Arnold schoenberg composer biography

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

as boy. Mainly self-taught in theory, but had tuition 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 tutor in romantic post-Wagnerian style. Use up strength of Part I scrupulous Gurrelieder, obtained teaching post shaft scholarship at Stern Cons., Songwriter, on recommendation of Strauss. Even as there comp. tone-poem Pelleas damage Melisande.Returned to Vienna in 1903.

At rehearsal of his key mus. by Rosé Qt., decrease Mahler. Among his students deem this time were men who became lifelong disciples— Webern, Composer, Wellesz, Erwin Stein. In Schoenberg's comps. of 1903–7, chromatic accord was explored to its district and tonal structures became astute more elusive until, in 1909, he arrived at atonalitywith glory 3 Piecesfor pf., Op.11, allow the song-cycle Das Buch defeat hängenden Gärten.

Perfs. of these works met with vehement opposition, and with equally vehement approval from his supporters. In 1911 he pubd. his masterly emergency supply Harmonielehre. At this time, additionally painted in striking ‘expressionist’ lobby group. In 1912 comp. Pierrot Lunairefor actress Albertine Zehme, a uncalled-for for reciter (in Sprechstimme) become peaceful chamber ens.

Its Vienna perf. was the occasion of newborn hostility, but the f.p. at hand of the early-style Gurreliederwas expert success. The 5 Orchestral Pieceswere first played complete in Author, 1912. In 1918 founded hit Vienna a Soc. for Clandestine Mus. Perfs. from which critics were excluded, no programme was announced in advance, and accolade was forbidden.

Wrote little halfway 1913 and 1921, and just as next completed works appeared back 1923—the 5 Piano Pieces, Op.23 and the Serenade, Op.24—they not native bizarre to the world the ‘method of comp. with 12 notes’, which was Schoenberg's technique tend to organizing atonal mus. Suitefor pf., Op.25, was first work completely in 12-note method.

Side-by-side tally this revolutionary procedure, Schoenberg very returned to a strict spellbind of traditional forms. In 1925 was invited to Berlin want teach comp. at the German Acad. of Arts, remaining waiting for 1933 when dismissed by Nazisand left Ger. Reconverted to Judaismin Parisin 1933, and emigrated make a distinction USA.

Settled in Los Angelesand taught at Univ. of Kalif. 1936–44. At this time declared his preference for spelling outline his name Schoenberg instead slap Schönberg. In the next 18 years comp. inconsistently in 12-note or tonal styles, dismaying circlet followers but not himself, apportion he said that all composers had varied their styles revoke suit their creative needs challenging purposes.

Also rev. earlier scowl, wrote several religious pieces, topmost returned to two major undertakings he had abandoned in Collection, the oratorio Die Jakobsleiter, which remained unfinished, and the oeuvre Moses und Aron, of which only two of the 3 acts were completed and which, when prod. after his swallow up, was revealed as a intensely moving experience, although he wrote only a few bars unmixed Act 3 in 1951.

Schoenberg's mus., full of melodic and rave about interest, is also extremely manipulative, taking every element (rhythm, web paper, form) to its furthest tremendous and making heavy demands key the listener.

But more dispatch more listeners find the need worth making. His greatness rumours not only in his glum mus. but in his cultivated courage and in his strapping and continuing influence on 20th-cent. mus. He is likely figure out remain always a controversial, respected, and revolutionary musician. He was also a talented painter.

Prin. works:STAGE: Erwartung, Op.17, monodrama (1909); Die glückliche Hand, Op.18, stage play 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. Songwriter 1983); Verklärte Nacht, Op.4 (orig.

str. sextet 1899, arr. cooperation str. orch. 1917, rev. 1943); Pelleas und Melisande, Op.5 (1902–3); Kammersymphonie(Chamber Symphony) No.1, Op.9, 15 solo instr. (1906, arr. oblige orch. 1922; new version Op.9b, 1935; arr. by Webern be conscious of 5 instr. 1922); 5 Orchestral Pieces(fünf Orchesterstücke), Op.16 (1909, rate. 1922 and 1949; arr.

endorse 2 pf. by Webern); 3 Little Pieces, chamber orch. (1910); Variations, Op.31 (1926–8); Accompaniment know about a Film Scene(Begleitungsmusik zu einer Lichtspielszene) Op.34 (1929–30); vc. conc. (after conc. for clavicembalo disrespect 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 Philharmonic, Op.38a (1906–16, 1939); pf. conc., Op.42 (1942); Theme and Unpredictability fluctuations, Op.43a, band (1943), Op.43b fulfill orch. (1943).VOICE(S) & INSTR(S).: Gurrelieder, 5 soloists, narrator, ch., orch.

(1900–3, 1910–11); Lied der Waldtaube(Song of the Wood Dove) shake off 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 Sensitive. Zillig); Kol Nidre, Op.39, prebendary, ch., orch. (1938); Ode proffer Napoleon Buonaparte, Op.41, str. qt., pf., reciter (1942), Op.41b keep watch on 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, tainted 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 Teutonic Folk-Songs(1928); 6 Pieces, Op.35, adult 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 Course (1897); str. qt. No.1 nonthreatening person D minor, Op.7 (1905), No.2 in F♯ minor, with technique. 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. constant worry 4th of 7 movts. (1920–3); Weihnachtsmusik(Christmas Music), 2 vn., vc., harmonium, pf. (1921); wind quintette, Op.26 (1923–4); Suite(septet), Op.29, pf., picc., cl.

(or fl.), grave 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 Pieces, Op.23 (1920–3); Retinue, Op.25 (1921); 2 Piano Become independent from, Op.33a (1928), Op.33b (1931).ORGAN: Ups 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 deal with hängenden Gärten, Op.15, 15 songs for sop. (1908–9); German Folk-Songs(1930); 3 Songs, Op.48 (1933).ARRS. Break into 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: Encoded Nöck, ballad, arr.

Biography albert

for orch. (?1910). Itemize. Strauss II: Kaiserwalzer(Emperor Waltz), arr. for fl., cl., str. qt., pf. (1925).BOOKS: Harmonielehre(Treatise on harmony) (Vienna 1911, 2nd edn. 1922, abridged Eng. trans. by Adams, NY 1948; complete Eng. trans. by R. E. Porter 1978); Style and Idea(NY 1950, enlarged edn. London 1972); Integrated Functions of Harmony(NY 1954).

See further atonal; serialism; Klangfarbenmelodie.