Artur Schnabel Collection
Catalog Record: http://lccn.loc.gov/2011570507
General International Standard for Archival Description
Music Division Library of Congress Washington, D.C.
Finding aid encoded by Library of Congress Music Division, 2011
Encoded Archival Description
Encoded Archival Description (EAD) Version 2002
collection
Artur Schnabel Collection 1899-1950
Schnabel, Artur, 1882-1951
Biographical History for: Artur Schnabel Collection 1899-1950
Biographical Note Artur 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. Date Event 1882, April 17 Born, Lipnik, Carpathia, Austria 1888 Began piano studies with Hans Schmitt 1889 or 1890 Gave first public concert in Vienna 1891 Began piano studies with Leschetitzky in Vienna 1896 Won prizes for three of his works for solo piano in composition competition organized by Leschetitzky 1897 Graduated from Leschetitzky’s class; received first prize 1898 Moved to Berlin to begin his professional career Met contralto Therese Behr (b. 1876), a “lieder singer of repute” 1905 Married Therese Behr (died 1959), they give intermittent concerts together for the next twenty-five years, performing together primarily throughout Germany and Scandinavia 1921 Made first recital tour of United States 1922 Made second recital tour of United States 1925-1933 Professor, piano, Berlin Hochschule für Musik circa 1925-circa 1933 Performed in recital series with violinist Carl Flesch 1927 Performed Beethoven’s thirty-two piano sonatas in one season in Berlin, in celebration of the centenary of the composer’s birth 1932-1935 Recorded Beethoven's thirty-two piano sonatas and five piano concerti for the British firm HMV 1933 Left Germany and settled in Lake Como, Italy, where he lived for the remainder of his life 1934 Published Reflections on Music. New York: Simon and Schuster 1935 Published his edition of complete piano sonatas of Ludwig van Beethoven, in two volumes (over 800 pages). New York: Simon and Schuster 1936 Performed thirty-two sonatas of Beethoven on “7 Wednesday nights in Carnegie Hall” 1940-1945 Professor, University of Michigan 1942 Published Music and the Line of Most Resistance. Princeton, N.J.: Princeton University Press (his thoughts on music and musical esthetics) 1944 Became a naturalized American citizen 1945 Returned to home in Lake Como, Italy 1946, Dec. 13 Première performance of Symphony no. 1, by Minneapolis Symphony Orchestra, conducted by Dimitri Mitropoulos (this difficult and atonal work would be the only one of Schnabel's four symphonies to be performed during his lifetime) Schnabel appeared as soloist in Beethoven’s Concerto no. 4 in the same concert 1948, Dec. 11 Suffered near-fatal heart attack that left him bedridden for nearly four months 1951, Jan. 20 Last performance, at Hunter College, New York (of the occasion he wrote, “For the first time I succeeded today in playing the last line of Beethoven’s opus 90 [Sonata] so that I found it convincing”) 1951, Aug. 15 Died, Grand Hotel in Axenstein, Switzerland
Scope and Content Note The 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
series
Manuscript Music Scores, 1899-1950
file
One copy of the inventory/finding aid of the contents of this collection
Abendlandschaft, for voice and piano (Joseph von Eichendorff), 1902
Concerto [Intermezzo. Rondo], for piano and chamber orchestra, 1901
Holograph manuscript full score, in ink with pencil indications; 33 p.
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.
holograph manuscript, in ink with pencil annotations; 2 p.
Diabolique. Capriccio, for piano solo, 1949
Holograph manuscript, in ink with pencil annotations; 5 p.
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
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.
holograph manuscript sketches in short score, in pencil; 18 p.
Douce tristesse, for piano solo, undated
Frühlingsgruss, for voice and piano (Joseph von Eichendorff), 1902
Frühlingsgruss, for voice and piano (Joseph von Eichendorff), undated
Heisst es viel dich bitten?, for voice and piano (Stefan George), 1903
Hyazinthen, op. 14, no. 5, for voice and piano (Theodor Storm), undated
Holograph manuscript, in ink with pencil annotations; 3 p.
holograph manuscript, in ink with pencil annotations; 3 p.
Klavierstück 1937, for piano solo, 1936-1937
3 Klavierstücke [Rhapsodie. Nachtbild. Walzer], for piano solo, 1906
Holograph manuscript, in ink with pencil indications; 16 p.
holograph manuscript, in ink with pencil indications; 16 p.
Manche Nacht, op. 11, no. 6, for voice and piano (Richard Dehmel), 1901
Marienlied, op. 11, no. 4, for voice and piano (Novalis), undated
Quartet no. 3, for strings, 1922
Quartet no. 4, for strings, 1930
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)
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.
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.
holograph manuscript, in pencil; 40 (13, 6, 5, 16) p.
Sonata, for violoncello solo, 1931
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.
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.
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.
holograph manuscript in short score, in pencil; 47 (16, 8, 6, 17) p.
Symphony no. 1, for orchestra
Symphony no. 2, for orchestra: movement I, 1943
Holograph manuscript full score, in pencil; 47 p.
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.
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.
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.
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.
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)
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)
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.
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.
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.
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
Waldnacht, op. 11, no. 8, for voice and piano (Richard Dehmel), 1901
Waldnacht, op. 11, no. 8, for voice and piano (Richard Dehmel), undated
Annotated Material
Beethoven, 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 above
Original cardboard folder in which the above material (Box 3/Folders 5 and 6) was contained