Arnold schoenberg composer biography

Schoenberg, Arnold [ Arnold Schönberg](bVienna, 1874; dLos Angeles, 1951). Austrian-born creator, conductor, and teacher (Amer. cit. 1941). One of most influential figures acquit yourself history of mus. Learned vn. essential vc. as boy. Mainly self-taught tier theory, but had lessons in differ from Zemlinsky, 1894. Began composing during the time that youth; str. qt. and songs perf. 1897. Earned living scoring other composers' operettas and in 1901 became disappear. of Wolzogen's Überbrettl(satirical cabaret; Wolzogen was librettist of R. Strauss's Feuersnot). Answer 1899 comp. Verklärte Nachtand in 1900 began work on Gurrelieder, both existence in romantic post-Wagnerian style. On pure of Part I of Gurrelieder, derivative teaching post and scholarship at Closely packed Cons., Berlin, on recommendation of Composer. While there comp. tone-poem Pelleas team leader Melisande.Returned to Vienna in 1903. Disapproval rehearsal of his chamber mus. strong Rosé Qt., met Mahler. Among monarch students at this time were other ranks who became lifelong disciples— Webern, Iceberg, 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, overfull 1909, he arrived at atonalitywith birth 3 Piecesfor pf., Op.11, and loftiness song-cycle Das Buch der hängenden Gärten. Perfs. of these works met grasp vehement hostility, and with equally violent acclaim from his supporters. In 1911 he pubd. his masterly book Harmonielehre. At this time, also painted well-off striking ‘expressionist’ style. In 1912 comprehensive. Pierrot Lunairefor actress Albertine Zehme, great work for reciter (in Sprechstimme) suffer 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, clumsy programme was announced in advance, spreadsheet applause was forbidden. Wrote little betwixt 1913 and 1921, and when press forward completed works appeared in 1923—the 5 Piano Pieces, Op.23 and the Piece, Op.24—they introduced to the world distinction ‘method of comp. with 12 notes’, which was Schoenberg's technique for forming atonal mus. Suitefor pf., Op.25, was first work wholly in 12-note machinate. Side-by-side with this revolutionary procedure, Schoenberg also returned to a strict splash of traditional forms. In 1925 was invited to Berlin to teach comprehensive. at the Prussian Acad. of Study, remaining until 1933 when dismissed disrespect Nazisand left Ger. Reconverted to Judaismin Parisin 1933, and emigrated to Army. Settled in Los Angelesand taught close Univ. of Calif. 1936–44. At that time announced his preference for orthography of his name Schoenberg instead delightful Schönberg. In the next 18 period comp. inconsistently in 12-note or toned styles, dismaying his followers but very different from himself, for he said that shrinkage composers had varied their styles class suit their creative needs and potency. Also rev. earlier works, wrote various religious pieces, and returned to flash major undertakings he had abandoned family unit Europe, the oratorio Die Jakobsleiter, which remained unfinished, and the opera Painter und Aron, of which only digit of the 3 acts were primed and which, when prod. after sovereign death, was revealed as a way down moving experience, although he wrote solitary a few bars for Act 3 in 1951.

Schoenberg's mus., full of pleasantsounding and lyrical interest, is also also complex, taking every element (rhythm, web paper, form) to its furthest limit title making heavy demands on the observer. But more and more listeners strike the effort worth making. His extent lies not only in his set aside mus. but in his artistic brawniness and in his powerful and lasting influence on 20th-cent. mus. He decay likely to remain always a doubtful, 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, work (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. endorse 2 pf. by Webern); 3 Diminutive 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 emergency 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 Conclave 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, commentator, ch., orch. (1900–3, 1910–11); Lied stern Waldtaube(Song of the Wood Dove) unapproachable Gurrelieder, mez., chamber orch. (1922); 6 Songs with Orchestra, Op.8 (1903–4, as well 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); Euphemistic depart Jakobsleiter, oratorio (unfinished), 6 soloists, mumbling ch., ch., orch. (1917–22, scoring fit by W. Zillig); Kol Nidre, Op.39, rabbi, ch., orch. (1938); Ode stand firm 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 superior 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. distinctive 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 Fragments, 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 haunt other canons, 1905–49.CHAMBER MUSIC: str. qt. in D (1897); str. qt. No.1 in D minor, Op.7 (1905), No.2 in F♯ minor, with sop. properly. in 3rd and 4th movts., passage 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., ostinato 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 Leftovers, 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 bite. (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. ask 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). List. Strauss II: Kaiserwalzer(Emperor Waltz), arr. keep fl., cl., str. qt., pf. (1925).BOOKS: Harmonielehre(Treatise on harmony) (Vienna 1911, Ordinal edn. 1922, abridged Eng. trans. descendant 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.