Arnold Schönberg
Six Little Piano Pieces op. 19
One of the answers found by Schönberg’s circle to the question about how musical processes could be shaped without a tonal context was in the extreme streamlining of the form. With Schönberg’s Six Little Piano Pieces op. 19 of 1911, the concentration on the essential is legendary. Behind its fleeting gestures lie hidden depths, shown especially through its supposed reference in the last piece to Gustav Mahler’s funeral on 21 May 1911. With his carefully considered fingerings, Emanuel Ax invites all pianists to engage with these miniatures anew. The Henle Urtext edition publishes this modern classic in a new, generously laid out music setting.
About the Composer
Arnold Schönberg
The most important composer of the first half of the twentieth century, who with the transition to atonality and twelve-tone technique influenced musical history like no other.
| 1874 | Born on 13 September in Vienna. Largely self-taught except for lessons with Alexander Zemlinsky. |
| 1890–94 | Worked as a bank clerk. |
| 1899 | String Sextet “Transfigured Night” op. 4 as first mature original piece. |
| 1900–11 | “Gurrelieder”. |
| 1901–03 | Conductor in Berlin at Ernst von Wolzogen’s “Überbrettl”. |
| 1903 | Symphonic poem “Pelleas and Melisande” op. 6. After returning to Vienna, he taught (pupils included Anton Webern and Alban Berg, with whom he formed the Vienna School). |
| 1906 | Chamber Symphony op. 9 with quartal harmony. |
| 1908/09 | Shift away from tonality: String Quartet op. 10, Three Piano Pieces op. 11, Five Orchestra Pieces op. 16, monodrama “Erwartung” (Expectations) op. 17 (composed 1909, performed 1924), “Die glückliche Hand” (The Hand of Fate) op. 18. |
| from 1911 | Second sojourn in Berlin. “Theory of Harmony”. |
| 1912 | Melodrama cycle “Pierrot lunaire” op. 21 was a great international success. |
| 1918 | Founding of the Society for Private Musical Performances in Vienna. |
| Ca. 1920 | After a creative crisis, he found his way to twelve-tone technique (Suite for Piano op. 25, 1921–23). |
| 1925 | Appointed to a professorship at the Prussian Academy of Arts Berlin. |
| 1930 | Period-piece opera “Von heute auf morgen” (From Today to Tomorrow) op. 32. |
| 1930–32 | Started work on the opera “Moses and Aaron”. |
| 1933/36 | Emigrated to the USA, professorship in Los Angeles. |
| 1942 | “Ode to Napoleon” op. 41, Piano Concerto op. 42. |
| 1947 | “A Survivor from Warsaw” op. 46. |
| 1951 | Died on 13 July in Los Angeles. |
About the Authors
Norbert Müllemann (Editor)
Dr. Norbert Müllemann, born in 1976 in Cologne, studied musicology, German philology and philosophy at the University of Cologne whilst at the same time studying the piano at the Music Conservatory in Cologne.
In 2004 he began working at G. Henle Publishers as an intern. In 2005 he became a junior editor, whilst at the same time starting his doctorate at the Ludwig-Maximilians-Universität in Munich. He completed it in 2008 with a thesis entitled “Handschriften Frédéric Chopins bis 1830. Studien zur Authentizität, Datierung und Werkgenese”. Since 2008 Müllemann has been an editor at the publishing house, becoming editor-in-chief in 2017 and Head of Publishing in 2024. He has edited numerous Urtext editions for the publisher with a particular focus on the works of Frédéric Chopin.
Product Safety Informations (GPSR)
G. Henle Verlag
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Germany
info@henle.de
www.henle.com
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