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Chamber Symphony No. 2, Op. 38, by Arnold Schoenberg was begun in 1906 and completed in 1939. The work is scored for 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling cor anglais), 2 clarinets, 2 bassoons, 2 horns, 2 trumpets and strings and is divided into two movements, the first (in E flat minor) marked Adagio and the second (in G major) marked Con Fuoco-Lento. The belated completion of the work was prompted by a request from the conductor Fritz Stiedry who asked Schoenberg for an orchestral piece for his New Friends of Music Orchestra in New York. The work was first performed there on December 14, 1940 under Stiedry's direction.〔Malcolm MacDonald: 'Schoenberg' (Oxford University Press, 2008)〕 When Schoenberg began the work in 1906, he was on the verge of a major stylistic change in his music. His Chamber Symphony No. 1, for fifteen players, adopts a concise form in which the four movements of a traditional symphony are condensed into a single larger one, and establishes the soloistic orchestral writing which is sporadically found in works such as ''Gurre-Lieder'' and ''Pelleas und Melisande''. After completing this work, Schoenberg thought he had reached his mature style, but he soon began to explore new avenues of expression.〔 The Second Chamber Symphony was begun shortly after the first was completed, but despite several efforts (in 1911 and again in 1916), Schoenberg was unable to bring it to a satisfactory conclusion.〔 When he returned to the work 33 years later, it was likely because he felt that his earlier style retained unexplored possibilities. In a letter to Stiedry, Schoenberg addressed the problem of returning to his past:
The completion of the work signifies Schoenberg’s return to tonal music late in his life. In 1939, he added 20 bars to the original first movement, wrote the latter half of the second movement, and revised and re-orchestrated the earlier portions of the work.〔O.W. Neighbour: 'Schoenberg, Arnold', Grove Music Online ed. L. Macy (Accessed 12 February 2008), Stylistically, the Second Chamber Symphony generally progresses harmonically by stepwise motion, juxtaposing the First Chamber Symphony’s forward movement through non-traditional suspensions and appoggiaturas. Schoenberg combined this tonal style with 4th chords and similar combinations to produce a grave and severe effect.〔 While the First Chamber Symphony attempts to expand the limits of tonality, the second does not constantly attempt to undermine tonal references.〔 There is debate over what prompted Schoenberg to re-admit tonality in pieces such as the Second Chamber Symphony, but his own words are probably the most telling. In his 1948 essay "On revient toujours", Schoenberg wrote:
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