gerstl page 29 Schoenberg’s Jewish Antecedents page 35 Research Methodology page 43 Thesis Structure page 51 Chapter 1 Schoenberg’s fin-de-siècle Vienna and Harmonielehre. page 53 The Discourse on Synaesthesia in fin-de-siècle Vienna page 53 Austrian culture and politics page 56 Origins of Viennese Discourse on Synaesthesia page 60 A Widening Discourse page 66 Schoenberg’s Harmonielehre page 76 Honoré de Balzac’s Seraphita page 90 Summary page 92 Chapter 2: First Triad – Wagner, Schopenhauer and Schoenberg. page 94 Gesamtkunstwerk page 94 Overtones to the First Triad page 116 Gurrelieder, a new redemption page 125 Summary page 128 Chapter 3: Second Triad and the Idea of Language.
! Solo Angel Roles in Vocal Music

! SOLO ANGEL ROLES IN VOCAL MUSIC: TRACING THE USE OF ANGEL ROLES FROM 1600 TO THE PRESENT A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY ANGELA CARR DR. KATHLEEN MAURER, ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2015 ii ABSTRACT This study traces the use of solo angel roles in vocal music from 1600 to the present, focusing specifically on one to two works from each period that contain the most prominent angel roles. Each chapter centers on a particular period of time, analyzing the angel roles and seeking to find a relationship between the representation of the angel in vocal music and the religious and social climate of the era. The fascination with the spiritual and supernatural during the baroque era, as well as the Reformation and Counter-Reformation, affected the amount of angel solo roles. In the late-seventeenth and eighteenth centuries, many began to question traditional religious beliefs in the search for rational and scientific thought. The amount of sacred vocal music composed during this time suffered an overall decline, causing a corresponding decline in angel roles composed. The nineteenth century also witnessed a general decline in sacred choral works; however, movements such as German nationalism, romanticism, and historicism, as well as the influence of Felix Mendelssohn helped to revive interest in sacred vocal music. The twentieth century witnessed a renewed fascination with angels, causing a resurgence in the amount of musical angel roles, especially towards the latter part of the century. The angel roles from the following works are studied in detail: Heinrich Schütz’s Weihnachtshistorie, George Frideric Handel’s La Resurrezione, Franz Joseph Haydn’s The Creation, Felix Mendelssohn’s Elijah, Sir Edward Elgar’s The Dream of Gerontius, Arnold Schoenberg’s Die Jakobsleiter, and Olivier Messiaen’s Saint François D’Assise.
Thielemann Gurre-Lieder

8., 9., 10. März 2020 Semperoper 8. SYMPHONIEKONZERT Christian THIELEMANN Arnold Schönberg GURRE-LIEDER 8., 9., 10. März 2020 KULTUR Semperoper 8. SYMPHONIEKONZERT Christian THIELEMANN Arnold Schönberg FÜR GURRE-LIEDER ALLE. #VW Group Culture Wir fördern Museen, Ausstellungen und Konzerte. Wir unterstützen den Austausch zwischen Kunst, Musik, Wissenschaft und Technik. Wir bringen Kultur in die Mitte der Gesellschaft. vwgroupculture volkswagengroup_culture U2 1 8. SYMPHONIEKONZERT 8. SYMPHONIEKONZERT SONNTAG MONTAG DIENSTAG SEMPEROPER 8.3.20 9.3.20 10.3.20 DRESDEN 11 UHR 20 UHR 20 UHR Christian Thielemann Dirigent Stephen Gould Waldemar Camilla Nylund Tove Christa Mayer Waldtaube Kwangchul Youn Bauer Wolfgang Ablinger-Sperrhacke Klaus-Narr Franz Grundheber Sprecher »Seht die Sonne!« MDR-Rundfunkchor Zwischen 1900 und 1911 arbeitete Schönberg an seinen spätroman- Einstudierung: Jörn Hinnerk Andresen tischen »Gurre-Liedern« und bezeichnete diese später als »Schlüssel zu meiner ganzen Entwicklung.« Die Wurzeln der Geschichte um König Sächsischer Staatsopernchor Dresden Waldemar und seiner geliebten Tove, die von der eifersüchtigen Königin ermordet wird, lassen sich bis ins Mittelalter zurückverfolgen. Schön- Einstudierung: Jan Hoffmann berg griff auf Jacobsens Fassung der dänischen Sage zurück und formte aus ihr ein musikalisches Monumentalwerk, das bravourös ungeahnte Sächsische Staatskapelle Dresden Register der Stimm- und Instrumentalbehandlung zieht. mit Mitgliedern des Kostenlose Konzerteinführungen mit Hagen Kunze jeweils Gustav Mahler Jugendorchesters 45 Minuten vor Beginn im Opernkeller der Semperoper 2 3 8. SYMPHONIEKONZERT PROGRAMM Arnold Schönberg (1874-1951) »Gurre-Lieder« für Soli, Chor und Orchester Text von Jens Peter Jacobsen Deutsch von Robert Franz Arnold TEIL I TEIL II 1. Orchestervorspiel 1. »Herrgott, weißt du, was du tatest« Waldemar 2.
Arnold Schoenberg's Die Glückliche Hand: Artistic Self-Envisioning in the Early Modernist Era

Durham E-Theses Arnold Schoenberg's Die glückliche Hand: Artistic Self-Envisioning in the Early Modernist Era TOOKE, DANIEL,JASON How to cite: TOOKE, DANIEL,JASON (2015) Arnold Schoenberg's Die glückliche Hand: Artistic Self-Envisioning in the Early Modernist Era, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11579/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Abstract Arnold Schoenberg’s Die glückliche Hand : Artistic Self -Envisioning in the Early Modernist Era : This thesis focuses on Arnold Schoenberg’s stage work Die glückliche Hand (1913), a major composition of Schoenberg’s early atonal period, but one that has been less extensively studied by scholars. It argues that this work sheds considerable light on Schoenberg’s self-envisioning as creative artist during a crucial phase of his development, and is best understood as a Künstleroper with strong autobiographical resonances.
Shifts in Tone: the Effects of the First World War on Classical Music

SHIFTS IN TONE: THE EFFECTS OF THE FIRST WORLD WAR ON CLASSICAL MUSIC by DAVID HALLIWELL Submitted to the Department of History of the University of Kansas in partial fulfillment of the requirements for departmental honors Approved by: Andrew Denning, Thesis Coordinator Jonathan Hagel, Committee Member Martin Nedbal, Committee Member Date Defended: April 26, 2019 1 Abstract This paper explores how the First World War affected the lives and compositions of Ralph Vaughan Williams, Maurice Ravel, and Arnold Schoenberg, three well-known twentieth- century composers who fought in the conflict on the British, French, and Austrian sides. The war affected the lives and compositions of these three men in significant, enduring, and divergent ways. The sharp differences in their compositional reactions to the war owe primarily to these authors' previous compositional styles, particularly their prewar approach to tonality, and their divergent wartime experiences, such as the extent of military service and traumatic events that paralleled the war. Despite their differences, a commonality was present; the war prompted these composers to change their view of tonality. More broadly, the war also led to compositions that were characteristically darker, more somber, and dedicated to the injured and deceased.1 In the summer of 1918, at the age of 45, Ralph Vaughan Williams wrote to his friend and fellow English composer, Gustav Holst: "The war has brought me strange jobs, can you imagine me in charge of 200 horses! That's my job at present, I was dumped down on to it straight away, and before I had time to find out which were horses and which were wagons I found myself in the middle of a retreat."2 Vaughan Williams, like many other soldiers, found himself thrown into unfettered chaos when he arrived at the front.3 When he wrote to Holst, Vaughan Williams had 1 Tonality,” Encyclopedia Britannica, accessed March 24, 2019, https://www.britannica.com/art/tonality.
Arnold Schoenberg and the Intertextuality of Composing and Performance *

Arnold Schoenberg and the Intertextuality of Composing and Performance * Jennifer Shaw A composer’s musical sketches can be fascinating objects, recording choices made and paths abandoned. Over the past century we have accumulated a substantial scholarly literature on sketch studies, much of it concerning the provenance, cataloguing, restoration, archiving and reproduction of sketches of great composers in the classical art-music tradition.1 Yet can we treat sketches as more than historical documents? In my recent work on the music of Arnold Schoenberg I have argued that it is possible for a composer’s sketches not only to record the stages in the compositional process but also to influence modern interpretations and performances of works.2 As part of this ongoing project I have adopted an intertextual model that integrates aspects of cultural studies, sketch studies and music analysis. In this article, as an example of how this model can be employed, I will concentrate on one example taken from a sketch book that Schoenberg used in 1917 to record the main ideas for his oratorio Die Jakobsleiter (Jacob’s Ladder). I argue that we can make sense of the sketch book’s ‘ungrammaticalities,’ a term I have adopted from the work of literary theorist Michael Riffaterre,3 if we have an understanding of Schoenberg’s sense of his own place not just in the ‘great composer’ narrative of Austro-German music history that dominated Western Europe through much of the late * For their comments on earlier versions of this article I would like to thank Joseph Auner, Julie Brown, Nick Chadwick, Stefan Collini, Craig De Wilde, Sarah Fuller, Robert O.