Yuja Wang: Suite for Piano Op. 25 by Arnold Schönberg - (a 12-tone piece for piano)

Arnold Schönberg's Suite for Piano (German: Suite für Klavier), Op. 25, is a 12-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:[citation needed] 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. The basic tone row of the suite consists of the following pitches: 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. There are six movements:
THIS VIDEO:
00:00 - I. Präludium
00:47 - II. Gavotte
01:53 - III. Musette
04:07 - IV. Intermezzo
07:39 - V. Menuett (Trio starts at 08:40)
10:07 - VI. Gigue
July 26, 2022 (Verbier Festival) Salle des Combins.
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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 "[t]he 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".

The suite 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.[3] The first recording of the Suite for Piano to be released was made by Niels Viggo Bentzon some time before 1950.

The Gavotte movement contains, "a parody of a baroque keyboard suite that involves the cryptogram of Bach's name as an important harmonic and melodic device and a related quotation of Schoenberg's Op. 19/vi.

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. ...
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Guilherme de Abreu Correia – Funchal, Ilha da Madeira, Portugal.
Escritor Filósofo-Cientista Espiritualista Universalista e ex-Músico Amador.

Guilherme de Abreu Correia – Funchal, Madeira Island, Portugal.
Universalist Spiritualist Philosopher-Scientist Writer and former Amateur Musician.
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