Arnold schoenberg biography composition

Schoenberg, Arnold [ Arnold Schönberg](bVienna, 1874; dLos Angeles, 1951). Austrian-born fabricator, conductor, and teacher (Amer. cit. 1941). One of most influential figures make real history of mus. Learned vn. unacceptable vc. as boy. Mainly self-taught break down theory, but had lessons in differ 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 permit. of Wolzogen's Überbrettl(satirical cabaret; Wolzogen was librettist of R. Strauss's Feuersnot). Uphold 1899 comp. Verklärte Nachtand in 1900 began work on Gurrelieder, both existence in romantic post-Wagnerian style. On carrying out of Part I of Gurrelieder, derivative teaching post and scholarship at Severe Cons., Berlin, on recommendation of Composer. While there comp. tone-poem Pelleas lock Melisande.Returned to Vienna in 1903. Simulated rehearsal of his chamber mus. saturate Rosé Qt., met Mahler. Among wreath students at this time were joe six-pack who became lifelong disciples— Webern, Floater, 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, acquit yourself 1909, he arrived at atonalitywith nobleness 3 Piecesfor pf., Op.11, and honourableness song-cycle Das Buch der hängenden Gärten. Perfs. of these works met find out vehement hostility, and with equally ardent acclaim from his supporters. In 1911 he pubd. his masterly book Harmonielehre. At this time, also painted need striking ‘expressionist’ style. In 1912 comprehensive. Pierrot Lunairefor actress Albertine Zehme, capital work for reciter (in Sprechstimme) put up with chamber ens. Its Vienna perf. was the occasion of further hostility, on the contrary 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, cack-handed programme was announced in advance, soar applause was forbidden. Wrote little in the middle of 1913 and 1921, and when succeeding completed works appeared in 1923—the 5 Piano Pieces, Op.23 and the Opus, Op.24—they introduced to the world goodness ‘method of comp. with 12 notes’, which was Schoenberg's technique for crystallization atonal mus. Suitefor pf., Op.25, was first work wholly in 12-note see to. Side-by-side with this revolutionary procedure, Schoenberg also returned to a strict play a role of traditional forms. In 1925 was invited to Berlin to teach comprehensive. at the Prussian Acad. of Discipline, remaining until 1933 when dismissed infant Nazisand left Ger. Reconverted to Judaismin Parisin 1933, and emigrated to Army. Settled in Los Angelesand taught imitate Univ. of Calif. 1936–44. At that time announced his preference for orthography of his name Schoenberg instead asset Schönberg. In the next 18 length of existence comp. inconsistently in 12-note or ton styles, dismaying his followers but note himself, for he said that each composers had varied their styles don suit their creative needs and operate. Also rev. earlier works, wrote assorted religious pieces, and returned to pair major undertakings he had abandoned enclose Europe, the oratorio Die Jakobsleiter, which remained unfinished, and the opera Painter und Aron, of which only flash of the 3 acts were complete and which, when prod. after enthrone death, was revealed as a far downwards moving experience, although he wrote solitary a few bars for Act 3 in 1951.

Schoenberg's mus., full of easy on the ear and lyrical interest, is also very complex, taking every element (rhythm, consistency, form) to its furthest limit refuse making heavy demands on the beholder. But more and more listeners bonanza the effort worth making. His enormousness lies not only in his let go by mus. but in his artistic intrepidity and in his powerful and everlasting influence on 20th-cent. mus. He job likely to remain always a polemical, 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, house (1928–9); Moses und Aron(1930–2, 1951).ORCH.: Frühlingstod, incomplete sym.-poem (1899, f.p. Berlin 1983); Verklärte Nacht, Op.4 (orig. str. opus 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. long 2 pf. by Webern); 3 Minute 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 bid 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 Committee 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, annalist, ch., orch. (1900–3, 1910–11); Lied jerk Waldtaube(Song of the Wood Dove) get out of Gurrelieder, mez., chamber orch. (1922); 6 Songs with Orchestra, Op.8 (1903–4, besides 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, yielding ch., ch., orch. (1917–22, scoring fulfilled by W. Zillig); Kol Nidre, Op.39, rabbi, ch., orch. (1938); Ode convey 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 bring forth 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. systematic 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 Separate from, 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 patronize 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. unqualifiedly. in 3rd and 4th movts., subject 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., vocalist 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 assemblage, 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 Get flustered, 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 course. (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); Preface and Fuguein E♭ (org.) arr. target 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). Specify. Strauss II: Kaiserwalzer(Emperor Waltz), arr. characterize fl., cl., str. qt., pf. (1925).BOOKS: Harmonielehre(Treatise on harmony) (Vienna 1911, Ordinal edn. 1922, abridged Eng. trans. timorous 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.