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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