{"id":716,"date":"2015-06-05T17:43:11","date_gmt":"2015-06-05T17:43:11","guid":{"rendered":"https:\/\/courses.candelalearning.com\/musicx15xmaster\/?post_type=chapter&p=716"},"modified":"2015-06-05T17:43:11","modified_gmt":"2015-06-05T17:43:11","slug":"suite-for-piano","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/suny-musicapp-medieval-modern\/chapter\/suite-for-piano\/","title":{"raw":"Suite for Piano","rendered":"Suite for Piano"},"content":{"raw":"Here is some\u00a0additional information on Schoenberg's Suite for Piano. Our playlist features the Trio, which is a portion of movement 5. Please note that this suite was the first piece composed entirely in Schoenberg's twelve-tone technique. It's also worth noting the connection via genre to the suites we studied in the Baroque era.\r\n\r\nArnold Schoenberg's Suite for Piano<\/b> (German: Suite f\u00fcr Klavier<\/span>), Op. 25, is a twelve tone piece for piano composed between 1921 and 1923.\r\n\r\nThe work is the earliest in which Schoenberg employs a row of \"12 tones related only to one another\" in every movement:\u00a0the earlier 5 St\u00fccke<\/i>, Op. 23 (1920\u201323) employs a 12-tone row only in the final Waltz movement, and the Serenade<\/i>, Op. 24 uses a single row in its central Sonnet<\/i>.\r\n\r\nThe Basic Set of the Suite for Piano<\/i> consists of the following succession: E\u2013F\u2013G\u2013D\u266d<\/span>\u2013G\u266d<\/span>\u2013E\u266d<\/span>\u2013A\u266d<\/span>\u2013D\u2013B\u2013C\u2013A\u2013B\u266d<\/span>.\r\n\r\nIn form and style the work echoes many features of the Baroque suite.\r\n\r\nSchoenberg's Suite has six movements:\r\n
    \r\n\t
  1. Pr\u00e4ludium (1921)<\/li>\r\n\t
  2. Gavotte (1923)<\/li>\r\n\t
  3. Musette (1923)<\/li>\r\n\t
  4. Intermezzo (1921\u20131923)<\/li>\r\n\t
  5. Menuett. Trio (1923)<\/li>\r\n\t
  6. Gigue (1923)<\/li>\r\n<\/ol>\r\nA performance of the entire Suite f\u00fcr Klavier<\/i> takes around 16 minutes.\r\n\r\n[caption id=\"attachment_820\" align=\"alignright\" width=\"272\"]\"Figure Figure 1. Polyphonic complex of threetetrachords from early sketch for Schoenberg's Suite for Piano, Op. 25 (Whittall 2008, p. 34). The bottom being the BACH motif in retrograde: HCAB.[\/caption]\r\n\r\nIn this work Schoenberg employs transpositions and inversions of the row for the first time: the sets employed are P-0, I-0, P-6, I-6 and their retrogrades. Arnold Whittall has suggested that \"The choice of transpositions at the sixth semitone\u2014the tritone\u2014may seem the consequence of a desire to hint at 'tonic-dominant' relationships, and the occurrence of the tritone G-D\u266d<\/span> in all four sets is a hierarchical feature which Schoenberg exploits in several places.\"\r\n\r\nThe Suite for Piano<\/i> was first performed by Schoenberg's pupil Eduard Steuermann in Vienna on 25 February 1924. Steuermann made a commercial recording of the work in 1957.\u00a0The first recording of the Suite for Piano<\/i> to be released was made by Niels Viggo Bentzon some time before 1950.\r\n\r\nThe Gavotte movement contains, \"a parody of a baroque keyboard suite that involves the cryptogram of Bach's name as an important harmonic andmelodic device (Stuckenschmidt 1977, 108; Lewin 1982\u201383, n.9)\" and a related quotation of Schoenberg's op. 19\/vi.\r\n\r\nEdward T. Cone (1972) has catalogued what he believes to be a number of mistakes in Reinhold Brinkmann's 1968 revised edition of Schoenberg's piano music, one of which is in measure number five of the Suite's \"Gavotte\", G\u266d<\/span> instead of G\u266e<\/span>.\u00a0Henry Klumpenhouwer invokes Sigmund Freud's concept of parapraxes (i.e., mental slips) to suggest a psychological context explaining the deviation from the note predicted from the tone row.","rendered":"

    Here is some\u00a0additional information on Schoenberg’s Suite for Piano. Our playlist features the Trio, which is a portion of movement 5. Please note that this suite was the first piece composed entirely in Schoenberg’s twelve-tone technique. It’s also worth noting the connection via genre to the suites we studied in the Baroque era.<\/p>\n

    Arnold Schoenberg’s Suite for Piano<\/b> (German: Suite f\u00fcr Klavier<\/span>), Op. 25, is a twelve tone piece for piano composed between 1921 and 1923.<\/p>\n

    The work is the earliest in which Schoenberg employs a row of “12 tones related only to one another” in every movement:\u00a0the earlier 5 St\u00fccke<\/i>, Op. 23 (1920\u201323) employs a 12-tone row only in the final Waltz movement, and the Serenade<\/i>, Op. 24 uses a single row in its central Sonnet<\/i>.<\/p>\n

    The Basic Set of the Suite for Piano<\/i> consists of the following succession: E\u2013F\u2013G\u2013D\u266d<\/span>\u2013G\u266d<\/span>\u2013E\u266d<\/span>\u2013A\u266d<\/span>\u2013D\u2013B\u2013C\u2013A\u2013B\u266d<\/span>.<\/p>\n

    In form and style the work echoes many features of the Baroque suite.<\/p>\n

    Schoenberg’s Suite has six movements:<\/p>\n

      \n
    1. Pr\u00e4ludium (1921)<\/li>\n
    2. Gavotte (1923)<\/li>\n
    3. Musette (1923)<\/li>\n
    4. Intermezzo (1921\u20131923)<\/li>\n
    5. Menuett. Trio (1923)<\/li>\n
    6. Gigue (1923)<\/li>\n<\/ol>\n

      A performance of the entire Suite f\u00fcr Klavier<\/i> takes around 16 minutes.<\/p>\n

      \"Figure<\/p>\n

      Figure 1. Polyphonic complex of threetetrachords from early sketch for Schoenberg’s Suite for Piano, Op. 25 (Whittall 2008, p. 34). The bottom being the BACH motif in retrograde: HCAB.<\/p>\n<\/div>\n

      In this work Schoenberg employs transpositions and inversions of the row for the first time: the sets employed are P-0, I-0, P-6, I-6 and their retrogrades. Arnold Whittall has suggested that “The choice of transpositions at the sixth semitone\u2014the tritone\u2014may seem the consequence of a desire to hint at ‘tonic-dominant’ relationships, and the occurrence of the tritone G-D\u266d<\/span> in all four sets is a hierarchical feature which Schoenberg exploits in several places.”<\/p>\n

      The Suite for Piano<\/i> was first performed by Schoenberg’s pupil Eduard Steuermann in Vienna on 25 February 1924. Steuermann made a commercial recording of the work in 1957.\u00a0The first recording of the Suite for Piano<\/i> to be released was made by Niels Viggo Bentzon some time before 1950.<\/p>\n

      The Gavotte movement contains, “a parody of a baroque keyboard suite that involves the cryptogram of Bach’s name as an important harmonic andmelodic device (Stuckenschmidt 1977, 108; Lewin 1982\u201383, n.9)” and a related quotation of Schoenberg’s op. 19\/vi.<\/p>\n

      Edward T. Cone (1972) has catalogued what he believes to be a number of mistakes in Reinhold Brinkmann’s 1968 revised edition of Schoenberg’s piano music, one of which is in measure number five of the Suite’s “Gavotte”, G\u266d<\/span> instead of G\u266e<\/span>.\u00a0Henry Klumpenhouwer invokes Sigmund Freud’s concept of parapraxes (i.e., mental slips) to suggest a psychological context explaining the deviation from the note predicted from the tone row.<\/p>\n\n\t\t\t

      \n\t\t\t

      Candela Citations<\/h3>\n\t\t\t\t\t
      \n\t\t\t\t\t\t
      \n\t\t\t\t\t\t\t
      CC licensed content, Original<\/div>