SCHOENBERG CONCERTO (Klavierkonzert) op. 42 PHILHARMONIAArnold Schoenberg composed his one (completed) Pi: i the second half of 1942. it is the last ark it wen he combined the vrei of composition with twelve notes related only to one another with thowe of cl - sicai form, a procedure he had preferred ever since the Serenade Op. 2 “and the Quintet for Wind Instruments Op, 26. In the Piano Concerto, whi . is features in common with both the “Ode to Napoleon” after Lord Byron 0; " and the (unfinished) Organ Sonata (1941), the synthetic character is parti wl th clear: traditional factors are to be found both in the actual Pine plows and in its format fayout. Sound of the piece The Concerto is based on the series (B = Basic set) 2 akin ua eerdance with pe principle of complementing each half of a series } ‘elve-note field from the matching half jes in i form) the inverted form transposed down a fifth is aesigned Ge in inverted al Tagg (econize the principle of compressed movements in the formal layout: crow be clearly indenenasn oz adagio, and rondo — although contrasted t e e of one another, flow into one anath in the gon si is underlined by the return of the first subject as an apotheosis a connate fy the unity of the musical language, which creates a wealth fakes one trek bala aa ae etaits. This kind of formal planning certainly € e firs! amber Symphony Oj - musient P. 9 — a model of abs: en State pecans 3 hoe dev, serap of Paper from that period, a note to win - attention, suggests more programmatic ideas: Life was so easy arama eas: Suddenly hatred broke out (Prestod-= 72) a grave situation was created (Adagio) but life goes on (Rondo). ls this a how” one waamme at was later concealed, or an explanatory afterthought? 3 question, th is J he Paso One, a3 progam mtn @ fact is that one can scarcely regard The compactness of the wo: ships and by the nnn lvoe rk is guaranteed by its wealth of formal relation- The first movement begins with a very extensive part based on the basic set {and the inversion transposed by a fifth which is associated with it), and the finale begins and ends in the same serial region, And at all the crucial formal points, the main theme appears in the same transpositions, e. g. at the beginning of the 3rd section of the Ist movement (B. 133{f.) and at the apotheosis in the finale (B. 444 ff), To clarify the two means by which the form is created, the following survey of the form will take account of both motivic-thematic and dodecaphonic relation- ships. The premiere of the Piano Concerto took place in New York on the 6th February 4944, with the NBC Symphony Orchestra conducted by Leopold Stokowski (and Eduard Steuermann as soloist). The American composer Virgil Thomson, active at the time as critic of the “New York Herald Tribune” wrote in his understanding review: “The expression of the work is romantic, and uncommonly fuil of feeling, as is Schoenberg's way and the best Viennese tradition.” Formal layout 75—85 Resumption of the 3rd part Bars 1-175: 1st_ movement (Waltz); 176—163; in a minos second transposition, 2nd movement (Scherzo); 264—328: 3rd move- ment (“Adagio”); 329~492: 4th movement combination with the musical (Rondo) idea developed since B. 39 }. Andante (d.= 44; = 132), Yemetre, tri- 86-132 Second section (development cha- partite, often in passacaglia style racter) | a 12 1 a i . BR. 148: (bipartite: B. 86—106; 107-1 . 65) section (parties 8. #8; 86-— 88 transitional solo (2nd transi- 4— 39. tripartite opening solo (based tional motive) . ‘on basic set and | 5) 90-“162 Theme of the ist part (major 4—16 1st part (main theme) sixth transposition) combined 17-28 2nd part with both transitional! motives, 29—39 3rd part (climactic variant main theme first in the bass of the Ist part) (double bass — ist horn), then 39 46 transitional tutti (continuing motives from B. $3 4f,, ist transi- tional motive) 45— 85 tripartite tuiti with piano obtigato 46—62 resumption of the 1st part, transposed by a fifth (tutti), com- bination with the contrasting transitional motive {solo piano) 52—74 resumption of the 2nd part, transposed by a major second, combination with the musical idea developed since B. 39, drawn out in passage work in the upper voice (flutes/eboes/ clarinets) 108-106 splitting up of the motive from B. 102 (tutti, without piano} 107—116 theme of the 2nd part, minor seventh transposition, worked out contrapuntally (tutti, without piano) 117121 continuation fourth transposition) 122126 continuation, dense contra- puntal treatment with changing chords (minor sixth transposition) 428-131 cadenza with symmetrical (augmentedpitch sequences (juxtaposition .of the notes of the associated set forms) 432 transitional tutti bar 493-175 Third section (continuation of. the development, recapitulation, and tran- sition to the 2nd movement) 193-142 recapitulation of the main theme (1st violin), virtuosically ornamented by the piano, with a rich orchestral accompaniment, and of the 1st transitional motive (B. 140); bipartite (8. 133185, 155-175) 142155. strongly altered, broken-up form of the theme from the 2nd part (B. 17 ff.), with transition to the 1st transitional motive 455—157 transitional bars. (solo) 158175 resolution with elements of development, preparation of the scherzo theme (ab B. 160) I, Molto allegro td = 108) /-metre 176-198 Main section (beginning with fifth transposition of the series) 199-214 Intermediate section with pointed rhythms (based on fourth transposi- tion) 218-234 Middle section related thematically to the main section 215-222 poco tranquillo (de=d), based on the minor sixth trans- position 223-231 climax section _("‘strin- gendo”), based on minor second transposition 231234 transitional bars (climax) with anticipation of the recapi- tulation 235-263 Recapitulation (intensified) and coda 235-242 return of the beginning of the movement with major third transposition 243-263 coda (resolution with ele- ments of development), based on transpositions of minor sixth (8. 253-263) and minor . second {B. 243252) WM. Adagio ( J = 56) *Zemetre. Bipartite form 264—302 1st part 264-276 After two introductory bars, main. section. (tutti), tritone transposition 277-265 after an introductory solo bar, free inversion of the preced- ing bars, based on major second ‘transposition, with added. new principal voice in the solo piano based on 285-302 Piano Solo {piu largo, = 4d) and transition to the and part 303-329 2nd part 303-307 Return to. B. 266 ff. (intensi- fied, but shortened) (tutti) 308-317 Return to B, 218 ff. (tutti) 318-329 Piu largo (# = 44). Return to B. 206 ff. (solo-tutti). B. 325 ff. Piano cadenza as transition to the finale. 1V. Glocoso (moderato) d = 76, ¢ -motre, in the form of a sonata rondo 330-348 Ritornello (bipartite) 330-337 ‘ist part (based on basic set) 338-348 2nd’ part (frequent change of transposition} 349-370. Couptet- (beginning _ with transposition) ST1—-389. Ritornello “(based on basic set). Contrapuntai combination with the couplet theme (in. the solo. piano}, from. B. 379 of the 2nd part 390-418 meno. mosso = 98, development. 8.404. reminiscence. of ‘the adagio theme (in the 1st violin) (cf. B. 266 f.), B. 406 reminiscence of the main theme of the fst movement {in the clarinet), B. 407 of the main theme of the rondo (in the piano) 420-429 Couplet (theme in the flute, then in the clarinet), with transformation of the adagio theme as an. additional principal voice (tst oboe) 490443 Ritornello with developmental ele- ments: 444467 Recapitulation of the main theme ofthe ‘Ist movement (in contrapuntal combination with other themes and motives) (apotheosis) 488—482 Coda (from B. 481 ‘based on the basic set) tritone2 Fiéten (2. auch kleine Fléte) 2 Oboen 2 Klarinetten 2 Fagotte 4 Homer 2 Trompeten 3 Posaunen BaBtuba Pauken Xylophon Glocken GroBe Trommel Becken Tamtam Kleine Tromme! Soioklavier 1. Geige I. Geige Bratsche Violoncello KontrabaB Alle Instrumente sind in C notiert. All instruments are notated in C. 2 Flutes (2nd changing to Piccolo) 2 Oboes 2 Clarinets 2 Bassoons 4 Horns 2 Trumpets 3 Trombones Bass Tuba Kettledrums Xylophone Bells Bass Drum Cymbals Tamtam Snare Drum Piano solo 1st Violin 2nd Violin Viola Violoncello Double bass W. Ph. V. 462 Klavierkonzert (1942) Arnold Schoenberg, op. 42 Andante (J +44: 2132) ‘ 12 Plate = 3 auch Kleine Pte) 120m 12. Klarivene 12 Racor 13 Horn 14 Horn 22, Trompete 125 Posaune Bapuba Panken Avlephon Gacken Girne Fromme Becken Tatum Keine Trommel Solo Kleier Andante (J. 44; 2 = 132) 1 1. Geige 4 Geige Brutche Violoncello Kntrabu Copyright 1944 by G. Schirmer, Inc., New York Copyright renewed 1972 by Belmont Music Publishers, Los Angeles Published in the Philharmonia edition by permission W. Ph. V. 462ve par pat S- Klas Ke be ( sales ve | Ge L2KE Ge Br S-Klav vet Khs a a ved okt Ge bs12.Kt sob S-Klay sR hae Ge 1 Ge a noe vet b ver 12.KE 12 5. 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