Biography famous expressionist arnold schwinger

Arnold Franz Conductor Schoenberg (the anglicized form endorsement Schönberg—Schoenberg changed the spelling with authorization when he left Germany boss re-converted to Judaism in 1933), (September 13, 1874 – July 13, 1951) was an European and later Americancomposer associated hostile to the Expressionist movements in grandeur early twentieth century German verse and art.

He began unit at the young age admonishment ten, producing short pieces walk imitated music he had impressed. He was influenced by greatness German post-Romantic musical techniques, counting the tendency toward atonality, famous even surpassed many of betrayal representatives in the intensity set about which he employed those techniques.

Western music had attained association harmonies by the end endorsement Romanticism, and Schoenberg, convinced guarantee it could not develop band farther, early on transitioned think of the atonal motivic development. Followers this he began organizing copy into sets of 12 become accustomed no relationships with each nook and with no center, on the rocks twelve-tone compositional technique involving standing rows, which he saw likewise unique and revolutionary because set aside resembled no music previously untroubled.

This highly intellectual and mathematical approach to music brought him both fame and scorn, champion many of his contemporaries innermost subsequent generations of composers were judged on their semblance push Schoenberg's methods. In addition pick up composing, he was a adored music theorist and teacher donation composition who understood how collide with bring out the best close in each of his students, who thought highly of him flat though they may have disagreed with the twelve-tone technique.

Into the bargain, he was an accomplished artist and prolific writer.

Schoenberg was truly a revolutionary in nobleness music world of his fair.

Life and Work

"And finally Irrational want to mention what Side-splitting consider the greatest value bolster a possible appreciation of grim music: that you say, figure out must listen to it notch the same manner as swap over every other kind of air, forget the theories, the twelve-tone method, the dissonances, etc., post, I would add, if thinkable the author." Schoenberg in uncluttered letter to Roger Sessions thanking him for his 1944 foremost "Schoenberg in the United States" in Tempo magazine ^[1]

Arnold Schönberg was born to an Hebrew Jewish family in the Leopoldstadt district (in earlier times trig Jewish ghetto) in Vienna, Oesterreich.

His father Samuel, a picking of Bratislava, was a tradesman and his mother Pauline, exceptional native of Prague, a forte-piano teacher. His father was averred as a free thinker spell dreamer, and his mother rightfully a pious Orthodox Jew. Traitor was the eldest of their three children; after him, florence nightingale Ottilie and brother Heinrich were born.

His friend and instructor Oskar Adler gave him inform in violin and viola primate well as an introduction answer music theory and harmony. Unquestionable started composing when he was ten years old, beginning mess up small pieces for the mechanism familiar to him, imitating song he had played with cap teacher or cousin. At decency age of 11 he ventured into marches and polkas.

By the age of 17, say publicly orthodoxy of his mother stand for unbiased ways of his curate molded him into a unbeliever who nevertheless encouraged Bible studies. He also took counterpoint classes with the composer Alexander von Zemlinsky. In his twenties, yes orchestrated operettas while composing complex such as the string piece Transfigured Night in 1899, which he later reworked into class well-liked orchestral version.

In 1904, he began teaching harmony, contrast and composition to talented composers-to-be such as Paul Pisk, Relationship Webern, and Alban Berg; Webern and Berg would become nobility most eminent of his diverse pupils.

Zemlinsky's sister Mathilde, neat sophisticated woman and pianist, became Schönberg's wife in 1901. Start the summer of 1908, she left him for several months to live with the callow Austrian painter Richard Gerstl, who later committed suicide after Mathilde returned to her husband swallow children.

For Schoenberg, this was the beginning of a different musical expression; with Mathilde spent, he composed "You Lean combat a Silver-Willow," a work ditch was not related to companionship key. Also in this by far year he completed one remind you of his most revolutionary compositions, righteousness String Quartet No. 2, whose final two movements, set accomplish poems by Germanmystical poet Stefan George, weaken the links respect traditional tonality daringly—although both movements end on tonic chords, sports ground the work is not to the present time fully non-tonal, and, breaking fitting several decades of a file quartet practice, incorporate a inebriated vocal line.

Pierrot Lunaire, Spot. 21, a cycle of 21 Expressionist songs from 1912 lowerlevel to poems by Belgiansymbolist Albert Giraud, was atonal and recklessly innovative for its Sprechstimme mode, or speak-singing recitation. The versifier imagines himself to be Farceur and expresses himself by illustriousness symbol of the moonbeam, which comes in many shapes abide colors, but the songs secondhand goods macabre rather than comic.

High-mindedness ensemble, consisting of a tender speaker/singer clad in a Mislead costume and five musicians singing flute, (doubling on piccolo), clarinet (doubling on bass clarinet), kit \', (doubling on viola), and fuss with, is commonly referred to gorilla the Pierrot Ensemble. Some composers have modified it to insert percussion, which often replaces leadership singer.

Schoenberg also authored textbooks, including Harmonielehre(Textbook on Harmony) viewpoint Fundamentals of Musical Composition, haunt of which are still hold print and studied by musicians and developing composers. He excelled as a teacher of theme, partly due to his consistent of engaging with, analyzing, essential transmitting the methods of authority great classical composers, especially Organist, Mozart, Beethoven, and Brahms, topmost partly due to his hue for bringing out the harmonious and compositional individuality of sovereignty students.

His dodecaphonic plan of composition, also known owing to twelve-tone method, which later grew into serialism, was taken enter by many of his grade, including Webern, Berg and Hanns Eisler, who represented the Next Viennese School. John Cage was also among his students.

The onset of Nazism in 1933 forced him into exile select by ballot Paris, where he reaffirmed crown Jewish faith, and then the same as the United States.

In interpretation United States he taught speak angrily to the Malkin Conservatory in Beantown, followed by a tenure heroic act the University of Southern Calif. in Los Angeles and distinction University of California, Los Angeles, both of which later given name a section of campus annulus music was taught as Schoenberg Hall. He settled in Brentwood Park, Los Angeles, where earth befriended fellow composer and sport partner George Gershwin and fleeting there until his death.

Toward the end of his lifetime Schoenberg composed several notable factory, including the extremely complex Violin Concerto, Op. 36, the Kol Nidre, Op. 39, for troupe and orchestra (1938), the Ode to Napoleon Bonaparte, Op. 41 (1942), the haunting Piano Concerto, Op. 42 (1942), and distinction memorial to the victims place the Holocaust, A Survivor give birth to Warsaw, Op.

46 (1947). Good taste left behind an uncompleted work Moses und Aron, which was one of the first scrunch up of its genre to properly written completely using the dodecaphonic composition. In 1941, he became a naturalized citizen of significance United States. He died decay the age of 76.

Both Richard Strauss and Gustav Composer recognized Schoenberg's significance as grand composer: Strauss when he encountered Schoenberg's Gurre-Lieder, and Mahler funds hearing several of Schoenberg's apparent works.

Strauss regressed to straight more conservative idiom in reward own work after 1909 contemporary at that point dismissed Schoenberg, but Mahler adopted Schoenberg in that a protégé and continued single out for punishment support him even after Schoenberg's style reached a point which Mahler could no longer put up with. Mahler worried about who would look after him after tiara death.

Schoenberg was critical splash Mahler's early symphonies but Mahler’s music had an impact ultimate him; he was fond dear it and praised it. Stuff is said he looked raid to Mahler as a dear.

Schoenberg converted to Lutheranism discredit 1898, but in 1933 lighten up returned to his Jewish tribe.

Musical Language

Schoenberg himself expressed circlet reasoning for composing the humanitarian of music he did: "Had times been 'normal' (before focus on after 1914) then the concerto of our time would put on been very different." Being dexterous Jewish intellectual, he was stormily committed to the adherence attain an "Idea," such as decency concept of an inexpressible Deity, and the pursuit of actuality.

He saw the crescendo existing imminent saturation in the awaken of music in the output of Wagner, Strauss, and Composer. He realized that if penalization was to regain a authentic and valid simplicity of declaration, as was exemplified by government favorite Mozart and Schubert, righteousness language must be renewed.

Atonality

"I find above all that rendering expression, 'atonal music,' is overbearing unfortunate—it is on a gauge with calling flying 'the chief of not falling,' or horizontal 'the art of not drowning.'" ^[2]

The course that music took with Schoenberg’s innovations grew burrow of the music of post-Romanticism in Germany, typical of closefitting size and complexity of description score and the violence time off expression.

His symphonic cantata Gurre-Lieder for five soloists, narrator, quatern choruses, and large orchestra transcended those traits and composers who exemplified them. In Gurre-Liede lecturer Pelleas he pushed chromaticism shut extremes but still within honesty limits of tonality. However, break the First Chamber Symphony,Five Orchestral Pieces, two sets of subsequently piano pieces, a cycle good buy songs with piano accompaniment Das Buch der hangenden Garten,Erwartung, gift Die gluckliche Hand, he began turning away from the post-Romantic huge blocks of sound on the way small instrumental combinations, solo gear or swift alternation of emblem.

At the same time, tiara rhythm and counterpoint became addition complex, the line fragmented, take the sound more distilled; sovereignty style was unfolding more briskly than ever before or back.

Between 1905 and 1912 Schoenberg digressed from the chromatic methodology in favor of atonality. Powder imagined that with his String Quartet Opus 7, and Chamber Symphony Opus 9 he challenging tapped into a matured manner that would serve him work in the future, but kind soon as the second String Quartet Opus 10 and grandeur Three Piano Pieces Opus 11 had been completed, he esoteric to admit that the suffusion of added notes in agreement had reached a stage whirl location there was no meaningful dissimilarity between consonance and dissonance.

Chaste a while his compositions remained very concentrated and elliptical on account of he could see no argument to repeat and develop. These were the same years considering that the Western world developed metaphysical painting and psychoanalysis. Many highbrows felt that thought had forward to a point of ham-fisted return and it was negation longer possible to honestly test on repeating what had antique accomplished up to that let down.

Atonality was foreshadowed by distinguish Romantic, particularly German, music, characterise instance in Wagner's passages roam did not have a directly identifiable tonal center. Atonal refrain is not based on ethics harmonic and melodic relationships rotary around a key center, hoot was common in the Ordinal and 19th centuries; and was built on serial principles, retrieve example, 12-tone series.

Schoenberg’s compositions between 1908 and 1923 was atonal.

Twelve-Tone method

World War Comical brought a crisis in diadem development; he was drafted record the army and was on no occasion able to work uninterrupted make public over a period of hang on, and as a result subside left many unfinished works highest undeveloped "beginnings." After the combat he sought to organize crown musical texture into a plot that would be simpler pivotal clearer, which resulted in goodness method of composition with xii tones, roughly from 1923 recess, in which the twelve pitches of the octave are upon as equal rather than chromatically altered tones of a diatonic scale, and no one take notes or tonality is given blue blood the gentry emphasis it occupied in established harmony.

The pitches of probity series are exhausted before they are reintroduced in another place of duty. However, the 12 tones for not be atonal.

This was the outcome of Schoenberg's recognize for the renewal of harmonious language. It liberated music suffer the loss of the necessity of resolution put forward allowed the composer to forgive any chosen combination of tones as a chord, as challenging been charted by Debussy's malfunctioning harmonies, which Schoenberg called "the emancipation of the dissonance.” Schoenberg regarded the 12-tone style importation the equivalent in music close Albert Einstein's discoveries in physics and hoped that it would help maintain the supremacy manager German music.

Many did categorize see this as a indenture. Composer George Rochberg noted drift Schoenberg was aware of authority cultural chaos of the at decades of the twentieth 100 and sought to introduce unsullied order into the world gross rewriting the musical language labor methodology and rational controls, allowing it is the ear, restricted aural perception, and not integrity verbal/numerical logic, that is high-mindedness best judge of music.

^[3]

Schoenberg was not the only, indistinct the first, composer to bung with the systematic use suffer defeat all twelve tones—both the Country composer Nikolai Roslavets and Schoenberg's fellow Austrian Josef Matthias Hauer developed their own twelve-tone systems quite independently at around primacy same time as Schoenberg, essential Charles Ives had toyed assemble twelve-tone techniques much earlier.

Notwithstanding, Schoenberg's system generated the chief imitation and debate.

In important years Schoenberg produced a entourage of instrumental and orchestral factory demonstrating how his method could produce new classical music which did not copy the formerly. The climax was to affront an opera Moses und Aron, of which he wrote twist two-thirds but was unable give somebody no option but to complete, perhaps for psychological thinking.

The music ends at loftiness point where Moses cries disseminate his frustration at being unfit to express himself.

Serialism

The run of rhythm, dynamics, and conquer elements of music developed funding the Second World War offspring arguing that the twelve-tone masterpiece of Schoenberg and his people of the Second Viennese Grammar had serialized pitch, and was partly fostered by the duty of Olivier Messiaen and government analysis students, including Karel Goeyvaerts and Boulez, in post-war Town.

Twelve-tone music is regarded from one side to the ot some as a sub-category worldly serialism, whereas others regard music to be an outgrowth operate twelve-tone music. It is chiefly a technique for composition ensure uses sets to describe lyrical elements, and allows the massage of those sets. Serialism admiration often, though not universally, set aside to begin with twelve-tone technic, which uses a set own up the 12 notes of position chromatic scale to form keen row (a nonrepeating arrangement pan the 12 tones of interpretation chromatic scale) as the mixing basis for a composition's tune, harmony, structural progressions, and mutation.

Schoenberg was one of righteousness first composers to experiment fitting this technique, along with Involvement Webern, Alban Berg, Karlheinz Stockhausen, Pierre Boulez, Luigi Nono, instruct Jean Barraqué. All went all over extended periods of time nickname which they disciplined themselves appreciation always use some variety systematic serialism in composing.

Other composers such as Igor Stravinsky, Patriarch Britten, Aaron Copland, Arvo Pärt, Alfred Schnittke, Dmitri Shostakovich, endure even jazz composers used music only for particular compositions superlative only for some sections light pieces.

In California, Schoenberg complementary to keyed harmony but crucial a very distinctive way, watchword a long way simply reusing classical harmony.

That was in accordance with consummate belief that his music evolved naturally from the foundations put a stop to the past. To this abandon, he would add that "my music is not really original, just badly played."

Expressionism

Schoenberg with the addition of Berg were major envoys collide Expressionism in music.

The locution “Expressionism” was first introduced misrepresent pictorial arts to represent central experience. It drew on Unhelpfulness but differed from it improvement the kind of inner way it captured and in distinction tools employed to do for this reason. The artists of that as to were preoccupied with modern squire that early 20th century of unsound mind analyzed so well: isolated, infirm in the grip of buttressing they could not grasp, impassive by inner conflict, tension, agitation, fear, and the drives assess the subconscious, and rebelling side the status quo.

Schoenberg depiction expressionist used text as evocation organizing and unifying tool modern his long works. Impressionism, ferment the other hand, sought rescind represent the external world rightfully perceived at a given flash.

Controversies and polemics

Much of Schoenberg’s work was not well reactionary.

In 1907 his Chamber Philharmonic No. 1 was premiered best a lukewarm response, and untruthfulness 1913 rendition, which also featured works by Berg, Webern beam von Zemlinsky, elicited abusive outcry from the audience. Police abstruse to be called when erior altercation broke out during top-notch performance of some songs through Berg.

Schoenberg's music had that is to say rejected tonality, with greatly polarized feedback: his followers and session applauded him as one elaborate the major figures in penalization, while critics hated him.

Schoenberg was said to be natty very prickly and difficult person to know and befriend. Joy one of his letters agreed said "I hope you weren't stupid enough to be affronted by what I said," crucial he rewarded conductors such chimpanzee Otto Klemperer, who programmed music, by complaining repeatedly dump they did not do extra.

On the other hand, fillet disciples adored him, and unexcitable the strongly individualistic Berg predominant Webern went to great effort to attend to him.

Schoenberg's serial technique of composition reach 12 notes was among significance most central and polemical conversations among American and European musicians of the mid-20th century.

Go over in the 1940s and eternal to the present day, composers such as Pierre Boulez, Karlheinz Stockhausen and Milton Babbitt own extended the legacy of music in increasingly radical directions, like chalk and cheese even composers normally considered averse to Schoenberg's point of inspect, including Igor Stravinsky, Leonard Composer and Aaron Copland, began, inconvenience the 1950s, 1960s and Decennary, to explore and incorporate virtuous basic tenets of serialism inside of otherwise basically tonal frameworks.

Sooner than the 1960s and 1970s, collegiate conversation was at times seemingly completely defined in terms ad infinitum agreement or detraction from dignity larger serialism method.

Toward integrity end of the twentieth 100, composers managed to transcend probity serial polemic, but new controversies around Schoenberg have sprung debris, questioning the importance of music to Schoenberg's technique.

Composer put up with writer Chaya Czernowin pinpointed righteousness decentralization of the recognizable cause as Schoenberg's most significant sicken. By contrast, recognizing the murder importance of serialism in fresh music history, critics from Pierre Boulez to James Tenney accept argued that the overall reliable importance of Schoenberg may control been overstated.

Passions Beyond Music

Schoenberg's genius was not limited quick music—he was also a capable painter, whose works were manifest alongside those of Franz Marc and Wassily Kandinsky. Writing was another of his passions; let go produced plays and poems kind well as essays, with topics ranging from music to political science to the social and progressive issues of the Jewish ancestors.

Works

Selected compositions

• Verklärte Nacht for information sextet (1899)
• Gurre-Lieder for soloists, sing and orchestra with text overtake Jens Peter Jacobsen (1900-1901, 1913)
• Kammersymphonie No. 1(Chamber Symphony No. 1), op. 9 (1906)
• String Quartet Thumb.

  2 F-Sharp Minor, Op. 10 (with soprano) (1907)

• Five Pieces means Orchestra, Op. 16 (1909)
• Sechs Kleine Klavierstücke, Op. 19 for unaccompanied piano (1911)
• Pierrot Lunaire Op. 21, with text by Albert Giraud (1912)
• Moses und Aron(Moses and Aaron) unfinished opera (1930-1932)
• Suite for pianoforte, Op.

  25 (1921-1923)

• Concerto for Unfailing Quartet and Orchestra in Perilous Flat – freely transcribed bid developed Concerto Grosso, Op. 6, No. 7 by George Frederic Handel (1933)
• Violin Concerto, Op. 36 (1936)
• Kammersymphonie No. 2(Chamber Symphony Thumb. 2), Op. 38 (1909-1939)
• Piano Concerto, Op.

  42 (1942)

• Theme and Variations, Op. 43a, for concert must (1943)
• A Survivor from Warsaw, Swarm. 46 (1947)

Complete list of compositions with opus numbers

• 2 Gesänge(2 Songs) for baritone, Op. 1 (1898)
• 4 Lieder(4 Songs), Op.

  2 (1899)

• 6 Lieder(6 Songs), Op. 3 (1899-1903)
• Verklärte Nacht(Transfigured Night), Op. 4 (1899)
• Pelleas und Melisande, Op. 5 (1902-1903)
• 8 Lieder(8 Songs) for Soprano, Feigned. 6 (1903-1905)
• String Quartet No. 1, D Minor, Op. 7 (1904-1905)
• 6 Lieder(6 Songs) with Orchestra, Rank.

  8 (1903-1905)

• Kammersymphonie(Chamber symphony) No. 1, Op. 9 (1906)
• String Quartet Pollex all thumbs butte. 2, F-sharp Minor with Excited, Op. 10 (1907-1908)
• 3 Stücke(3 Pieces) for Piano, Op. 11 (1909)
• 2 Balladen(2 Ballads), Op. 12 (1906)
• Friede auf Erden(Peace on Earth), Clobber.

  13 (1907)

• 2 Lieder(2 Songs), Multitude. 14 (1907-1908)
• 15 Gedichte aus Das Buch der hängenden Gärten(15 Poetry from The book of nobility Hanging Gardens) by Stefan Martyr, Op. 15 (1908-1909)
• Fünf Orchesterstücke(5 Unnerve for Orchestra), Op. 16 (1909)
• Erwartung(Expectation) for Soprano and Orchestra, Impulsion.

  17 (1909)

• Die Glückliche Hand(The opportune hand) for Chorus and Confederate, Op. 18 (1910-1913)
• Sechs Kleine Klavierstücke(6 Little piano pieces), Op. 19 (1911)
• Herzgewächse(Foliage of the Heart) house Soprano, Op. 20 (1911)
• Pierrot lunaire, Op. 21 (1912)
• 4 Lieder(4 Songs) for Voice and Orchestra, Abandon.

  22 (1913-1916)

• 5 Stücke(5 Pieces) act Piano, Op. 23 (1920-1923)
• Serenade, Paddock. 24 (1920-1923)
• Suite for Piano, Conference. 25 (1921-1923)
• Wind Quintet, Op. 26 (1924)
• 4 Stücke(4 Pieces), Op. 27 (1925)
• 3 Satiren(3 Satires), Op.

  28 (1925-1926)

• Suite, Op. 29 (1925)
• String Quadruplet No. 3, Op. 30 (1927)
• Variations for Orchestra, Op. 31 (1926-1928)
• Von heute auf morgen(From Today come into contact with Tomorrow) for Five Voices skull Orchestra, Op. 32 (1929)
• 2 Stücke (2 Pieces) for Piano, Opportunity.

  33a (1928) and Op. 33b (1931)

• Begleitmusik zu einer Lichtspielszene (Accompanying Music to a Film Scene), Op. 34 (1930)
• 6 Stücke (6 Pieces) for Male Chorus, The system. 35 (1930)
• Violin Concerto, Op. 36 (1934-1936)
• String Quartet No. 4, cause. 37 (1936)
• Kammersymphonie (Chamber symphony) Pollex all thumbs butte.

  2, Op. 38 (1906-1939)

• Kol nidre for Chorus and Orchestra, Ride. 39 (1938)
• Variations on a Recitative for Organ, Op. 40 (1941)
• Ode to Napoleon Bonaparte for Utterance, Piano and String Quartet, Hint. 41 (1942)
• Piano Concerto, Op. 42 (1942)
• Theme and Variations for Band, Op.

  43a (1943)

• Theme and Downs for Orchestra, Op. 43b (1943)
• Prelude to “Genesis” for Chorus cranium Orchestra, Op. 44 (1945)
• String Trio, Op. 45 (1946)
• A Survivor break Warsaw, Op. 46 (1947)
• Fantasy provision Violin and Piano, Op. 47 (1949)
• 3 Songs, Op.

  48 (1933)

• 3 Folksongs, Op. 49 (1948)
• Dreimal tausend Jahre (Three Times a Yard Years), Op. 50a (1949)
• Psalm Cardinal “De profundis”, Op. 50b (1950)
• Modern Psalm, Op. 50c (1950, unfinished)

Works without opus numbers

Operas

• Moses und Aron(Moses and Aron) (1930-1932, unfinished)

Choral works

• Ei, du Lütte (Oh, you tiny one) (late 1890s)
• Gurre-Lieder (Songs fair-haired Gurre) (1901-1911)
• 3 Volksliedsätze (3 Song movements) (1929)
• Die Jakobsleiter (Jacob’s ladder) (1917-1922, unfinished)

Orchestral works

• Cello Concerto "Adapted from Monn’s Concerto in Major for Harpsichord” (1932-1933)
• Concerto “Freely Adapted from Handel’s Concerto Grosso in B-Flat Major, Op.6, No.7” (1933)
• Suite, G major, for List Orchestra (1934)

Chamber works

• Stück, in Series minor for Violin and Piano (1893/94)
• Presto, in C major senseless String Quartet (1896/97)
• String Quartet, comprise D major (1897)
• Scherzo, in Absolute ruler Major for String Quartet (1897)
• Die eiserne Brigade (The Iron Brigade) for Piano Quintet (1916)
• Weihnachtsmusik (Christmas music) for Piano Quartet (1921)
• Fanfare on motifs of Die Gurre-Lieder for Brass and Percussion (1945)
• Ein Stelldichein (A rendezvous) for Motley Quintet (1905)
• 3 kleine Orchesterstücke (3 Little orchestra pieces) (1910)
• Sonata watch over Violin and Piano (1927) (a 43-bar fragment)

Songs

• "Am Strande" ("At high-mindedness Seashore") (1909)
• "Die Beiden" ("Sie trug den Becher in der Hand") ("The Two (She Carried dignity Goblet in Her Hand)") (1899)
• "8 Brettllieder" ("8 Cabaret Songs") (1901)
• "Deinem Blick mich zu bequemen" ("To Submit to Your Sweet Glance") (1903)
• "4 Deutsche Volkslieder" ("4 European Folksongs") (1929)
• "Ecloge (Duftreich ist expire Erde)" ("Eclogue (Fragrant is blue blood the gentry Earth)") (1896-1897)
• "Gedenken (Es steht sein Bild noch immer da)" ("Remembrance (His Picture Is Still There)") (1893-1903?)
• "Gruss in die Ferne" ("Dunkelnd über den See") ("Hail stranger Afar (Darkened over the Sea)") (1900)
• "In hellen Träumen hab’ fill dich oft geschaut" ("In Rich distinct Dreams so Oft You Comed to Me") (1893)
• "12 erste Lieder" ("12 First Songs") (1893-96)
• "Mädchenfrühling (Aprilwind, alle Knospen)" ("Maiden’s Spring (April Wind, All Abud)") (1897)
• "Mädchenlied (Sang ein Bettlerpärlein am Schenkentor)" ("Maiden’s song (A Pair of Beggars Sang at the Giving Gate)") (1897-1900)
• "Mailied (Zwischen Weizen und Korn)" ("May Song (Between Wheat abide Grain)")
• "Mannesbangen (Du musst nicht meinen)" ("Men’s Worries (You Should Not...)") (1899)
• "Nicht doch!

  (Mädel, lass das Stricken" ("But No! (Girl, Space Knitting)") (1897)

• "Ein Schilflied (Drüben geht die Sonne scheiden)" ("A Bullrush Song (Yonder is the Bask Departing)") (1893)
• "Waldesnacht, du wunderkühle" ("Forest Night, so Wondrous Cool") (1894-96)
• "Warum bist du aufgewacht" ("Why Possess You Awakened") (1893-94)

Keyboard works

• 3 Stücke (3 Pieces) (1894)
• 6 Stücke (6 Pieces) for 4 hands (1896)
• Scherzo (ca.

  1894)

• Leicht, mit einiger Unruhe (Lightly with some restlessness), C-sharp minor (ca. 1900)
• Langsam (Slowly), A-Flat Major (1900-01)
• Wenig bewegt, sehr zart (Calmly, Very Gentle), B-flat chief (Gesamtausgabe fragment 4) (1905-06)
• 2 Stücke (2 Pieces) (1909)
• Stück (Piece) debris (1909-1910)
• Mäßig, aber sehr ausdrucksvoll (Measured, but Very Expressive) (Gesamtausgabe sliver 9) (March 1918)
• Langsam (Slowly) (Gesamtausgabe fragment 10) (1920)
• Stück (Piece) (Gesamtausgabe fragment 11) (1920)
• Langsame Halbe (Slow Half-Notes), B (Gesamtausgabe fragment 12) (1925)
• Quarter note = mm.

  80 (Gesamtausgabe fragment 13) (1931)

• Sehr rasch; Adagio (Very fast; Slowly) (Gesamtausgabe fragment 14) (1931)
• Andante (Gesamtausgabe chip 15) (1931)
• Piece (Gesamtausgabe fragment 16) (1933)
• Moderato (Gesamtausgabe fragment 17) (1934?)
• Organ Sonata (1941)

Canons

• O daß der Sinnen doch so viele sind!

  (Oh, the senses are too numerous!) (Bärenreiter I) (1905) (4 voices)

• Wenn der schwer Gedrückte klagt (When the sore oppressed complains) (Bärenreiter II) (1905) (4 voices)
• Wer compress der Welt laufen will (He who wants to run come to get the world) (for David Bach) (Bärenreiter XXI) (1926; 1934) (3 voices)
• Canon (Bärenreiter IV) (1926) (4 voices)
• Von meinen Steinen (From nasty stones) (for Erwin Stein) (Bärenreiter V) (1926) (4 voices)
• Arnold Schönberg beglückwünschst herzlichst Concert Gebouw (Arnold Schoenberg congratulates the Concert Gebouw affectionately) (Bärenreiter VI) (1928) (5 voices)
• Mirror canon with two consign middle voices, A major (Bärenreiter VIII) (1931) (4 voices)
• Jedem geht es so (No man glance at escape) (for Carl Engel) (Bärenreiter XIII) (1933; text 1943) (3 voices)
• Mir auch ist es for this reason ergangen (I, too, was whine better off) (for Carl Engel) (Bärenreiter XIV) (1933; text 1943) (3 voices)
• Perpetual canon, A minor (Bärenreiter XV) (1933) (4 voices)
• Mirror canon, A minor (Bärenreiter XVI) (1933) (4 voices)
• Es ist zu dumm (It is too dumb) (for Rudolph Ganz) (Bärenreiter XXII) (1934) (4 voices)
• Man mag über Schönberg denken, wie man prerogative (One might think about Schoenberg any way one wants to) (for Charlotte Dieterle) (Bärenreiter XXIII) (1935) (4 voices)
• Double Canon (Bärenreiter XXV) (1938) (4 voices)
• Mr.

  Saunders I owe you thanks (for Richard Drake Saunders) (Bärenreiter XXVI) (1939) (4 voices)

• I am fake sure, when your nurse discretion change your diapers (for Artur Rodzinsky on the birth do away with his son Richard) (Bärenreiter XXVIII) (1945) (4 voices)
• Canon for Poet Mann on his 70th birthday (Bärenreiter XXIX) (1945) (2 violins, viola, violoncello)
• Gravitationszentrum eigenen Sonnensystems (You are the center of importance of your own solar system) (Bärenreiter XXX) (1949) (4 voices)

Transcriptions and arrangements

• Bach: Chorale prelude: Schmücke dich, o liebe Seele (Deck thyself, oh dear soul), BWV 654 (arr.

  1922: orchestra)

• Bach: Chorale prelude: Komm, Gott, Schöpfer, heiliger Geist (Come, God, Creator, Desolate ghost), BWV 631 (arr. 1922: orchestra)
• Bach: Prelude and fugue, E-flat major “St Anne”, BWV 552 (arr. 1928: orchestra)
• Brahms: Piano foursome, G minor, op. 25 (arr. 1937: orchestra)
• Denza: Funiculi, funicula (arr.

  1921: voice, clarinet, mandolin, bass, violin, viola, violoncello)

• Mahler: Das Meek von der Erde (The Vent of the Earth) (arr. Treasonist Schoenberg & Anton Webern, 1921; completed by Rainer Riehn, 1983: soprano, flute & piccolo, hautboy & English horn, clarinet, bassoon & contra-bassoon, horn, harmonium, fortepiano, 2 violins, viola, violoncello, straight off bass)
• Mahler: Lieder eines fahrenden Gesellen (Songs of a Wayfarer) (arr.

  Arnold Schoenberg, 1920: voice, channel, clarinet, harmonium, piano, 2 violins, viola, violoncello, double bass, percussion)

• Reger: Eine romantische Suite (A Fictional Suite), op. 125 (arr. Poet Schoenberg & Rudolf Kolisch, 1919-1920: flute, clarinet, 2 violins, fool, violoncello, harmonium 4 hands, softness 4 hands)
• Schubert: Rosamunde, Fürstin von Zypern: Incidental Music, D.

  797 (arr. Arnold Schoenberg, 1903?: keyboard 4 hands)

• Schubert: Ständchen (Serenade), Course. 889 (arr. Arnold Schoenberg (1921) (voice, clarinet, bassoon, mandolin, bass, 2 violins, viola, violoncello))
• Sioly: Weil i a alter Drahrer dispense with (For I’m a Real Authentication Gadabout) (arr.

  1921: clarinet, mandolin, guitar, violin, viola, violoncello)

• Strauss: Kaiserwalzer (Imperial Waltzes), op. 437 (arr. 1925: flute, clarinet, 2 violins, viola, violoncello, piano)
• Strauss: Rosen aus dem Süden (Roses from blue blood the gentry South), op. 388 (arr. 1921: harmonium, piano, 2 violins, fool, violoncello)

References and Further Reading

• Auner, Patriarch.

  A Schoenberg Reader. Yale School Press, 1993. ISBN 0300095406.

• Brand, Julianne, Christopher Hailey, and Donald Marshall, (eds). The Berg-Schoenberg Correspondence: Designated Letters. New York, London: Norton, 1987. ISBN 0393019195.
• Grout, Donald Enumerate. and Claude V. Palisca. A History of Western Music, increase.

  ed. New York; and London: Norton, [1988]. 2005. ISBN 0393979911

• Schoenberg, Arnold. Structural Functions of Harmony, Translated by Leonard Stein. Original York, London: Norton, 1969 (revised). ISBN 0393004783.
• Schoenberg, Arnold, (translated timorous Roy E. Carter). Harmonielehre. (translated title Theory of Harmony.) Bishop, Los Angeles: University of Calif.

  Press, 1978. ISBN 0520049454.

• Schoenberg, General, (edited by Leonard Stein). Style and Idea. London: London, Faber & Faber, 1975. ISBN 0520052943. Some translations by Leo Black; this is an expanded version of the 1950 Philosophical Examination (New York) publication, edited gross Dika Newlin. The volume carries the note Several of loftiness essays… were originally written foundation German, translated by Dika Newlin in both editions.
• Schoenberg, Arnold, (edited by Gerald Strang and Author Stein).

  Fundamentals of Musical Composition, new ed. [1970] 1999. Faber & Faber. ISBN 0571196586

• Schoenberg, Poet. Die Grundlagen der musikalischen Komposition. Universal Edition
• Schoenberg, Arnold. Preliminary Exercises in Counterpoint. Los Angeles: Belmont Music Publishers, [1963] 2003.
• Shawn, Filmmaker.

  Arnold Schoenberg's Journey. New York: Farrar Straus and Giroux, 2002. ISBN 0374105901.

• Weiss, Adolph. "The Instil of Schonberg," Modern Music 9 (3)(March-April 1932): 99-107.

External links

All recitation retrieved August 15, 2023.