ContentsOrganization of the Artur Schnabel Collection Container List |
Artur Schnabel CollectionProcessed by the Music Division of the Library of Congress2006
Biographical NoteArtur Schnabel was one of the greatest pianists and pedagogues in the history of musical performance. As a performer, Schnabel eschewed virtuosity in favor of musicianship – indeed, he considered himself a musician foremost, and the piano simply his creative medium – and his sound recordings consistently demonstrate interpretations of sensitivity, commitment, and distinction. He was one of the first pianists to champion new and unfamiliar repertoire (such as the piano sonatas of Franz Schubert), and the first pianist to record the complete sonatas and concerti of Ludwig van Beethoven. As a pedagogue, Schnabel is probably best known for his meticulously annotated performing edition of Beethoven’s piano sonatas, through which countless pianists were introduced to these foundations of the piano repertoire; this edition is in common use even today. Lesser known are Schnabel’s original musical compositions – his uncompromising atonal musical language continues to pose formidable challenges to performers, conductors and listeners – and his contribution to musical scholarship through his autobiography (My Life and Music, 1961), his two books on the role of music in the twentieth century (Reflections on Music, 1934 and Music and the Line of Most Resistance, 1942), and through the several articles he contributed to musical journals throughout his life.
Return to the Table of Contents Scope and Content NoteThe Artur Schnabel Collection primarily consists of music manuscript scores of Schnabel’s compositions. These thirty-seven manuscripts are all, with the exception of a single score in a copyist’s hand (for the song "Dieses ist ein rechter Morgen," op. 11, no. 5), in Schnabel’s hand, and represent his compositional essays in a variety of genres, from solo song (voice and piano) to symphonic works. In addition, the collection contains holograph manuscript scores of each of Schnabel’s three symphonies. The collection also includes an early published edition (Leipzig: Breitkopf und Härtel; undated) of Ludwig van Beethoven’s sonatas for solo piano, containing copious annotations in Schnabel’s hand, and on which he apparently based his renowned 1935 edition of these works. Over one hundred additional pages of notes relating to these works are also held in this collection. Kevin LaVine, May 2006 Return to the Table of Contents Selected Search TermsPeople
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Return to the Table of Contents Organization of the Artur Schnabel CollectionThe Artur Schnabel Collection is organized in two series: Return to the Table of Contents Container ListManuscript Music Scores, 1899-1950Arranged alphabetically by title. One copy of the inventory/finding aid of the contents of this collectionAbendlandschaft, for voice and piano (Joseph von Eichendorff), 1902 Holograph manuscript, in ink; 1 p.Concerto [Intermezzo. Rondo], for piano and chamber orchestra, 1901 Holograph manuscript full score, in ink with pencil indications; 33 p.Dann, op. 11, no. 2, for voice and piano (Richard Dehmel), undated Holograph manuscript, in ink with pencil annotations; 2 p.Diabolique. Capriccio, for piano solo, 1949 Holograph manuscript, in ink with pencil annotations; 5 p.Dieses ist ein rechter Morgen, op. 11, no. 5, for voice and piano (Stefan George), undated Copyist’s manuscript, in ink; 3 p.Duodecimet [Introduzione. Scherzo. Epilogue], for chamber ensemble (indications for violin I, violin II, viola, double bass, piccolo, clarinet, bass clarinet, trumpet, horn, percussion), 1950 Holograph manuscript sketches in short score, in pencil; 18 p.Douce tristesse, for piano solo, undated Holograph manuscript, in ink; 4 p.Frühlingsgruss, for voice and piano (Joseph von Eichendorff), 1902 Holograph manuscript, in ink; 2 p.Frühlingsgruss, for voice and piano (Joseph von Eichendorff), undated Holograph manuscript, in ink; 2 p.Heisst es viel dich bitten?, for voice and piano (Stefan George), 1903 Holograph manuscript, in pencil; 2 p.Hyazinthen, op. 14, no. 5, for voice and piano (Theodor Storm), undated Holograph manuscript, in ink with pencil annotations; 3 p.Klavierstück 1937, for piano solo, 1936-1937 Holograph manuscript, in pencil; 31 p.3 Klavierstücke [Rhapsodie. Nachtbild. Walzer], for piano solo, 1906 Holograph manuscript, in ink with pencil indications; 16 p.Manche Nacht, op. 11, no. 6, for voice and piano (Richard Dehmel), 1901 Holograph manuscript, in ink with pencil annotations; 2 p.Marienlied, op. 11, no. 4, for voice and piano (Novalis), undated Holograph manuscript, in ink with pencil annotations; 2 p.Quartet no. 3, for strings, 1922 Holograph manuscript, in pencil; 32 p.Quartet no. 4, for strings, 1930 Holograph manuscript, in pencil; 37 p.Quartet no. 5, for strings, 1940 Holograph manuscript (spiral wire bound), in pencil with red ink indications; 37 p. (plus one unbound page of sketches, at end)Sieh, mein Kind, ich gehe, op. 11, no. 7, for voice and piano (Stefan George), undated Holograph manuscript, in ink with pencil indications; 2 p.Sonata, for violin and piano, 1935 Holograph manuscript, in pencil; 40 (13, 6, 5, 16) p.Sonata, for violoncello solo, 1931 Holograph manuscript, in pencil; 13 p.Symphony no. 1, for orchestra: movements I and II, 1939 Holograph manuscript full score, in pencil with indications in red and black inks and red pencil; ii, 46, 22 p.Symphony no. 1, for orchestra: movements III and IV, 1939 Holograph manuscript full score, in pencil with indications in red ink; ii, 13, 41 p.Symphony no. 1, for orchestra, 1942 Holograph manuscript in short score, in pencil; 47 (16, 8, 6, 17) p.Symphony no. 1, for orchestraSymphony no. 2, for orchestra: movement I, 1943 Holograph manuscript full score, in pencil; 47 p.Symphony no. 2, for orchestra: movement II, 1943 Holograph manuscript full score, in pencil; 1, 28, 1 p.Symphony no. 2, for orchestra: movements III and IV, undated Holograph manuscript full score, in pencil; 59 (2,19, 38) p.Symphony no. 2, for orchestra, 1942 Holograph manuscript in short score, in pencil; 44 (12, 9, 6, 17) p.Symphony no. 3, for orchestra: movement I (“Fantasia”), 1949 Holograph manuscript full score, in pencil with indications in red and blue pencil; 44 p.Symphony no. 3, for orchestra: movement II (“Dance”), 1949 Holograph manuscript full score, in pencil with indications in red and blue pencil; 28 p. (numbered 45 through 72)Symphony no. 3, for orchestra: movement III, 1949 Holograph manuscript full score, in pencil with indications in red and blue pencil; ii, 39 p. (numbered 73 through 112)Symphony no. 3, for orchestra, 1948 Holograph manuscript in short score, in pencil with red and black inks; 8, 4, 8 p.Tanzlied, op. 11, no. 10, for voice and piano (Otto Julius Bierbaum), 1901 Holograph manuscript, in ink with pencil indications; 3 p.Tanzsuite [Erste Rast (Werbung). Walzer (Fühlung). Zeeite Rast (Schwebung). Auf Morgen (Bekräftizung)], for piano solo, 1921 Holograph manuscript, in pencil (incomplete: movement I missing); 37 (5, 20, 3, 9) p.Das Veilchen an den spanischen Flieder, op. 11, no. 9, for voice and piano (Harms Sachs), 1899 Holograph manuscript, in ink with pencil indications; 2 p.Waldnacht, op. 11, no. 8, for voice and piano (Richard Dehmel), 1901 Holograph manuscript, in ink; 2 p.Waldnacht, op. 11, no. 8, for voice and piano (Richard Dehmel), undated Holograph manuscript, in ink with pencil indications; 2 p.Annotated MaterialBeethoven, Ludwig van. Sonatas, for piano solo. Leipzig: Breitkopf & Härtel, n.d.Performance notes related to Schnabel’s Beethoven Sonata edition (above, laid in Box 3/Folder 4), and laid in with the aboveOriginal cardboard folder in which the above material (Box 3/Folders 5 and 6) was containedReturn to the Table of Contents |
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