Schonberg Op 19. 2, revisited

A while ago, I uploaded my orchestration of Schönberg’s Six Little Pieces for Piano, Op. 19. There were lots of things that could have been improved. Mainly because, at the time, I didn’t really know how to analyse the original composition properly and transpose it for the orchestra.

I’m uploading only No. 2 from Op. 19 here, which is very, very short.

After completing it, it was reviewed by a professional composer, and I’ve noted down the suggestions he gave me.

The opening was very ‘dry’, with just the strings in pizzicato, so I added the flute notes, which are in a soft register and played pianissimo, to create a resonant effect.

The line played by the oboe and clarinet in bars 2 and 3 – I’d originally written it doubled by a violin, with the parts shared between these instruments. I’ve removed the violin and split the line into two pairs that make sense given the different intervals. This way, the instruments sound ‘pure’, in keeping with this musical language.

At the climactic moments, in bar 6 and the finale, I have added a beat or more, so that those climactic chords resonate for as long as necessary.

Furthermore, the two final notes on the clarinets were short (eighth notes) and, as the teacher pointed out, the upper part of the chord did indeed sound ‘muted’ and hollow. So I lengthened them.

Extending the final chord allowed me to make the harp’s glissando rise and then fall. Before, it only went up.

In this sort of language, I think you have to be quite literal, but also allow yourself some licence so that the orchestra can display its capabilities, such as those resonances and prolongations in certain bars.

Partitura_.pdf

A very effective and engaging orchestration ... it possesses a well rounded tonal balance with interesting color.

Nice work.

Mark

Brilliant orchestration Luis!

I especially like the combination of brass with harp glissandi on the final chord. (Might steal that idea myself!)

I don't remember seeing all four horns combined onto one staff before. Is that common practice?

On 8/19/2026 at 2:47 AM, Alex Weidmann said:

I don't remember seeing all four horns combined onto one staff before. Is that common practice?

OK, it’s a question of condensation. In other words, reducing the score as much as possible whilst still making it playable.

In this case, the editor (Dorico) does this automatically, although you can change it if you wish.