University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 5-2021 "Old Wine, New Bottles:" The Impact of Schoenberg's Verein on the Arrangement Practice of Mahler's Symphony No. 4 (Movement I) Rebecca Nederhiser University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons Nederhiser, Rebecca, ""Old Wine, New Bottles:" The Impact of Schoenberg's Verein on the Arrangement Practice of Mahler's Symphony No. 4 (Movement I)" (2021). Student Research, Creative Activity, and Performance - School of Music. 155. https://digitalcommons.unl.edu/musicstudent/155 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. “OLD WINE, NEW BOTTLES:” THE IMPACT OF SCHOENBERG’S VEREIN ON THE ARRANGEMENT PRACTICE OF MAHLER’S SYMPHONY NO. 4 (MOVEMENT I) By Rebecca N. Nederhiser A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska-Lincoln In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music (Orchestral Conducting) Under the Supervision of Professor Tyler White Lincoln, Nebraska May, 2021 “OLD WINE, NEW BOTTLES:” THE IMPACT OF SCHOENBERG’S VEREIN ON THE ARRANGEMENT PRACTICE OF MAHLER’S SYMPHONY NO. 4 (MOVEMENT I) Rebecca Nederhiser, D.M.A University of Nebraska, 2021 Advisor: Tyler G. White The purpose of this document is to provide historical and cultural context to the chamber arrangements formed in Arnold Schoenberg’s (1874-1951) Verein für musikalische Privataufführungen (Society for Private Musical Performances) and their impact on the orchestration practice of modern-day arrangers Iain Farrington and Peter Stangel. Using Gustav Mahler’s (1860-1911) Symphony No. 4 for comparison, the researcher will evaluate a reconstructed version of the work by Society member Erwin Stein, alongside two 21st century arrangements by Iain Farrington and Peter Stangel, who took creative inspiration from the Verein. From these versions, orchestration choices by each arranger will be compared and studied, analyzing their effectiveness in conveying Mahler’s original conception. This study will also reveal how artistic choices and patterns can be garnered from the study of three different arrangers. iii Ⓒ Copyright 2021, Rebecca N. Nederhiser All Rights Reserved iv ACKNOWLEDGEMENTS This document would not be possible without the support from several individuals. First, thank you to my primary advisor Dr. Tyler White for your continued encouragement and insight. Dr. Karen Becker and Dr. Carolyn Barber, thank you for your support and advice throughout this process. Dr. Pamela Starr, thank you for your continued guidance and enthusiasm towards this project. Thank you to members of my chamber ensemble Trace Chamber Society, for embarking on the performance of several of these arrangements. You gave me a tangible experience that greatly informed my research and writing. Sincere gratitude is extended towards arrangers Peter Stangel and Iain Farrington for graciously allowing me to study their works and providing Zoom interviews as needed. Additional thanks to Belmont Music Publishers and Josef Weinberger for providing and allowing me to use materials within this study. Thank you to all my friends and family who have supported me on this journey, especially Allyssa Haigh and Krista Connelly. To my greatest supporters, my parents and sister for your countless hours of encouragement. Finally, thank you Lord for your inspiration and strength. This document is dedicated to the loving memory of my grandfathers: David Moss who passed away on October 11, 2018 and Louis Nederhiser who passed away March 27, 2021. v TABLE OF CONTENTS EXAMPLES .................................................................................................................... VII FIGURES .......................................................................................................................... XI CHAPTER I. PURPOSE OF STUDY ................................................................................... 1 Research Questions................................................................................. 2 Definition of Terms ................................................................................ 3 II. REVIEW OF RELATED LITERATURE ...................................................... 6 III. THE SOCIETY FOR PRIVATE MUSICAL PERFORMANCES: CONTEXT, ORIGINS, AND FOUNDING PRINCIPLES ........................... 8 The Music of Vienna from 1800-1900 ................................................... 8 Political Climate and Schoenberg’s Social Circle ................................ 11 The Society for Private Musical Performances (1918-1921) ............... 14 IV. THE CHAMBER ENSEMBLE ARRANGEMENTS CREATED WITHIN THE VEREIN: ORIGINS AND CONTEXT ............................................... 19 Chamber Arrangement Tradition, Café Culture, and Salon Orchestras in Vienna ................................................................................................... 19 Early Origins and History of the Chamber Arrangements within the Verein.................................................................................................... 25 Schoenberg and the Pedagogical Process of Arranging ....................... 29 V. ERWIN STEIN’S ARRANGEMNT OF MAHLER’S SYMPHONY NO. 4 ............................................................................................................ 32 Brief History and Context..................................................................... 32 Erwin Stein’s Arrangement of Mahler’s Symphony No. 4 .................. 38 vi Score Examples from Stein’s Arrangement of Mahler’s Symphony No. 4 (Movement I) ..................................................................................... 38 Highlights from Movements II-IV ....................................................... 49 VI. IAIN FARRINGTON’S ARRANGMENT OF MAHLER SYMPHONY NO. 4 ........................................................................................................... 54 Brief History and Context..................................................................... 54 Score Examples from Farrington’s Mahler Symphony No. 4 (Movement I) ........................................................................................ 56 Score Highlights from Movements II-IV ............................................. 66 VII. PETER STANGEL’S ARRANGMENT OF MAHLER’S SYMPHONY NO. 4 ........................................................................................................... 71 Brief History and Context..................................................................... 71 Score Examples from Stangel’s Arrangement of Mahler’s Symphony No. 4 (Movement I) .............................................................................. 72 Score Highlights from Movements II-IV ............................................. 82 VIII. CONCLUSION .......................................................................................... 88 Impact of Schoenberg’s Verein on Arrangement Practice and Performance .......................................................................................... 88 IX. TOPICS FOR FURTHER RESEARCH....................................................... 94 Alexander Platt’s Reconstructed Score ................................................ 94 Schoenberg’s Vision for the Verein and its Short Life-span ................ 94 Schoenberg’s Orchestration Methodology and Orchestration Influences.............................................................................................. 95 Further Influences/Organizations Inspired by Schoenberg’s Verein .... 96 BIBLIOGRAPHY ............................................................................................................. 97 vii EXAMPLES 5.1 Mahler Symphony No. 4, Mvt. I mm. 1-7 Arr. by Johann Wöss ............................... 33 5.2 Mahler Symphony No. 4, Mvt. I mm. 1-3 .................................................................. 39 5.3 Mahler Symphony No. 4, Mvt. I mm. 1-3 Arr. by Stein/Platt .................................... 39 5.4 Mahler Symphony No. 4, Mvt. I mm. 228-232 Arr. by Stein/Platt ............................ 40 5.5 Mahler Symphony No. 4, Mvt. I m. 25 ....................................................................... 40 5.6 Mahler Symphony No. 4, Mvt. I mm. 23-25 Arr. by Stein/Platt ................................ 40 5.7 Mahler Symphony No. 4, Mvt. I mm. 58-59 .............................................................. 41 5.8 Mahler Symphony No. 4, Mvt. I mm. 58-59 Arr. by Stein/Platt ................................ 41 5.9 Mahler Symphony No. 4, Mvt. I mm. 211-216 Arr. by Stein/Platt ............................ 41 5.10 Mahler Symphony No. 4, Mvt. I mm. 67-70 Arr. by Stein/Platt .............................. 42 5.11 Mahler Symphony No. 4, Mvt. I mm. 86-88 Arr. by Stein/Platt .............................. 42 5.12 Mahler Symphony No. 4, Mvt. I m. 168 Arr. by Stein/Platt .................................... 43 5.13 Mahler Symphony No. 4, Mvt. I mm. 178-179 Arr. by Stein/Platt .......................... 43 5.14 Mahler