词条 | Suite for Piano (Schoenberg) |
释义 |
Arnold Schoenberg's Suite for Piano (German: {{Lang|de|Suite für Klavier}}), Op. 25, is a twelve tone piece for piano composed between 1921 and 1923. The work is the earliest in which Schoenberg employs a row of "12 tones related only to one another" in every movement:{{Citation needed|date=April 2014}} the earlier 5 Stücke, Op. 23 (1920–23) employs a 12-tone row only in the final Waltz movement, and the Serenade, Op. 24 uses a single row in its central Sonnet. The Basic Set of the Suite for Piano consists of the following succession: E–F–G–D{{Music|b}}–G{{Music|b}}–E{{Music|b}}–A{{Music|b}}–D–B–C–A–B{{Music|b}}. In form and style the work echoes many features of the Baroque suite. Schoenberg's Suite has six movements:
A performance of the entire Suite für Klavier takes around 16 minutes. 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 "[t]he choice of transpositions at the sixth semitone—the tritone—may seem the consequence of a desire to hint at 'tonic-dominant' relationships, and the occurrence of the tritone G-D{{Music|b}} in all four sets is a hierarchical feature which Schoenberg exploits in several places".[2] The Suite for Piano 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.[3] The first recording of the Suite for Piano to be released was made by Niels Viggo Bentzon some time before 1950.[3] The Gavotte movement contains, "a parody of a baroque keyboard suite that involves the cryptogram of Bach's name as an important harmonic and melodic device (Stuckenschmidt 1977, 108; Lewin 1982–83, n.9{{Clarify|date=February 2014}})" and a related quotation of Schoenberg's op. 19/vi.[4] 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{{music|flat}} instead of G{{music|natural}}.[5] Henry 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.[6]ReferencesNotes1. ^Whittall (2008), pp. 2 & 5. Sources2. ^Whittall (1977), p. 122. 3. ^1 University of Southern California Libraries (n.d.). 4. ^Klumpenhouwer (1994), p. 246. 5. ^Cone (1972), p.72. 6. ^Klumpenhouwer (1994), p. 218.
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5 : Twelve-tone compositions by Arnold Schoenberg|Compositions for solo piano|Suites|Neoclassicism (music)|1923 compositions |
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