Here is some additional information on Schoenberg’s Suite for Piano. Our playlist features the Trio, which is a portion of movement 5. Please note that this suite was the first piece composed entirely in Schoenberg’s twelve-tone technique. It’s also worth noting the connection via genre to the suites we studied in the Baroque era.
Arnold Schoenberg’s Suite for Piano (German: Suite für Klavier), Op. 25, is a twelve tone piece for piano composed between 1921 and 1923.
The work is the earliest in which Schoenberg employs a row of “12 tones related only to one another” in every movement: the earlier 5 Stücke, Op. 23 (1920–23) employs a 12-tone row only in the final Waltz movement, and the Serenade, Op. 24 uses a single row in its central Sonnet.
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The Basic Set of the Suite for Piano consists of the following succession: E–F–G–D♭–G♭–E♭–A♭–D–B–C–A–B♭.
In form and style the work echoes many features of the Baroque suite.
Schoenberg’s Suite has six movements:
- Präludium (1921)
- Gavotte (1923)
- Musette (1923)
- Intermezzo (1921–1923)
- Menuett. Trio (1923)
- Gigue (1923)
A performance of the entire Suite für Klavier takes around 16 minutes.
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Figure 1. Polyphonic complex of threetetrachords from early sketch for Schoenberg’s Suite for Piano, Op. 25 (Whittall 2008, p. 34). The bottom being the BACH motif in retrograde: HCAB.
In this work Schoenberg employs transpositions and inversions of the row for the first time: the sets employed are P-0, I-0, P-6, I-6 and their retrogrades. Arnold Whittall has suggested that “The choice of transpositions at the sixth semitone—the tritone—may seem the consequence of a desire to hint at ‘tonic-dominant’ relationships, and the occurrence of the tritone G-D♭ in all four sets is a hierarchical feature which Schoenberg exploits in several places.”
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The Suite for Piano was first performed by Schoenberg’s pupil Eduard Steuermann in Vienna on 25 February 1924. Steuermann made a commercial recording of the work in 1957. The first recording of the Suite for Piano to be released was made by Niels Viggo Bentzon some time before 1950.
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The Gavotte movement contains, “a parody of a baroque keyboard suite that involves the cryptogram of Bach’s name as an important harmonic andmelodic device (Stuckenschmidt 1977, 108; Lewin 1982–83, n.9)” and a related quotation of Schoenberg’s op. 19/vi.
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Edward T. Cone (1972) has catalogued what he believes to be a number of mistakes in Reinhold Brinkmann’s 1968 revised edition of Schoenberg’s piano music, one of which is in measure number five of the Suite’s “Gavotte”, G♭ instead of G♮. Henry Klumpenhouwer invokes Sigmund Freud’s concept of parapraxes (i.e., mental slips) to suggest a psychological context explaining the deviation from the note predicted from the tone row.