In his “fundamentals of musical composition” Schoenberg refers to examples of music by Mozart and Haydn—which are included in the book—but refers to the Beethoven sonatas only by opus number and movement... 
Thus; I can only conclude Schoenberg expects all his students to possess a copy of the complete Sonatas and in fact requires this from his readers for comprehending his analyses.
Supporting this conclusion, in fact, we find this staring up at us in the explanatory preface:
Supporting this conclusion, in fact, we find this staring up at us in the explanatory preface:
Now why have I decided to burden you with this seemingly insignificant bit of trivia. The answer lies obviously in the fact that this year was originally reserved to celebrate the passing of 250 years since Beethoven‘s birth.
This year was supposed to see quite a few celebratory concerts, lectures so on and has therefore generated quite a bit of criticism from people who consider Beethoven “overplayed” and unbearably omnipresent.
It is not my objective to convince anyone of the greatness of Beethoven‘s musical outpourings—I shall leave this task to the music itself which will do a much better job than I ever can...
m.youtube.com/watch?v=BF84k8…
m.youtube.com/watch?v=BF84k8…
However, I for one object that ”Beethoven” is overplayed. Many works are obscure and little played but this is beside the matter.
My point is simply this: to show that Schoenberg, often portrayed as a radical modernist, holds the music of Beethoven in such lofty regard.
My point is simply this: to show that Schoenberg, often portrayed as a radical modernist, holds the music of Beethoven in such lofty regard.
It is therefore through this example that I would like to share the observation that all advances in Art build solidly on tradition which is both preservation as well as innovation—as Mahler said; “tradition is the passing of the torch, not the worshipping of the ashes”.
And to support my view I have yet another voice who firmly asserts this dependency; Stravinsky noted that “one must not only hear but feel music as well”—elaborating by pointing out that the deaf Beethoven used a pencil stuck between his teeth to feel the vibrations of his piano.
Thus my final point in digressing so enormously is only this: that not only must we look forward but always back and that there is no either/or dichotomy thus I posit that it is a necessity to propagate the tradition created by the men and women populating our musical canon.
At the same time we must be open-minded and willing to admit new works to that enormous catalogue; it is not good for us to merely cling to the tradition alone.
Anyway, I shall digress no further.
If you have read my little nocturnal rant thus far, I thank you for indulging me and for your patience—I pray I have not tortured you too harshly.
If you have read my little nocturnal rant thus far, I thank you for indulging me and for your patience—I pray I have not tortured you too harshly.
@threadreaderapp unroll
