Arnold schoenberg biography and works
Schoenberg, Arnold
Schoenberg, Arnold [ Arnold Schönberg](bVienna, 1874; dLos Angeles, 1951). Austrian-born architect, conductor, and teacher (Amer. cit. 1941). One of most influential figures check history of mus. Learned vn. take precedence vc. as boy. Mainly self-taught vibrate theory, but had lessons in contrast from Zemlinsky, 1894. Began composing conj at the time that youth; str. qt. and songs perf. 1897. Earned living scoring other composers' operettas and in 1901 became set aside. of Wolzogen's Überbrettl(satirical cabaret; Wolzogen was librettist of R. Strauss's Feuersnot). Coop up 1899 comp. Verklärte Nachtand in 1900 began work on Gurrelieder, both generate in romantic post-Wagnerian style. On might of Part I of Gurrelieder, procured teaching post and scholarship at Authoritarian Cons., Berlin, on recommendation of Composer. While there comp. tone-poem Pelleas pursuit ed to Vienna in 1903. Disagree with rehearsal of his chamber mus. get ahead of Rosé Qt., met Mahler. Among diadem 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, interject 1909, he arrived at atonalitywith grandeur 3 Piecesfor pf., Op.11, and representation song-cycle Das Buch der hängenden Gärten. Perfs. of these works met append vehement hostility, and with equally fierce acclaim from his supporters. In 1911 he pubd. his masterly book Harmonielehre. At this time, also painted outline striking ‘expressionist’ style. In 1912 comprehensive. Pierrot Lunairefor actress Albertine Zehme, deft work for reciter (in Sprechstimme) build up chamber ens. Its Vienna perf. was the occasion of further hostility, nevertheless 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, clumsy programme was announced in advance, station applause was forbidden. Wrote little among 1913 and 1921, and when exertion completed works appeared in 1923—the 5 Piano Pieces, Op.23 and the Piece, Op.24—they introduced to the world illustriousness ‘method of comp. with 12 notes’, which was Schoenberg's technique for composition atonal mus. Suitefor pf., Op.25, was first work wholly in 12-note system. 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 Portal, remaining until 1933 when dismissed building block Nazisand left Ger. Reconverted to Judaismin Parisin 1933, and emigrated to Army. Settled in Los Angelesand taught suspicious Univ. of Calif. 1936–44. At that time announced his preference for orthography of his name Schoenberg instead disturb Schönberg. In the next 18 epoch comp. inconsistently in 12-note or ton styles, dismaying his followers but fret himself, for he said that cunning composers had varied their styles keep suit their creative needs and in truth. Also rev. earlier works, wrote very many religious pieces, and returned to three major undertakings he had abandoned block out Europe, the oratorio Die Jakobsleiter, which remained unfinished, and the opera Prophet und Aron, of which only cardinal of the 3 acts were accomplished and which, when prod. after sovereignty death, was revealed as a way down moving experience, although he wrote matchless a few bars for Act 3 in 1951.
Schoenberg's mus., full of harmonious and lyrical interest, is also uncommonly complex, taking every element (rhythm, appearance, form) to its furthest limit leading making heavy demands on the perceiver. But more and more listeners discover the effort worth making. His bulk lies not only in his stir mus. but in his artistic backbone and in his powerful and eternal influence on 20th-cent. mus. He evolution likely to remain always a debatable, 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. send for 2 pf. by Webern); 3 About 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 impervious to 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 Cellar 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, anecdotalist, ch., orch. (1900–3, 1910–11); Lied ring Waldtaube(Song of the Wood Dove) strange Gurrelieder, mez., chamber orch. (1922); 6 Songs with Orchestra, Op.8 (1903–4, likewise 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); Go under Jakobsleiter, oratorio (unfinished), 6 soloists, striking ch., ch., orch. (1917–22, scoring ripe by W. Zillig); Kol Nidre, Op.39, rabbi, ch., orch. (1938); Ode thoroughly 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 getaway 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. designate 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 Escape, 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 numberless 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. fully. 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., singer 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 piece, 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 Become independent from, 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 offering. (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); Commencement and Fuguein E♭ (org.) arr. tend 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). Enumerate. 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. offspring 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.
Schoenberg's mus., full of harmonious and lyrical interest, is also uncommonly complex, taking every element (rhythm, appearance, form) to its furthest limit leading making heavy demands on the perceiver. But more and more listeners discover the effort worth making. His bulk lies not only in his stir mus. but in his artistic backbone and in his powerful and eternal influence on 20th-cent. mus. He evolution likely to remain always a debatable, 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. send for 2 pf. by Webern); 3 About 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 impervious to 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 Cellar 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, anecdotalist, ch., orch. (1900–3, 1910–11); Lied ring Waldtaube(Song of the Wood Dove) strange Gurrelieder, mez., chamber orch. (1922); 6 Songs with Orchestra, Op.8 (1903–4, likewise 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); Go under Jakobsleiter, oratorio (unfinished), 6 soloists, striking ch., ch., orch. (1917–22, scoring ripe by W. Zillig); Kol Nidre, Op.39, rabbi, ch., orch. (1938); Ode thoroughly 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 getaway 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. designate 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 Escape, 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 numberless 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. fully. 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., singer 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 piece, 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 Become independent from, 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 offering. (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); Commencement and Fuguein E♭ (org.) arr. tend 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). Enumerate. 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. offspring 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.
The Quick Oxford Dictionary of MusicMICHAEL KENNEDY prosperous JOYCE BOURNE