Dissertation Index
Author: Byron, Avior Title: Schoenberg as Performer: An Aesthetics in Practice Institution: Royal Holloway, University of London Begun: September 2002 Completed: June 2007 Abstract: This dissertation focuses on Schoenberg's performance aesthetics (his writings) and practice (as a conductor) in relation to the various cultural and social environments in which he lived. Part I focuses on Schoenberg's aesthetics. Schoenberg's history as a performer is introduced. I suggest that the common notion that Schoenberg was an unaccomplished conductor was often tainted by issues unrelated to his performance technique. There is a discussion of some of the basic conceptions concerning his performance aesthetics and I inspect his performance-related writings. One of the main arguments in this part is that Schoenberg's performance aesthetics significantly changed during his life. Part II and III contain several case studies focusing on Schoenberg's practice. I examine Verklärte Nacht, Op. 4, dating from his tonal period and Suite, Op. 29 from the twelve-tone period and claim that several key factors affected Schoenberg's performance practice. Part III is dedicated to Pierrot lunaire, Op. 21 from the atonal period. A comparison is made between a broadcast that I have recently discovered and the famous 1940 commercial recording of the piece. I examine for the first time the test pressings for the commercial recording. This sheds new light on how Schoenberg expected the Sprechstimme to be performed. Part IV evaluates Schoenberg's performance aesthetics and practice from a large perspective. In chapter 8 I examine whether Schoenberg's performance aesthetics and practice shed new light on the analysis of his music. In the final chapter I examine the relation between Schoenberg’s practice as a conductor (Parts II and III) and his performance aesthetic (Part I), and I point out some of the problems and challenges that it presents to one who wishes to interpret Schoenberg. Keywords: Schoenberg, performance, recordings, conducting, pierrot, suite op. 29, Verklärte Nacht, aesthetics, analysis, writings TOC: Table of Contents Page Abstract 3 Acknowledgments 5 Lists of tables, figures, examples and sound examples 7 List of Abbreviations 13 Preface 15 Part I: Aesthetics Chapter 1. Demystifying Schoenberg's conducting 23 Chapter 2. Basic performance conceptions 44 Chapter 3. Writings on performance 61 Part II: Ideas in Practice--the 1920s Chapter 4. Verklarte Nacht, Op. 4 100 Chapter 5. Suite, Op. 29 131 Part III: Ideas in Practice--Pierrot lunaire, Op. 21 Chapter 6. The broadcast and commercial recording 152 Chapter 7. Sprechstimme reconsidered 178 Part IV: Evaluation Chapter 8. Analysis and performance 226 Chapter 9. On interpreting Schoenberg 251 Appendices 1. Conducting activities not including Op. 21; Op. 21; unrealized opportunities 267 2. List of performance-related manuscripts 285 3. Conducting score annotations in Op. 4 and Op. 29 289 4. Interview with Dika Newlin 317 5. A survey of conducting scores, recordings and other evidence 341 Bibliography 358 Discography 371 Video 373 Contact: Zealon 6 Yavne 81512, Israel +97289435395, +972525674401 |