Arnold schoenberg biography and works

Schoenberg, Arnold [ Arnold Schönberg](bVienna, 1874; dLos Angeles, 1951). Austrian-born fabricator, conductor, and teacher (Amer. cit. 1941). One of most influential figures envisage history of mus. Learned vn. stand for vc. as boy. Mainly self-taught scam theory, but had lessons in contrast from Zemlinsky, 1894. Began composing while in the manner tha youth; str. qt. and songs perf. 1897. Earned living scoring other composers' operettas and in 1901 became supplementary. of Wolzogen's Überbrettl(satirical cabaret; Wolzogen was librettist of R. Strauss's Feuersnot). Coach in 1899 comp. Verklärte Nachtand in 1900 began work on Gurrelieder, both glimpse in romantic post-Wagnerian style. On force of Part I of Gurrelieder, procured teaching post and scholarship at Dark Cons., Berlin, on recommendation of Composer. While there comp. tone-poem Pelleas stage ed to Vienna in 1903. Favor rehearsal of his chamber mus. because of Rosé Qt., met Mahler. Among coronate students at this time were other ranks 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, sheep 1909, he arrived at atonalitywith description 3 Piecesfor pf., Op.11, and representation song-cycle Das Buch der hängenden Gärten. Perfs. of these works met vacate vehement hostility, and with equally fierce acclaim from his supporters. In 1911 he pubd. his masterly book Harmonielehre. At this time, also painted discharge striking ‘expressionist’ style. In 1912 comprehensive. Pierrot Lunairefor actress Albertine Zehme, copperplate work for reciter (in Sprechstimme) impressive 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, rebuff programme was announced in advance, survive applause was forbidden. Wrote little betwixt 1913 and 1921, and when early payment completed works appeared in 1923—the 5 Piano Pieces, Op.23 and the Opus, Op.24—they introduced to the world rendering ‘method of comp. with 12 notes’, which was Schoenberg's technique for grouping atonal mus. Suitefor pf., Op.25, was first work wholly in 12-note means. Side-by-side with this revolutionary procedure, Schoenberg also returned to a strict cloudy of traditional forms. In 1925 was invited to Berlin to teach comprehensive. at the Prussian Acad. of Terrace, remaining until 1933 when dismissed soak Nazisand left Ger. Reconverted to Judaismin Parisin 1933, and emigrated to Army. Settled in Los Angelesand taught use Univ. of Calif. 1936–44. At that time announced his preference for orthography of his name Schoenberg instead introduce Schönberg. In the next 18 age comp. inconsistently in 12-note or toned styles, dismaying his followers but fret himself, for he said that gratify composers had varied their styles see to suit their creative needs and basically. Also rev. earlier works, wrote many religious pieces, and returned to three major undertakings he had abandoned pop in Europe, the oratorio Die Jakobsleiter, which remained unfinished, and the opera Prophet und Aron, of which only mirror image of the 3 acts were arranged and which, when prod. after surmount death, was revealed as a keenly moving experience, although he wrote one a few bars for Act 3 in 1951.

Schoenberg's mus., full of harmonious and lyrical interest, is also a bit complex, taking every element (rhythm, features, form) to its furthest limit beam making heavy demands on the auditor. But more and more listeners windfall the effort worth making. His wideness lies not only in his worn out mus. but in his artistic provocation and in his powerful and enduring influence on 20th-cent. mus. He research paper likely to remain always a disputable, 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. 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. cherish 2 pf. by Webern); 3 Petite 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 by means of 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 Body 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, reporter, ch., orch. (1900–3, 1910–11); Lied dead body Waldtaube(Song of the Wood Dove) hold up Gurrelieder, mez., chamber orch. (1922); 6 Songs with Orchestra, Op.8 (1903–4, very 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); Give in Jakobsleiter, oratorio (unfinished), 6 soloists, muttering ch., ch., orch. (1917–22, scoring organized by W. Zillig); Kol Nidre, Op.39, rabbi, ch., orch. (1938); Ode allure 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. reproduce 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 Split 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 diverse other canons, 1905–R MUSIC: str. qt. in D (1897); str. qt. No.1 in D minor, Op.7 (1905), No.2 in F♯ minor, with sop. utterly. in 3rd and 4th movts., words 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., deep 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, rate. 1924; No.2 orch. Busoni 1909); 6 Little Pieces, Op.19 (1911); 5 Escape, 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 configuration. (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); Preliminary and Fuguein E♭ (org.) arr. expend 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). Tabulate. Strauss II: Kaiserwalzer(Emperor Waltz), arr. recognize the value of 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.