Gestaltete Freiheit

By abandoning the old tonal order and transitioning to so-called "free" atonality, which was not yet bound to any particular series, Schoenberg opened up a vast new realm of possibilities. However, in order to secure his position in this still unknown terrain and avoid the danger of losing himself in arbitrariness and anarchy, the composer adhered to certain technical concepts and aesthetic principles that were rooted in tradition and proved to be astonishingly adaptable in the new environment.
This book begins with a comprehensive presentation of Schoenberg's terms that help to define and shape the newly gained freedom, consistently drawing on primary sources. In the second part, their possible applications are tested in detailed analyses of works. These are based on Schoenberg's analyses of basic forms. The study also examines complex works that have been insufficiently understood to date, such as the supposedly "athematic" piano piece Op. 11/III, which now appears in a completely new light. Almost incidentally, it becomes apparent to what extent the Schoenberg school has shaped musical thinking in the 20th century through its concepts and continues to do so today. Thus, this study points to fundamental questions that go beyond its seemingly very specific subject matter.

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