[Op. 41]. Ode to Napoleon Bonaparte [Full score]
![[Op. 41]. Ode to Napoleon Bonaparte [Full score]](https://d3525k1ryd2155.cloudfront.net/h/068/184/1332184068.0.x.1.jpg)
- New York: G. Schirmer [PN 40981cx], 1945
New York: G. Schirmer [PN 40981cx], 1945. Folio. Stapled. Original publisher's light green printed wrappers. 2ff. (title, text, notes), 67, [1] (blank) pp.
Wrappers slightly worn and browned; red pencil shading to several letters. First Edition. Rufer (E), pp. 69-70. GA B/24/2, pp. 34-35
"Schönberg exercised great care in choosing the text; he wanted to compose something on a text by Lord Byron, for the poet’s support of Greece’s struggle for independence mirrored Schönberg’s allegiances to the Europe struggling against Hitler. Of his decision to compose the piece, Schönberg wrote: “I knew it was the moral duty of intelligentsia to take a stand against tyranny.” He combined the “Marseillaise” and the motive from Beethoven’s Fifth Symphony at the moment when the speaker declaims, 'the earthquake voice of victory.” In a letter of 8 September 1943 to his former pupil Heinrich Jalowetz, who had prepared the piece for a recording with a singer, Schönberg insisted that the singer must have “the number of shades, essential to express one hundred and seventy kinds of derision, sarcasm, hatred, ridicule, contempt, condemnation, etc., which I tried to portray in my music.'" Camille Crittenden, © Arnold Schönberg Center.
Wrappers slightly worn and browned; red pencil shading to several letters. First Edition. Rufer (E), pp. 69-70. GA B/24/2, pp. 34-35
"Schönberg exercised great care in choosing the text; he wanted to compose something on a text by Lord Byron, for the poet’s support of Greece’s struggle for independence mirrored Schönberg’s allegiances to the Europe struggling against Hitler. Of his decision to compose the piece, Schönberg wrote: “I knew it was the moral duty of intelligentsia to take a stand against tyranny.” He combined the “Marseillaise” and the motive from Beethoven’s Fifth Symphony at the moment when the speaker declaims, 'the earthquake voice of victory.” In a letter of 8 September 1943 to his former pupil Heinrich Jalowetz, who had prepared the piece for a recording with a singer, Schönberg insisted that the singer must have “the number of shades, essential to express one hundred and seventy kinds of derision, sarcasm, hatred, ridicule, contempt, condemnation, etc., which I tried to portray in my music.'" Camille Crittenden, © Arnold Schönberg Center.