Schoenberg's Program Notes and Musical Analyses

Contents

• About the Companion Website
• Preface
• Acknowledgements
• Abbreviations
• Note on Texts and Translations
• Introduction
• I. On Development and Influences
• 1.1. Who Am I?/My Evolution (Retrospective/Looking Back), November 29, 1949
• 1.2. My Models, June 6, 1928
• 1.3. A Self-Analysis (Maturity), March 3, 1948
• 1.4. Schoenberg Looks Backward--and Ahead, September 26, 1948
• II. On the Radio
• 2.1. Discussion over Radio Berlin with Preussner and Strobel, March 30, 1931
• 2.2. First American Radio Broadcast, November 19, 1933
• 2.3. Interview with Max van Leuven Swarthout, Fall 1935
• 2.4. Radio Interview with Raoul Gripenwaldt, July 7, 1948
• 2.5. To the Birthday of Broadcasts of Contemporary Music, September 12, 1948
• 2.6. For the Broadcast, August 22, 1949
• 2.7. For My Broadcast, August 23, 1949
• III. On Modern Music
• 3.1. Polytonalists [I], April 21, 1923, and Polytonalists [II], November 29, 1923
• 3.2. Notes for an Essay Entitled, The Contemporary Situation in Music, 1929
• 3.3. What Have People to Expect from Music? November 7, 1935
• 3.4. Teaching and Modern Trends, June 30, 1938
• 3.5. Advice for Beginners in Composition with Twelve Tones, 1951
• 3.6. This is Probably the Solution to the Problem, Undated
• IV. On Compositions: 1898-1907
• 4.1. Polytonality in My Works, December 12, 1924
• 4.2. Arnold Schoenberg Writes the Following about Himself and His String Quartet[sic], October 21, 1902
• 4.3. Program Notes to the Second Arnold Schoenberg Evening (Chamber Music in Large Halls), June 3, 1919
• 4.4. Excerpt from the Harmonielehre about Ninth Chords in Inversion, 1922
• 4.5. Constructives in Verklarte Nacht, 1932
• 4.6. Letter to Bruno Walter, December 23, 1943
• 4.7. Liner Notes for the Capitol Records Release of Verklarte Nacht, August 26, 1950
• 4.8. Symphonic Introductory Music to Pelleas und Melisande by Maeterlinck, perhaps 1902
• 4.9. Proposed Program of Pelleas und Melisande, 1902-3
• 4.10. Letter to Alexander von Zemlinsky, February 20, 1918
• 4.11. Excerpts from the Harmonielehre about Whole-Tone Chords and Chords in Fourths (1922)
• 4.12. Keywords for a Free Lecture in Boston with the Aid of Slonimsky, January 4, 1934
• 4.13. Liner Notes for the Capitol Records Release of Pelleas und Melisande, 1949
• 4.14. Foreword to a Broadcast of the Capitol Recording of Pelleas und Melisande, February 17, 1950
• 4.15. Analysis of op. 6, no. 7, 1948
• 4.16. Schoenberg's Private Program for the First String Quartet, 1904
• 4.17. Analysis of the First String Quartet, 1907
• 4.18. Cues for a Lecture on the First String Quartet at the University of Southern California, c. 1935
• 4.19. Excerpts from The Musical Idea and the Logic, Technique, and Art of Its Presentation, 1934-36
• 4.20. Liner Notes for the Dial Records Release of the First Chamber Symphony, 1949
• 4.21. Rigoletto and Kammersymphonie, An Analysis, Undated
• 4.22. Class Analysis of the Kammersymphonie, op. 9, after 1944
• 4.23. Letter to Hermann Scherchen, June 23, 1923
• V. On Compositions: 1908-22
• 5.1. Class Analyses of the Second String Quartet, after 1944
• 5.2. Program Notes for the Society for Art and Culture: New Compositions by Arnold Schoenberg, January 14, 1910
• 5.3. Introduction to the Three Pieces for Piano, July 27, 1949
• 5.4. Excerpt from the Berlin Diary, January 28, 1912
• 5.5. Excerpt from the Harmonielehre about Erwartung, 1922
• 5.6. Letter to Leopold Stokowski, July 2, 1945
• 5.7. At the Time When I Painted, April 5, 1948
• 5.8. Introductory Remarks for a New York Philharmonic Society Broadcast of Lied der Waldtaube from Gurrelieder, October 30, 1949
• 5.9. Notes on the Gurrelieder, January 12, 1951
• 5.10. Notes for the Columbia Records Release of Pierrot lunaire, 1941
• 5.11. Breslau Lecture on Die gluckliche Hand, March 24, 1928
• 5.12. The Simplified Study/Conductor's Score: Foreword to the Four Orchestral Songs, op. 22, September 1917
• 5.13. Analysis of the Four Orchestral Songs, op. 22, February 21, 1932
• 5.14. Program and Plan for a Symphony, before May 27, 1914
• VI. On Compositions: 1923-34
• 6.1. Two Letters to Nicholas Slonimsky, June 3, 1937 and January 2, 1940
• 6.2. About Wilhelm Werker's Study of the Symmetry of Fugues, etc. in Bach, September 20, 1928
• 6.3. Method of Composing with Twelve Tones Only Related to One Another, 1935
• 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
• 6.5. (Definite) Foreword to opp. 27 and 28, 1926
• 6.6. Movement Titles for the Suite, op. 29, 1924-26
• 6.7. Excerpt from a Letter to Rudolf Kolisch, July 27, 1932
• 6.8. Interview with Myself (Ideas of Arnold Schoenberg), October 6, 1928
• 6.9. Radio Lecture on the Variations for Orchestra, March 22, 1931
• 6.10. A Letter and a Draft of a Letter to Olin Downes, November 8, 1938
• 6.11. Radio Lecture for a Performance of Von heute auf morgen, February 27, 1930
• 6.12. Draft of a Foreword for a Publicity Flier for Von heute auf morgen, April 1, 1930
• 6.13. Danger-Fear, 1929
• 6.14. Letter to Walter Eidlitz, March 15, 1933
• 6.15. The Transplanted Composer, April 19, 1950
• 6.16. Letter to Pablo Casals, February 20, 1933
• 6.17. About the String Quartet Concerto, February 1935
• 6.18. Draft of a Foreword to the Suite for String Orchestra for College Orchestra Composed by Arnold Schoenberg, perhaps 1935
• 6.19. Draft of a Letter to Olin Downes, October 1935
• VII. On Compositions: 1936-47
• 7.1. Excerpt from a Letter to Louis Krasner, March 3, 1939
• 7.2. Program Notes to and Audio Commentary for the Kolisch Quartet Recording of the Four String Quartets, 1936
• 7.3. Program Notes for the Juilliard String Quartet Performance of the Four String Quartets, end of December 1949 or early January 1950
• 7.4. Letter to Alfred V. Frankenstein, March 18, 1939
• 7.5. To Kol nidre, 1938 or later
• 7.6. Draft of a Letter to Elliot E. Cohen, January 28, 1950
• 7.7. Radio Interview with Lisa Sergio, November 1940
• 7.8. Table of Motives, 1948
• 7.9. Letter to Donald W. Gray, April 19, 1950
• 7.10. How I Came to Compose the Ode to Napoleon, perhaps 1944
• 7.11. Program for the Piano Concerto, 1942
• 7.12. Two Documents about the Theme and Variations, perhaps 1944
• 7.13. My Fatality, March 9, 1949
• 7.14. Excerpt from a Letter to Kurt List, November 1, 1948
• Epilogue: Melodrama--Retrospective/Looking Back, Undated
• Notes
• Personalia
• Select Bibliography
• Select Discography