Arnold Schönberg’s piano works op. 11, 19 and 25 have recently been published in a series of individual critical editions by G. Henle Verlag, Munich.

“Their performance demands belief and conviction” – these were the words used by Arnold Schönberg in a letter to Ferruccio Busoni in 1909 to describe his recently composed piano pieces (later published with the opus number 11) in which he had pursued a new aesthetic direction. By his own admission, he aimed for a “complete liberation from all forms,” with his music being “the expression of a feeling, like the real feeling that connects us to our unconscious.”
The Six Little Piano Pieces op. 19 (Six Little Piano Pieces), composed in 1911, display an extreme reduction of the form. Melodic flow and expansive breadth have yielded in favor of epigrammatic expression. “I try to develop a certain logical and beautiful conception, and I try to clothe it in a type of music which exudes from me naturally and inevitably. […] I write what I feel in my heart – and what finally comes to paper is what first coursed through every fiber of my body.” (Schönberg, shared by Merle Armitage, 1937)
Schönberg’s “method of composing with twelve tones which are related only with one another” is among the central compositional achievements of the 20th century, and was used for the first time in the Prelude of the Suite for piano op. 25, composed in 1921.

G. Henle Verlag has now published these three classic works of the 20th-century piano repertoire as individual critical editions. The editions can be purchased in the Arnold Schönberg Center’s online shop.

Drei Klavierstücke op. 11 (Three Piano Pieces)
Edited by Ullrich Scheideler
Fingering by Emanuel Ax
HN 1546 · ISMN 979-0-2018-1546-6

Sechs kleine Klavierstücke op. 19 (Six Little Piano Pieces)
Edited by Norbert Müllemann
Fingering by Emanuel Ax
HN 1547 · ISMN 979-0-2018-1547-3

Suite op. 25
Edited by Marte Auer
Fingering by Shai Wosner
HN 1548 · ISMN 979-0-2018-1548-0