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Serenade op. 24. 3. Variations
Catalog slip
| Title | Serenade op. 24. 3. Variations |
| Playing time | 00:03:26 |
| Authors |
Schönberg, Arnold [Komponist/in]
[GND]
|
| Contributors |
Rosbaud, Hans [Dirigent]
[GND]
|
| Date |
1923.01.01 [Bezugsdatum] |
| Place |
Mödling, Schönberg-Haus / Arnold Schönberg’s residence [Ortsbezug]
Frankfurt am Main [Aufnahmeort] |
| Keywords | Musik ; E-Musik ; Unveröffentlichte Aufnahme |
|
20. Jahrhundert - 20er Jahre
|
|
| Type | audio |
| Format |
SCS [Schallplatte, Schellack] |
| Language |
Englisch |
| Link |
Serenade op. 24 on the website of the Arnold Schönberg Center |
| Signature | Österreichische Mediathek, e11-00784_b01_k02 |
| Media type | Mp3-Audiodatei |
Mödling, Arnold Schönberg’s residence. Arnold Schönberg Center, CC BY-SA 3.0 AT
Information
Content
In February 1918, Schönberg moved into an apartment at Bernhardgasse 6 in Mödling, a village near Vienna, where he lived until some months after the death of his wife Mathilde (October 1923). Today, the house is often called the “cradle of the 12-tone method,” since Schönberg first presented his “method of composing with twelve tones which are related only with one another” in Bernhardgasse to a close circle of friends and pupils.
Although Schönberg had already composed a piece that was based on a twelve-tone sequence of notes in 1921 and would later become the Prelude for his “Suite” op. 25, the “Serenade” op. 24 does not contain a movement based on comparably strict measures of serial technique. The composer was in an experimental phase and tested different ways of achieving new organizational methods for the sound material. The theme of the 3rd movement, variations, in a recording with Hans Rosbaud by Frankfurter Rundfunk, “consists of 14 notes, because of the omission of one note, B, and the repetition of other notes. Here, for the first time, the ‘consequent’ consists of a retrograde repetition of the ‘antecedent.’ The following variations use inversions and retrograde inversions, diminutions and augmentations, canons of various kinds, and rhythmic shifts to different beats – in other words, all the technical tools of the method are here, except the limitation to only twelve different tones.” (Arnold Schönberg, „My Evolution“, 1949). (Text: Arnold Schönberg Center)
Although Schönberg had already composed a piece that was based on a twelve-tone sequence of notes in 1921 and would later become the Prelude for his “Suite” op. 25, the “Serenade” op. 24 does not contain a movement based on comparably strict measures of serial technique. The composer was in an experimental phase and tested different ways of achieving new organizational methods for the sound material. The theme of the 3rd movement, variations, in a recording with Hans Rosbaud by Frankfurter Rundfunk, “consists of 14 notes, because of the omission of one note, B, and the repetition of other notes. Here, for the first time, the ‘consequent’ consists of a retrograde repetition of the ‘antecedent.’ The following variations use inversions and retrograde inversions, diminutions and augmentations, canons of various kinds, and rhythmic shifts to different beats – in other words, all the technical tools of the method are here, except the limitation to only twelve different tones.” (Arnold Schönberg, „My Evolution“, 1949). (Text: Arnold Schönberg Center)
