2. Tanzschritte. Moderato (1925)
3. Thema mit Variationen (1925)
4. Gigue (1925–1926)
DURATION: ca. 38 Min.
1. Satz: Beginn am 28. Oktober 1924, Fortführung ab 17. Juni 1925, vollendet am 15. April 1926,
2. Satz: 17. Juli 1925 bis 13. Juni 1925 [sic!],
3. Satz: 19. Juli bis 15. August 1925,
4. Satz: 17. August 1925 bis 1. Mai 1926 (laut den Daten in den Skizzen); Reinschrift und Stichvorlage ohne Datum
FIRST PERFORMANCE: 15. Dezember 1927, Paris, Grande Salle Pleyel (Cahuzac, Hery, Delacroix, Darrieux, Boulay, Frecheville; Eduard Steuermann, Klavier; Dir. Arnold Schönberg)
FIRST PRINT: Universal-Edition, Wien 1927 (UE Nr. 8685; 1968)
DEDICATION: »Meiner lieben Frau« (Gertrud Kolisch)
NOTENMATERIAL: Universal Edition UE 8685A/F (Stimmen); UE 8685 (Klavierpartitur); PH 603 (Taschenpartitur)
The first drafts of the Suite, op. 29, originate from the autumn of 1924 when Schönberg planned a sequence of lively movements in his 5th sketch book. He intended to use the following characters, which are partly encoded: "1st (movement) 6/8 light, elegant, brisk, Bluff / 2nd Jo-Jo Foxtrot / 3rd Fl. Kschw. Waltz / 4th AS Adagio / 5th IbeB Muartsch Var / 6th Film Dva / 7th Tenn Ski." The cheerful, vibrant character of the Suite, which was completed on 1 May 1926, is a perfect reflection of Schönberg's enjoyment of life at the time. He was newly married and dedicated the work to his "dear wife" Gertrud, whose musical monogram "eS-G" [E flat-G] is integrated into the music at the beginning and end of each movement. The sequence of the four-part Suite, which incorporates elements of the old tonality into dodecaphony (in the third movement, for example, where references to the song "Ännchen von Tharau" can be heard), combines three movements of the traditional Baroque suite with a set of variations on a song.
In a similar manner to several movements from the earlier piano compositions opp. 23 and 25 as well as the Serenade, op. 24, the Suite is dominated by dance rhythms, with the first two movements in particular recalling the dance music of the 1920s. The unusual scoring with its affinity to the "reeds" section of a swing band - three clarinets, string trio and piano - contributes to this feeling. However, the particular attraction of the Suite originates from the tension in the relationship between its cheerful character and the rigidity of its musical structure. The work is based on a twelve-tone row whose final group of four tones is a transposed retrograde form of the first group of four tones, while two groups of two tones are arranged as a mirror image in the middle group. The hexachords solely consist of semitones and minor thirds; the first hexachord comprises the triads of E flat major and B minor, the second hexachord comprises the triads of C sharp major and A minor. Schönberg also worked other "degrees of relationships" into the row's structure which demonstrates supreme artistry in the handling of a - at the time new - method of composition.
© Arnold Schönberg Center