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Spinner was born of Austrian parentage in Lemberg (now Lviv, Ukraine). From 1926 to 1930 he studied composition in Vienna with Paul Amadeus Pisk and afterwards began to attract international attention with works which were performed at the ISCM Festivals or awarded prizes. Nevertheless from 1935 to 1938 he underwent a second period of study, as a pupil of Anton Webern. He may be regarded as a representative of the so-called Second Viennese School. In 1939 Spinner emigrated to England and spent the war years in Yorkshire, working part of the time as a lathe operator in a locomotive factory in Bradford. Afterwards he worked as a music-copyist, moving to London in 1954. From 1958 until his retirement in 1975 he was an Editor for Boosey & Hawkes Music Publishers, where his skills and exactitude were highly praised by Stravinsky.
From 1926 to his death in London in 1980 Spinner steadily and painstakingly built up an individual body of work, adapting and renewing classical forms along the lines (but eventually, much further) that had been indicated by his teacher Webern. They include an early Symphony for small orchestra (1933), an Ouvertüre in honour of Schoenberg’s 70th birthday (1944), a Piano Concerto (1947, later revised as a Concerto for piano with chamber orchestra), a Violin Concerto (1953–55, though this remained in pencil score), Prelude and Variations dedicated to Stravinsky (1962), Ricercata for orchestra (1965), Cantatas on poems of Nietzsche (1951) and on German folksong texts (1964), string quartets, trios, works for violin and piano, solo piano pieces, several sets of songs and some arrangements of Irish folksongs. His last work was a Chamber Symphony (1977-79).
Almost all Spinner’s music was written according to the twelve-tone technique (on which he also wrote a significant textbook, A Short Introduction to the Technique of Twelve-tone Composition, published 1960). His early works, up to and including the Zwei kleine Stücke, are clearly influenced by Berg and middle-period Schoenberg. From the mid-1930s the general idiom, expressive intensity, dramatic economy and impeccable craftsmanship bear witness to his admiration for his teacher Webern – and, through Webern, for the whole Austro-German tradition from Bach onwards. Spinner himself carried that tradition a stage further. While retaining the purity and thematically essentialized textures of Webern, his works show a concern for larger and bolder gestures than Webern’s norm. In his later music, beginning with the perhaps ironically named Sonatina for piano, the expressive pressure applied to strict motivic working results in a wholly individual style of almost explosive force.
- Busch, Regina (1987). Leopold Spinner. Musik der Zeit: Dokumentationen und Studien (in German) 6. Bonn: Boosey & Hawkes. ISBN 3-87090-206-X.
- Busch, Regina; Goodwin, Inge (June 1988). "The Identity of Leopold Spinner". Tempo. New Series (Cambridge University Press) (165). doi:10.1017/S0040298200024074. JSTOR 945134., the translated introduction of the book published as an article in the journal Tempo