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"In 1950, as Arnold Schoenberg anticipated the publication of a collection of 15 of his most important writings, Style and Idea, he was already at work on a second volume to be called Program Notes. Inspired by this idea, Schoenberg's Program Notes and Musical Analyses can boast the most comprehensive study of the composer's writings about his own music yet published. Schoenberg's insights emerge not only in traditional program notes, but also in letters, sketch materials, pre-concert talks, public lectures, contributions to scholarly journals, newspaper articles, interviews, pedagogical materials, and publicity fliers. The editions of the texts in this collection, based almost exclusively on Schoenberg's original manuscript sources, include many items appearing in print in English for the first time, as well as more familiar texts that preserve musical and textual information eliminated from previous editions. The book also reveals how Schoenberg, desirous to communicate with and educate an audience, took every advantage of changes in technology during his lifetime, utilizing print media, radio broadcasts, record jackets--and had he lived, television--for this purpose. In addition to four chapters in which Schoenberg illuminates 42 of his own compositions, the book begins with chapters on his development and influences, his thoughts about trends in modern music, and, in a nod to the importance of the radio in providing a venue for music analysis, a chapter about Schoenberg's radio broadcasts."--Publisher's description.

Table Of Contents

1. On development and influences. Who am I?/My evolution (Retrospective/Looking back), November 29, 1949

My models, June 6, 1928

A self-analysis (Maturity), March 3, 1948

Schoenberg looks backward-and ahead, September 26, 1948.

2. On the radio. Discussion over Radio Berlin with Preussner and Strobel, March 30, 1931

First American radio broadcast, November 19, 1933

Interview with Max van Leuven Swarthout, Fall 1935

Radio interview with Raoul Gripenwaldt, July 7, 1948

To the birthday of Broadcasts of Contemporary Music, September 12, 1948

For the broadcast, August 22, 1949

For my broadcast, August 23, 1949.

3. On modern music. Polytonalists (I), April 21, 1923, and Polytonalists (II), November 29, 1923

Notes for an essay entitled, "The contemporary situation in music," 1929

What have people to expect from music? November 7, 1935

Teaching and modern trends, June 30, 1938

Advice for beginners in composition with twelve tones, 1951

This is probably the solution to the problem, Undated.

4. On compositions: 1898-1907. Polytonality in my works, December 12, 1924

Arnold Schoenberg writes the following about himself and his string quartet (sic), October 21, 1902

Program notes to the Second Arnold Schoenberg evening (Chamber music in large halls), June 3, 1919

Excerpt from the Harmonielehre about ninth chords in inversion, 1922

Constructives in Verklèarte Nacht, 1932

Letter to Bruno Walter, December 23, 1943

Liner notes for the Capitol Records release of Verklèarte Nacht, August 26, 1950

Symphonic introductory music to Pelleas und Melisande by Maeterlinck, Perhaps 1902

Proposed program of Pelleas und Melisande, 1902-3

Letter to Alexander von Zemlinsky, February 20, 1918

Excerpts from the Harmonielehre about whole-tone chords and chords in fourths, 1922

Keywords for a "free" lecture in Boston with the aid of Slonimsky, January 4, 1934

Liner notes for the Capitol Records release of Pelleas und Melisande, 1949

Foreword to a broadcast of the Capitol recording of Pelleas und Melisande, February 17, 1950

Excerpts from an analysis of Eight songs, op. 6, no. 7, "Lockung," 1948

Private program for the First string quartet, 1904

Analysis of the First string quartet, 1907

Cues for a lecture on the First string quartet at the University of Southern California, ca. 1935

Excerpts from The musical idea and the logic, technique, and art of its presentation, 1934-37

Liner notes for the Dial Records release of the First chamber symphony, 1949

Rigoletto and Kammersymphonie, an analysis, Perhaps 1936

Class analyses of the Kammersymphonie, op. 9, After 1944

Letter to Hermann Scherchen, June 23, 1923.

5. On compositions, 1908-1922. Class analyses of the Second string quartet, After 1944

Program notes for the Society of Art and Culture : New compositions by Arnold Schoenberg, January 14, 1910

Introduction to the Three pieces for piano, July 27, 1949

Excerpt from the Berlin diary, January 28, 1912

Excerpt from the Harmonielehre about Erwartung, 1922

Letter to Leopold Stokowski, July 2, 1945

At the time when I painted, April 5, 1948

Introductory remarks for a New York Philharmonic Society broadcast of "Lied der Waldtaube" from Gurrelieder, October 30, 1949

Notes on the Gurrelieder, January 12, 1951

Notes for the Columbia Records release of Pierrot lunaire, 1941

Breslau lecture on Die glèuckliche Hand, March 24, 1928

The simplified study/conductor's score : foreword to the Four orchestral songs, op. 22, September 1917

Analysis of the Four Orchestra Songs, op. 22, February 21, 1932

Program and plan for a symphony, Before May 27, 1914.

6. On compositions : 1923-1934. Two letters to Nicholas Slonimsky, June 3, 1937, and January 2, 1940

About Wilhelm Werker's Study of the symmetry of fugues, etc. in Bach, September 20, 1928

Method of composing with twelve tones only related to one another, 1935

Preliminary remarks about opp. 27 and 28 to be placed after the title page, before the first page of score (unused), Early 1926

(Definite) Foreword to opp. 27 and 28, 1926

Movement titles for the Suite, op. 29, 1924

Excerpt from a letter to Rudolf Kolisch, July 27, 1932

Interview with myself (Ideas of Arnold Schoenberg), October 6, 1928

Radio lecture on the Variations for orchestra, March 22, 1931

A letter and a draft of a letter to Olin Downes, November 8, 1938

Radio lecture for a performance of Von heute auf morgen, February 27, 1930

Draft of a foreword for a publicity flier for Von heute auf morgen, After April 1, 1930

Danger-Fear, 1929

Letter to Walter Eidlitz, March 15, 1933

The transplanted composer, 1950

Letter to Pablo Casals, February 20, 1933

About the String quartet concerto, Before February 17, 1935

Draft of a foreword to the Suite for string orchestra for college orchestra composed by Arnold Schoenberg, perhaps 1935

Draft of a letter to Olin Downes, October 1935.

7. On compositions : 1936-1947. Letter to Louis Krasner, March 3, 1939

Program notes to and audio commentary for the Kolisch Quartet recording of the Four string quartets, 1936

Program notes for the Juilliard String Quartet performance of the Four string quartets, end of December 1949 or early January 1950

Letter to Alfred V. Frankenstein, March 18, 1939

To Kol nidre, 1938 or later

Draft of a letter to Elliot E. Cohen, January 28, 1950

Radio interview with Lisa Sergio, November 1940

Table of motives, 1948

Letter to Donald W. Gray, April 19, 1950

How I came to compose the Ode to Napoleon, Perhaps 1944

Program for the Piano Concerto, 1942

Two documents about the Theme and variations, Perhaps 1944

My fatality, March 9, 1949

Excerpt from a letter to Kurt List, November 1, 1948. 505 8 $a Epilogue. Melodrama and choir : Retrospective/looking back, Undated.

Authorized Access Point

Schoenberg, Arnold, 1874-1951 Schoenberg's program notes and musical analyses

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Generation Process: DLC marc2bibframe2 v2.5.0

Status: changed

Encoding Level: full

Description Conventions: ISBD: International standard bibliographic descriptionResource description and access

Identified By: bf:Local, 20305764

Change Date: 2018-02-08T11:10:06

Creation Date: 2018-01-24

Description Language: English

Description Modifier: United States, Library of Congress

Description Authentication: LC Copy Cataloging

Assigner: YDX

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