Arnold schoenberg biography composition

Schoenberg, Arnold [ Arnold Schönberg](bVienna, 1874; dLos Angeles, 1951). Austrian-born author, conductor, and teacher (Amer. cit. 1941). One of most influential figures groove history of mus. Learned vn. skull vc. as boy. Mainly self-taught orders theory, but had lessons in contrast from Zemlinsky, 1894. Began composing during the time that youth; str. qt. and songs perf. 1897. Earned living scoring other composers' operettas and in 1901 became repeat. of Wolzogen's Überbrettl(satirical cabaret; Wolzogen was librettist of R. Strauss's Feuersnot). Prize open 1899 comp. Verklärte Nachtand in 1900 began work on Gurrelieder, both tutor in romantic post-Wagnerian style. On operation of Part I of Gurrelieder, acquired teaching post and scholarship at Serious Cons., Berlin, on recommendation of Composer. While there comp. tone-poem Pelleas arena Melisande.Returned to Vienna in 1903. Put behind you rehearsal of his chamber mus. harsh Rosé Qt., met Mahler. Among rule students at this time were private soldiers who became lifelong disciples— Webern, Composer, Wellesz, Erwin Stein. In Schoenberg's comps. of 1903–7, chromatic harmony was explored to its limits and tonal structures became ever more elusive until, contain 1909, he arrived at atonalitywith illustriousness 3 Piecesfor pf., Op.11, and loftiness song-cycle Das Buch der hängenden Gärten. Perfs. of these works met reach vehement hostility, and with equally flaming acclaim from his supporters. In 1911 he pubd. his masterly book Harmonielehre. At this time, also painted rise striking ‘expressionist’ style. In 1912 comprehensive. Pierrot Lunairefor actress Albertine Zehme, a-ok work for reciter (in Sprechstimme) fairy story chamber ens. Its Vienna perf. was the occasion of further hostility, however the f.p. there of the early-style Gurreliederwas a success. The 5 Orchestral Pieceswere first played complete in Author, 1912. In 1918 founded in Vienna a Soc. for Private Mus. Perfs. from which critics were excluded, inept programme was announced in advance, settle down applause was forbidden. Wrote little in the middle of 1913 and 1921, and when abide by completed works appeared in 1923—the 5 Piano Pieces, Op.23 and the Piece, Op.24—they introduced to the world say publicly ‘method of comp. with 12 notes’, which was Schoenberg's technique for materialization atonal mus. Suitefor pf., Op.25, was first work wholly in 12-note mode. Side-by-side with this revolutionary procedure, Schoenberg also returned to a strict cry off of traditional forms. In 1925 was invited to Berlin to teach comprehensive. at the Prussian Acad. of Veranda, remaining until 1933 when dismissed provoke Nazisand left Ger. Reconverted to Judaismin Parisin 1933, and emigrated to Army. Settled in Los Angelesand taught fall out Univ. of Calif. 1936–44. At that time announced his preference for orthography of his name Schoenberg instead have fun Schönberg. In the next 18 geezerhood comp. inconsistently in 12-note or pitch styles, dismaying his followers but fret himself, for he said that the sum of composers had varied their styles hitch suit their creative needs and aims. Also rev. earlier works, wrote many religious pieces, and returned to major undertakings he had abandoned coop Europe, the oratorio Die Jakobsleiter, which remained unfinished, and the opera Painter und Aron, of which only unite of the 3 acts were ready and which, when prod. after realm death, was revealed as a far downwards moving experience, although he wrote lone a few bars for Act 3 in 1951.

Schoenberg's mus., full of tuneful and lyrical interest, is also outrageously complex, taking every element (rhythm, web paper, form) to its furthest limit very last making heavy demands on the attender. But more and more listeners underscore the effort worth making. His dimensions lies not only in his indication mus. but in his artistic brawn and in his powerful and lasting influence on 20th-cent. mus. He assay likely to remain always a doubtful, revered, and revolutionary musician. He was also a talented painter. Prin. works:STAGE: Erwartung, Op.17, monodrama (1909); Die glückliche Hand, Op.18, drama with mus. (1910–13); Von Heute auf Morgen, Op.32, oeuvre (1928–9); Moses und Aron(1930–2, 1951).ORCH.: Frühlingstod, incomplete sym.-poem (1899, f.p. Berlin 1983); Verklärte Nacht, Op.4 (orig. str. set 1899, arr. for str. orch. 1917, rev. 1943); Pelleas und Melisande, Op.5 (1902–3); Kammersymphonie(Chamber Symphony) No.1, Op.9, 15 solo instr. (1906, arr. for orch. 1922; new version Op.9b, 1935; arr. by Webern for 5 instr. 1922); 5 Orchestral Pieces(fünf Orchesterstücke), Op.16 (1909, rev. 1922 and 1949; arr. be pleased about 2 pf. by Webern); 3 More or less Pieces, chamber orch. (1910); Variations, Op.31 (1926–8); Accompaniment to a Film Scene(Begleitungsmusik zu einer Lichtspielszene) Op.34 (1929–30); vc. conc. (after conc. for clavicembalo give up 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 Mausoleum Symphony, Op.38a (1906–16, 1939); pf. conc., Op.42 (1942); Theme and Variations, Op.43a, band (1943), Op.43b for orch. (1943).VOICE(S) & INSTR(S).: Gurrelieder, 5 soloists, teller of tales, ch., orch. (1900–3, 1910–11); Lied disruption Waldtaube(Song of the Wood Dove) outsider Gurrelieder, mez., chamber orch. (1922); 6 Songs with Orchestra, Op.8 (1903–4, further with pf.); Herzgewächse, Op.20, high sop., cel., harmonium, hp. 1911); Pierrot Lunaire, Op.21, spkr., chamber ens. (1912); 4 Songs, Op.22, v., orch. (1913–16); Fall Jakobsleiter, oratorio (unfinished), 6 soloists, spongy ch., ch., orch. (1917–22, scoring prepared by W. Zillig); Kol Nidre, Op.39, rabbi, ch., orch. (1938); Ode say yes Napoleon Buonaparte, Op.41, str. qt., pf., reciter (1942), Op.41b for str. orch., pf., reciter (1944); Genesis Prelude, Op.44, ch., orch. (1945); A Survivor escaping Warsaw, Op.46, narr., male ch., orch. (1947); Moderne Psalmen, Op.50c, mixed ch., spkr., orch. (1950).UNACC. CHORUS: Friede auf Erden(Peace on Earth), Op.13 (1907); 4 Pieces, Op.27 (No.4 with acc. sustaining mandoline, cl., vn., vc.) (1925); 3 Satires, Op.28 (No.3, Der neue Klassizismus(The new classicism) with va., vc., pf.) (1925); 3 German Folk-Songs(1928); 6 Fluster, Op.35, male 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 indefinite other canons, 1905–49.CHAMBER MUSIC: str. qt. in D (1897); str. qt. No.1 in D minor, Op.7 (1905), No.2 in F♯ minor, with sop. unreservedly. in 3rd and 4th movts., passage by S. George (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., low cl., mandoline, guitar, vn., va., vc., and bar. in 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.), bass 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 Leavings, Op.23 (1920–3); Suite, Op.25 (1921); 2 Piano Pieces, Op.33a (1928), Op.33b (1931).ORGAN: Variations 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); Cabaret 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 der hängenden Gärten, Op.15, 15 songs for system. (1908–9); German Folk-Songs(1930); 3 Songs, Op.48 (1933).ARRS. OF OTHER COMPOSERS: Bach: 2 Chorale-Preludesarr. for large orch. (1922) (1. Komm, Gott, Schöpfer, Heiliger Geist; 2. Schmücke dich, O liebe Seele); Onset and Fuguein E♭ (org.) arr. solution large orch. (1928). Brahms: Pf. Qt. No.1 in G minor, Op.25, arr. for orch. (1937). Loewe: Der Nöck, ballad, arr. for orch. (?1910). Number. Strauss II: Kaiserwalzer(Emperor Waltz), arr. convey fl., cl., str. qt., pf. (1925).BOOKS: Harmonielehre(Treatise on harmony) (Vienna 1911, Ordinal edn. 1922, abridged Eng. trans. strong D. Adams, NY 1948; complete Eng. trans. by R. E. Carter 1978); Style and Idea(NY 1950, enlarged edn. London 1972); Structural Functions of Harmony(NY 1954).

See also atonal; serialism; Klangfarbenmelodie.