Professional Documents
Culture Documents
THESIS
MASTER OF MUSIC
By
Denton, Texas
August, 1968
TABLE OF CONTENTS
Page
LIST OF TABLES... .. . . ..... iv
LIST OF ILLUSTRATIONS........ v
Chapter
.
10
. .. .10 II. THE CHAMBER SYMPHONY . . . .
.
III. THE TRANSITIONAL PERIOD. 26
IV. THE WIND QUINTET . 38
.
V. CONCLUSION........ 46
BIBLIOGRAPHY,................. . . . . . . . b. 50
iii
LIST OF TABLES
Tab le Page
I. Brief Analytical Outline of The Chamber
Symphony.............................. 16
iv
LIST OF ILLUSTRATIONS
Figure Page
1. Schoenberg, Chamber Symphony, measures 6-7. . . . 17
V
CHAPTER I
1H.
H. Stuckenschmidt, Arnold Schoenber , translated
by Edith Temple Roberts and Humphrey Searle New York,1959),
p. 17.
2 Ibid.,
p. 17.
3 Ibid., p. 17.
1
2
a piano teacher. The boy's early history was not very dif
efforts.5
and others, Schoenberg did not yet think of music as his pro
9 Ibid., p. 18.
1 0 Egon Wellesz, Arnold Schoenberg, translated by W. H.
Kerridge, (Great Britain, 1921), p. 12.
1 1 Stuckenschimidt,
op. cit., p. 17.
1 2 Wellesz, ap. cit., p. 12.
4
1 3 Stuckenschmidt,
a. cit., p. 19.
1 4 Newlin, 1 5 Wellesz,
op. cit., p. 213. op. cit., p. 13.
16 Stuckenschmidt, 9p. cit., p. 20.
5
ceased."18
song hits and operettas, which kept him from completing many
1 7 Wellesz, 18
p. cit., p. 13. Ibid., pp. 13-14.
1 9 Ibid.,
p. 14.
6
Vienna. The only large work which he had written during the
2 0 Stuckenschmidt, 2 1 Ibid.,
92. cit., p. 21. p. 21.
2 2 Wellesz,
2p. cit., p. 17.
2 3 Stuckenschmidt, 2 4 Ibid.,
2R. cit., p. 22. p. 22.
2 5 Wellesz,
2k. cit., p. 18.
7
music.27
2 6 Stuckenschmidt, 2 7 Ibid.,
p. cit., p. 23. p. 23.
2 8 Wellesz,
2p. cit., p. 18.
8
and promoter.2 9
during this year, and the period thus began during which
to the classics.30
29
Ibid., p. 19.
30Ibid., p. 19.
temporaries. 32
3 2 Stuckenschmidt,
a. cit., p. 23.
CHAPTER II
1 Josef
Rufer,
Composition with Twelve Notes, translated
by Humphrey Searle, (New York, 1954), p. 168.
2
Ibid., p. 168.
10
11
new harmonic and melodic forms which point beyond the piece
Style and Idea, he says of the two chief themes of this work:
3 Wellesz,
9P. cit., p. 23.
4 Stuckenschmidt, 5Ibid.,
op. cit., p. 38. p. 38.
12
nimsky fixes the date as six years later, March 31, 1913.10
fury, and derision; "The public did not trouble to wait for
cital that took place in the spring of that year, had cards
printed bearing notice that the holder had the right "only
1 2 Ibid.,
p. 24.
1 3 Boston Symphony Program Notes, p. 220.
14 1 5 Ibid.,
Ibid., p. 217. p. 218.
15
16
Egon Wellesz, The Origins of Schoenberg's Twelve
tone s (Washington, 1958), p. 3.
1 7 Wellesz,
Arnold Schoenberg, p. 105.
1 8 Newlin,
2p. cit., p. 229.
16
lowing scheme: 2 1
V. Finale . . . . . . . . . . . . . . . .90-end
1 9 Arnold
Schoenberg, Preface to the Chamber Symphony,
Opus 9, Universal Edition No. 225, Vienna,1912.
2 0 Stuckenschmidt,
21. cit., p. 65.
2 1 Score
Introduction.
17
serial method: 2 2
and one theme; its notes as such can still be heard dia
22
Rene Leibowitz, Schoenberg and His School, translated
by Dika Newlin, (New York, 1949), pp. 65-66.
2 3 Stuckenschmidt,
p. cit., p. 38.
24Ibid., p. 38.
18
inant tonality. 26
thematic ideas: 2 7
2 5 Ibid., 2 6 Ibid.,
p. 39. p. 38.
2 7 Leibowitz, p_. cit., 66-67.
19
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.
The fourth-chord appears immediately at the beginning
sition.29
After a short transition, the "second subject," a
1-- 4k.
I
2 8 Stuckenschmidt, 29Ibid., p.
op. cit., p. 39. 39.
21
of E major.
3 3 Ibid., 3 4 Newlin,
p. 40. 2p. cit., p. 229.
35 Stuckenschmidt, op. cit., p. 41.
24
was given by the Rose Quartet and the wind ensemble of the
minor String Quartet, Opus 10, and the Stefan George Lieder,
.
3 9 Leibowitz,
op_. cit., p. 67.
CHAPTER III
low pitch and so on, does not emerge so much from his early
center."3
1 Egon
Wellesz, The Origins of Schoenb Twelve-tone
System, (Washington, 1958), p. 3.
2 Ibid., p. 3
4. Ibid., p. 5.
26
27
Wellesz
this movement the soprano begins with the words: "I feel
air from other spheres." 6 Here we have the decisive break
4 Ibid., 5 Wellesz,
p. 6. Origins, p. 6. 6 Ibid.,
p. 6.
7 Stuckenschmidt, op. cit., pp. 42-43.
28
tone of the scale. 8 The next step was the use of disso
organa.10
This tendency was worked out by him first in the Three Piano
Pieces, Opus 11, in which no triads are used, but the dis
8Wellesz, 9 Rufer,
Origins, p. 7. op. cit., pp. 18-19.
10Ibid., p. 16. 1 1 Ibid.,
p. 58.
12
Stuckenschmidt, op.. cit., p. 34.
29
Wellesz states:
his Five Pieces for Piano, Opus 23, was published. This
work represents the first major step towards the twelve-tone
technique, which one finds for the first time fully developed
1 3 Wellesz,
Origins, p. 6.
1 4 Rufer,
p. cit., pp. 61-63.
15
Wellesz, Origins pp. 7-8.
30
scale, but the tones were chosen in such a clever way that
positions showed him the way out of the crisis of his tran
period that the technique had not matured during any pre
16 1 7 Wellesz,
Ibid., p. 8. Origins, p. 9.
1 8 Richard
S. Hill, Analytical Notes on Record Cover to
Wind Quintet, Columbia ML 5217.
31
row, used only in its original form, and only two statements
states:
twelve-tone system. 23
finished or published:
22
Ibid., p. 10. 23
Rufer, pp. cit., pp. 11-12.
2 4 Ibid.,
p. 22.
33
Not until the Suite fur Klavier, Opus 25, does Schoen
about an axis that will produce the interval on the same two
observed.
it is said that the heart must lie within the domain of the
2 9 Hill,
record cover notes.
35
"If more happens than one can think out, this can only hap
3 0 Rufer, 31
op. cit., p. 8. Ibid., p. 13.
32
Ibid., p. 7.
36
his Quartets, Opus 132 and 131, and in the Gross , based
berg states:
3 6 Ibid.,
p. 169.
CHAPTER IV
cal end and give us the first composition written with all
38
39
below stand for the number of half steps between each pair
row and mirror, since where the row ascends by any interval,
formed into either of two chords, one with the notes sepa
(among others):
-lp
Fl.
.1 1 L rpr go I
Fj is of gole
4A IDS F
AN zi: IF KL loge
AW
10 Ibid.
12
Hill, Record Cover Notes. 13
Ibid.
14Ibid.
43
ir
illustration:
ob4.
83, 105, and 110, but even before these points, the rhythm
of the opening three notes has been so thoroughly estab
novel ways:
45
and with so many ideas that the old can be safely forgotten. 5
335 and 347, but neither gets past the opening three B flats
CONCLUSION
tion:
46
47
2 Newlin,
p. cit., p. 273.
3 Walter
H. Rubsamen, Schoenberg in America,
(New York,
1951), p. 1.
4 Newlin, 5 Rubsamen,
p. cit., p. 273. 0p_. cit., p. 471.
48
tained this position for only one year. The following year
ture classes and seminars, ranging all the way from elemen
high school orchestra and was the first of his works since
or perceived). 10
Schoenberg became highly valued as a
9 Ibid., p. 486.
1 0 Boston Symphony Program Notes, p. 218.
11 Ibid., p. 219.
50
his life.
his followers:
12 Ibid., p. 226.
BIBLIOGRAPHY
Books
Articles
51
52
Scores
Schoenberg Arnold, Chamber Symphony, Opus 9, Universal
Edition, Vienna.