Schnabel, Artur. (1882-1951). Symphony No. 1 - SIGNED. New York: Edition Adler. 1945. First edition. Printed score, reproduced from the manuscript. 31 cm. 172 pp. Signed by the composer on the limitation page.
Though primarily remembered as one the 20th Century's greatest pianists, Schnabel said in his "My Life and Music" (1961): "I prefer composing...But all my composing was done as a kind of hobby. Officially, I am not a composer — I am labeled a pianist — so my composing was a kind of hobby, or love affair. I did it always during my vacation, in the summertime...I am very happy composing, am not even interested in the value of my compositions, just interested in the activity."
"The only symphony performed during the composer’s lifetime, Schnabel’s First reflects his Austro-Germanic roots. The long, atonal lines suggest a morose Korngold or Krenek. (Schnabel fled Berlin in 1933, and after spending time in England and Italy, arrived in America in 1939.) Preferring gravity over glitz, Schnabel’s orchestration maintains classical models: negligible coloristic effects, meager percussion, and violins carrying most of the argument’s weight. Few exact repetitions deter initial comprehension. The outer movements thrash in anguish; the Largo con devozione e solennitá pouts at late Mahler. The scherzo shows a lighter touch, best displaying Schnabel’s orchestral potential." (Grant Chu Covell)
Though primarily remembered as one the 20th Century's greatest pianists, Schnabel said in his "My Life and Music" (1961): "I prefer composing...But all my composing was done as a kind of hobby. Officially, I am not a composer — I am labeled a pianist — so my composing was a kind of hobby, or love affair. I did it always during my vacation, in the summertime...I am very happy composing, am not even interested in the value of my compositions, just interested in the activity."
"The only symphony performed during the composer’s lifetime, Schnabel’s First reflects his Austro-Germanic roots. The long, atonal lines suggest a morose Korngold or Krenek. (Schnabel fled Berlin in 1933, and after spending time in England and Italy, arrived in America in 1939.) Preferring gravity over glitz, Schnabel’s orchestration maintains classical models: negligible coloristic effects, meager percussion, and violins carrying most of the argument’s weight. Few exact repetitions deter initial comprehension. The outer movements thrash in anguish; the Largo con devozione e solennitá pouts at late Mahler. The scherzo shows a lighter touch, best displaying Schnabel’s orchestral potential." (Grant Chu Covell)
Schnabel, Artur. (1882-1951). Symphony No. 1 - SIGNED. New York: Edition Adler. 1945. First edition. Printed score, reproduced from the manuscript. 31 cm. 172 pp. Signed by the composer on the limitation page.
Though primarily remembered as one the 20th Century's greatest pianists, Schnabel said in his "My Life and Music" (1961): "I prefer composing...But all my composing was done as a kind of hobby. Officially, I am not a composer — I am labeled a pianist — so my composing was a kind of hobby, or love affair. I did it always during my vacation, in the summertime...I am very happy composing, am not even interested in the value of my compositions, just interested in the activity."
"The only symphony performed during the composer’s lifetime, Schnabel’s First reflects his Austro-Germanic roots. The long, atonal lines suggest a morose Korngold or Krenek. (Schnabel fled Berlin in 1933, and after spending time in England and Italy, arrived in America in 1939.) Preferring gravity over glitz, Schnabel’s orchestration maintains classical models: negligible coloristic effects, meager percussion, and violins carrying most of the argument’s weight. Few exact repetitions deter initial comprehension. The outer movements thrash in anguish; the Largo con devozione e solennitá pouts at late Mahler. The scherzo shows a lighter touch, best displaying Schnabel’s orchestral potential." (Grant Chu Covell)
Though primarily remembered as one the 20th Century's greatest pianists, Schnabel said in his "My Life and Music" (1961): "I prefer composing...But all my composing was done as a kind of hobby. Officially, I am not a composer — I am labeled a pianist — so my composing was a kind of hobby, or love affair. I did it always during my vacation, in the summertime...I am very happy composing, am not even interested in the value of my compositions, just interested in the activity."
"The only symphony performed during the composer’s lifetime, Schnabel’s First reflects his Austro-Germanic roots. The long, atonal lines suggest a morose Korngold or Krenek. (Schnabel fled Berlin in 1933, and after spending time in England and Italy, arrived in America in 1939.) Preferring gravity over glitz, Schnabel’s orchestration maintains classical models: negligible coloristic effects, meager percussion, and violins carrying most of the argument’s weight. Few exact repetitions deter initial comprehension. The outer movements thrash in anguish; the Largo con devozione e solennitá pouts at late Mahler. The scherzo shows a lighter touch, best displaying Schnabel’s orchestral potential." (Grant Chu Covell)