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Produktbild: Schoenberg's Program Notes and Musical Analyses

Schoenberg's Program Notes and Musical Analyses

255,99 €

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Beschreibung

Produktdetails

Einband

Gebundene Ausgabe

Erscheinungsdatum

22.04.2016

Herausgeber

J.Daniel Jenkins

Verlag

Oxford Academic

Seitenzahl

502

Maße (L/B/H)

24/16,1/3,1 cm

Gewicht

862 g

Sprache

Englisch

ISBN

978-0-19-538557-1

Beschreibung

Produktdetails

Einband

Gebundene Ausgabe

Erscheinungsdatum

22.04.2016

Herausgeber

J.Daniel Jenkins

Verlag

Oxford Academic

Seitenzahl

502

Maße (L/B/H)

24/16,1/3,1 cm

Gewicht

862 g

Sprache

Englisch

ISBN

978-0-19-538557-1

Herstelleradresse

Libri GmbH
Europaallee 1
36244 Bad Hersfeld
DE

Email: gpsr@libri.de

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  • Produktbild: Schoenberg's Program Notes and Musical Analyses

    • 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 Verklÿrte Nacht, 1932

    • 4.6. Letter to Bruno Walter, December 23, 1943

    • 4.7. Liner Notes for the Capitol Records Release of Verklÿrte 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 glÿckliche 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, after 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