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Arnold Schoenberg
 
 

Arnold Schoenberg, 1927, by Man Ray
 
 
Arnold Schoenberg, in full Arnold Franz Walter Schoenberg, Schoenberg also spelled Schönberg (born September 13, 1874, Vienna, Austria—died July 13, 1951, Los Angeles, California, U.S.), Austrian-American composer who created new methods of musical composition involving atonality, namely serialism and the 12-tone row. He was also one of the most-influential teachers of the 20th century; among his most-significant pupils were Alban Berg and Anton Webern.

Early life
Schoenberg’s father, Samuel, owned a small shoe shop in the Second, then predominantly Jewish, district, of Vienna. Neither Samuel nor his wife, Pauline (née Nachod), was particularly musical, although, like most Austrians of their generation, they enjoyed music. There were, however, two professional singers in the family—Heinrich Schoenberg, the composer’s brother, and Hans Nachod, his cousin. Nachod, a gifted tenor, was the first to sing the role of Waldemar in Schoenberg’s Gurrelieder (first performed 1900–01).

Before he was nine years old, Schoenberg had begun composing little pieces for two violins, which he played with his teacher or with a cousin. A little later, when he acquired a viola-playing classmate, he advanced to the writing of string trios for two violins and viola. His meeting with Austrian musician and physician Oskar Adler (later the famed astrologer and author of The Testament of Astrology) was a decisive one. Adler encouraged him to learn the cello so that a group of friends could play string quartets. Schoenberg promptly began composing quartets, although he had to wait for the “S” volume of Meyers Grosses Konversations-Lexikon (an encyclopaedia that his family was buying on the installment plan) to find out how to construct the sonata-form first movement of such works.

Schoenberg’s father died in 1890. To help the family finances, the young man worked as a bank clerk until 1895. During that time he came to know Alexander von Zemlinsky, a rising young composer and conductor of the amateur orchestra Polyhymnia in which Schoenberg played cello. The two became close friends, and Zemlinsky gave Schoenberg instruction in harmony, counterpoint, and composition. That resulted in Schoenberg’s first publicly performed work, the String Quartet in D Major (1897). Highly influenced by the style of Johannes Brahms, the quartet was well received by Viennese audiences during the 1897–98 and 1898–99 concert seasons.



Drawing of Schoenberg by Egon Schiele, 1917

 

First major works
A great step forward took place in 1899, when Schoenberg composed the string sextet Verklärte Nacht (“Transfigured Night”), a highly romantic piece of program music (unified by a nonmusical story or image). It was based on a poem of the same name by Richard Dehmel and was the first piece of program music written for such an ensemble. Its programmatic nature and its harmonies outraged conservative program committees. Consequently, it was not performed until 1903, when it was violently rejected by the public. Since then it has become one of Schoenberg’s most-popular compositions, both in its original form and in Schoenberg’s later versions for string orchestra.

In 1901 Schoenberg moved to Berlin, hoping to better his financial position. He married Mathilde von Zemlinsky, his friend’s sister, and began working as musical director at the Überbrettl, an intimate artistic cabaret. He wrote many songs for that group, among them, Nachtwandler (“Sleepwalker”) for soprano, piccolo, trumpet, snare drum, and piano (published 1969). Schoenberg found his position at Überbrettl insufficiently rewarding, both artistically and materially. German composer Richard Strauss helped him to get a job as composition teacher at the Stern Conservatory and used his influence to secure him the Liszt stipend awarded by the Society for German Music. With the encouragement of Strauss, Schoenberg composed his only symphonic poem for large orchestra, Pelleas und Melisande (1902–03), after the drama by Belgian writer Maurice Maeterlinck. Back in Vienna in 1903, Schoenberg became acquainted with the Austrian composer Gustav Mahler, who became one of his strongest supporters.

Schoenberg’s next major work was the String Quartet No. 1 in D Minor, Op. 7 (1904). The composition’s high density of musical texture and its unusual form (the conventional four movements of a “classic” string quartet blended into one vast structure played without interruption for nearly 50 minutes) caused difficulties in comprehension at the work’s premiere in 1907. He used a similar form in the more-concise Chamber Symphony in E Major (1906), a work novel in its choice of instrumental ensemble. Turning away from the “monster” post-Romantic orchestra, Schoenberg wrote for a chamberlike group of 15 instruments.

During those years, Schoenberg’s activity as a teacher became increasingly important. The young Austrian composers Alban Berg and Anton Webern began studying with him in 1904; both gained from him the impetus to their notable careers, and Schoenberg, in turn, benefitted greatly from the intellectual stimulation of his loyal disciples. He stated at the beginning of his Harmonielehre (1911; “Theory of Harmony”), “This book I have learned from my pupils.” His great gifts as teacher are manifest in that work as well as in his textbooks—Models for Beginners in Composition (1942), Structural Functions of Harmony (1954), Preliminary Exercises in Counterpoint (1963), and Fundamentals of Musical Composition (1967).



Drawing of Schoenberg by Egon Schiele, 1917
 

Evolution from tonality
Until that period all of Schoenberg’s works had been strictly tonal; that is, each of them had been in a specific key, centred upon a specific tone. However, as his harmonies and melodies became more complex, tonality became of lesser importance. The process of “transcending” tonality can be observed at the beginning of the last movement of his Second String Quartet (1907–08). That work is innovative in another respect, too: it is the first string quartet to include a vocal part. The opening words of the Finale, “Ich fühle Luft von anderen Planeten” (“I feel air from another planet”), by the poet Stefan George, have often been symbolically interpreted in the light of Schoenberg’s breakthrough to a new world of sound.

On February 19, 1909, Schoenberg finished the first of three piano pieces that constitute his opus 11, the first composition ever to dispense completely with “tonal” means of organization. Such pieces, in which no one tonal centre exists and in which any harmonic or melodic combination of tones may be sounded without restrictions of any kind, are usually called atonal, although Schoenberg preferred “pantonal.” Atonal instrumental compositions are usually quite short; in longer vocal compositions, the text serves as a means of unification. Schoenberg’s most-important atonal compositions include Five Orchestral Pieces, Op. 16 (1909); the monodrama Erwartung, Op. 17 (1924; “Expectation”), a stage work for soprano and orchestra; Pierrot Lunaire, 21 recitations (“melodramas”) with chamber accompaniment, Op. 21 (1912); Die glückliche Hand, Op. 18 (1924; “The Hand of Fate”), drama with music; and the unfinished oratorio Die Jakobsleiter (begun 1917; “Jacob’s Ladder”).



 

Schoenberg’s earlier music was by that time beginning to find recognition. On February 23, 1913, his Gurrelieder (begun in 1900) was first performed in Vienna. The gigantic cantata calls for unusually large vocal and orchestral forces. Along with Mahler’s Eighth Symphony (Symphony of a Thousand), the Gurrelieder represents the peak of the post-Romantic monumental style. Gurrelieder was received with wild enthusiasm by the audience, but the embittered Schoenberg could no longer appreciate or acknowledge their response.

In 1911, unable to make a decent living in Vienna, he had moved to Berlin. He remained there until 1915, when, because of wartime emergency, he had to report to Vienna for military service. He spent brief periods in the Austrian Army in 1916 and 1917, until he was finally discharged on medical grounds. During the war years he did little composing, partly because of the demands of army service and partly because he was meditating on how to solve the vast structural problems that had been caused by his move away from tonality. He wanted to find a new principle of unification that would help him to control the rich harmonic and melodic resources now at his disposal. Near the end of July 1921, Schoenberg told a pupil, “Today I have discovered something which will assure the supremacy of German music for the next 100 years.” That “something” was a method of composition with 12 tones related only to one another. Schoenberg had just begun working on his Piano Suite, Op. 25, the first 12-tone piece.

In the 12-tone method, each composition is formed from a special row or series of 12 different tones. That row may be played in its original form, inverted (played upside down), played backward, or played backward and inverted. It may also be transposed up or down to any pitch level. All of it, or any part of it, may be sounded successively as a melody or simultaneously as a harmony. In fact, all harmonies and melodies in the piece must be drawn from that row. Although such a method might seem extremely restrictive, that did not prove to be the case. Using his technique, Schoenberg composed what many consider to be his greatest work, the opera Moses und Aron (begun in 1930).

For the rest of his life, Schoenberg continued to use the 12-tone method. Occasionally he returned to traditional tonality, for, as he liked to say, “There is still much good music to be written in C major.” Among those later tonal works are the Suite for String Orchestra (1934), the Variations on a Recitative for Organ, Op. 40 (1940), and the Theme and Variations for Band, Op. 43A (1943).

After World War I Schoenberg’s music won increasing acclaim, although his invention of the 12-tone method aroused considerable opposition. In 1923 his wife, Mathilde, died after a long illness, and a year later he married Gertrud Kolisch, the sister of the violinist Rudolf Kolisch. His success as a teacher continued to grow. In 1925 he was invited to direct the master class in musical composition at the Prussian Academy of Arts in Berlin.

It seemed that Schoenberg had reached the peak of his career. His teaching was well received, and he was writing important works: the Third String Quartet, Op. 30 (1927); the opera Von Heute auf Morgen, Op. 32 (1928–29, first performed in 1930; “From Today to Tomorrow”); Begleitmusik zu einer Lichtspielszene, Op. 34 (1929–30; “Accompaniment to a Film Scene”). But political events proved his undoing. The rise of National Socialism in Germany in 1933 led to the extirpation of Jewish influence in all spheres of German cultural life. Schoenberg was dismissed from his post at the academy. He immigrated to the United States via Paris, where he formally returned to the Jewish faith, which he had abandoned in his youth. In November 1933 he took a position at the Malkin Conservatory in Boston, and in 1934 he moved to California, where he spent the remainder of his life, becoming a citizen of the United States in 1941. He held major teaching positions at the University of Southern California (1935–36) and at the University of California at Los Angeles (1936–44).
 


Arnold Schoenberg, Los Angeles, 1948

 

Schoenberg’s major American works show ever-increasing mastery and freedom in the handling of the 12-tone method. Some of the outstanding compositions of his American period are the Violin Concerto, Op. 36 (1934–36); the Fourth String Quartet, Op. 37 (1936); the Piano Concerto, Op. 42 (1942); and the Fantasia for violin with piano accompaniment, Op. 47 (1949). He also wrote a number of works of particular Jewish interest, including Kol Nidre for mixed chorus, speaker, and orchestra, Op. 39 (1938)—the Kol Nidre is a prayer sung in synagogues at the beginning of the service on the eve of Yom Kippur (Day of Atonement)—and the Prelude to the “Genesis Suite” for orchestra and mixed chorus, Op. 44 (1945).

On July 2, 1951, Hermann Scherchen, the eminent conductor of 20th-century music, conducted the “Dance Around the Gold Calf” from Moses und Aron at Darmstadt, then in West Germany, as part of the program of the Summer School for New Music. The telegram telling of the great success of that performance was one of the last things to bring Schoenberg pleasure before his death 11 days later.

Dika Newlin

Encyclopædia Britannica

 
 

Schoenberg's grave in the Zentralfriedhof, Vienna
 
 
 
Schoenberg was born in Vienna into an orthodox Jewish family. After his father's death, he was obliged to work in a bank from 1891 to 1895, but found time to pursue his musical development through amateur chamber music performance and composition lessons with Alexander von Zemlinsky. The early String quartet in D from 1897 shows the influence of Dvorak and Brahms, and was performed with success. But his next work initiated the controversy that was to dog Schoenberg throughout his career. The string sextet Verklarte Nacht (Transfigured night) — whose Romantic character and impassioned richness of harmony and colour are reminiscent of Wagner and Richard Strauss — was turned down by the Vienna Music Association because of some unac-ceptably dissonant chords.
Schoenberg married Zcmlinsky's sister in 1901 and moved to Berlin, where he subsidized composition of the symphonic poem Pelleas und Melisande by orchestrating operettas in a cabaret theatre. He was rescued from such drudgery when on Richard Strauss's recommendation he was appointed to teach at Berlin's Stern Academy. This was the beginning of Schoenberg's long career as a great teacher. In 1903 he returned to Vienna to teach privately. Alban Berg and Anton Webern — who would, along with Schoenberg, form the "Second Viennese School" — became his pupils the following year.
This atmosphere of creative stimulation produced bold and rapid developments in Schoenberg's style, with the First chamber symphony pushing and the Second string quartet breaking the limits of tonality (the traditional method of composing a piece of music in one particular key). The soprano that Schoenberg added to the quartet sings words that appear symbolic and significant: "I breathe the air from another planet."



Engraving by Felix Muller of Pierrot Lunaire, 1912
The songs of Pierrot lunaire evoked a world of madness and despair.


Schoenberg returned to Berlin in 1912 to conduct the premiere of Pierrot lunaire, a setting of 21 poems for speaker and chamber ensemble. In this piece, a key work of the twentieth century, the composer drew on the surrealist poems of Albert Giraud, which express the worlds of subconscious violence, madness, and desperate nostalgia that were implicit in the musical worlds Schoenberg was exploring. The work makes a feature of Sprechgesang, a type of vocal production between singing and speech. Schoenberg's compositional experiments culminated in the technique of serialism, an atonal method where the 12 notes of the chromatic scale are used with equal emphasis. His first works in this style date from 1923, two early examples being the Piano suite and the Suite for eight instruments.
In 1923 Schoenberg's wife died; ten months later he remarried. From 1925 he taught at the Prussian Academy of Arts in Berlin, where he wrote the first two acts of the opera Moses und Ann, as well as a number of instrumental works that
re-established links with composers of the Classical period. In 1933, with the coming to power of the Nazi Party, his Jewishncss made his position in Germany untenable and he left the country, eventually to settle in Los Angeles. He spent the rest of his life there, teaching for some time at the University of Southern California. His later works show an enriching of his style to encompass both tonal and serial techniques, as well as a renewed concentration on Jewish elements in works such as A survivor from Warsaw (1947). During the last year of his life he worked on meditative, religious works. He died in Los Angeles in July 1951.
Schoenberg stands alongside Stravinsky as one of two giant figures unsurpassed in their influence on twentieth-century music. Although Schoenberg was the more overtly revolutionary, he regarded his innovations as the continuation of a direct Classical lineage, where originality first required the framework of Classical forms in order to communicate coherently to the listener.
 
 

 
5 Pieces for Orchestra
Peabody Symphony Orchestra

No.1
No.2
No.4
No.5
 
 
 
 
 
Schoenberg: Verklärte Nacht, Op.4 - Boulez.
 
Pierre Boulez: Membres de L'Ensemble Intercontemporain
Charles-André Linale: violin / violon
Maryvonne Le Dizès-Richard: violin / violon
Jean Sulem: viola / alto
Garth Knox: viola / alto
Philippe Muller: cello / violoncelle
Pieter Strauch: cello / violoncelle
 
 
 
 
 
 
 
Arnold Schönberg: Pélleas und Melisande op.5 (1903)
 
Pélleas und Melisande, poema sinfonico op.5 (1903) -- Sinfonie-Orchester des Südwestfunks Baden-Baden diretta da Bruno Maderna (dal vivo: Baden-Baden 5 maggio 1960) --

I. Anfang
II. Heftig
III. Lebhaft
IV. Sehr rasch
V. Ein wening bewegter
VI. Langsam
VII. Ein wening bewegter
VIII. Sehr langsam
IX. Etwas bewegter
X. In gehender Bewegung
XI. Breit

 
 
 
 
 
 
 
Schoenberg - Complete String Quartets
 
Ensemble: Arditti Quartet

00:00 Op. 7 - 1.Nicht zu rasch
13:18 Op. 7 - 2.Kräftig
26:30 Op. 7 - 3.Mäßig
38:24 Op. 7 - 4.Mäßig - heiter
46:13 Op. 10 - 1.Mässig
52:44 Op. 10 - 2.Sehr rasch
59:35 Op. 10 - 3.Litanei. Langsam
1:05:30 Op. 10 - 4.Entrückung. Sehr langsam
1:16:42 Op. 30 - 1.Moderato
1:25:18 Op. 30 - 2.Adagio
1:34:09 Op. 30 - 3.Intermezzo. Allegro moderato
1:41:02 Op. 30 - 4.Rondo. Molto moderato
1:47:13 Op. 37 - 1.Allegro molto, energico
1:55:45 Op. 37 - 2.Comodo
2:02:59 Op. 37 - 3.Largo
2:10:52 Op. 37 - 4.Allegro

 
 
 
 
 
 
 
Arnold Schoenberg - Piano music
 
01 - Three Piano Pieces, Op. 11 00:01
02 - Six Little Piano Pieces, Op. 19 16:07
03 - Piano Piece, Op. 33a - 01 Mässig 21:49
04 - Five Piano Pieces, Op. 23 - 01 Sehr langsam 27:36
05 - Suite for Piano, Op. 25 38:29
 
 
 
 
 
 
 
Arnold Schoenberg - Maurizio Pollini - The Piano Music · L'Œuvre Pianistique - Webern: Variations ·
 
Maurizio Pollini Edition - CD 11
Three Piano Pieces Op. 11 · Drei Klavierstücke Op. 11 · Trois Pièces Pour Piano, Op. 11 · Tre Pezzi Per Pianoforte Op. 11
1. Mässig
2. Mässige Achtel
3. Bewegt
Six Little Piano Pieces Op. 19 · Sechs Kleine Klavierstücke Op. 19 · Six Petites Pièces Pour Piano, Op. 19 · Sei Piccoli Pezzi Per Pianoforte Op. 19
1. Leicht, Zart
2. Langsam
3. Sehr Langsame Viertel 4. Rasch, Aber Leicht 5. Etwas Rasch
6. Sehr Langsam
Five Piano Pieces Op. 23 · Fünf Klavierstücke Op. 23
1. Sehr Langsam 2. Sehr Rasch 3. Langsam 4. Schwungvoll
5. Walzer
Suite For Piano Op. 25 · Suite Für Klavier Op. 25
1. Präludium. Rasch 2. Gavotte. Etwas Langsam, Nicht Hastig Musette. Rascher
Gavotte
3. Intermezzo 4. Menuett. Moderato - Trio
5. Gigue. Rasch
Piano Piece Op. 33a · Klavierstück Op. 33a · Pièce Pour Piano, Op. 33a · Pezzo Per Pianoforte Op. 33a
Mässig
Piano Piece Op. 33b · Klavierstück Op. 33b · Pièce Pour Piano, Op. 33b · Pezzo Per Pianoforte Op. 33b
Mässig Langsam
Piano – Maurizio Pollini

Concerto for Piano and Orchestra, Op.42
1Andante
2Molto allegro
3Adagio
4Giocoso (moderato)
Maurizio Pollini, Berliner Philharmoniker, Claudio Abbado
Recording date:September 1988
Anton Webern (1883 - 1945)
Piano Variations, Op.27
1. Sehr mässig
2. Sehr schnell
3. Ruhig, fliessend
Piano – Maurizio Pollini

 
 
 
 
 
 
 
Arnold Schoenberg, Gurrelieder.
 
"Behold the sun,
gay-coloured on the margin of the sky.
Morning-dreams greet her in the East!
Smiling she rises
out of the night-tides,
and from her radiant brow there streams
the splendour of her locks of light".-final chorus from Gurrelieder.

(For notes on Gurrelieder and for German/English text).

Gurre-Lieder is a massive cantata for five vocal soloists, narrator, chorus and large orchestra, composed by Arnold Schoenberg, on poems by the Danish novelist Jens Peter Jacobsen (translated from Danish to German by Robert Franz Arnold). The title means 'Songs of Gurre', referring to Gurre Castle in Denmark, scene of the medieval love-tragedy (related in Jacobsen's poems) revolving around the Danish national legend of the love of the Danish king Valdemar Atterdag (Valdemar IV, 1320-1375, spelt Waldemar by Schoenberg) for his mistress Tove, and her subsequent murder by Valdemar's jealous Queen Helvig (a legend which is historically more likely connected with his ancestor Valdemar I).

Melanie Diener - soprano, Iris Vermillion - mezzo soprano, Thomas Moser - tenor, Philip Langridge - tenor, Ralf Lukas - baritone, Werner Hollweg - speaker. WDR Rundfunkchor Köln/ NDR Choir/ Czech Philharmonic Choir/ Beethoven Orchestra, Bonn/ Roman Kofman.

 
 
 
 
 
 
 
Arnold Schoenberg - Suite im alten Stile, for string orchestra (1934)
 
Suite im alten Stile [Suite in G major], for string orchestra (1934)

I. Overture [0:00]
II. Adagio [6:03]
III. Minuet [11:20]
IV. Gavotte [16:05]
V. Gigue [22:16]

A suite for string orchestra by Austrian composer Arnold Schoenberg (1874-1951), constructed in the manner of a Baroque dance suite. This was the first work that Schoenberg composed after fleeing to the United States, and it was premiered by the Los Angeles Philharmonic under the baton of Otto Klemperer in 1935. The suite was originally intended as a pedagogical tool for talented student orchestras to become familiar with modern fingerings, bowings, phrasing, intonation and dynamics, as well as the Baroque dance forms.

Violin: Jennifer Frautschi
Viola: Richard O'Neill
Cello: Fred Sherry
Conductor: Robert Craft
Twentieth Century Classics Ensemble, New York

 
 
 
 
 
 
 
Schoenberg - Ode to Napoleon Buonaparte, Op. 41 (1942)
 
Ode to Napoleon Buonaparte, Op. 41 (1942)

A melodrama by Austrian composer Arnold Schoenberg (1874-1951), setting a poem by Lord Byron for a reciter, piano and string quartet. Schoenberg, whose Jewish background forced him to emigrate to the United States soon after the election of the Nazis in 1933, saw Napoleon as a forerunner of Hitler. Although this work was composed in 1942, at the height of the Second World War, Schoenberg correctly predicted Hitler's downfall. In 1948, Schoenberg told his biographer, H. H. Stuckenschmidt: "Lord Byron, who had at first admired Napoleon greatly, was so disappointed by his simple resignation [actually his abdication in 1814 at Fontainebleau] that he made him the object of his most bitter scorn. I do not think that I failed to reflect this in my composition."

In this work, Schoenberg makes use of the twelve-tone technique, which he had pioneered decades earlier; the basic tone row is E-F-D flat-C-G sharp-A-B-B flat-D-E flat-G-F sharp. However, there are numerous references to tonal music, including the E flat major chord that concludes Beethoven's Eroica Symphony, which was originally dedicated to Napoleon.

Reciter: David Wilson-Johnson
Piano: Jeremy Denk
Conductor: Robert Craft
Fred Sherry String Quartet

 
 
 
 
 
 
 
Arnold Schoenberg Erwartung, Op. 17
 
Scene 1 Scene 2 Scene 3 Scene 4

Orchestra – Staatskapelle Dresden
Conductor – Giuseppe Sinopoli
Soprano Vocals – Alessandra Marc

 
 
 
 
 
 
 
Arnold Schönberg - Pierrot Lunaire - P. Boulez - Ensemble InterContemporain - G.Silja
 
 
 
 
 
 
 
Moses und Aron / Arnold Schoenberg
 
»Moses und Aron« (1930-1932), eine unvollendete Oper auf ein Libretto des Komponisten.

Franz Mazura - Moses
Philip Langridge - Aron
Aage Haugland - Priester
Barbara Bonney - Mädchen
Mira Zakai - Eine Kranke
Daniel Harper - Junger Mann
Thomas Dymit - Der nackte Jüngling
Herbert Wittges - Ein Mann / Der Ephraimit
Kurt Link - Andrer Mann

Chicago Symphony Chorus & Orchestra
Georg Solti, 1984

 
 
 
 
 
 
 
 
     
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