Variations on a recitative for organ op. 40

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Titel	Variations on a recitative for organ op. 40
Spieldauer	00:04:54
Urheber/innen	Schönberg, Arnold [Komponist/in] [GND]
Mitwirkende	Mason, Marilyn [Orgel] [GND] University of Michigan [Produzent]
Ort	Salt Lake City, Mormon Tabernacle Church [Ortsbezug]
Schlagworte	Musik ; E-Musik ; Instrumente - Orgel ; Unveröffentlichte Aufnahme
	20. Jahrhundert - 40er Jahre
Typ	audio
Format	SCS [Schallplatte, Schellack]
Sprache	Englisch
Link	Variationen op. 40 on the website of the Arnold Schönberg Center
Signatur	Österreichische Mediathek, e11-00762_b01_k02
Medienart	Mp3-Audiodatei

Tabernacle Organ. Arnold Schönberg Center, CC BY-SA 3.0 AT

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Arnold Schönberg’s preferred performer for the premiere of his “Variations on a Recitative for Organ” op. 40 was Alexander Schreiner, who was formerly Schönberg’s colleague at the University of California at Los Angeles and had since moved to the Mormon Tabernacle Church in Salt Lake City. The organist was initially delighted: “Your organ composition was on my desk when I returned to the city […]. I have played it through twice now, and was immediately struck by the powerful theme upon which the variations are built.” However, Schreiner was also hesitant due to the difficulties posed by the piece. “Organists have been wishing for some composition of yours that they could use on the organ, or one especially written for the organ. But I rather think that you will overwhelm them with this difficult and long composition.” Schönberg, who felt misunderstood by Schreiner, ultimately went without a first performance of his work on one of the largest pipe organs in the world. It was not until years later, after the work had been premiered by Carl Weinrich, that the composer was able to hear his work played – by the organist Marilyn Mason, who was aged 24 at the time: “He was especially interested in clarity of performance, and this idea colored all his remarks to me. Regarding actual sounds, he was interested in having clearness and precision above everything. […] ‘Whatever you do,’ he would remind me, ‘choose a sound that is pleasing to the hearer.’” (Text: Arnold Schönberg Center)

Sammlungsgeschichte

Sammlung Schönberg

Im Rahmen einer Kooperation mit dem Arnold Schönberg Center sichert die Österreichische Mediathek seit April 2019 die Schallplattensammlung des Komponisten digital. Der Nachlass Arnold Schönbergs steht seit 1998 im Arnold Schönberg Center in Wien zur Verfügung.

Die Sammlung umfasst über 400 Schallplatten mit eigenen Kompositionen, fremden Werken sowie vereinzelten Sprachaufnahmen. Professionelle Produktionen stehen neben dokumentarischen Mitschnitten. Schönberg war technischen Neuerungen aufgeschlossen und nutzte Medien zur Tonaufzeichnung auf vielfältige Weise. Die frühesten Audio-Dokumente gehen auf Arnold Schönbergs Zeit in Berlin und sein zunehmendes Engagement für den Rundfunk zurück, dessen Potenzial zur Verbreitung aktueller Musik er bereits früh erkannte. Frühe Tonträger der Sammlung entstanden oft als Versuchsaufnahmen im Kontext von Radioübertragungen. Nach dem Zweiten Weltkrieg wurden seine Schallplatten wichtiges Kommunikationsmittel im Kontakt mit Europa.

2011 wurde der Schönberg-Nachlass von der UNESCO in das Weltdokumentenerbe-Register (Memory of the World) aufgenommen.

Zur Sammlungsgeschichte siehe auch <link>https://www.schoenberg.at/images/stories/bilder_statische_artikel/archiv/ethikbewahrens.pdf<link>

In cooperation with the Arnold Schönberg Center, the Österreichische Mediathek digitally preserved the composer's record collection in April 2019. Arnold Schönberg’s Estate was made available at the Arnold Schönberg in 1998, after the collection had been moved from Los Angeles.

The composer owned over 400 phonograph discs with his own compositions, works by other composers, and also the occasional voice recording. Professional productions are found alongside documentative recordings. Schönberg was open to technical innovations and used sound recording media in various ways. The earliest audio documents stem from the composer’s time spent in Berlin and his increasing commitment to the radio, whose potential for broadcasting contemporary music to a larger audience was recognized by Schönberg at a very early stage. Early sound storage media from Schönberg’s collection often contain test recordings for radio broadcasts and only excerpts of the compositions played. And after the war, phonograph discs were an important means of communication with Europe.

In 2011 Schönberg’s Estate was inscribed onto the UNESCO Memory of the World Register.

For the history of the collection see also <link>https://www.schoenberg.at/images/stories/bilder_statische_artikel/archiv/ethikbewahrens.pdf<link>

Variations on a recitative for organ op. 40

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