Arnold Schönberg
Concerto for Piano and Orchestra op. 42
Schönberg’s Piano Concerto op. 42 was written in 1942 during his exile on the Pacific coast of California. A first sketch dates from June of that year; the fair copy of the short score was already finished at the end of December. In addition to the piano part it contains the orchestral setting in reduced form, condensed onto a few staves. However, it already displays all specifications concerning the instrumentation and is also completely marked-up in terms of dynamics and phrasing. This easily readable fair-copy autograph is a central document of the work’s transmission and is now published here for the first time in a facsimile edition, made in cooperation with the Arnold Schönberg Center, Vienna. In their scholarly introduction, the two Schönberg experts Therese Muxeneder and Katharina Bleier present the history of the work and its formal conception in exemplary fashion, and at the same time explain the special features of the manuscript. Additionally, and in a separate chapter, Verena Graf describes how the autograph was painstakingly restored shortly before being reproduced in this facsimile.
Produced in high-quality four-colour printing, wrapped in Pacific blue and bound in fine linen, the edition offers a fascinating insight into Schönberg’s notation and compositional thinking. A worthy contribution by G. Henle Publishers and the Arnold Schönberg Center to Arnold Schönberg’s 150th birthday in 2024!
作曲家について
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. |
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G. Henle Verlag
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