Arnold Schönberg Livres

"Les correspondances entre Schoenberg et Busoni d'une part, et entre Schoenberg et Kandinsky d'autre part, sont des documents exceptionnels sur les plans humain, artistique et musical. Schoenberg y dévoile, à proprement parler, la véritable théorie esthétique de l'atonalité. Il défend face à Busoni la cohérence de son style, avec Kandinsky, il discute de la question du constructif et de l'illogique dans l'art. L'échange porte aussi sur la religion et la question juive, c'est enfin le portrait de 3 créateurs de premier plan, engagés dans le renouveau artistique de l'avant et l'après guerre. L'édition est enrichie de différents textes de Schoenberg, Busoni et Kandinsky

Le compositeur Arnold Schönberg était aussi un excellent conteur et inventeur d'histoires. Pour pousser ses enfants à finir leur assiette il leur racontait l'histoire d'une princesse qui s'était fait des bleus en jouant au tennis, sport qu'Arnold aimait beaucoup. Loup, le serviteur de la princesse, est censé lui apporter une bouillotte pour soigner ses bleus, mais il ne revient pas. Il est convaincu que pour soigner les bleus, il faut une bouillotte bleue. Or justement il ne trouve pas celle-ci. Loup est vraiment bêta. Il ne sait même pas que l'on dit pharmacie et non pas pharmaclie. Ni bien entendu comment s'y rendre. La princesse réussira-t-elle à soigner ses bleus ? Schönberg avait enregistré sur un magnétophone son histoire La princesse. Voici enfin cette histoire drôle et absurde sous forme de livre mise en scène de façon merveilleusement comique par Peter Schössow. En fin d'ouvrage Nuria Schoenberg Nono, fille d'Arnold, raconte comment son père inventait et racontait à elle ainsi qu'à ses petits frères l'histoire de La Princesse. Esteban Buch nous donne à connaître Arnold Schoënberg, compositeur, conteur et grand amateur de tennis.

This treatise relates Schoenberg's concept of the musical idea. It defines his thought on gestalt, motive, grundgestalt, phrase, rhythm and accent, the construction function of harmony, homophonic and contrapuntal forms, and compositional coherence.

Only Stravinsky can claim as much credit as Schoenberg for the most dramatic innovations in twentieth-century music. Inventor of the twelve-tone row, explorer of atonality and the hexachord, composer of tone poems, songs, and chamber music, and chief spokesman for the Vienna Circle, Schoenberg has become ever more influential as his successors have come to understand him. ø Fuller understanding has been delayed because many of his writings have not yet been edited or published. This volume collects four short works, each concentrated on a key issue in composition. Written in 1917, but altered and augmented many times in later years, the manuscripts edited and translated in this volume have never been published before. ø Their importance can permit no further delay since they present Schoenberg's thinking well after the publication in 1911 of Harmonielehre, his revolutionary theoretical book. The later texts provide numerous prospects for enhancing the study and appreciation of Schoenberg's compositions and theories. ø Also a painter, Schoenberg enjoyed the friendship of Kandinsky and the Berlin expressionists. This volume includes a frontispiece reproducing one of Schoenberg's paintings.

Focusing on the musical composition, this work presents Arnold Schoenberg's "Pelleas und Melisande," a symphonic poem for orchestra, originally published in 1920. It is recognized for its cultural significance and is being reproduced despite potential imperfections from the original artifact or the scanning process. This edition aims to preserve the legacy of printed works, highlighting its relevance in classical music literature. The book serves as a valuable resource for those interested in symphonic poetry and classical music genres.

This harmony text ranges over such diverse subjects as nature, artistic creativeness, culture, and aesthetic theories of the past. The author writes of his fascination with sound; on the idea that musical order may be manifested in many inconceivable ways; and questions the need of order in music.

Fundamentals of Musical Composition represents the culmination of more than forty years in Schoenberg's life devoted to the teaching of musical principles to students and composers in Europe and America.

Schoenberg's music examples range from the entire development sections of classical symphonies to analyses of the harmonic progressions of Strauss, Debussy, Reger, and his own early music.