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Topic: Violin Concerto (Schoenberg)

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	Violin Concerto (Schoenberg) - Wikipedia, the free encyclopedia
		At the time of its completion, Schoenberg was living in Brentwood, California, and had just accepted a post teaching at the University of California, Los Angeles.
		Schoenberg had made a return to tonal writing upon his move to America, but the Violin Concerto uses Schoenberg's twelve-tone technique.
		Schoenberg's Violin Concerto was first published in 1939 by Schirmer.
	en.wikipedia.org /wiki/Violin_Concerto_(Schoenberg) (177 words)

	Violin Concerto (Berg) - Wikipedia, the free encyclopedia
		Alban Berg's Violin Concerto was written in 1935 (the score is dated August 11, 1935).
		While parts of the score are atonal, as is the norm in twelve tone works, some parts can be said to be in a certain key, and quotes of purely tonal music are also present.
		In addition, the first four odd-numbered notes correspond to the open strings of the violin, from bottom to top, and it is exactly this gesture which opens the piece.
	en.wikipedia.org /wiki/Violin_Concerto_(Berg) (630 words)

	Piotr Grella-Mozejko_Writings (Site not responding. Last check: 2007-09-18)
		Concerto was premiered on December 6, 1940 by Louis Krasner and the Philadelphia Orchestra under Leopold Stokowski.
		These radical works (of which the Violin Concerto was the first) arose from the composer's concern with the lack of apprecciation and the "necessity" of compromise.
		Schoenberg was fully aware of the most possible result of this self-defending attitude expressed by extreme difficulties of the score.
	www.eccsociety.com /members/grella_writings.htm (2045 words)

	Berg's Violin Concerto 1935 (Site not responding. Last check: 2007-09-18)
		The tone-row-accompanied violin phrases contrast sharply with the complete consonance and traditional voice leading of the woodwind "organ." Later on in the piece (p.88 m.184-97) the flowing, chromatic melody is doubled an octave lower in the orchestra, recalling a device of melodic enhancement used extensively in the Romantic period.
		A technique common to classical concerto form is the repetition/development of a certain motive or theme between soloist and orchestra.
		Berg's concerto is no exception: the dissonant, detached, rhythmic chords of the soloist (beginning p.61 m.35-72) are imitated by the orchestra (p.
	www.fundeling.com /pberg.html (706 words)

	Program Notes
		Schoenberg, indebting himself to Mahler, treats his large orchestra as a kaleidoscope in which you can find constantly varying chamber combinations, but with his limitless fantasy and dazzling technique, he creates a completely original style that is unmistakably full-orchestral at the same time.
		This is also the reason the "orchestration" of the solo violin part is unprecedented in its complexity, its profusion of multiple stops, pizzicatos, tremolandos, and harmonics, all deployed to clarify the material and to separate the simultaneous currents of compositional activity.
		As in most of Schoenberg's major works from the middle 1920s on, all the melodic and harmonic material is generated from a single source idea, a particular way of ordering the twelve notes of our chromatic scale that defines, in John Adams's useful and appealing metaphor, the genetic code for the work.
	www.sfsymphony.org /templates/router.asp?callid=117&nodeid=3366 (1672 words)

	Adelaide Symphony Orchestra at the 1998 Telstra Adelaide Festival
		In the context of this Festival, Arnold Schoenberg is noted both as the architect of new directions in twentieth century music, and as the teacher of Hanns Eisler and Alban Berg, two of the most influential composers of the Viennese Second School.
		Berg’s Violin Concerto is considered by many to be the high point of the modern era.
		Schoenberg’s Piano Concerto of 1942 was described by the composer in a quattrain:
	www.adelaidefestival.org.au /archives/1998/music/nf52.htm (233 words)

	Arnold Schoenberg - Concerto for Violin and Orchestra op. 36 - Programme notes
		Arnold Schoenberg - Concerto for Violin and Orchestra op.
		The supposed incompatibility of the demand for a densely structured, polyphonic compositional technique and the traditional concessions to the brilliant and effective virtuosity of the solo part was evidently a fundamental compositional incentive for the composer.
		Although Schönberg intended the form of his concerto to have a "classical" three-movement structure, the recapitulation of the first movement, for example, is hardly more than the exposition and its form is altered by a developmental section which extends almost until the end of the movement.
	www.schoenberg.at /6_archiv/music/works/op/compositions_op36_notes_e.htm (378 words)

	Violinist coaxes Schoenberg's subtleties
		Schoenberg's fierce three-movement opus, which got a brilliant and sensitive rendition in Davies Symphony Hall on Wednesday night with Christian Tetzlaff as soloist, bears not a trace of sunshine or palm trees.
		Yet there are little oases of melody and genre landmarks scattered everywhere throughout the score that keep the listener engaged -- periodic hints of a ghostly waltz in the first movement, or the tromping march rhythms of the finale.
		Most stirring is the central slow movement (the concerto's three-movement structure is almost touchingly traditional), whose songlike solo line Tetzlaff rendered with sublime simplicity.
	www.sfgate.com /cgi-bin/article.cgi?file=/chronicle/archive/2005/01/14/DDGFJAPIGC1.DTL&type=printable (482 words)

	Kawabata interview part 1, volume 2 issue 2 fall 2000
		In a move he called the "emancipation of dissonance," Schoenberg dismantled the hierarchical relationships of tonality and invented a system in which all twelve tones of the chromatic scale are equal.
		Schoenberg was not the only Jewish intellectual to flee Nazi persecution and settle in California in the 1930s.
		Although Schoenberg’s archives recently returned to Europe, his name is still a part of both the California institutions at which he taught composition, harmony, and counterpoint—the music building at UCLA bears his name, and the University of Southern California’s Schoenberg Institute is a feature of their campus.
	www.humnet.ucla.edu /humnet/musicology/echo/volume2-issue2/kawabata/kawabata-article-part1.html (622 words)

	Violinist befriends orchestra, bings youthful fury to difficult concerto (Site not responding. Last check: 2007-09-18)
		The violin concerto is a monumentally challenging piece for the orchestra, but especially for the violinist.
		The best moments are when the violin has been climbing around the thorny double- or triple-stopped harmonics and high-register gestures alone—only to be suddenly cradled, battered, or swept away by the sudden, dissonant entrances of the orchestra.
		In the Schoenberg, the drama was present, but it was intensely modern (i.e., bearing none of trappings of classical epics) and intensely individual and perhaps even relative, reminding me significantly of late Beethoven piano sonatas.
	maroon.uchicago.edu /voices/articles/2004/02/27/violinist_befriends_.php (1131 words)

	Arnold Schoenberg - The American Works (Site not responding. Last check: 2007-09-18)
		In 1933, shortly before his 60th birthday, Arnold Schoenberg, one of the most important composers in history, was forced to flee his native Europe due to the increasing Nazi terror.
		The name Schoenberg is inextricably linked in most people's minds with serialism and The Second Viennese School.
		They are "complex, free-wheeling elaborations of 18th-century source materials," Joseph Horowitz has written, "tonal yet reflecting...Schoenberg's 12-tone craftsmanship." Schoenberg's use of tonal materials in these works does not imply, however, that he had repudiated serialism or his revolutionary theoretical ideas; in them he merely transformed the triad's harmonic function and significance.
	www.schirmer.com /composers/schoenberg_essay.html (333 words)

	Classical (Site not responding. Last check: 2007-09-18)
		Listening to the depth of the cellos in the introduction to the Violin Concerto, I was prepared to be swept away.
		Schoenberg's miniature concerto for orchestra, from 1909, glowed with prismatic color: velvety horns; plush bassoons; longing, nostalgic oboes; eloquent, rhapsodic strings, including those bottom-of-the-well cellos.
		The piece (or pieces, since Schoenberg denied they made a single unit) prefigures by a year the delicately sensual atmosphere of Stravinsky's Firebird and by three years the rhythmic explosions of Le sacre du printemps.
	www.bostonphoenix.com /archive/music/99/02/18/CLASSICAL.html (540 words)

	March 19 & 20
		This piece, Berg's only solo concerto, evolved according to the twelve-tone principles that the composer had learned from Arnold Schoenberg and championed as only a great composer could-which is to say, by using those principles as a means towards articulating a unique world of expression.
		In fact, many nineteenth-century violin concertos, including those of Beethoven, Brahms, and Tchaikovsky, had settled their tonic on the note D, a note at the heart of the instrument's tuning-not such a different tactic from Berg's.
		In the score, Berg instructs the soloist to assume leadership over the violin and viola sections "audibly and visibly" as the movement progresses, and asks those orchestral string players to successively join and resist the soloist "in just as demonstrative a manner," eventually dropping away so that only the soloist is playing.
	www.clevelandorch.com /images/FTPImages/Performance/program_notes/031904.html (2900 words)

	- Classical Music Dictionary - Free MP3 (Site not responding. Last check: 2007-09-18)
		Schoenberg's earlier compositions are post-romantic in character, followed by a period in which he developed his theories of atonality, music without a key or tonal centre.
		Schoenberg's most important opera is Moses und Aron, of which he completed only two of the three acts.
		Schoenberg's music for orchestra includes a violin concerto, a symphonic poem based on Maurice Maeterlinck's medieval drama Pelleas und Melisande and Five Orchestral Pieces.
	www.karadar.it /Dictionary/schonberg.html (261 words)

	GM 2006 - Louis Krasner: 20TH CENTURY VIOLIN MASTERPIECES
		Louis Krasner was a rising young violin soloist when he commissioned Alban Berg to compose a concerto for him.
		The Violin Concerto was completed in 1935, very shortly before Berg’s death, and this live performance, dating from 1938, has a haunting, fragile beauty.
		The Concerto by Arnold Schoenberg was premiered by Krasner in 1940 and was championed by him for many years afterwards.
	www.gmrecordings.com /gm2006.htm (127 words)

	Arnold Schoenberg - Concerto for Violin and Orchestra op. 36 - Sources
		The remaining measures are the solo violin part only, written on 5 separate pieces of paper affixed to the recto.
		The solo violin part for measures 545-546 and 552-554 is written on two separate pieces of paper affixed to the verso.
		On the verso of the portfolio is the pencilled indication: 'Arnold Schoenberg HE 1095 5860 Canyon Cove'.
	www.schoenberg.at /6_archiv/music/works/op/compositions_op36_sources_e.htm (2972 words)

	Uchida/Boulez Schoenberg
		The concerto that Schoenberg composed in 1942 for Eduard Steuermann (who introduced it with Leopold Stokowski and the NBC Symphony in February 1944) has not been neglected on discs, although several versions were withdrawn before newer ones came along to replace them.
		Her sinuous phrasing, sense of whimsical fantasy and elegant tonal reserves, coupled with the advantage of having lived and studied in Vienna, contrast sharply with the heavier sound and sobriety of Brendel and Pollini (who, by the way, share the same birthday, January 5)—which is not say that either of them stands outside the music.
		Uchida, however, succeeds in imparting a comparable nuanced subtlety to the concerto, and the appended solo pieces, that she brought to the concertos of Mozart and the sonatas of Schubert.
	classicalcdreview.com /musch.htm (681 words)

	classical music - andante - making mendelssohn's violin concerto (almost) new again
		My theory on such concerto activity is this: Whether or not conductors like Gardiner or Jansons can still sell new recordings of standard repertory in adequate quantities, their soloists probably can — thanks to the special-occasion charisma that star players have in the concert world.
		The question isn't whether Sony needs a new Mendelssohn Violin Concerto in its catalogue or how much Midori has to offer in the work: make a disc like this available and people who leave her concert appearances wanting more of her Mendelssohn will buy it.
		Mullova's Beethoven Violin Concerto has more alternate readings than the Mendelssohn, many of which were previously heard in a widely-circulated live recording by the late Szymon Goldberg.
	www.andante.com /article/article.cfm?id=22489 (954 words)

	V023: The Schoenberg Violin Concerto: A Panel Discussion (Site not responding. Last check: 2007-09-18)
		Stein responds that he and Schoenberg were in the same place at the same time.
		His students were aware that he was working on the violin concerto at that time (1935-'36).
		Schoenberg agreed, because of Krasner's performance, that one passage should be less staccato than he had originally indicated.
	www.usc.edu /isd/archives/schoenberg/videv023.htm (577 words)

	The John Adams Earbox (Site not responding. Last check: 2007-09-18)
		Adams composed the Violin Concerto between January 7 and November 1 of 1993 at the request of Jorja Fleezanis, concertmaster of the Minnesota Orchestra.
		Over the years I've developed a confidence in writing for the violin, and I think in a sense the concerto is an expression of that final sense of, if not mastery, at least confidence that came about from many years of struggling with it.
		The Violin Concerto, despite my reservations about its affects and its superficial conventionality, in some ways is the most rigorously worked-out piece that I have composed in terms of its internal design, its genetic structure and the way in which the larger structures reiterate.
	www.earbox.com /sub-html/interviews/ja-on-vc-low.html (4709 words)

	MUENCHNER . PHILHARMONIKER (Site not responding. Last check: 2007-09-18)
		In the isolation of his California emigration domicile, the over 60-year-old Schönberg unmistakably found his way back to an evocation of Central European musical tradition, which gave his sole violin concerto nostalgic, almost retrospective characteristics.
		It was no coincidence, then, that he dedicated his Violin Concerto to his "dear friend and comrade in arms, Anton Webern".
		The first major work he started on in 1934 following his immigration to the United States was the Violin Concerto.
	www.muenchnerphilharmoniker.de /online/english/werkarchiv.php3?ID=482 (292 words)

	Schönberg
		mong Schoenberg's most important works for orchestra are a violin concerto, a symphonic poem based on Maurice Maeterlinck's medieval drama Pelleas und Melisande and Five Orchestral Pieces.
		Schoenberg's chamber music includes four string quartets, a string trio, suite for 7 instruments and a woodwind quintet.
		n addition, Schoenberg wrote several piano pieces, composed an unfinished opera, Moses und Aron, and a number of choral and vocal works, among which the most well-known are Gurrelieder, Gurrelieder, is a work of Wagnerian proportions and mood, for solo voices, large chorus and orchestra.
	www.maurice-abravanel.com /schonberg.html (223 words)

	[No title]
		Schoenberg pioneered the 12-tone technique of composition, in which a piece of music was derived from 12 notes arranged in whatever manner the composer wished, but in which traditional harmony took no part.
		Under Schoenberg's guidance, the young Berg gave up traditional tonality, although he did not follow Schoenberg's example in writing music that sounded as spitefully atonal as possible.
		So their presence throughout the Berg Violin Concerto gives the score a vaguely tonal atmosphere, even though the concerto does not follow other tonal principles.
	www.azstarnet.com /public/packages/reelbook/153-3991.htm (1381 words)

	Amazon.co.uk: Music: Ligeti: Cello Concerto (Site not responding. Last check: 2007-09-18)
		The violin concerto is a whole world away from its cello sister of a quarter of a century earlier.
		The violin concerto is a masterpiece of variation and contradiction, which has a remarkable unity of diversity.
		There are now three recordings of the Violin Concerto, but we've had to wait almost 20 years for the first recording of Clocks and Clouds.
	www.amazon.co.uk /exec/obidos/ASIN/B00006F1P9 (809 words)

	Stravinsky, Schoenberg Violin Concertos 01 8362 2BC [TB]: Classical CD Reviews- Jan 2004 MusicWeb(UK) (Site not responding. Last check: 2007-09-18)
		The Violin Concerto is one of Stravinsky's finest achievements in concert music, its brilliant scoring featuring triple woodwinds while never obscuring the clarity of the solo line.
		Whereas Stravinsky’s Violin Concerto is dominated by its rhythmic bite and cleanly articulated lines, Schoenberg’s is full of late-romantic ardour.
		Theories are as may be, but the fact of the matter remains that Schoenberg’s Violin Concerto must stand or fall on its merits as music.
	www.musicweb-international.com /classrev/2004/Jan04/Stravinsky_Schoenberg_concertos.htm (653 words)

	Classical Net Review - Korngold/Weill/Krenek - Violin Concertos
		Erich Wolfgang Korngold (1897-1957) wrote an undeniably beautiful violin concerto near the end of the Second World War, despite its conservative language and intemperately debonair veneer.
		The concerto is based on themes he used in four such cinematic efforts, themes whose new guise hardly masked the air of a splashy, saccharine Hollywood, with images of Errol Flynn and Olivia de Havilland, of sweet romance and cliff-hanger heroism.
		Kurt Weill (1900-1950) composed his Schoenberg-flavored violin concerto in 1924.
	www.classical.net /music/recs/reviews/l/lon52481a.html (642 words)

	Tibor Varga violinist concerto orchestra WFIMC
		By his interpretations, Tibor Varga had raised the Violin Concertos and other works of Bartok, Berg and Schönberg to the status of "classics" of the repertoire, assuring them a prime position in musical life.
		At the Royal Albert Hall London, where he was regularly invited at the "Prom's Concerts", he played this same work, along with the Violin Concertos by Brahms, Schönberg, Shostakovitch et Tchaïkovsky, under the enthusiastic applause of the critics.
		At the European Première of the Schönberg Violin Concerto played by Tibor Varga, Schönberg himself paid tribute to his enthusiasm and thanked him for the "superb interpretation" of his work.
	www.concours-violon.ch /e/fondateur.asp (954 words)

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