Schoenberg: Phantasy for Violin Op. 47
Schönberg created his last instrumental work in March 1949 at the suggestion of American violinist Adolf Koldofsky, firstly just the violin part and only thereafter the piano accompaniment. The piece is among his twelve-tone works, with the two parts based on row segments that, when played together, - form complete rows. While Schönberg certainly designated his op. 47 a "Phantasy", the orientation of the relatively short piece around sonata form is unmistakable. An unusual wealth of sources survives for this work, which editor Eike Fess, a staff member at Vienna's Arnold Schönberg Center, has sorted and evaluated with great expertise. Urs Wallinand Shai Wosner, two specialists in Schönberg's twelve-tone works, have been enlisted for the fingerings.
Schönberg created his last instrumental work in March 1949 at the suggestion of American violinist Adolf Koldofsky, firstly just the violin part and only thereafter the piano accompaniment. The piece is among his twelve-tone works, with the two parts based on row segments that, when played together, - form complete rows. While Schönberg certainly designated his op. 47 a "Phantasy", the orientation of the relatively short piece around sonata form is unmistakable. An unusual wealth of sources survives for this work, which editor Eike Fess, a staff member at Vienna's Arnold Schönberg Center, has sorted and evaluated with great expertise. Urs Wallinand Shai Wosner, two specialists in Schönberg's twelve-tone works, have been enlisted for the fingerings.
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Schönberg created his last instrumental work in March 1949 at the suggestion of American violinist Adolf Koldofsky, firstly just the violin part and only thereafter the piano accompaniment. The piece is among his twelve-tone works, with the two parts based on row segments that, when played together, - form complete rows. While Schönberg certainly designated his op. 47 a "Phantasy", the orientation of the relatively short piece around sonata form is unmistakable. An unusual wealth of sources survives for this work, which editor Eike Fess, a staff member at Vienna's Arnold Schönberg Center, has sorted and evaluated with great expertise. Urs Wallinand Shai Wosner, two specialists in Schönberg's twelve-tone works, have been enlisted for the fingerings.
