Suite for Piano (Schoenberg)

The work is the earliest in which Schoenberg employs a row of "12 tones related only to one another" in every movement:[citation needed] the earlier 5 Stücke, Op.

Arnold Whittall has suggested that "[t]he choice of transpositions at the sixth semitone—the tritone—may seem the consequence of a desire to hint at 'tonic-dominant' relationships, and the occurrence of the tritone G–D♭ in all four sets is a hierarchical feature which Schoenberg exploits in several places".

[3] The first recording of the Suite for Piano to be released was made by Niels Viggo Bentzon some time before 1950.

[3] The Gavotte movement contains, "a parody of a baroque keyboard suite that involves the cryptogram of Bach's name as an important harmonic and melodic device[4][5] and a related quotation of Schoenberg's Op.

[7] Henry Klumpenhouwer invokes Sigmund Freud's concept of parapraxes (i.e., mental slips) to suggest a psychological context explaining the deviation from the note predicted from the tone row.