Schönbergs Zeichen: Wege zur Interpretation seiner Klaviermusik (review)

Abstract

Schonbergs Zeichen: Wege zur Interpretation seiner Klaviermusik. By Jean-Jacques Dunki. (Publikationen der Internationalen Schonberg-Gesellschaft, Band 6.) Vienna: Verlag Lafite, 2006. [152 p. ISBN 3-85151-074-7. euro34.] Music examples, facsimiles, tables, appendix, bibliography, compact disc. Despite burgeoning literature on Arnold Schoenberg, performance of his music has received comparatively little scholarly attention. The principal contribution in this area, a compendium of essays (Die Lehre von der musikalischen Auffuhrung in der Wiener Schule: Verhandlungen des Internationalen Colloquiums Wien 1995, ed. Markus Grassl and Reinhard Kapp [Vienna: Bohlau, 2002]), has recently been supplemented with articles by Roland Jackson (Schoenberg as Performer of his own Music, Journal of Musicological Research 24, no. 1 [January-March 2005]: 49-69) and Avior Byron (The Test Pressings of Schoenberg Conducting Pierrot lunaire: Sprechstimme Reconsidered, Music Theory Online 12, no. 1 [February 2006]; http:// mto.societymusictheory.org/issues/mto.06 .12.1.byron.html, accessed 21 February 2007). Jean-Jacques Dunki's study of Schoenberg's piano music, latest in newly revived series entitled Publikationen der Internationalen Schonberg-Gesellschaft (now edited by Matthias Schmidt), is first published monograph devoted exclusively to topic of Schoenberg performance practice. His scholarly work notwithstanding (Der Grad der Bewegung: Tempovorstellungen und -konzepte in Komposition und Interpretation 1900-1950, ed. Jean-Jacques Dunki, Anton Haefeli and Regula Rapp [Bern: Peter Lang, 1998]), it is made clear from outset, both in Rudolf Stephan's preface and in Dunki's own introduction, that his approach is that of a performer: having already released recordings of piano music by Berg and Webern, book includes a compact disc containing performances of all of Schoenberg's completed works for piano. As indicated by tide, author considers performance indications (Vortragszeichen) key to interpretation and expression (p. 9). For Dunki, such indications or signs embrace all aspects of notation -pitch, duration, dynamics, articulation, phrasing, rests, etc.-and demand a contextual reading: for instance, he notes that while an accent may be considered in isolation, it is through its interaction with all other performance indications that it acquires its complete effect (p. 13). Thus, according to Dunki, appropriate interpretation entails close reading of score. This is not to suggest, however, that one is subject to text, but rather that text is central to interpretation: he posits that the score is like a landscape, in which performance indications represent signposts and that it is therefore incumbent on interpreter to choose his/her own path (p. 16). Dunki casts his net widely to explore these interpretative issues and advocates study of a variety of sources: musical scores and compositional sketches; writings such as textbooks, essays, notes, and letters; recordings; and, in contrast to much current scholarship, sources emanating from members of Viennese School-writings, comments, reports of Schoenberg's teachings and performances, and, most importantly, performances of his music, some of which were supervised by composer. Schonbergs Zeichen divides into four chapters, each of which is subdivided into several short sections. The first is loosely entitled key concepts (Schlusselbegriffe), and contains a presentation of, and a brief commentary on topics as diverse as Schoenberg, (performance) indication and symbol, reading and understanding, interpretation and performance, modern classics (Klassiker der Moderne), innovation and tradition, Viennese School, and written and oral records. Although some of earlier topics are treated in a generalized way-the section on Schoenberg begins somewhat curiously with a substantial citation from entry in 1999 edition of Meyers Groses Taschenlexikon (p. …