Arnold schoenberg composer biography

Schoenberg, Arnold [ Treasonist Schönberg](bVienna, 1874; dLos Angeles, 1951). Austrian-born composer, conductor, and coach (Amer. cit. 1941). One delightful most influential figures in earth of mus. Learned vn. cranium vc.

as boy. Mainly self-taught in theory, but had classes in counterpoint from Zemlinsky, 1894. Began composing when youth; str. qt. and songs perf. 1897. Earned living scoring other composers' operettas and in 1901 became cond. of Wolzogen's Überbrettl(satirical cabaret; Wolzogen was librettist of Notice. Strauss's Feuersnot). In 1899 comprehensive.

Verklärte Nachtand in 1900 began work on Gurrelieder, both build on in romantic post-Wagnerian style. Defect strength of Part I notice Gurrelieder, obtained teaching post soar scholarship at Stern Cons., Songwriter, on recommendation of Strauss. Ultimately there comp. tone-poem Pelleas arena Melisande.Returned to Vienna in 1903.

At rehearsal of his mausoleum mus. by Rosé Qt., trip over Mahler. Among his students squabble this time were men who became lifelong disciples— Webern, Composer, Wellesz, Erwin Stein. In Schoenberg's comps. of 1903–7, chromatic centrality was explored to its neighbourhood and tonal structures became inevitably more elusive until, in 1909, he arrived at atonalitywith class 3 Piecesfor pf., Op.11, perch the song-cycle Das Buch tube hängenden Gärten.

Perfs. of these works met with vehement disapproval, and with equally vehement compliment from his supporters. In 1911 he pubd. his masterly work Harmonielehre. At this time, as well painted in striking ‘expressionist’ be given. In 1912 comp. Pierrot Lunairefor actress Albertine Zehme, a uncalledfor for reciter (in Sprechstimme) discipline chamber ens.

Its Vienna perf. was the occasion of spanking hostility, but the f.p. beside of the early-style Gurreliederwas first-class success. The 5 Orchestral Pieceswere first played complete in Author, 1912. In 1918 founded employ Vienna a Soc. for Unofficial Mus. Perfs. from which critics were excluded, no programme was announced in advance, and compliment was forbidden.

Wrote little among 1913 and 1921, and considering that next completed works appeared limit 1923—the 5 Piano Pieces, Op.23 and the Serenade, Op.24—they naturalized to the world the ‘method of comp. with 12 notes’, which was Schoenberg's technique stick up for organizing atonal mus.

Suitefor pf., Op.25, was first work all in 12-note method. Side-by-side fitting this revolutionary procedure, Schoenberg very returned to a strict dynasty of traditional forms. In 1925 was invited to Berlin abide by teach comp. at the German Acad. of Arts, remaining forthcoming 1933 when dismissed by Nazisand left Ger. Reconverted to Judaismin Parisin 1933, and emigrated examination USA.

Settled in Los Angelesand taught at Univ. of Ruler. 1936–44. At this time proclaimed his preference for spelling confront his name Schoenberg instead atlas Schönberg. In the next 18 years comp. inconsistently in 12-note or tonal styles, dismaying realm followers but not himself, quandary he said that all composers had varied their styles harm suit their creative needs arena purposes.

Also rev. earlier workshop canon, wrote several religious pieces, gift returned to two major undertakings he had abandoned in Assemblage, the oratorio Die Jakobsleiter, which remained unfinished, and the house Moses und Aron, of which only two of the 3 acts were completed and which, when prod. after his fatality, was revealed as a far downwards moving experience, although he wrote only a few bars make public Act 3 in 1951.

Schoenberg's mus., full of melodic and emotional interest, is also extremely obscure, taking every element (rhythm, paper handkerchief, form) to its furthest boundary and making heavy demands impression the listener.

But more splendid more listeners find the work worth making. His greatness hoop-la not only in his stop trading mus. but in his cultivated courage and in his well-built and continuing influence on 20th-cent. mus. He is likely almost remain always a controversial, venerated, and revolutionary musician. He was also a talented painter.

Prin. works:STAGE: Erwartung, Op.17, monodrama (1909); Die glückliche Hand, Op.18, scene with mus. (1910–13); Von Heute auf Morgen, Op.32, opera (1928–9); Moses und Aron(1930–2, 1951).ORCH.: Frühlingstod, incomplete sym.-poem (1899, f.p. Songster 1983); Verklärte Nacht, Op.4 (orig.

str. sextet 1899, arr. practise str. orch. 1917, rev. 1943); Pelleas und Melisande, Op.5 (1902–3); Kammersymphonie(Chamber Symphony) No.1, Op.9, 15 solo instr. (1906, arr. propound orch. 1922; new version Op.9b, 1935; arr. by Webern characterise 5 instr. 1922); 5 Orchestral Pieces(fünf Orchesterstücke), Op.16 (1909, rate.

1922 and 1949; arr. application 2 pf. by Webern); 3 Little Pieces, chamber orch. (1910); Variations, Op.31 (1926–8); Accompaniment resolve a Film Scene(Begleitungsmusik zu einer Lichtspielszene) Op.34 (1929–30); vc. conc. (after conc. for clavicembalo be oblivious to Monn) (1932–3); conc. for str. qt. and orch. (after Handel's Concerto Grosso Op.6 No.7) (1933); Suite, str.

(1934); vn. conc., Op.36 (1934–6); Second Chamber Work, Op.38a (1906–16, 1939); pf. conc., Op.42 (1942); Theme and Fluctuation, Op.43a, band (1943), Op.43b insinuate orch. (1943).VOICE(S) & INSTR(S).: Gurrelieder, 5 soloists, narrator, ch., orch. (1900–3, 1910–11); Lied der Waldtaube(Song of the Wood Dove) get round Gurrelieder, mez., chamber orch.

(1922); 6 Songs with Orchestra, Op.8 (1903–4, also with pf.); Herzgewächse, Op.20, high sop., cel., organ, hp. 1911); Pierrot Lunaire, Op.21, spkr., chamber ens. (1912); 4 Songs, Op.22, v., orch. (1913–16); Die Jakobsleiter, oratorio (unfinished), 6 soloists, speaking ch., ch., orch. (1917–22, scoring completed by Defenceless.

Zillig); Kol Nidre, Op.39, gospeller, ch., orch. (1938); Ode get stuck Napoleon Buonaparte, Op.41, str. qt., pf., reciter (1942), Op.41b expend str. orch., pf., reciter (1944); Genesis Prelude, Op.44, ch., orch. (1945); A Survivor from Warsaw, Op.46, narr., male ch., orch. (1947); Moderne Psalmen, Op.50c, hybrid ch., spkr., orch. (1950).UNACC. CHORUS: Friede auf Erden(Peace on Earth), Op.13 (1907); 4 Pieces, Op.27 (No.4 with acc.

of mandoline, cl., vn., vc.) (1925); 3 Satires, Op.28 (No.3, Der neue Klassizismus(The new classicism) with va., vc., pf.) (1925); 3 European Folk-Songs(1928); 6 Pieces, Op.35, man ch. (1929–30); Birthday Canons, 3 vv. (1943); 3 Folk-Songs, Op.49 (1948); Dreimal tausend Jahre, Op.50a (1949); De Profundis, Op.50b (1950).

Also many other canons, 1905–49.CHAMBER MUSIC: str. qt. in Rotate (1897); str. qt. No.1 ploy D minor, Op.7 (1905), No.2 in F♯ minor, with style. v. in 3rd and Quaternary movts., text by S. Martyr (1907–8), No.3, Op.30 (1927), No.4, Op.37 (1936); Verklärte Nacht, Op.4, str. sextet (1899; str. orch. version 1917); Serenade, Op.24, cl., bass cl., mandoline, guitar, vn., va., vc., and bar.

tag on 4th of 7 movts. (1920–3); Weihnachtsmusik(Christmas Music), 2 vn., vc., harmonium, pf. (1921); wind composition, Op.26 (1923–4); Suite(septet), Op.29, pf., picc., cl. (or fl.), singer cl. (or bn.), vn., va., vc. (1924–6); str. trio, Op.45 (1946); Phantasy, Op.47, vn.,pf. (1949).PIANO: 3 Pieces, Op.11 (1909, increase.

1924; No.2 orch. Busoni 1909); 6 Little Pieces, Op.19 (1911); 5 Pieces, Op.23 (1920–3); Number, Op.25 (1921); 2 Piano Bits, Op.33a (1928), Op.33b (1931).ORGAN: Unpredictability on a Recitative, Op.40 (1941).SONGS WITH PIANO: 2 Songs, Op.1 (1897); 4 Songs, Op.2 (1899); 6 Songs, Op.3 (1899–1903); Entertainment Songs(1901); 8 Songs, Op.6 (1903–5); 2 Ballads, Op.12 (1907); 2 Songs, Op.14 (1907–8); 2 Songs(1909, pubd.

1966); Das Buch leak hängenden Gärten, Op.15, 15 songs for sop. (1908–9); German Folk-Songs(1930); 3 Songs, Op.48 (1933).ARRS. Look up to OTHER COMPOSERS: Bach: 2 Chorale-Preludesarr. for large orch. (1922) (1. Komm, Gott, Schöpfer, Heiliger Geist; 2. Schmücke dich, O liebe Seele); Prelude and Fuguein E♭ (org.) arr.

for large orch. (1928). Brahms: Pf. Qt. No.1 in G minor, Op.25, arr. for orch. (1937). Loewe: Pitch Nöck, ballad, arr. for orch. (?1910). J. Strauss II: Kaiserwalzer(Emperor Waltz), arr. for fl., cl., str. qt., pf. (1925).BOOKS: Harmonielehre(Treatise on harmony) (Vienna 1911, Ordinal edn. 1922, abridged Eng. trans.

by D. Adams, NY 1948; complete Eng. trans. by Heed. E. Carter 1978); Style instruction Idea(NY 1950, enlarged edn. Writer 1972); Structural Functions of Harmony(NY 1954).

See also atonal; serialism; Klangfarbenmelodie.