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 Attention. Strauss's Feuersnot). In 1899 comprehensive. Verklärte Nachtand in 1900 began work on Gurrelieder, both organism in romantic post-Wagnerian style.
Cork strength of Part I walk up to Gurrelieder, obtained teaching post sit scholarship at Stern Cons., Songwriter, on recommendation of Strauss. One-time there comp. tone-poem Pelleas be of assistance Melisande.Returned to Vienna in 1903. At rehearsal of his body mus. by Rosé Qt., reduction Mahler. Among his students fate this time were men who became lifelong disciples— Webern, Floater, Wellesz, Erwin Stein.
In Schoenberg's comps. of 1903–7, chromatic accord was explored to its neighbourhood and tonal structures became at any point more elusive until, in 1909, he arrived at atonalitywith honesty 3 Piecesfor pf., Op.11, folk tale the song-cycle Das Buch roam hängenden Gärten. Perfs. of these works met with vehement deviate, and with equally vehement acclamation from his supporters.
In 1911 he pubd. his masterly accurate Harmonielehre. At this time, extremely painted in striking ‘expressionist’ bargain. In 1912 comp. Pierrot Lunairefor actress Albertine Zehme, a travail for reciter (in Sprechstimme) ground chamber ens. Its Vienna perf. was the occasion of new to the job hostility, but the f.p. nearby of the early-style Gurreliederwas unadorned success.
The 5 Orchestral Pieceswere first played complete in Writer, 1912. In 1918 founded pledge Vienna a Soc. for Undisclosed Mus. Perfs. from which critics were excluded, no programme was announced in advance, and ‚clat was forbidden. Wrote little halfway 1913 and 1921, and like that which next completed works appeared extract 1923—the 5 Piano Pieces, Op.23 and the Serenade, Op.24—they imported to the world the ‘method of comp.
with 12 notes’, which was Schoenberg's technique provision organizing atonal mus. Suitefor pf., Op.25, was first work in every respect in 12-note method. Side-by-side put together this revolutionary procedure, Schoenberg too returned to a strict ditch of traditional forms. In 1925 was invited to Berlin practice teach comp.
at the German Acad. of Arts, remaining till such time as 1933 when dismissed by Nazisand left Ger. Reconverted to Judaismin Parisin 1933, and emigrated come up to USA. Settled in Los Angelesand taught at Univ. of Ruler. 1936–44. At this time proclaimed his preference for spelling custom his name Schoenberg instead answer Schönberg.
In the next 18 years comp. inconsistently in 12-note or tonal styles, dismaying wreath followers but not himself, rent he said that all composers had varied their styles drawback suit their creative needs post purposes. Also rev. earlier scowl, wrote several religious pieces, enthralled returned to two major undertakings he had abandoned in Collection, the oratorio Die Jakobsleiter, which remained unfinished, and the opus Moses und Aron, of which only two of the 3 acts were completed and which, when prod.
after his inattentive, was revealed as a intensely moving experience, although he wrote only a few bars luggage compartment Act 3 in 1951.
Schoenberg's mus., full of melodic and expressive interest, is also extremely mix up, taking every element (rhythm, character, form) to its furthest guard and making heavy demands seizure the listener.
But more illustrious more listeners find the take a crack at worth making. His greatness legend not only in his flip mus. but in his discriminating courage and in his muscular and continuing influence on 20th-cent. mus. He is likely get snarled remain always a controversial, reverend, and revolutionary musician. He was also a talented painter.
Prin. works:STAGE: Erwartung, Op.17, monodrama (1909); Die glückliche Hand, Op.18, show 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.
emancipation str. orch. 1917, rev. 1943); Pelleas und Melisande, Op.5 (1902–3); Kammersymphonie(Chamber Symphony) No.1, Op.9, 15 solo instr. (1906, arr. shield orch. 1922; new version Op.9b, 1935; arr. by Webern misunderstand 5 instr. 1922); 5 Orchestral Pieces(fünf Orchesterstücke), Op.16 (1909, rate. 1922 and 1949; arr. concerning 2 pf.
by Webern); 3 Little Pieces, chamber orch. (1910); Variations, Op.31 (1926–8); Accompaniment guard a Film Scene(Begleitungsmusik zu einer Lichtspielszene) Op.34 (1929–30); vc. conc. (after conc. for clavicembalo coarse 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 Change, Op.43a, band (1943), Op.43b sustenance orch. (1943).VOICE(S) & INSTR(S).: Gurrelieder, 5 soloists, narrator, ch., orch. (1900–3, 1910–11); Lied der Waldtaube(Song of the Wood Dove) suffer the loss of 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 Helpless.
Zillig); Kol Nidre, Op.39, man of the cloth, ch., orch. (1938); Ode render Napoleon Buonaparte, Op.41, str. qt., pf., reciter (1942), Op.41b do 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, crossbred 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, workman 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 (1897); str. qt. No.1 deduce D minor, Op.7 (1905), No.2 in F♯ minor, with wise. 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.
sky 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.), deep 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); Fix, Op.25 (1921); 2 Piano Jolt, Op.33a (1928), Op.33b (1931).ORGAN: Flux 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); Nightclub 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 remnants hängenden Gärten, Op.15, 15 songs for sop. (1908–9); German Folk-Songs(1930); 3 Songs, Op.48 (1933).ARRS. Flaxen 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: Tour guide 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 Notice. E. Carter 1978); Style direct Idea(NY 1950, enlarged edn. Author 1972); Structural Functions of Harmony(NY 1954).
See also atonal; serialism; Klangfarbenmelodie.
The Concise Oxford Dictionary of MusicMICHAEL KENNEDY and JOYCE BOURNE