Arnold Schoenberg [Schönberg] (1874–1951). Austrian composer, earliest representative of Viennese musical modernism, creator of the twelve-tone method of composition, teacher of Alban Berg, Anton von Webern, and other composers in Vienna, Berlin, and, from 1934 on, in the U.S.A. Although Schoenberg’s musical style had its origins partly in Brahms and the Viennese Classical composers, Schenker became increasingly antagonist toward him from around 1910 because he saw him as advancing the stylistic innovations of Richard Strauss and Gustav Mahler, abandoning the Classical tonal tradition, and in the realm of theory espousing developing variation over repetition. Relations between Schoenberg and Schenker The break-down was perhaps impelled by Hertzka’s contracting Schoenberg for Universal Edition in 1909 along with Mahler, Schreker, and Foerster; the issuing of UE’s 1910 catalogue containing Schoenberg’s Second String Quartet and Drei Klavierstücke, Op. 11 may have been the catalyst to Schenker’s antagonism. First private signs of this were Schenker’s allusion to “a publisher that places its main emphasis these days on anti-musical music” in his letter to Emil Hertzka of February 7, 1910, WSLB 52, which conveys Schenker’s disillusionment with Hertzka’s break from UE’s original 1901 commitment to an Austrian edition of the “classics.” His resentment at what he saw as Hertzka’s promotion of Schoenberg’s Harmonielehre over his own works emerges in WSLB 75, May 17, 1911, and three years later he suggests that UE should use its profits from Mahler’s and Schoenberg’s music to subsidize its publication of his own writings, OJ 5/16, [2], May 1914 (draft). The first step in the public confrontation between the two, Schoenberg’s response to Schenker’s diatribes against Strauss and Reger in Harmonielehre (1906) and the Foreword to Kontrapunkt I (1910), was delivered in his own Harmonielehre (1911 and lengthened in the 1921 edition). Schenker first publicly named Schoenberg in his Erläuterungsausgabe of Beethoven’s Piano Sonata, Op.111 (1915), and his most sustained, personalised critique, of the chordal treatment of passing-tones in Schoenberg’s Harmonielehre, appeared in Das Meisterwerk in der Musik II (1926), pp. 30–37 (Eng. trans., II, 12–16). The surviving correspondence References to Schoenberg in Schenker’s correspondence include the following: WSLB 75, May 17, 1911 (Schenker to Hertzka) WSLB 120, June 9, 1912 (Schenker to Hertzka) WSLB 200, February 19, 1914 (Schenker to Hertzka) OJ 5/16, [2], May 1914 (Schenker to Hertzka, draft) WSLB 211, May 5, 1914 (Schenker to Hertzka) DLA 69.930/10, December 21, 1922 (Schenker Halm) vC 10, June 1, 1927 (Schenker to Cube) DLA 69.930/15, July 11, 1927 (Schenker to Halm) vC 28, January 12, 1930 (Schenker to Cube) OJ 5/18, 33, December 21, 1933 (Schenker to Jonas) OJ 9/34, [42], October 4, 1934 (Cube to Schenker) OJ 12/6, [39], November 28, 1934 (Jonas to Schenker) OJ 12/6, [40], December 19, 1934 (Jonas to Schenker) Bibliography Carl Dahlhaus, “Schoenberg and Schenker,” Proceedings of the Royal Musical Association 100 (1973–74), 209–15; reprinted in Schoenberg and the New Music: Essays by Carl Dahlhaus, ed. Derrick Puffett and Alfred Clayton (Cambridge: CUP, 1987), pp. 134–40 Bryan R. Simms, “New Documents in the Schoenberg–Schenker Polemic,” Perspectives of New Music, XVI (1977), 110–24 Charlotte E. Erwin and Bryan R. Simms, “Schoenberg’s Correspondence with Heinrich Schenker,” Journal of the Arnold Schoenberg Institute V (1981), 23–43 Ian Bent, “’That Bright New Light’: Schenker, Universal Edition, and the Origins of the Erläuterung Series, 1901–1910’, Journal of the American Musicological Society 58/1 (Spring 2005), 69–138. |
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Arnold Schoenberg [Schönberg] (1874–1951). Austrian composer, earliest representative of Viennese musical modernism, creator of the twelve-tone method of composition, teacher of Alban Berg, Anton von Webern, and other composers in Vienna, Berlin, and, from 1934 on, in the U.S.A. Although... |