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Concerto for piano op. 42, Part 4
Catalog slip
| Title | Concerto for piano op. 42, Part 4 |
| Playing time | 00:03:32 |
| Authors |
Schönberg, Arnold [Komponist/in]
[GND]
|
| Contributors |
Stokowski, Leopold [Dirigent]
[GND]
Steuermann, Eduard [Klavier] [GND] Stokowski, Leopold [Redner/in] [GND] NBC Symphony Orchestra [Orchester] |
| Date |
1944.02.06 [Aufnahmedatum] |
| Place |
New York, Ellis Island [Ortsbezug]
New York City [Aufnahmeort] |
| Keywords | Musik ; E-Musik ; Gesellschaft ; Konzert - Konzert für Klavier und Orchester ; Instrumente - Klavier ; Vortrag ; Radio ; Besetzung - Orchester ; Radiosendung-Mitschnitt ; Unveröffentlichte Aufnahme |
|
20. Jahrhundert - 40er Jahre
|
|
| Type | audio |
| Format |
SCS [Schallplatte, Schellack] |
| Language |
Englisch |
| Link |
Concerto for Piano and Orchestra op. 42 on the website of the Arnold Schönberg Center |
| Signature | Österreichische Mediathek, e11-00220_b02_k02 |
| Media type | Mp3-Audiodatei |
Gertrud, Nuria and Arnold Schönberg, arrival in New York, Arnold Schönberg Center, CC BY-SA 3.0 AT
Information
Content
Sketches for the Concerto for Piano and Orchestra op. 42 composed in California reveal autobiographical references to Schönberg’s situation in exile, following his emigration to the US in October 1933. The sections that structured this single-movement work with four inner movements were linked to the following contents: “1) Life was so easy (pleasant) / 2) Suddenly hatred broke out / 3) A grave situation was created / 4) But life goes on.” It is easily recognizable that this describes Schönberg’s everyday reality, the initial years of professorship in Berlin, the rise of the Nazis, his escape to America, and finally consolidation in exile.
The composer was able to follow the premiere from New York on February 6, 1944 on the radio, and sent a telegram to the soloist that same evening, expressing his positive impressions: “Brilliant performance, you surpassed yourself | all our friends are very enthusiastic and I am proud.” Three days after the concert, Stokowski told the composer: “Mr. Steuermann and everyone in the orchestra worked with enthusiasm to try to make the first performance of your Concerto adequate, so that music lovers who would be listening might have a clear impression of this wonderful music.”
Publisher Carl Engel wrote to Schönberg on February 7, 1944: “The acoustics in the studio are not good; it has been especially built for broadcasts. The piano sounded better on the radio than in the room. Stokowski and Steuermann tackled their difficult task with the utmost dedication.”
(Text: Arnold Schönberg Center)
The composer was able to follow the premiere from New York on February 6, 1944 on the radio, and sent a telegram to the soloist that same evening, expressing his positive impressions: “Brilliant performance, you surpassed yourself | all our friends are very enthusiastic and I am proud.” Three days after the concert, Stokowski told the composer: “Mr. Steuermann and everyone in the orchestra worked with enthusiasm to try to make the first performance of your Concerto adequate, so that music lovers who would be listening might have a clear impression of this wonderful music.”
Publisher Carl Engel wrote to Schönberg on February 7, 1944: “The acoustics in the studio are not good; it has been especially built for broadcasts. The piano sounded better on the radio than in the room. Stokowski and Steuermann tackled their difficult task with the utmost dedication.”
(Text: Arnold Schönberg Center)
