Download Small Instrumental Works: Opp. 11, 16, and 19 and Three Pieces for

University Press Scholarship Online
You are looking at 1-5 of 5 items for: keywords : piano pieces
Small Instrumental Works: Opp. 11, 16, and 19 and Three
Pieces for Chamber Orchestra
Bryan R. Simms
in The Atonal Music of Arnold Schoenberg 1908–1923
Published in print: 2000 Published Online:
Publisher: Oxford University Press
October 2011
DOI: 10.1093/
ISBN: 9780195128260 eISBN: 9780199848843 acprof:oso/9780195128260.003.0004
Item type: chapter
Schoenberg's new instrumental works that he called pieces, preserved
the brief dimensions and heightened expressivity of song. In February
1909, he quickly composed two atonal works for piano for Op. 11, and
at almost the same time, he began several other compositions that
were left as undated fragments. The third piece of Op. 11 was added in
August, about the same time that he finished his Five Orchestra Pieces,
Op. 16, before he composed the one-act opera Erwatung. Early in the
next year, he composed three untitled pieces for chamber orchestra,
the last of which was left unfinished. In 1911, he concluded this phase of
atonal period by writing Six Little Piano Pieces, Op. 19.
Engraver's Ink and Heavenly Songs (1845–1847)
R. Larry Todd
in Fanny Hensel: The Other Mendelssohn
Published in print: 2009 Published Online:
Publisher: Oxford University Press
October 2011
DOI: 10.1093/
ISBN: 9780195180800 eISBN: 9780199852635 acprof:oso/9780195180800.003.0012
Item type: chapter
Robert von Keudell looms especially large in Fanny Hensel's biography
because he apparently played the critical role of convincing her late
in life to begin publishing under her own name, the final step toward
her artistic self-fulfillment that Felix Mendelssohn Bartholdy had been
unwilling to support. Keudell provided encouragement and, what is more,
substantive critical advice as she began selecting her best music for
publication. Fanny devoted 1846 to exploring and working exclusively
on small-scale genres. By composing three series of piano pieces,
Page 1 of 3
lieder, and part-songs, she revealed a new determination to treat her
art as a disciplined craft. Her process of self-discovery as a professional
composer would lead first through the smaller genres, as she began to
consider the musical public beyond Leipzigerstrasse no. 3, and emerged
to the public as Fanny Hensel the composer.
Musical Ornaments (1819–1821)
R. Larry Todd
in Fanny Hensel: The Other Mendelssohn
Published in print: 2009 Published Online:
Publisher: Oxford University Press
October 2011
DOI: 10.1093/
ISBN: 9780195180800 eISBN: 9780199852635 acprof:oso/9780195180800.003.0002
Item type: chapter
In 1819, though Fanny Hensel was certainly the more advanced pianist of
the two, around this time her parents made the decision to promote Felix
Mendelssohn Bartholdy's musical training. Thus, on Lea Mendelssohn
Bartholdy's initiative, in May, Felix began violin lessons as a surprise
for Abraham Mendelssohn Bartholdy, then in Paris, and in August, Aunt
Henriette von Pereira Arnstein sent word from there of some special
presents he was bringing home for the children—for Fanny a necklace
of Scottish jewels, but for Felix writing implements with which he might
compose his first opera. There is no mention of similar encouragements
for Fanny. Instead, in 1819 one begins to see the parents’ expectations
for the two divide: if Felix's musical world might encompass the very
public realm of the opera house, Fanny's domain would remain relatively
private, centered on domestic, intimate forms of music making—piano
pieces and songs.
Solo Keyboard Music
Malcolm MacDonald
in Schoenberg
Published in print: 2008 Published Online:
Publisher: Oxford University Press
October 2011
DOI: 10.1093/
ISBN: 9780195172010 eISBN: 9780199852000 acprof:oso/9780195172010.003.0010
Item type: chapter
Schoenberg was no pianist, and showed no especial interest in the piano
in his first mature works, except as accompaniment to the voice. His
earliest pianistic attempts have little distinction. Yet the first true totally
chromatic work was the epoch-making Three Piano Pieces Op. 11, of
1909. It may be that entry into this new musical region had liberated
Schoenberg from any inhibitions about the instrument, for the new
Page 2 of 3
harmonic vocabulary dictated an entirely new kind of pianism, in which
he need fear no competitors, and could have no peers. This chapter
examines several piano pieces composed by Schoenberg. The Variations
on a Recitative is utterly characteristic Schoenberg, and one of his most
searching works; but as one of the most difficult pieces in the organ
repertoire, it is seldom performed.
Into the Pit
Patrick Warfield
in Making the March King: John Philip Sousa's Washington Years, 1854-1893
Published in print: 2013 Published Online: April Publisher: University of Illinois Press
2017
DOI: 10.5406/illinois/9780252037795.003.0002
ISBN: 9780252037795 eISBN: 9780252095078
Item type: chapter
This chapter details John Philip Sousa's career as a violinist, his earliest
efforts as a composer, and his first tours away from Washington as a
professional theater musician. By 1874, Sousa had gained at least some
experience as a violinist for light opera, the tradition in which he would
soon make his mark as an arranger and composer. Sousa also worked at
the Washington Theatre Comique. Moreover, he published three works
during the early 1970s, all piano pieces on dance forms: Moonlight on the
Potomac Waltzes, “Review,” and “Cuckoo.” While Sousa was conducting
incidental music for Milton Nobles's play Jim Bludso, or, Bohemians
and Detectives—which was presented at Kernan's Theatre Comique
between June 21 and June 26, 1875—Nobles was impressed by the young
conductor, and a few days later he sent Sousa a telegram asking that
he join the troupe on tour. Sousa would then tour the Midwest and the
southern United States for the next two months.
Page 3 of 3