Preface to Volume 9 B
The present volume contains first of all the Critical Notes for the works appearing in volumes 9, 1 and 9, 2 of Series A Verklärte Nacht Op. 4 (arrangements for string orchestra of 1916/17 and 1943), Second String Quartet Op. 10 (arrangement for string orchestra of 1929), Adagio (‘Notturno’) for Solo Violin, String Orchestra and Harp, ‘Gavotte und Musette (im alten Style)’ for string orchestra, a fragmentary sequence of ‘Waltzes’ for string orchestra, ‘Suite im alten Stile für Streichorchester’ and ‘Ode to Napoleon Buonaparte’ Op. 41 (arrangement for string orchestra).
In addition, an edition with commentaries contains the sketches for the second arrangement of Op. 4 and the large number of privately owned sketches for the ‘Suite itn alten Stile’; of the latter ones, only the copies preserved at the Arnold Schönberg Center in Vienna and provided with archival numbers by Josef Rufer have been available up to now. Without access to the originals and therefore without knowledge of the actual order of the sketch miscellany it had been attempted at that time to bring these copies in an order which follows the work chronologically. For the Complete Edition it was now possible for the first time to work with the originals, and to present them chronologically too but considering the actual state and texture of the miscellany.
With regard to the string orchestra version of Verklärte Nacht of 1916/17, this edition finally shows the differences arising from the two independent lines of development in the re-working of the score, on the one hand, and of the parts, on the other hand. For the 1943 version a main emphasis is on the documentation of Schönberg’s negotiations with the publishers involved, which went on for years and afford, among other things, exemplary insights into copyright problems. The comprehensive editorial presentation of this opus, begun with the sextet version in volume 22 of Series B, is now concluded in this volume.
Besides the Critical Notes for the version of the Second String Quartet of 1929, whose musical text had been published during Schönberg’s lifetime and is edited in volume 9, 1 of Series A, the present volume also contains documentation of Schönberg’s first setting of the quartet from the year 1919. The earlier setting differs in many details from the later one and can only be reconstructed approximately. In fact, some of the parts used for the performance on 3 June 1919 are extant, yet the performance version remains uncertain for two reasons: Firstly, no double bass part is extant; secondly, another score exists whose connection to the performance is not known. The setting of 1919 is therefore not reproduced in musical text, but only given here in the form of lists of variant readings. Finally, the volume also contains the Quellenedition of the beginning of Schönberg’s string orchestra arrangement of Beethoven’s Serenade for Violin, Viola and Violoncello Op. 8 from the year 1943, which – as can be reconstructed from letters – probably did not get beyond the work’s initial bars comprising only one page.
In conclusion, both editors of the volume, who have divided the editing of the material according to its allocation in the relevant volumes of Series A, would like to express sincere gratitude for the various kinds of support granted them during the preparation and completion of the volume. Very special thanks are due to Therese Muxeneder and Eike Fess, archivists of the Arnold Schönberg Center, Vienna, who have reliably made sources available and competently and meticulously supported the investigations on site. The volume has also benefited from many other persons who have furthered our research and the preparation of materials: the colleagues at the Schönberg-Forschungsstelle; Werner Schembera-Teufenbach and Barbara Eger, archivists of Universal Edition, Vienna; also Antony Beaumont, Cornelius Lejeune, Stefan Münnich, Dorothee Schubel and Ulrich Wilker. To all of them belong our sincerest thanks.
Berlin, October 2010
Martin Albrecht-Hohmaier, Ullrich Scheideler
Translation: Margit McCorkle