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Arnold Schoenberg

January 04, 2023

"Schoenberg" redirects here. For others with the surname, see Schoenberg (surname).

Arnold Schoenberg or Schönberg (/ˈʃɜːrnbɜːrɡ/, US also /ˈʃoʊn-/; German: [ˈʃøːnbɛɐ̯k] (listen); 13 September 1874 – 13 July 1951) was an Austrian-American composer, music theorist, teacher, writer, and painter. He is widely considered one of the most influential composers of the 20th century. He was associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. As a Jewish composer, Schoenberg was targeted by the Nazi Party, which labeled his works as degenerate music and forbade them from being published.[1][2] He emigrated to the United States in 1933, becoming an American citizen in 1941.

Schoenberg in Los Angeles, c. 1948

Schoenberg's approach, bοth in terms of harmony and development, has shaped much of 20th-century musical thought. Many composers from at least three generations have consciously extended his thinking, whereas others have passionately reacted against it.

Schoenberg was known early in his career for simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner. Later, his name would come to personify innovations in atonality (although Schoenberg himself detested that term) that would become the most polemical feature of 20th-century classical music. In the 1920s, Schoenberg developed the twelve-tone technique, an influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. He also coined the term developing variation and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a centralized melodic idea.

Schoenberg was also an influential teacher of composition; his students included Alban Berg, Anton Webern, Hanns Eisler, Egon Wellesz, Nikos Skalkottas and later John Cage, Lou Harrison, Earl Kim, Robert Gerhard, Leon Kirchner, Dika Newlin, Oscar Levant, and other prominent musicians. Many of Schoenberg's practices, including the formalization of compositional method and his habit of openly inviting audiences to think analytically, are echoed in avant-garde musical thought throughout the 20th century. His often polemical views of music history and aesthetics were crucial to many significant 20th-century musicologists and critics, including Theodor W. Adorno, Charles Rosen, and Carl Dahlhaus, as well as the pianists Artur Schnabel, Rudolf Serkin, Eduard Steuermann, and Glenn Gould.

Schoenberg's archival legacy is collected at the Arnold Schönberg Center in Vienna.

Biography

Early life

 
Arnold Schönberg in Payerbach, 1903

Arnold Schoenberg was born into a lower middle-class Jewish family in the Leopoldstadt district (in earlier times a Jewish ghetto) of Vienna, at "Obere Donaustraße 5". His father Samuel, a native of Szécsény, Hungary,[3] later moved to Pozsony (Pressburg, at that time part of the Kingdom of Hungary, now Bratislava, Slovakia) and then to Vienna, was a shoe-shopkeeper, and his mother Pauline Schoenberg (née Nachod), a native of Prague, was a piano teacher.[4] Arnold was largely self-taught. He took only counterpoint lessons with the composer Alexander Zemlinsky, who was to become his first brother-in-law.[5]

In his twenties, Schoenberg earned a living by orchestrating operettas, while composing his own works, such as the string sextet Verklärte Nacht ("Transfigured Night") (1899). He later made an orchestral version of this, which became one of his most popular pieces. Both Richard Strauss and Gustav Mahler recognized Schoenberg's significance as a composer; Strauss when he encountered Schoenberg's Gurre-Lieder, and Mahler after hearing several of Schoenberg's early works.

Strauss turned to a more conservative idiom in his own work after 1909, and at that point dismissed Schoenberg. Mahler adopted him as a protégé and continued to support him, even after Schoenberg's style reached a point Mahler could no longer understand. Mahler worried about who would look after him after his death.[6] Schoenberg, who had initially despised and mocked Mahler's music, was converted by the "thunderbolt" of Mahler's Third Symphony, which he considered a work of genius. Afterward he "spoke of Mahler as a saint".[7][8]

In 1898 Schoenberg converted to Christianity in the Lutheran church. According to MacDonald (2008, 93) this was partly to strengthen his attachment to Western European cultural traditions, and partly as a means of self-defence "in a time of resurgent anti-Semitism". In 1933, after long meditation, he returned to Judaism, because he realised that "his racial and religious heritage was inescapable", and to take up an unmistakable position on the side opposing Nazism. He would self-identify as a member of the Jewish religion later in life.[9]

1901–1914: experimenting in atonality

 
Schönberg Family, a painting by Richard Gerstl, 1907

In October 1901, Schoenberg married Mathilde Zemlinsky, the sister of the conductor and composer Alexander von Zemlinsky, with whom Schoenberg had been studying since about 1894. Schoenberg and Mathilde had two children, Gertrud (1902–1947) and Georg (1906–1974). Gertrud would marry Schoenberg's pupil Felix Greissle in 1921.[10]

During the summer of 1908, Schoenberg's wife Mathilde left him for several months for a young Austrian painter, Richard Gerstl (who committed suicide in that November after Mathilde returned to her marriage). This period marked a distinct change in Schoenberg's work. It was during the absence of his wife that he composed "You lean against a silver-willow" (German: Du lehnest wider eine Silberweide), the thirteenth song in the cycle Das Buch der Hängenden Gärten, Op. 15, based on the collection of the same name by the German mystical poet Stefan George. This was the first composition without any reference at all to a key.[11]

Also in this year, Schoenberg completed one of his most revolutionary compositions, the String Quartet No. 2. The first two movements, though chromatic in color, use traditional key signatures. The final two movements, again using poetry by George, incorporate a soprano vocal line, breaking with previous string-quartet practice, and daringly weaken the links with traditional tonality. Both movements end on tonic chords, and the work is not fully non-tonal.

During the summer of 1910, Schoenberg wrote his Harmonielehre (Theory of Harmony, Schoenberg 1922), which remains one of the most influential music-theory books. From about 1911, Schoenberg belonged to a circle of artists and intellectuals who included Lene Schneider-Kainer, Franz Werfel, Herwarth Walden, and Else Lasker-Schüler.

In 1910 he met Edward Clark, an English music journalist then working in Germany. Clark became his sole English student, and in his later capacity as a producer for the BBC he was responsible for introducing many of Schoenberg's works, and Schoenberg himself, to Britain (as well as Webern, Berg and others).

Another of his most important works from this atonal or pantonal period is the highly influential Pierrot lunaire, Op. 21, of 1912, a novel cycle of expressionist songs set to a German translation of poems by the Belgian-French poet Albert Giraud. Utilizing the technique of Sprechstimme, or melodramatically spoken recitation, the work pairs a female vocalist with a small ensemble of five musicians. The ensemble, which is now commonly referred to as the Pierrot ensemble, consists of flute (doubling on piccolo), clarinet (doubling on bass clarinet), violin (doubling on viola), violoncello, speaker, and piano.

Wilhelm Bopp, director of the Vienna Conservatory from 1907, wanted a break from the stale environment personified for him by Robert Fuchs and Hermann Graedener. Having considered many candidates, he offered teaching positions to Schoenberg and Franz Schreker in 1912. At the time Schoenberg lived in Berlin. He was not completely cut off from the Vienna Conservatory, having taught a private theory course a year earlier. He seriously considered the offer, but he declined. Writing afterward to Alban Berg, he cited his "aversion to Vienna" as the main reason for his decision, while contemplating that it might have been the wrong one financially, but having made it he felt content. A couple of months later he wrote to Schreker suggesting that it might have been a bad idea for him as well to accept the teaching position.[12]

World War I

 
Arnold Schoenberg by Egon Schiele, 1917

World War I brought a crisis in his development. Military service disrupted his life when at the age of 42 he was in the army. He was never able to work uninterrupted or over a period of time, and as a result he left many unfinished works and undeveloped "beginnings". On one occasion, a superior officer demanded to know if he was "this notorious Schoenberg, then"; Schoenberg replied: "Beg to report, sir, yes. Nobody wanted to be, someone had to be, so I let it be me".[13] According to Norman, this is a reference to Schoenberg's apparent "destiny" as the "Emancipator of Dissonance".[14]

In what Alex Ross calls an "act of war psychosis", Schoenberg drew comparisons between Germany's assault on France and his assault on decadent bourgeois artistic values. In August 1914, while denouncing the music of Bizet, Stravinsky, and Ravel, he wrote: "Now comes the reckoning! Now we will throw these mediocre kitschmongers into slavery, and teach them to venerate the German spirit and to worship the German God".[15]

The deteriorating relation between contemporary composers and the public led him to found the Society for Private Musical Performances (Verein für musikalische Privataufführungen in German) in Vienna in 1918. He sought to provide a forum in which modern musical compositions could be carefully prepared and rehearsed, and properly performed under conditions protected from the dictates of fashion and pressures of commerce. From its inception through 1921, when it ended because of economic reasons, the Society presented 353 performances to paying members, sometimes at the rate of one per week. During the first year and a half, Schoenberg did not let any of his own works be performed.[16] Instead, audiences at the Society's concerts heard difficult contemporary compositions by Scriabin, Debussy, Mahler, Webern, Berg, Reger, and other leading figures of early 20th-century music.[17]

Development of the twelve-tone method

 
Arnold Schoenberg, 1927, by Man Ray

Later, Schoenberg was to develop the most influential version of the dodecaphonic (also known as twelve-tone) method of composition, which in French and English was given the alternative name serialism by René Leibowitz and Humphrey Searle in 1947. This technique was taken up by many of his students, who constituted the so-called Second Viennese School. They included Anton Webern, Alban Berg, and Hanns Eisler, all of whom were profoundly influenced by Schoenberg. He published a number of books, ranging from his famous Harmonielehre (Theory of Harmony) to Fundamentals of Musical Composition,[18] many of which are still in print and used by musicians and developing composers.

Schoenberg viewed his development as a natural progression, and he did not deprecate his earlier works when he ventured into serialism. In 1923 he wrote to the Swiss philanthropist Werner Reinhart:

For the present, it matters more to me if people understand my older works ... They are the natural forerunners of my later works, and only those who understand and comprehend these will be able to gain an understanding of the later works that goes beyond a fashionable bare minimum. I do not attach so much importance to being a musical bogey-man as to being a natural continuer of properly-understood good old tradition![19][20]

His first wife died in October 1923, and in August of the next year Schoenberg married Gertrud Kolisch (1898–1967), sister of his pupil, the violinist Rudolf Kolisch.[10][21] They had three children: Nuria Dorothea (born 1932), Ronald Rudolf (born 1937), and Lawrence Adam (born 1941). Gertrude Kolisch Schoenberg wrote the libretto for Schoenberg's one-act opera Von heute auf morgen under the pseudonym Max Blonda. At her request Schoenberg's (ultimately unfinished) piece, Die Jakobsleiter was prepared for performance by Schoenberg's student Winfried Zillig. After her husband's death in 1951 she founded Belmont Music Publishers devoted to the publication of his works.[22] Arnold used the notes G and E♭ (German: Es, i.e., "S") for "Gertrud Schoenberg", in the Suite, for septet, Op. 29 (1925).[23] (see musical cryptogram).

Following the death in 1924 of composer Ferruccio Busoni, who had served as Director of a Master Class in Composition at the Prussian Academy of Arts in Berlin, Schoenberg was appointed to this post the next year, but because of health problems was unable to take up his post until 1926. Among his notable students during this period were the composers Robert Gerhard, Nikos Skalkottas, and Josef Rufer.

Along with his twelve-tone works, 1930 marks Schoenberg's return to tonality, with numbers 4 and 6 of the Six Pieces for Male Chorus Op. 35, the other pieces being dodecaphonic.[24]

Third Reich and move to the United States

Schoenberg continued in his post until the Nazi regime Machtergreifung came to power in 1933. While on vacation in France, he was warned that returning to Germany would be dangerous. Schoenberg formally reclaimed membership in the Jewish religion at a Paris synagogue,[25] then traveled with his family to the United States.[26] This happened after his attempts to move to Britain came to nothing.

His first teaching position in the United States was at the Malkin Conservatory (Boston University). He moved to Los Angeles, where he taught at the University of Southern California and the University of California, Los Angeles, both of which later named a music building on their respective campuses Schoenberg Hall.[27][28] He was appointed visiting professor at UCLA in 1935 on the recommendation of Otto Klemperer, music director and conductor of the Los Angeles Philharmonic Orchestra;[citation needed] and the next year was promoted to professor at a salary of $5,100 per year, which enabled him in either May 1936 or 1937 to buy a Spanish Revival house at 116 North Rockingham in Brentwood Park, near the UCLA campus, for $18,000. This address was directly across the street from Shirley Temple's house, and there he befriended fellow composer (and tennis partner) George Gershwin. The Schoenbergs were able to employ domestic help and began holding Sunday afternoon gatherings that were known for excellent coffee and Viennese pastries. Frequent guests included Otto Klemperer (who studied composition privately with Schoenberg beginning in April 1936), Edgard Varèse, Joseph Achron, Louis Gruenberg, Ernst Toch, and, on occasion, well-known actors such as Harpo Marx and Peter Lorre.[29][30][31][32][33][34] Composers Leonard Rosenman and George Tremblay and the Hollywood orchestrator Edward B. Powell studied with Schoenberg at this time.[citation needed]

After his move to the United States, where he arrived on 31 October 1933,[35] the composer used the alternative spelling of his surname Schoenberg, rather than Schönberg, in what he called "deference to American practice",[36] though according to one writer he first made the change a year earlier.[37]

He lived there the rest of his life, but at first he was not settled. In around 1934, he applied for a position of teacher of harmony and theory at the New South Wales State Conservatorium in Sydney. The Director, Edgar Bainton, rejected him for being Jewish and for having "modernist ideas and dangerous tendencies." Schoenberg also at one time explored the idea of emigrating to New Zealand. His secretary and student (and nephew of Schoenberg's mother-in-law Henriette Kolisch), was Richard Hoffmann, Viennese-born but who lived in New Zealand in 1935–1947, and Schoenberg had since childhood been fascinated with islands, and with New Zealand in particular, possibly because of the beauty of the postage stamps issued by that country.[38]

 
Warsaw Ghetto Uprising. In 1947 Schoenberg wrote A Survivor from Warsaw in commemoration of this event.

During this final period, he composed several notable works, including the difficult Violin Concerto, Op. 36 (1934/36), the Kol Nidre, Op. 39, for chorus and orchestra (1938), the Ode to Napoleon Buonaparte, Op. 41 (1942), the haunting Piano Concerto, Op. 42 (1942), and his memorial to the victims of the Holocaust, A Survivor from Warsaw, Op. 46 (1947). He was unable to complete his opera Moses und Aron (1932/33), which was one of the first works of its genre written completely using dodecaphonic composition. Along with twelve-tone music, Schoenberg also returned to tonality with works during his last period, like the Suite for Strings in G major (1935), the Chamber Symphony No. 2 in E♭ minor, Op. 38 (begun in 1906, completed in 1939), the Variations on a Recitative in D minor, Op. 40 (1941). During this period his notable students included John Cage and Lou Harrison.

In 1941, he became a citizen of the United States.[39] Here he was the first composer in residence at the Music Academy of the West summer conservatory.[40]

Superstition and death

 
Schoenberg's grave in the Zentralfriedhof, Vienna

Schoenberg's superstitious nature may have triggered his death. The composer had triskaidekaphobia (the fear of the number 13), and according to friend Katia Mann, he feared he would die during a year that was a multiple of 13.[41] This possibly began in 1908 with the composition of the thirteenth song of the song cycle Das Buch der Hängenden Gärten Op. 15.[11] He dreaded his sixty-fifth birthday in 1939 so much that a friend asked the composer and astrologer Dane Rudhyar to prepare Schoenberg's horoscope. Rudhyar did this and told Schoenberg that the year was dangerous, but not fatal.

But in 1950, on his 76th birthday, an astrologer wrote Schoenberg a note warning him that the year was a critical one: 7 + 6 = 13.[42] This stunned and depressed the composer, for up to that point he had only been wary of multiples of 13 and never considered adding the digits of his age. He died on Friday, 13 July 1951, shortly before midnight. Schoenberg had stayed in bed all day, sick, anxious, and depressed. His wife Gertrud reported in a telegram to her sister-in-law Ottilie the next day that Arnold died at 11:45 pm, 15 minutes before midnight.[43] In a letter to Ottilie dated 4 August 1951, Gertrud explained, "About a quarter to twelve I looked at the clock and said to myself: another quarter of an hour and then the worst is over. Then the doctor called me. Arnold's throat rattled twice, his heart gave a powerful beat and that was the end".[44]

Schoenberg's ashes were later interred at the Zentralfriedhof in Vienna on 6 June 1974.[45]

Music

See also: List of compositions by Arnold Schoenberg
 
Second String Quartet, fourth movement
Played by the Carmel Quartet with soprano Rona Israel-Kolatt, in 2007
Problems playing this file? See media help.
 
In Schoenberg's Variations for Orchestra, Op. 31, tone row form P1's second half has the same notes, in a different order, as the first half of I10: "Thus it is possible to employ P1 and I10 simultaneously and in parallel motion without causing note doubling".[46]
 
Featuring hexachordal combinatoriality between its primary forms, P1 and I6, Schoenberg's Piano Piece, Op. 33a, tone row contains three perfect fifths, which is the relation between P1 and I6, and a source of contrast between "accumulations of 5ths" and "generally more complex simultaneity".[47] For example, group A consists of B♭-F-C-B♮, while the "more blended" group B consists of A-F♯-C♯-D♯

Schoenberg's significant compositions in the repertory of modern art music extend over a period of more than 50 years. Traditionally they are divided into three periods though this division is arguably arbitrary as the music in each of these periods is considerably varied. The idea that his twelve-tone period "represents a stylistically unified body of works is simply not supported by the musical evidence",[48] and important musical characteristics—especially those related to motivic development—transcend these boundaries completely.

The first of these periods, 1894–1907, is identified in the legacy of the high-Romantic composers of the late nineteenth century, as well as with "expressionist" movements in poetry and art. The second, 1908–1922, is typified by the abandonment of key centers, a move often described (though not by Schoenberg) as "free atonality". The third, from 1923 onward, commences with Schoenberg's invention of dodecaphonic, or "twelve-tone" compositional method. Schoenberg's best-known students, Hanns Eisler, Alban Berg, and Anton Webern, followed Schoenberg faithfully through each of these intellectual and aesthetic transitions, though not without considerable experimentation and variety of approach.

First period: Late Romanticism

Beginning with songs and string quartets written around the turn of the century, Schoenberg's concerns as a composer positioned him uniquely among his peers, in that his procedures exhibited characteristics of both Brahms and Wagner, who for most contemporary listeners, were considered polar opposites, representing mutually exclusive directions in the legacy of German music. Schoenberg's Six Songs, Op. 3 (1899–1903), for example, exhibit a conservative clarity of tonal organization typical of Brahms and Mahler, reflecting an interest in balanced phrases and an undisturbed hierarchy of key relationships. However, the songs also explore unusually bold incidental chromaticism and seem to aspire to a Wagnerian "representational" approach to motivic identity.

The synthesis of these approaches reaches an apex in his Verklärte Nacht, Op. 4 (1899), a programmatic work for string sextet that develops several distinctive "leitmotif"-like themes, each one eclipsing and subordinating the last. The only motivic elements that persist throughout the work are those that are perpetually dissolved, varied, and re-combined, in a technique, identified primarily in Brahms's music, that Schoenberg called "developing variation". Schoenberg's procedures in the work are organized in two ways simultaneously; at once suggesting a Wagnerian narrative of motivic ideas, as well as a Brahmsian approach to motivic development and tonal cohesion.

Second period: Free atonality

Schoenberg's music from 1908 onward experiments in a variety of ways with the absence of traditional keys or tonal centers. His first explicitly atonal piece was the second string quartet, Op. 10, with soprano. The last movement of this piece has no key signature, marking Schoenberg's formal divorce from diatonic harmonies. Other important works of the era include his song cycle Das Buch der Hängenden Gärten, Op. 15 (1908–1909), his Five Orchestral Pieces, Op. 16 (1909), the influential Pierrot Lunaire, Op. 21 (1912), as well as his dramatic Erwartung, Op. 17 (1909).

The urgency of musical constructions lacking in tonal centers, or traditional dissonance-consonance relationships, however, can be traced as far back as his Chamber Symphony No. 1, Op. 9 (1906), a work remarkable for its tonal development of whole-tone and quartal harmony, and its initiation of dynamic and unusual ensemble relationships, involving dramatic interruption and unpredictable instrumental allegiances; many of these features would typify the timbre-oriented chamber music aesthetic of the coming century.

Third period: Twelve-tone and tonal works

In the early 1920s, he worked at evolving a means of order that would make his musical texture simpler and clearer. This resulted in the "method of composing with twelve tones which are related only with one another",[49] in which the twelve pitches of the octave (unrealized compositionally) are regarded as equal, and no one note or tonality is given the emphasis it occupied in classical harmony. He regarded it as the equivalent in music of Albert Einstein's discoveries in physics. Schoenberg announced it characteristically, during a walk with his friend Josef Rufer, when he said, "I have made a discovery which will ensure the supremacy of German music for the next hundred years".[50] This period included the Variations for Orchestra, Op. 31 (1928); Piano Pieces, Opp. 33a & b (1931), and the Piano Concerto, Op. 42 (1942). Contrary to his reputation for strictness, Schoenberg's use of the technique varied widely according to the demands of each individual composition. Thus the structure of his unfinished opera Moses und Aron is unlike that of his Phantasy for Violin and Piano, Op. 47 (1949).

Ten features of Schoenberg's mature twelve-tone practice are characteristic, interdependent, and interactive:[51]

  1. Hexachordal inversional combinatoriality
  2. Aggregates
  3. Linear set presentation
  4. Partitioning
  5. Isomorphic partitioning
  6. Invariants
  7. Hexachordal levels
  8. Harmony, "consistent with and derived from the properties of the referential set"
  9. Metre, established through "pitch-relational characteristics"
  10. Multidimensional set presentations

Reception and legacy

 
Portrait of Arnold Schoenberg by Richard Gerstl, circa June 1905

First works

After some early difficulties, Schoenberg began to win public acceptance with works such as the tone poem Pelleas und Melisande at a Berlin performance in 1907. At the Vienna première of the Gurre-Lieder in 1913, he received an ovation that lasted a quarter of an hour and culminated with Schoenberg's being presented with a laurel crown.[52][53]

Nonetheless, much of his work was not well received. His Chamber Symphony No. 1 premièred unremarkably in 1907. However, when it was played again in the Skandalkonzert on 31 March 1913, (which also included works by Berg, Webern and Zemlinsky), "one could hear the shrill sound of door keys among the violent clapping, and in the second gallery the first fight of the evening began." Later in the concert, during a performance of the Altenberg Lieder by Berg, fighting broke out after Schoenberg interrupted the performance to threaten removal by the police of any troublemakers.[54]

Twelve-tone period

According to Ethan Haimo, understanding of Schoenberg's twelve-tone work has been difficult to achieve owing in part to the "truly revolutionary nature" of his new system, misinformation disseminated by some early writers about the system's "rules" and "exceptions" that bear "little relation to the most significant features of Schoenberg's music", the composer's secretiveness, and the widespread unavailability of his sketches and manuscripts until the late 1970s. During his life, he was "subjected to a range of criticism and abuse that is shocking even in hindsight".[55]

 
Watschenkonzert, caricature in Die Zeit from 6 April 1913

Schoenberg criticized Igor Stravinsky's new neoclassical trend in the poem "Der neue Klassizismus" (in which he derogates Neoclassicism, and obliquely refers to Stravinsky as "Der kleine Modernsky"), which he used as text for the third of his Drei Satiren, Op. 28.[56]

Schoenberg's serial technique of composition with twelve notes became one of the most central and polemical issues among American and European musicians during the mid- to late-twentieth century. Beginning in the 1940s and continuing to the present day, composers such as Pierre Boulez, Karlheinz Stockhausen, Luigi Nono and Milton Babbitt have extended Schoenberg's legacy in increasingly radical directions. The major cities of the United States (e.g., Los Angeles, New York, and Boston) have had historically significant performances of Schoenberg's music, with advocates such as Babbitt in New York and the Franco-American conductor-pianist Jacques-Louis Monod. Schoenberg's students have been influential teachers at major American universities: Leonard Stein at USC, UCLA and CalArts; Richard Hoffmann at Oberlin; Patricia Carpenter at Columbia; and Leon Kirchner and Earl Kim at Harvard. Musicians associated with Schoenberg have had a profound influence upon contemporary music performance practice in the US (e.g., Louis Krasner, Eugene Lehner and Rudolf Kolisch at the New England Conservatory of Music; Eduard Steuermann and Felix Galimir at the Juilliard School). In Europe, the work of Hans Keller, Luigi Rognoni [it], and René Leibowitz has had a measurable influence in spreading Schoenberg's musical legacy outside of Germany and Austria. His pupil and assistant Max Deutsch, who later became a professor of music, was also a conductor.[57] who made a recording of three "master works" Schoenberg with the Orchestre de la Suisse Romande, released posthumously in late 2013. This recording includes short lectures by Deutsch on each of the pieces.[58]

Criticism

In the 1920s, Ernst Krenek criticized a certain unnamed brand of contemporary music (presumably Schoenberg and his disciples) as "the self-gratification of an individual who sits in his studio and invents rules according to which he then writes down his notes". Schoenberg took offense at this remark and answered that Krenek "wishes for only whores as listeners".[59]

Allen Shawn has noted that, given Schoenberg's living circumstances, his work is usually defended rather than listened to, and that it is difficult to experience it apart from the ideology that surrounds it.[60] Richard Taruskin asserted that Schoenberg committed what he terms a "poietic fallacy", the conviction that what matters most (or all that matters) in a work of art is the making of it, the maker's input, and that the listener's pleasure must not be the composer's primary objective.[61] Taruskin also criticizes the ideas of measuring Schoenberg's value as a composer in terms of his influence on other artists, the overrating of technical innovation, and the restriction of criticism to matters of structure and craft while derogating other approaches as vulgarian.[62]

Relationship with the general public

Writing in 1977, Christopher Small observed, "Many music lovers, even today, find difficulty with Schoenberg's music".[63] Small wrote his short biography a quarter of a century after the composer's death. According to Nicholas Cook, writing some twenty years after Small, Schoenberg had thought that this lack of comprehension

was merely a transient, if unavoidable phase: the history of music, they said, showed that audiences always resisted the unfamiliar, but in time they got used to it and learned to appreciate it ... Schoenberg himself looked forward to a time when, as he said, grocers' boys would whistle serial music in their rounds. If Schoenberg really believed what he said (and it is hard to be quite sure about this), then it represents one of the most poignant moments in the history of music. For serialism did not achieve popularity; the process of familiarization for which he and his contemporaries were waiting never occurred.[64]

Ben Earle (2003) found that Schoenberg, while revered by experts and taught to "generations of students" on degree courses, remained unloved by the public. Despite more than forty years of advocacy and the production of "books devoted to the explanation of this difficult repertory to non-specialist audiences", it would seem that in particular, "British attempts to popularize music of this kind  ... can now safely be said to have failed".[65]

In his 2018 biography of Schoenberg's near contemporary and similarly pioneering composer, Debussy, Stephen Walsh takes issue with the idea that it is not possible "for a creative artist to be both radical and popular". Walsh concludes, "Schoenberg may be the first 'great' composer in modern history whose music has not entered the repertoire almost a century and a half after his birth".[66]

Thomas Mann's novel Doctor Faustus

Adrian Leverkühn, the protagonist of Thomas Mann's novel Doctor Faustus (1947), is a composer whose use of twelve-tone technique parallels the innovations of Arnold Schoenberg. Schoenberg was unhappy about this and initiated an exchange of letters with Mann following the novel's publication.[67]

Leverkühn, who may be based on Nietzsche, sells his soul to the Devil. Writer Sean O'Brien comments that "written in the shadow of Hitler, Doktor Faustus observes the rise of Nazism, but its relationship to political history is oblique".[68]

Personality and extramusical interests

 
Arnold Schoenberg, self-portrait, 1910

Schoenberg was a painter of considerable ability, whose works were considered good enough to exhibit alongside those of Franz Marc and Wassily Kandinsky.[69] as fellow members of the expressionist group Der Blaue Reiter.

He was interested in Hopalong Cassidy films, which Paul Buhle and David Wagner (2002, v–vii) attribute to the films' left-wing screenwriters—a rather odd claim in light of Schoenberg's statement that he was a "bourgeois" turned monarchist.[70]

Textbooks

  • 1922. Harmonielehre, third edition. Vienna: Universal Edition. (Originally published 1911).
  • 1943. Models for Beginners in Composition, New York: G. Schirmer, Inc.
  • 1954. Structural Functions of Harmony. New York: W. W. Norton; London: Williams and Norgate. Revised edition, New York, London: W. W. Norton and Company 1969. ISBN 978-0-393-00478-6
  • 1964. Preliminary Exercises in Counterpoint, edited with a foreword by Leonard Stein. New York, St. Martin's Press. Reprinted, Los Angeles: Belmont Music Publishers 2003.
  • 1967. Fundamentals of Musical Composition, edited by Gerald Strang, with an introduction by Leonard Stein. New York: St. Martin's Press. Reprinted 1985, London: Faber and Faber. ISBN 978-0-571-09276-5
  • 1978. Theory of Harmony, English edition, translated by Roy E. Carter, based on Harmonielehre 1922. Berkeley, Los Angeles: University of California Press. ISBN 978-0-520-03464-8
  • 1979. Die Grundlagen der musikalischen Komposition, translated into German by Rudolf Kolisch; edited by Rudolf Stephan. Vienna: Universal Edition (German translation of Fundamentals of Musical Composition).
  • 2003. Preliminary Exercises in Counterpoint, Reprinted, Los Angeles: Belmont Music Publishers.
  • 2010. Theory of Harmony, 100th Anniversary Edition. Berkeley: California University Press. 2nd edition. ISBN 978-0-52026-608-7
  • 2016. Models for Beginners in Composition, Reprinted, London: Oxford University Press. ISBN 978-0-19538-221-1

Writings

  • 1947. "The Musician". In The Works of the Mind, edited by Robert B. Heywood,[page needed] Chicago: University of Chicago Press. OCLC 752682744
  • 1950. Style and Idea: Selected Writings of Arnold Schoenberg, edited and translated by Dika Newlin. New York: Philosophical Library.
  • 1958. Ausgewählte Briefe, by B. Schott's Söhne, Mainz.
  • 1964. Arnold Schoenberg Letters, selected and edited by Erwin Stein, translated from the original German by Eithne Wilkins and Ernst Kaiser. London: Faber and Faber Ltd.
  • 1965. Arnold Schoenberg Letters, selected and edited by Erwin Stein, translated from the original German by Eithne Wilkins and Ernst Kaiser. New York: St.Martin's Press.
  • 1975. Style and Idea: Selected Writings of Arnold Schoenberg, edited by Leonard Stein, with translations by Leo Black. New York: St. Martins Press; London: Faber & Faber. ISBN 978-0-520-05294-9 Expanded from the 1950 Philosophical Library (New York) publication edited by Dika Newlin (559 pages from 231). The volume carries the note "Several of the essays ... were originally written in German (translated by Dika Newlin)" in both editions.
  • 1984. Style and Idea: Selected Writings, translated by Leo Black. Berkeley: California University Press.
  • 1984. Arnold Schoenberg Wassily Kandinsky: Letters, Pictures and Documents, edited by Jelena Hahl-Koch, translated by John C. Crawford. London: Faber and Faber. ISBN 0-571-13060-7, ISBN 0-571-13194-8
  • 1987. Arnold Schoenberg Letters, selected and edited by Erwin Stein, translated from the original German by Eithne Wilkins and Ernst Kaiser. Berkeley and Los Angeles: University of California Press. ISBN 978-0-520-06009-8
  • 2006. The Musical Idea and the Logic, Technique, and Art of Its Presentation, new paperback English edition. Bloomington and London: Indiana University Press. ISBN 978-0-25321-835-3
  • 2010. Style and Idea: Selected Writings, 60th anniversary (second) edition, translated by Leonard Stein and Leo Black. Berkeley: California University Press. ISBN 978-0-52026-607-0
  • 2020. Kathryn Puffet and Barbara Schingnitz: Three Men of Letters. Arnold Schönberg, Alban Berg and Anton Webern, 1906-1921. Vienna: Hollitzer, 2020. ISBN 978-3-99012-776-6

See also

References

Notes

  1. ^ Text: "Die Trauung von »Samuel Schönberg aus Pressburg mit der Jgf. Pauline Nachod aus Prag« wurde in der »Wochenschrift für politische, religiöse und Cultur-Interessen« angezeigt. Diese Angaben divergieren vom Aufgebot, das die Kultusgemeinde veröffentlichte: 17. März (1872) 12 ½ Samuel Schönberg Kaufmann aus Szécsény Sohn d. H. Abraham und Fr. Theresia geb Löwy 15. Sept, 1838 II, Taborstr. 4 Pauline Nachod aus Preßburg, Tochter d. H. Josef und d. Fr. Karoline geb. Jontow. 8. März 1843. II Taborstraße 4. Aufgebotsz. u. Deleg. Pressburg 2. März 1872."

Citations

  1. ^ Berg 2013.
  2. ^ Anon. 2008.
  3. ^ R. Schoenberg 2018[a]
  4. ^ Helm 2006–2017.
  5. ^ Beaumont 2000, p. 87.
  6. ^ Boss 2013, p. 118.
  7. ^ Stuckenschmidt 1977, p. 103.
  8. ^ Schoenberg 1975, p. 136.
  9. ^ Marquis Who's Who n.d.
  10. ^ a b Neighbour 2001.
  11. ^ a b Stuckenschmidt 1977, p. 96.
  12. ^ Hailey 1993, pp. 55–57.
  13. ^ Schoenberg 1975, p. 104.
  14. ^ Lebrecht 2001.
  15. ^ Ross 2007, p. 60.
  16. ^ Rosen 1975, p. 65.
  17. ^ Rosen 1996, p. 66.
  18. ^ Schoenberg 1967.
  19. ^ Stein 1987, p. 100.
  20. ^ quoted in Strimple (2005, p. 22)
  21. ^ Silverman 2010, p. 223.
  22. ^ Shoaf 1992, p. 64.
  23. ^ MacDonald 2008, p. 216.
  24. ^ Auner 1999, p. 85.
  25. ^ Brown, Kellie D. (2020). The sound of hope: Music as solace, resistance and salvation during the holocaust and world war II. McFarland. p. 16. ISBN 978-1-4766-7056-0.
  26. ^ Friedrich 1986, p. 31.
  27. ^ UCLA Department of Music 2008.
  28. ^ University of Southern California Thornton School of Music 2008.
  29. ^ Crawford 2009, p. 116.
  30. ^ Feisst 2011, p. 6.
  31. ^ Laskin 2008.
  32. ^ MacDonald 2008, p. 79.
  33. ^ Schoenberg 1975, p. 514.
  34. ^ Watkins 2010, p. 114.
  35. ^ Slonimsky, Kuhn, and McIntire 2001.
  36. ^ Foss 1951, p. 401.
  37. ^ Ross 2007, p. 45.
  38. ^ Plush 1996.
  39. ^ Marcus 2016, p. 188.
  40. ^ Greenberg 2019.
  41. ^ quoted in Lebrecht (1985, p. 294)
  42. ^ Nuria Schoenberg-Nono, quoted in Lebrecht (1985, p. 295)
  43. ^ Stuckenschmidt 1977, p. 520.
  44. ^ Stuckenschmidt 1977, p. 521.
  45. ^ McCoy 1999, p. 15.
  46. ^ Leeuw 2005, pp. 154–55.
  47. ^ Leeuw 2005, pp. 155–57.
  48. ^ Haimo 1990, p. 4.
  49. ^ Schoenberg 1984, p. 218.
  50. ^ Stuckenschmidt 1977, p. 277.
  51. ^ Haimo 1990, p. 41.
  52. ^ Rosen 1996, p. 4.
  53. ^ Stuckenschmidt 1977, p. 184.
  54. ^ Stuckenschmidt 1977, p. 185.
  55. ^ Haimo 1990, pp. 2–3.
  56. ^ Schonberg 1970, p. 503.
  57. ^ Lewis n.d.
  58. ^ Anon. 2013.
  59. ^ Ross 2007, p. 156.
  60. ^ Taruskin 2004, p. 7.
  61. ^ Taruskin 2004, p. 10.
  62. ^ Taruskin 2004, p. 12.
  63. ^ Small 1977, p. 25.
  64. ^ Cook 1998, p. 46.
  65. ^ Earle 2003, p. 643.
  66. ^ Walsh 2018, pp. 321–22.
  67. ^ E. R. Schoenberg 2018, pp. 109–149.
  68. ^ O'Brien 2009.
  69. ^ Stuckenschmidt 1977, p. 142.
  70. ^ Stuckenschmidt 1977, pp. 551–552.

Sources

Further reading

  • Adorno, Theodor. 1967. Prisms, translated from the German by Samuel and Shierry Weber London: Spearman; Cambridge, Massachusetts: MIT Press.
  • Anon. 2002. "". Vienna: Arnold Schönberg Center (accessed 1 December 2008).
  • Anon. 1997–2013. "'Degenerate' Music". In A Teacher's Guide to the Holocaust. The Florida Center for Instructional Technology, College of Education, University of South Florida (accessed 16 June 2014).
  • Auner, Joseph. 1993. A Schoenberg Reader. New Haven: Yale University Press. ISBN 978-0-300-09540-1
  • Bailey, Walter B. (Spring 2015). ""For the serious listeners who swear neither at nor by Schoenberg": Music Criticism, the Great War, and the Dawning of a New Attitude Toward Schoenberg and Ultra-Modern Music in New York City". The Journal of Musicology. 32 (2): 279–322. doi:10.1525/jm.2015.32.2.279. JSTOR 10.1525/jm.2015.32.2.279.
  • Berry, Mark. 2019. Arnold Schoenberg. London: Reaktion Books.
  • Boulez, Pierre. 1991. "Schoenberg is Dead" (1952). In his Stocktakings from an Apprenticeship, collected and presented by Paule Thévenin, translated by Stephen Walsh, with an introduction by Robert Piencikowski, 209–14. Oxford: Clarendon Press; New York: Oxford University Press. ISBN 978-0-19-311210-0
  • Brand, Julianne, Christopher Hailey, and Donald Harris (editors). 1987. The Berg-Schoenberg Correspondence: Selected Letters. New York, London: W. W. Norton and Company. ISBN 978-0-393-01919-3
  • Buhle, Paul, and David Wagner. 2002. Radical Hollywood: The Untold Story Behind America's Favorite Movies. New York: The New Press. ISBN 978-1-56584-819-1
  • Clausen, Detlev. 2008. Theodor W. Adorno: One Last Genius, translated by Rodney Livingstone. Cambridge: Harvard University Press. ISBN 978-0-674-02618-6
  • Byron, Avior. 2006. Music Theory Online 12, no. 1 (February).
  • Cohen, Mitchell, "A Dissonant Schoenberg in Berlin and Paris," "Jewish Review of Books," April 2016.
  • da Costa Meyer, Esther. 2003. "Schoenberg's Echo: The Composer as Painter". In Schoenberg, Kandinsky, and the Blue Rider, edited by Fred Wasserman and Esther da Costa Meyer, foreword by Joan Rosenbaum, preface by Christian Meyer. London and New York: Scala. ISBN 978-1-85759-312-9
  • Everdell, William R. 1998 The First Moderns: Profiles in the Origins of Twentieth-Century Thought. Chicago: University of Chicago Press.
  • Eybl, Martin. 2004. Die Befreiung des Augenblicks: Schönbergs Skandalkonzerte von 1907 und 1908: eine Dokumentation. Wiener Veröffentlichungen zur Musikgeschichte 4. Vienna, Cologne, Weimar: Böhlau. ISBN 978-3-205-77103-6
  • Floirat, Bernard. 2001. Les Fonctions structurelles de l'harmonie d'Arnold Schoenberg. Eska, Musurgia. ISBN 978-2-7472-0209-1
  • Frisch, Walter (ed.). 1999. Schoenberg and His World. Bard Music Festival Series. Princeton: Princeton University Press. ISBN 978-0-691-04860-4 (cloth); ISBN 978-0-691-04861-1 (pbk).
  • Genette, Gérard. 1997. Immanence and Transcendence, translated by G. M. Goshgarian. Ithaca: Cornell University Press. ISBN 978-0-8014-8272-4
  • Gur, Golan. 2009. "Arnold Schoenberg and the Ideology of Progress in Twentieth-Century Musical Thinking". Search: Journal for New Music and Culture 5 (Summer). Online journal (Accessed 17 October 2011).
  • Greissle-Schönberg, Arnold, and Nancy Bogen. [n.d.] (e-book). The Lark Ascending, Inc. (accessed 2 May 2010)
  • Hyde, Martha M. 1982. Schoenberg's Twelve-Tone Harmony: The Suite Op. 29 and the Compositional Sketches. Studies in Musicology, series edited by George Buelow. Ann Arbor: UMI Research Press. ISBN 978-0-8357-1512-6
  • Kandinsky, Wassily. 2000. "Arnold Schönberg als Maler/Arnold Schönberg as Painter". Journal of the Arnold Schönberg Center, no. 1:131–76.
  • Mahler, Alma. 1960. Mein Leben, with a foreword by Willy Haas. Frankfurt am Main: S. Fischer, My Life, My Loves: The Memoirs of Alma Mahler, St. Martin's Griffin (1958) Paperback ISBN 978-0-312-02540-3
  • Mailman, Joshua Banks (September 2015). "Schoenberg's Chordal Experimentalism Revealed through Representational Hierarchy Association (RHA), Contour Motives, and Binary State Switching". Music Theory Spectrum. 37 (2): 224–252. doi:10.1093/mts/mtv015.
  • Orenstein, Arbie. 1975. Ravel: Man and Musician. London: Columbia University Press.
  • Payne, Anthony (1968). Schoenberg. Oxford Studies of Composers. London: Oxford University Press. OCLC 915854222.
  • Petropoulos, Jonathan. 2014. Artists Under Hitler. New Haven and London: Yale University Press. ISBN 978-0-300-19747-1
  • Ringer, Alexander. 1990. "Arnold Schoenberg: The Composer as Jew". Oxford: Clarendon Press; New York: Oxford University Press. ISBN 978-0-19-315466-7
  • Rollet, Philippe (ed.). 2010. Arnold Schönberg: Visions et regards, with a preface by Frédéric Chambert and Alain Mousseigne. Montreuil-sous-Bois: Liénart. ISBN 978-2-35906-028-7
  • Schoenberg, Arnold. 1922. Harmonielehre, third edition. Vienna: Universal Edition. (Originally published 1911). Translation by Roy E. Carter, based on the third edition, as Theory of Harmony. Berkeley, Los Angeles: University of California Press, 1978. ISBN 978-0-520-04945-1
  • Schoenberg, Arnold. 1959. Structural Functions of Harmony. Translated by Leonard Stein. London: Williams and Norgate; Revised edition, New York, London: W. W. Norton 1969. ISBN 978-0-393-00478-6
  • Shawn, Allen. 2002. Arnold Schoenberg's Journey. New York: Farrar Straus and Giroux. ISBN 978-0-374-10590-7
  • Stegemann, Benedikt. 2013. Theory of Tonality: Theoretical Studies. Wilhelmshaven: Noetzel. ISBN 978-3-7959-0963-5
  • Weiss, Adolph. 1932. "The Lyceum of Schonberg", Modern Music 9, no. 3 (March–April): 99–107.
  • Wright, James K. 2007. Schoenberg, Wittgenstein, and the Vienna Circle. Bern: Verlag Peter Lang. ISBN 978-3-03911-287-6
  • Wright, James and Alan Gillmor (eds.). 2009. Schoenberg's Chamber Music, Schoenberg's World. New York: Pendragon Press. ISBN 978-1-57647-130-2

External links

 
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Arnold Schoenberg

January 04, 2023
arnold, schoenberg, schoenberg, redirects, here, others, with, surname, schoenberg, surname, schönberg, ɜːr, ɜːr, also, german, ˈʃøːnbɛɐ, listen, september, 1874, july, 1951, austrian, american, composer, music, theorist, teacher, writer, painter, widely, cons. Schoenberg redirects here For others with the surname see Schoenberg surname Arnold Schoenberg or Schonberg ˈ ʃ ɜːr n b ɜːr ɡ US also ˈ ʃ oʊ n German ˈʃoːnbɛɐ k listen 13 September 1874 13 July 1951 was an Austrian American composer music theorist teacher writer and painter He is widely considered one of the most influential composers of the 20th century He was associated with the expressionist movement in German poetry and art and leader of the Second Viennese School As a Jewish composer Schoenberg was targeted by the Nazi Party which labeled his works as degenerate music and forbade them from being published 1 2 He emigrated to the United States in 1933 becoming an American citizen in 1941 Schoenberg in Los Angeles c 1948 Schoenberg s approach both in terms of harmony and development has shaped much of 20th century musical thought Many composers from at least three generations have consciously extended his thinking whereas others have passionately reacted against it Schoenberg was known early in his career for simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner Later his name would come to personify innovations in atonality although Schoenberg himself detested that term that would become the most polemical feature of 20th century classical music In the 1920s Schoenberg developed the twelve tone technique an influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale He also coined the term developing variation and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a centralized melodic idea Schoenberg was also an influential teacher of composition his students included Alban Berg Anton Webern Hanns Eisler Egon Wellesz Nikos Skalkottas and later John Cage Lou Harrison Earl Kim Robert Gerhard Leon Kirchner Dika Newlin Oscar Levant and other prominent musicians Many of Schoenberg s practices including the formalization of compositional method and his habit of openly inviting audiences to think analytically are echoed in avant garde musical thought throughout the 20th century His often polemical views of music history and aesthetics were crucial to many significant 20th century musicologists and critics including Theodor W Adorno Charles Rosen and Carl Dahlhaus as well as the pianists Artur Schnabel Rudolf Serkin Eduard Steuermann and Glenn Gould Schoenberg s archival legacy is collected at the Arnold Schonberg Center in Vienna Contents 1 Biography 1 1 Early life 1 2 1901 1914 experimenting in atonality 1 3 World War I 1 4 Development of the twelve tone method 1 5 Third Reich and move to the United States 1 6 Superstition and death 2 Music 2 1 First period Late Romanticism 2 2 Second period Free atonality 2 3 Third period Twelve tone and tonal works 3 Reception and legacy 3 1 First works 3 2 Twelve tone period 3 3 Criticism 3 4 Relationship with the general public 3 5 Thomas Mann s novel Doctor Faustus 4 Personality and extramusical interests 5 Textbooks 6 Writings 7 See also 8 References 8 1 Notes 8 2 Citations 8 3 Sources 9 Further reading 10 External linksBiography EditEarly life Edit Arnold Schonberg in Payerbach 1903 Arnold Schoenberg was born into a lower middle class Jewish family in the Leopoldstadt district in earlier times a Jewish ghetto of Vienna at Obere Donaustrasse 5 His father Samuel a native of Szecseny Hungary 3 later moved to Pozsony Pressburg at that time part of the Kingdom of Hungary now Bratislava Slovakia and then to Vienna was a shoe shopkeeper and his mother Pauline Schoenberg nee Nachod a native of Prague was a piano teacher 4 Arnold was largely self taught He took only counterpoint lessons with the composer Alexander Zemlinsky who was to become his first brother in law 5 In his twenties Schoenberg earned a living by orchestrating operettas while composing his own works such as the string sextet Verklarte Nacht Transfigured Night 1899 He later made an orchestral version of this which became one of his most popular pieces Both Richard Strauss and Gustav Mahler recognized Schoenberg s significance as a composer Strauss when he encountered Schoenberg s Gurre Lieder and Mahler after hearing several of Schoenberg s early works Strauss turned to a more conservative idiom in his own work after 1909 and at that point dismissed Schoenberg Mahler adopted him as a protege and continued to support him even after Schoenberg s style reached a point Mahler could no longer understand Mahler worried about who would look after him after his death 6 Schoenberg who had initially despised and mocked Mahler s music was converted by the thunderbolt of Mahler s Third Symphony which he considered a work of genius Afterward he spoke of Mahler as a saint 7 8 In 1898 Schoenberg converted to Christianity in the Lutheran church According to MacDonald 2008 93 this was partly to strengthen his attachment to Western European cultural traditions and partly as a means of self defence in a time of resurgent anti Semitism In 1933 after long meditation he returned to Judaism because he realised that his racial and religious heritage was inescapable and to take up an unmistakable position on the side opposing Nazism He would self identify as a member of the Jewish religion later in life 9 1901 1914 experimenting in atonality Edit Schonberg Family a painting by Richard Gerstl 1907 In October 1901 Schoenberg married Mathilde Zemlinsky the sister of the conductor and composer Alexander von Zemlinsky with whom Schoenberg had been studying since about 1894 Schoenberg and Mathilde had two children Gertrud 1902 1947 and Georg 1906 1974 Gertrud would marry Schoenberg s pupil Felix Greissle in 1921 10 During the summer of 1908 Schoenberg s wife Mathilde left him for several months for a young Austrian painter Richard Gerstl who committed suicide in that November after Mathilde returned to her marriage This period marked a distinct change in Schoenberg s work It was during the absence of his wife that he composed You lean against a silver willow German Du lehnest wider eine Silberweide the thirteenth song in the cycle Das Buch der Hangenden Garten Op 15 based on the collection of the same name by the German mystical poet Stefan George This was the first composition without any reference at all to a key 11 Also in this year Schoenberg completed one of his most revolutionary compositions the String Quartet No 2 The first two movements though chromatic in color use traditional key signatures The final two movements again using poetry by George incorporate a soprano vocal line breaking with previous string quartet practice and daringly weaken the links with traditional tonality Both movements end on tonic chords and the work is not fully non tonal During the summer of 1910 Schoenberg wrote his Harmonielehre Theory of Harmony Schoenberg 1922 which remains one of the most influential music theory books From about 1911 Schoenberg belonged to a circle of artists and intellectuals who included Lene Schneider Kainer Franz Werfel Herwarth Walden and Else Lasker Schuler In 1910 he met Edward Clark an English music journalist then working in Germany Clark became his sole English student and in his later capacity as a producer for the BBC he was responsible for introducing many of Schoenberg s works and Schoenberg himself to Britain as well as Webern Berg and others Another of his most important works from this atonal or pantonal period is the highly influential Pierrot lunaire Op 21 of 1912 a novel cycle of expressionist songs set to a German translation of poems by the Belgian French poet Albert Giraud Utilizing the technique of Sprechstimme or melodramatically spoken recitation the work pairs a female vocalist with a small ensemble of five musicians The ensemble which is now commonly referred to as the Pierrot ensemble consists of flute doubling on piccolo clarinet doubling on bass clarinet violin doubling on viola violoncello speaker and piano Wilhelm Bopp director of the Vienna Conservatory from 1907 wanted a break from the stale environment personified for him by Robert Fuchs and Hermann Graedener Having considered many candidates he offered teaching positions to Schoenberg and Franz Schreker in 1912 At the time Schoenberg lived in Berlin He was not completely cut off from the Vienna Conservatory having taught a private theory course a year earlier He seriously considered the offer but he declined Writing afterward to Alban Berg he cited his aversion to Vienna as the main reason for his decision while contemplating that it might have been the wrong one financially but having made it he felt content A couple of months later he wrote to Schreker suggesting that it might have been a bad idea for him as well to accept the teaching position 12 World War I Edit Arnold Schoenberg by Egon Schiele 1917 World War I brought a crisis in his development Military service disrupted his life when at the age of 42 he was in the army He was never able to work uninterrupted or over a period of time and as a result he left many unfinished works and undeveloped beginnings On one occasion a superior officer demanded to know if he was this notorious Schoenberg then Schoenberg replied Beg to report sir yes Nobody wanted to be someone had to be so I let it be me 13 According to Norman this is a reference to Schoenberg s apparent destiny as the Emancipator of Dissonance 14 In what Alex Ross calls an act of war psychosis Schoenberg drew comparisons between Germany s assault on France and his assault on decadent bourgeois artistic values In August 1914 while denouncing the music of Bizet Stravinsky and Ravel he wrote Now comes the reckoning Now we will throw these mediocre kitschmongers into slavery and teach them to venerate the German spirit and to worship the German God 15 The deteriorating relation between contemporary composers and the public led him to found the Society for Private Musical Performances Verein fur musikalische Privatauffuhrungen in German in Vienna in 1918 He sought to provide a forum in which modern musical compositions could be carefully prepared and rehearsed and properly performed under conditions protected from the dictates of fashion and pressures of commerce From its inception through 1921 when it ended because of economic reasons the Society presented 353 performances to paying members sometimes at the rate of one per week During the first year and a half Schoenberg did not let any of his own works be performed 16 Instead audiences at the Society s concerts heard difficult contemporary compositions by Scriabin Debussy Mahler Webern Berg Reger and other leading figures of early 20th century music 17 Development of the twelve tone method Edit Arnold Schoenberg 1927 by Man Ray Later Schoenberg was to develop the most influential version of the dodecaphonic also known as twelve tone method of composition which in French and English was given the alternative name serialism by Rene Leibowitz and Humphrey Searle in 1947 This technique was taken up by many of his students who constituted the so called Second Viennese School They included Anton Webern Alban Berg and Hanns Eisler all of whom were profoundly influenced by Schoenberg He published a number of books ranging from his famous Harmonielehre Theory of Harmony to Fundamentals of Musical Composition 18 many of which are still in print and used by musicians and developing composers Schoenberg viewed his development as a natural progression and he did not deprecate his earlier works when he ventured into serialism In 1923 he wrote to the Swiss philanthropist Werner Reinhart For the present it matters more to me if people understand my older works They are the natural forerunners of my later works and only those who understand and comprehend these will be able to gain an understanding of the later works that goes beyond a fashionable bare minimum I do not attach so much importance to being a musical bogey man as to being a natural continuer of properly understood good old tradition 19 20 His first wife died in October 1923 and in August of the next year Schoenberg married Gertrud Kolisch 1898 1967 sister of his pupil the violinist Rudolf Kolisch 10 21 They had three children Nuria Dorothea born 1932 Ronald Rudolf born 1937 and Lawrence Adam born 1941 Gertrude Kolisch Schoenberg wrote the libretto for Schoenberg s one act opera Von heute auf morgen under the pseudonym Max Blonda At her request Schoenberg s ultimately unfinished piece Die Jakobsleiter was prepared for performance by Schoenberg s student Winfried Zillig After her husband s death in 1951 she founded Belmont Music Publishers devoted to the publication of his works 22 Arnold used the notes G and E German Es i e S for Gertrud Schoenberg in the Suite for septet Op 29 1925 23 see musical cryptogram Following the death in 1924 of composer Ferruccio Busoni who had served as Director of a Master Class in Composition at the Prussian Academy of Arts in Berlin Schoenberg was appointed to this post the next year but because of health problems was unable to take up his post until 1926 Among his notable students during this period were the composers Robert Gerhard Nikos Skalkottas and Josef Rufer Along with his twelve tone works 1930 marks Schoenberg s return to tonality with numbers 4 and 6 of the Six Pieces for Male Chorus Op 35 the other pieces being dodecaphonic 24 Third Reich and move to the United States Edit Schoenberg continued in his post until the Nazi regime Machtergreifung came to power in 1933 While on vacation in France he was warned that returning to Germany would be dangerous Schoenberg formally reclaimed membership in the Jewish religion at a Paris synagogue 25 then traveled with his family to the United States 26 This happened after his attempts to move to Britain came to nothing His first teaching position in the United States was at the Malkin Conservatory Boston University He moved to Los Angeles where he taught at the University of Southern California and the University of California Los Angeles both of which later named a music building on their respective campuses Schoenberg Hall 27 28 He was appointed visiting professor at UCLA in 1935 on the recommendation of Otto Klemperer music director and conductor of the Los Angeles Philharmonic Orchestra citation needed and the next year was promoted to professor at a salary of 5 100 per year which enabled him in either May 1936 or 1937 to buy a Spanish Revival house at 116 North Rockingham in Brentwood Park near the UCLA campus for 18 000 This address was directly across the street from Shirley Temple s house and there he befriended fellow composer and tennis partner George Gershwin The Schoenbergs were able to employ domestic help and began holding Sunday afternoon gatherings that were known for excellent coffee and Viennese pastries Frequent guests included Otto Klemperer who studied composition privately with Schoenberg beginning in April 1936 Edgard Varese Joseph Achron Louis Gruenberg Ernst Toch and on occasion well known actors such as Harpo Marx and Peter Lorre 29 30 31 32 33 34 Composers Leonard Rosenman and George Tremblay and the Hollywood orchestrator Edward B Powell studied with Schoenberg at this time citation needed After his move to the United States where he arrived on 31 October 1933 35 the composer used the alternative spelling of his surname Schoenberg rather than Schonberg in what he called deference to American practice 36 though according to one writer he first made the change a year earlier 37 He lived there the rest of his life but at first he was not settled In around 1934 he applied for a position of teacher of harmony and theory at the New South Wales State Conservatorium in Sydney The Director Edgar Bainton rejected him for being Jewish and for having modernist ideas and dangerous tendencies Schoenberg also at one time explored the idea of emigrating to New Zealand His secretary and student and nephew of Schoenberg s mother in law Henriette Kolisch was Richard Hoffmann Viennese born but who lived in New Zealand in 1935 1947 and Schoenberg had since childhood been fascinated with islands and with New Zealand in particular possibly because of the beauty of the postage stamps issued by that country 38 Warsaw Ghetto Uprising In 1947 Schoenberg wrote A Survivor from Warsaw in commemoration of this event During this final period he composed several notable works including the difficult Violin Concerto Op 36 1934 36 the Kol Nidre Op 39 for chorus and orchestra 1938 the Ode to Napoleon Buonaparte Op 41 1942 the haunting Piano Concerto Op 42 1942 and his memorial to the victims of the Holocaust A Survivor from Warsaw Op 46 1947 He was unable to complete his opera Moses und Aron 1932 33 which was one of the first works of its genre written completely using dodecaphonic composition Along with twelve tone music Schoenberg also returned to tonality with works during his last period like the Suite for Strings in G major 1935 the Chamber Symphony No 2 in E minor Op 38 begun in 1906 completed in 1939 the Variations on a Recitative in D minor Op 40 1941 During this period his notable students included John Cage and Lou Harrison In 1941 he became a citizen of the United States 39 Here he was the first composer in residence at the Music Academy of the West summer conservatory 40 Superstition and death Edit Schoenberg s grave in the Zentralfriedhof Vienna Schoenberg s superstitious nature may have triggered his death The composer had triskaidekaphobia the fear of the number 13 and according to friend Katia Mann he feared he would die during a year that was a multiple of 13 41 This possibly began in 1908 with the composition of the thirteenth song of the song cycle Das Buch der Hangenden Garten Op 15 11 He dreaded his sixty fifth birthday in 1939 so much that a friend asked the composer and astrologer Dane Rudhyar to prepare Schoenberg s horoscope Rudhyar did this and told Schoenberg that the year was dangerous but not fatal But in 1950 on his 76th birthday an astrologer wrote Schoenberg a note warning him that the year was a critical one 7 6 13 42 This stunned and depressed the composer for up to that point he had only been wary of multiples of 13 and never considered adding the digits of his age He died on Friday 13 July 1951 shortly before midnight Schoenberg had stayed in bed all day sick anxious and depressed His wife Gertrud reported in a telegram to her sister in law Ottilie the next day that Arnold died at 11 45 pm 15 minutes before midnight 43 In a letter to Ottilie dated 4 August 1951 Gertrud explained About a quarter to twelve I looked at the clock and said to myself another quarter of an hour and then the worst is over Then the doctor called me Arnold s throat rattled twice his heart gave a powerful beat and that was the end 44 Schoenberg s ashes were later interred at the Zentralfriedhof in Vienna on 6 June 1974 45 Music EditSee also List of compositions by Arnold Schoenberg Second String Quartet fourth movement source source Played by the Carmel Quartet with soprano Rona Israel Kolatt in 2007 Problems playing this file See media help In Schoenberg s Variations for Orchestra Op 31 tone row form P1 s second half has the same notes in a different order as the first half of I10 Thus it is possible to employ P1 and I10 simultaneously and in parallel motion without causing note doubling 46 source source source source source source Featuring hexachordal combinatoriality between its primary forms P1 and I6 Schoenberg s Piano Piece Op 33a tone row contains three perfect fifths which is the relation between P1 and I6 and a source of contrast between accumulations of 5ths and generally more complex simultaneity 47 For example group A consists of B F C B while the more blended group B consists of A F C D Schoenberg s significant compositions in the repertory of modern art music extend over a period of more than 50 years Traditionally they are divided into three periods though this division is arguably arbitrary as the music in each of these periods is considerably varied The idea that his twelve tone period represents a stylistically unified body of works is simply not supported by the musical evidence 48 and important musical characteristics especially those related to motivic development transcend these boundaries completely The first of these periods 1894 1907 is identified in the legacy of the high Romantic composers of the late nineteenth century as well as with expressionist movements in poetry and art The second 1908 1922 is typified by the abandonment of key centers a move often described though not by Schoenberg as free atonality The third from 1923 onward commences with Schoenberg s invention of dodecaphonic or twelve tone compositional method Schoenberg s best known students Hanns Eisler Alban Berg and Anton Webern followed Schoenberg faithfully through each of these intellectual and aesthetic transitions though not without considerable experimentation and variety of approach First period Late Romanticism Edit Beginning with songs and string quartets written around the turn of the century Schoenberg s concerns as a composer positioned him uniquely among his peers in that his procedures exhibited characteristics of both Brahms and Wagner who for most contemporary listeners were considered polar opposites representing mutually exclusive directions in the legacy of German music Schoenberg s Six Songs Op 3 1899 1903 for example exhibit a conservative clarity of tonal organization typical of Brahms and Mahler reflecting an interest in balanced phrases and an undisturbed hierarchy of key relationships However the songs also explore unusually bold incidental chromaticism and seem to aspire to a Wagnerian representational approach to motivic identity The synthesis of these approaches reaches an apex in his Verklarte Nacht Op 4 1899 a programmatic work for string sextet that develops several distinctive leitmotif like themes each one eclipsing and subordinating the last The only motivic elements that persist throughout the work are those that are perpetually dissolved varied and re combined in a technique identified primarily in Brahms s music that Schoenberg called developing variation Schoenberg s procedures in the work are organized in two ways simultaneously at once suggesting a Wagnerian narrative of motivic ideas as well as a Brahmsian approach to motivic development and tonal cohesion Second period Free atonality Edit Schoenberg s music from 1908 onward experiments in a variety of ways with the absence of traditional keys or tonal centers His first explicitly atonal piece was the second string quartet Op 10 with soprano The last movement of this piece has no key signature marking Schoenberg s formal divorce from diatonic harmonies Other important works of the era include his song cycle Das Buch der Hangenden Garten Op 15 1908 1909 his Five Orchestral Pieces Op 16 1909 the influential Pierrot Lunaire Op 21 1912 as well as his dramatic Erwartung Op 17 1909 The urgency of musical constructions lacking in tonal centers or traditional dissonance consonance relationships however can be traced as far back as his Chamber Symphony No 1 Op 9 1906 a work remarkable for its tonal development of whole tone and quartal harmony and its initiation of dynamic and unusual ensemble relationships involving dramatic interruption and unpredictable instrumental allegiances many of these features would typify the timbre oriented chamber music aesthetic of the coming century Third period Twelve tone and tonal works Edit In the early 1920s he worked at evolving a means of order that would make his musical texture simpler and clearer This resulted in the method of composing with twelve tones which are related only with one another 49 in which the twelve pitches of the octave unrealized compositionally are regarded as equal and no one note or tonality is given the emphasis it occupied in classical harmony He regarded it as the equivalent in music of Albert Einstein s discoveries in physics Schoenberg announced it characteristically during a walk with his friend Josef Rufer when he said I have made a discovery which will ensure the supremacy of German music for the next hundred years 50 This period included the Variations for Orchestra Op 31 1928 Piano Pieces Opp 33a amp b 1931 and the Piano Concerto Op 42 1942 Contrary to his reputation for strictness Schoenberg s use of the technique varied widely according to the demands of each individual composition Thus the structure of his unfinished opera Moses und Aron is unlike that of his Phantasy for Violin and Piano Op 47 1949 Ten features of Schoenberg s mature twelve tone practice are characteristic interdependent and interactive 51 Hexachordal inversional combinatoriality Aggregates Linear set presentation Partitioning Isomorphic partitioning Invariants Hexachordal levels Harmony consistent with and derived from the properties of the referential set Metre established through pitch relational characteristics Multidimensional set presentationsReception and legacy Edit Portrait of Arnold Schoenberg by Richard Gerstl circa June 1905 First works Edit After some early difficulties Schoenberg began to win public acceptance with works such as the tone poem Pelleas und Melisande at a Berlin performance in 1907 At the Vienna premiere of the Gurre Lieder in 1913 he received an ovation that lasted a quarter of an hour and culminated with Schoenberg s being presented with a laurel crown 52 53 Nonetheless much of his work was not well received His Chamber Symphony No 1 premiered unremarkably in 1907 However when it was played again in the Skandalkonzert on 31 March 1913 which also included works by Berg Webern and Zemlinsky one could hear the shrill sound of door keys among the violent clapping and in the second gallery the first fight of the evening began Later in the concert during a performance of the Altenberg Lieder by Berg fighting broke out after Schoenberg interrupted the performance to threaten removal by the police of any troublemakers 54 Twelve tone period Edit According to Ethan Haimo understanding of Schoenberg s twelve tone work has been difficult to achieve owing in part to the truly revolutionary nature of his new system misinformation disseminated by some early writers about the system s rules and exceptions that bear little relation to the most significant features of Schoenberg s music the composer s secretiveness and the widespread unavailability of his sketches and manuscripts until the late 1970s During his life he was subjected to a range of criticism and abuse that is shocking even in hindsight 55 Watschenkonzert caricature in Die Zeit from 6 April 1913 Schoenberg criticized Igor Stravinsky s new neoclassical trend in the poem Der neue Klassizismus in which he derogates Neoclassicism and obliquely refers to Stravinsky as Der kleine Modernsky which he used as text for the third of his Drei Satiren Op 28 56 Schoenberg s serial technique of composition with twelve notes became one of the most central and polemical issues among American and European musicians during the mid to late twentieth century Beginning in the 1940s and continuing to the present day composers such as Pierre Boulez Karlheinz Stockhausen Luigi Nono and Milton Babbitt have extended Schoenberg s legacy in increasingly radical directions The major cities of the United States e g Los Angeles New York and Boston have had historically significant performances of Schoenberg s music with advocates such as Babbitt in New York and the Franco American conductor pianist Jacques Louis Monod Schoenberg s students have been influential teachers at major American universities Leonard Stein at USC UCLA and CalArts Richard Hoffmann at Oberlin Patricia Carpenter at Columbia and Leon Kirchner and Earl Kim at Harvard Musicians associated with Schoenberg have had a profound influence upon contemporary music performance practice in the US e g Louis Krasner Eugene Lehner and Rudolf Kolisch at the New England Conservatory of Music Eduard Steuermann and Felix Galimir at the Juilliard School In Europe the work of Hans Keller Luigi Rognoni it and Rene Leibowitz has had a measurable influence in spreading Schoenberg s musical legacy outside of Germany and Austria His pupil and assistant Max Deutsch who later became a professor of music was also a conductor 57 who made a recording of three master works Schoenberg with the Orchestre de la Suisse Romande released posthumously in late 2013 This recording includes short lectures by Deutsch on each of the pieces 58 Criticism Edit In the 1920s Ernst Krenek criticized a certain unnamed brand of contemporary music presumably Schoenberg and his disciples as the self gratification of an individual who sits in his studio and invents rules according to which he then writes down his notes Schoenberg took offense at this remark and answered that Krenek wishes for only whores as listeners 59 Allen Shawn has noted that given Schoenberg s living circumstances his work is usually defended rather than listened to and that it is difficult to experience it apart from the ideology that surrounds it 60 Richard Taruskin asserted that Schoenberg committed what he terms a poietic fallacy the conviction that what matters most or all that matters in a work of art is the making of it the maker s input and that the listener s pleasure must not be the composer s primary objective 61 Taruskin also criticizes the ideas of measuring Schoenberg s value as a composer in terms of his influence on other artists the overrating of technical innovation and the restriction of criticism to matters of structure and craft while derogating other approaches as vulgarian 62 Relationship with the general public Edit Writing in 1977 Christopher Small observed Many music lovers even today find difficulty with Schoenberg s music 63 Small wrote his short biography a quarter of a century after the composer s death According to Nicholas Cook writing some twenty years after Small Schoenberg had thought that this lack of comprehension was merely a transient if unavoidable phase the history of music they said showed that audiences always resisted the unfamiliar but in time they got used to it and learned to appreciate it Schoenberg himself looked forward to a time when as he said grocers boys would whistle serial music in their rounds If Schoenberg really believed what he said and it is hard to be quite sure about this then it represents one of the most poignant moments in the history of music For serialism did not achieve popularity the process of familiarization for which he and his contemporaries were waiting never occurred 64 Ben Earle 2003 found that Schoenberg while revered by experts and taught to generations of students on degree courses remained unloved by the public Despite more than forty years of advocacy and the production of books devoted to the explanation of this difficult repertory to non specialist audiences it would seem that in particular British attempts to popularize music of this kind can now safely be said to have failed 65 In his 2018 biography of Schoenberg s near contemporary and similarly pioneering composer Debussy Stephen Walsh takes issue with the idea that it is not possible for a creative artist to be both radical and popular Walsh concludes Schoenberg may be the first great composer in modern history whose music has not entered the repertoire almost a century and a half after his birth 66 Thomas Mann s novel Doctor Faustus Edit Adrian Leverkuhn the protagonist of Thomas Mann s novel Doctor Faustus 1947 is a composer whose use of twelve tone technique parallels the innovations of Arnold Schoenberg Schoenberg was unhappy about this and initiated an exchange of letters with Mann following the novel s publication 67 Leverkuhn who may be based on Nietzsche sells his soul to the Devil Writer Sean O Brien comments that written in the shadow of Hitler Doktor Faustus observes the rise of Nazism but its relationship to political history is oblique 68 Personality and extramusical interests Edit Arnold Schoenberg self portrait 1910 Schoenberg was a painter of considerable ability whose works were considered good enough to exhibit alongside those of Franz Marc and Wassily Kandinsky 69 as fellow members of the expressionist group Der Blaue Reiter He was interested in Hopalong Cassidy films which Paul Buhle and David Wagner 2002 v vii attribute to the films left wing screenwriters a rather odd claim in light of Schoenberg s statement that he was a bourgeois turned monarchist 70 Textbooks Edit1922 Harmonielehre third edition Vienna Universal Edition Originally published 1911 1943 Models for Beginners in Composition New York G Schirmer Inc 1954 Structural Functions of Harmony New York W W Norton London Williams and Norgate Revised edition New York London W W Norton and Company 1969 ISBN 978 0 393 00478 6 1964 Preliminary Exercises in Counterpoint edited with a foreword by Leonard Stein New York St Martin s Press Reprinted Los Angeles Belmont Music Publishers 2003 1967 Fundamentals of Musical Composition edited by Gerald Strang with an introduction by Leonard Stein New York St Martin s Press Reprinted 1985 London Faber and Faber ISBN 978 0 571 09276 5 1978 Theory of Harmony English edition translated by Roy E Carter based on Harmonielehre 1922 Berkeley Los Angeles University of California Press ISBN 978 0 520 03464 8 1979 Die Grundlagen der musikalischen Komposition translated into German by Rudolf Kolisch edited by Rudolf Stephan Vienna Universal Edition German translation of Fundamentals of Musical Composition 2003 Preliminary Exercises in Counterpoint Reprinted Los Angeles Belmont Music Publishers 2010 Theory of Harmony 100th Anniversary Edition Berkeley California University Press 2nd edition ISBN 978 0 52026 608 7 2016 Models for Beginners in Composition Reprinted London Oxford University Press ISBN 978 0 19538 221 1Writings Edit1947 The Musician In The Works of the Mind edited by Robert B Heywood page needed Chicago University of Chicago Press OCLC 752682744 1950 Style and Idea Selected Writings of Arnold Schoenberg edited and translated by Dika Newlin New York Philosophical Library 1958 Ausgewahlte Briefe by B Schott s Sohne Mainz 1964 Arnold Schoenberg Letters selected and edited by Erwin Stein translated from the original German by Eithne Wilkins and Ernst Kaiser London Faber and Faber Ltd 1965 Arnold Schoenberg Letters selected and edited by Erwin Stein translated from the original German by Eithne Wilkins and Ernst Kaiser New York St Martin s Press 1975 Style and Idea Selected Writings of Arnold Schoenberg edited by Leonard Stein with translations by Leo Black New York St Martins Press London Faber amp Faber ISBN 978 0 520 05294 9 Expanded from the 1950 Philosophical Library New York publication edited by Dika Newlin 559 pages from 231 The volume carries the note Several of the essays were originally written in German translated by Dika Newlin in both editions 1984 Style and Idea Selected Writings translated by Leo Black Berkeley California University Press 1984 Arnold Schoenberg Wassily Kandinsky Letters Pictures and Documents edited by Jelena Hahl Koch translated by John C Crawford London Faber and Faber ISBN 0 571 13060 7 ISBN 0 571 13194 8 1987 Arnold Schoenberg Letters selected and edited by Erwin Stein translated from the original German by Eithne Wilkins and Ernst Kaiser Berkeley and Los Angeles University of California Press ISBN 978 0 520 06009 8 2006 The Musical Idea and the Logic Technique and Art of Its Presentation new paperback English edition Bloomington and London Indiana University Press ISBN 978 0 25321 835 3 2010 Style and Idea Selected Writings 60th anniversary second edition translated by Leonard Stein and Leo Black Berkeley California University Press ISBN 978 0 52026 607 0 2020 Kathryn Puffet and Barbara Schingnitz Three Men of Letters Arnold Schonberg Alban Berg and Anton Webern 1906 1921 Vienna Hollitzer 2020 ISBN 978 3 99012 776 6See also EditArnold Schonberg Complete Edition Arnold Schonberg Prize List of refugeesReferences EditNotes Edit Text Die Trauung von Samuel Schonberg aus Pressburg mit der Jgf Pauline Nachod aus Prag wurde in der Wochenschrift fur politische religiose und Cultur Interessen angezeigt Diese Angaben divergieren vom Aufgebot das die Kultusgemeinde veroffentlichte 17 Marz 1872 12 Samuel Schonberg Kaufmann aus Szecseny Sohn d H Abraham und Fr Theresia geb Lowy 15 Sept 1838 II Taborstr 4 Pauline Nachod aus Pressburg Tochter d H Josef und d Fr Karoline geb Jontow 8 Marz 1843 II Taborstrasse 4 Aufgebotsz u Deleg Pressburg 2 Marz 1872 Citations Edit Berg 2013 Anon 2008 R Schoenberg 2018 a Helm 2006 2017 Beaumont 2000 p 87 Boss 2013 p 118 Stuckenschmidt 1977 p 103 Schoenberg 1975 p 136 Marquis Who s Who n d a b Neighbour 2001 a b Stuckenschmidt 1977 p 96 Hailey 1993 pp 55 57 Schoenberg 1975 p 104 Lebrecht 2001 Ross 2007 p 60 Rosen 1975 p 65 Rosen 1996 p 66 Schoenberg 1967 Stein 1987 p 100 quoted in Strimple 2005 p 22 Silverman 2010 p 223 Shoaf 1992 p 64 MacDonald 2008 p 216 Auner 1999 p 85 Brown Kellie D 2020 The sound of hope Music as solace resistance and salvation during the holocaust and world war II McFarland p 16 ISBN 978 1 4766 7056 0 Friedrich 1986 p 31 UCLA Department of Music 2008 University of Southern California Thornton School of Music 2008 Crawford 2009 p 116 Feisst 2011 p 6 Laskin 2008 MacDonald 2008 p 79 Schoenberg 1975 p 514 Watkins 2010 p 114 Slonimsky Kuhn and McIntire 2001 Foss 1951 p 401 Ross 2007 p 45 Plush 1996 Marcus 2016 p 188 Greenberg 2019 quoted in Lebrecht 1985 p 294 Nuria Schoenberg Nono quoted in Lebrecht 1985 p 295 Stuckenschmidt 1977 p 520 Stuckenschmidt 1977 p 521 McCoy 1999 p 15 Leeuw 2005 pp 154 55 Leeuw 2005 pp 155 57 Haimo 1990 p 4 Schoenberg 1984 p 218 Stuckenschmidt 1977 p 277 Haimo 1990 p 41 Rosen 1996 p 4 Stuckenschmidt 1977 p 184 Stuckenschmidt 1977 p 185 Haimo 1990 pp 2 3 Schonberg 1970 p 503 Lewis n d Anon 2013 Ross 2007 p 156 Taruskin 2004 p 7 Taruskin 2004 p 10 Taruskin 2004 p 12 Small 1977 p 25 Cook 1998 p 46 Earle 2003 p 643 Walsh 2018 pp 321 22 E R Schoenberg 2018 pp 109 149 O Brien 2009 Stuckenschmidt 1977 p 142 Stuckenschmidt 1977 pp 551 552 Sources Edit Anon 29 February 2008 New German Archive Focuses on Music Silenced by the Nazis Deutsche Welle Retrieved 29 October 2020 Anon 2013 Max Deutsch Conducts Arnold Schonberg sic ArkivMusic The Source for Classical Music accessed 27 December 2015 Auner Joseph H 1999 Schoenberg and His Public in 1930 The Six Pieces For Male Chorus Op 35 In Schoenberg and His World edited by Walter Frisch 85 125 Bard Music Festival Series Princeton Princeton University Press ISBN 978 0 691 04860 4 cloth ISBN 978 0 691 04861 1 pbk Beaumont Antony 2000 Zemlinsky London Faber and Faber ISBN 978 0 571 16983 2 Ithaca Cornell University Press ISBN 978 0 8014 3803 5 Berg Marita 24 May 2013 The Nazis take on Degenerate Music Deutsche Welle Retrieved 23 October 2020 Boss Jack 2013 Mahler s Musical Idea A Schenkerian Schoenbergian Analysis of the Adagio from Symphony No 10 accessed 7 September 2019 Cook Nicholas 1998 Music A Very Short Introduction Oxford and New York Oxford University Press ISBN 978 0 19 285340 0 Crawford Dorothy L 2009 A Windfall of Musicians Hitler s Emigres and Exiles in Southern California New Haven and London Yale University Press ISBN 978 0 300 15548 8 Earle Ben 2003 Taste Power and Trying to Understand Op 36 British Attempts to Popularize Schoenberg Music amp Letters 84 no 4 608 43 Feisst Sabine 2011 Schoenberg s New World The American Years Oxford and New York Oxford University Press ISBN 978 0 19 537238 0 Friedrich Otto 1986 City of Nets A Portrait of Hollywood in 1940 s sic New York Harper amp Row ISBN 978 0 06 015626 8 Reprinted Berkeley and Los Angeles University of California Press ISBN 978 0 520 20949 7 Foss Hubert 1951 Schoenberg 1874 1951 The Musical Times 92 no 1 September 401 403 Greenberg Robert 26 August 2019 Music History Monday Lotte Lehmann robertgreenbergmusic com Archived from the original on 7 February 2020 Retrieved 11 February 2020 Hailey Christopher 1993 Franz Schreker 1878 1934 A Cultural Biography Cambridge and New York Cambridge University Press ISBN 978 0 521 39255 6 Haimo Ethan 1990 Schoenberg s Serial Odyssey The Evolution of his Twelve Tone Method 1914 1928 Oxford England Clarendon Press New York Oxford University Press ISBN 978 0 19 315260 1 Helm Paul 2006 2017 Arnold Schoenberg 52composers com accessed 24 June 2018 unreliable source Laskin David 2008 When Weimar Luminaries Went West Coast The New York Times 3 October 2008 Lebrecht Norman 1985 The Book of Musical Anecdotes New York Simon amp Schuster London Sphere Books ISBN 978 0 02 918710 4 Lebrecht Norman 2001 Why We re Still Afraid of Schoenberg The Lebrecht Weekly 8 July Leeuw Ton de 2005 Music of the Twentieth Century A Study of Its Elements and Structure translated from the Dutch by Stephen Taylor Amsterdam Amsterdam University Press ISBN 978 90 5356 765 4 Translation of Muziek van de twintigste eeuw een onderzoek naar haar elementen en structuur Utrecht Oosthoek s Uitgevers Mij N V 1964 Third impression Utrecht Bohn Scheltema amp Holkema 1977 ISBN 978 90 313 0244 4 Lewis Uncle Dave n d Review of Rheinland Pfalz Staatsphilharmonie Frank Strobel Max Deutsch Der Schatz AllMusic Review allmusic com Retrieved 26 December 2015 McCoy Marilyn 1999 A Schoenberg Chronology In Schoenberg and His World edited by Walter Frisch 1 15 Bard Music Festival Series Princeton Princeton University Press ISBN 978 0 691 04860 4 cloth ISBN 978 0 691 04861 1 pbk MacDonald Malcolm 2008 Schoenberg second revised edition The Master Musicians Series Oxford and New York Oxford University Press ISBN 978 0 19 517201 0 ISBN 978 0 19 803840 5 Marcus Kenneth H 2016 Schoenberg and Hollywood Modernism Cambridge Cambridge University Press ISBN 978 1 107 06499 7 Marquis Who s Who n d Who Was Who in America Volume III 1951 1960 accessed 4 October 2012 full citation needed Neighbour O liver W 2001 Schoenberg Schonberg Arnold Franz Walter The New Grove Dictionary of Music and Musicians second edition edited by Stanley Sadie and John Tyrrell London Macmillan Publishers Sean O Brien Book of a Lifetime Doktor Faustus by Thomas Mann Independent 28 August Plush Vincent 1996 They Could Have Been Ours ABC Radio 24 Hours January Rosen Charles 1975 Arnold Schoenberg New York Viking Press ISBN 978 0 670 13316 1 pbk ISBN 978 0 670 01986 1 cloth Reprinted 1996 with a new preface Chicago University of Chicago Press ISBN 978 0 226 72643 4 Ross Alex 2007 The Rest Is Noise Listening to the Twentieth Century New York Farrar Straus and Giroux ISBN 978 0 374 24939 7 Schoenberg Arnold 1964 Arnold Schoenberg Letters selected and edited by Erwin Stein translated from the original German by Eithne Wilkins and Ernst Kaiser London Faber Paperback reprint Berkeley University of California Press 1987 ISBN 978 0 520 06009 8 Schoenberg Arnold 1967 Fundamentals of Musical Composition Edited by Gerald Strang with an introduction by Leonard Stein New York St Martin s Press Reprinted 1985 London Faber and Faber ISBN 978 0 571 09276 5 Schoenberg Arnold 1975 Style and Idea Selected Writings of Arnold Schoenberg Edited by Leonard Stein with translations by Leo Black New York St Martins Press London Faber amp Faber ISBN 978 0 520 05294 9 Expanded from the 1950 Philosophical Library New York publication edited by Dika Newlin The volume carries the note Several of the essays were originally written in German translated by Dika Newlin in both editions Schoenberg Arnold 1984 Style and Idea Selected Writings translated by Leo Black Berkeley California University Press Schonberg Harold C 1970 The Lives of the Great Composers New York W W Norton ISBN 978 0 393 02146 2 Revised ed New York W W Norton 1980 ISBN 978 0 393 01302 3 Third ed New York W W Norton 1997 ISBN 978 0 393 03857 6 Schoenberg E Randol 2018 Doctor Faustus Dossier The Arnold Schoenberg Thomas Mann and Their Contemporaries 1930 1951 ISBN 978 0 520 29683 1 University of California Press Schoenberg Randy 2018 Samuel Schonberg Geni com 17 December accessed 2 June 2020 Shoaf R Wayne 1992 Satellite Collections in the Archive of the Arnold Schoenberg Institute Journal of the Arnold Schoenberg Institute 15 no 1 June 9 110 Silverman Kenneth 2010 Begin Again A Biography of John Cage New York Alfred A Knopf Toronto Random House ISBN 978 1 4000 4437 5 Reprinted Evanston IL Northwestern University Press 2012 Nicolas Slonimsky Nicolas Laura Kuhn and Dennis McIntire 2001 Schoenberg originally Schonberg Arnold Franz Walter Baker s Biographical Dictionary of Musicians eighth edition edited by Nicolas Slonimsky and Laura Kuhn Six volumes New York Schirmer Books ISBN 978 0 02 865571 0 Small Christopher 1977 Schoenberg Novello Short Biographies Sevenoaks Kent Novello Stein Erwin ed 1987 Arnold Schoenberg Letters translated by Eithne Wilkins and Ernst Kaiser Berkeley and Los Angeles University of California Press ISBN 978 0 520 06009 8 Reprint of Schoenberg 1964 Strimple Nick 2005 Choral Music in the Twentieth Century Portland Oregon amp Cambridge UK Amadeus ISBN 978 1 57467 122 3 Stuckenschmidt Hans Heinz 1977 Schoenberg His Life World and Work translated from the German by Humphrey Searle New York Schirmer Books Taruskin Richard Spring 2004 The poietic fallacy The Musical Times 145 1886 7 34 doi 10 2307 4149092 JSTOR 4149092 Reissued in The Danger of Music and Other Anti Utopian Essays Berkeley and Los Angeles University of California Press 2007 pp 301 329 ISBN 978 0 520 94279 0 UCLA Department of Music 2008 Facilities and Maintenance accessed 1 December 2008 University of Southern California Thornton School of Music 2008 Performance Halls and Studios accessed 1 December 2008 Walsh Stephen 2018 Debussy A Painter in Sound London Faber and Faber Limited ISBN 978 0 571 33016 4 New York Alfred A Knopf ISBN 978 1 5247 3192 2 Watkins Glenn 2010 The Gesualdo Hex Music Myth and Memory New York W W Norton amp Company ISBN 978 0 393 07102 3Further reading EditAdorno Theodor 1967 Prisms translated from the German by Samuel and Shierry Weber London Spearman Cambridge Massachusetts MIT Press Anon 2002 Arnold Schonberg and His God Vienna Arnold Schonberg Center accessed 1 December 2008 Anon 1997 2013 Degenerate Music In A Teacher s Guide to the Holocaust The Florida Center for Instructional Technology College of Education University of South Florida accessed 16 June 2014 Auner Joseph 1993 A Schoenberg Reader New Haven Yale University Press ISBN 978 0 300 09540 1 Bailey Walter B Spring 2015 For the serious listeners who swear neither at nor by Schoenberg Music Criticism the Great War and the Dawning of a New Attitude Toward Schoenberg and Ultra Modern Music in New York City The Journal of Musicology 32 2 279 322 doi 10 1525 jm 2015 32 2 279 JSTOR 10 1525 jm 2015 32 2 279 Berry Mark 2019 Arnold Schoenberg London Reaktion Books Boulez Pierre 1991 Schoenberg is Dead 1952 In his Stocktakings from an Apprenticeship collected and presented by Paule Thevenin translated by Stephen Walsh with an introduction by Robert Piencikowski 209 14 Oxford Clarendon Press New York Oxford University Press ISBN 978 0 19 311210 0 Brand Julianne Christopher Hailey and Donald Harris editors 1987 The Berg Schoenberg Correspondence Selected Letters New York London W W Norton and Company ISBN 978 0 393 01919 3 Buhle Paul and David Wagner 2002 Radical Hollywood The Untold Story Behind America s Favorite Movies New York The New Press ISBN 978 1 56584 819 1 Clausen Detlev 2008 Theodor W Adorno One Last Genius translated by Rodney Livingstone Cambridge Harvard University Press ISBN 978 0 674 02618 6 Byron Avior 2006 The Test Pressings of Schoenberg Conducting Pierrot lunaire Sprechstimme Reconsidered Music Theory Online 12 no 1 February Cohen Mitchell A Dissonant Schoenberg in Berlin and Paris Jewish Review of Books April 2016 da Costa Meyer Esther 2003 Schoenberg s Echo The Composer as Painter In Schoenberg Kandinsky and the Blue Rider edited by Fred Wasserman and Esther da Costa Meyer foreword by Joan Rosenbaum preface by Christian Meyer London and New York Scala ISBN 978 1 85759 312 9 Everdell William R 1998 The First Moderns Profiles in the Origins of Twentieth Century Thought Chicago University of Chicago Press Eybl Martin 2004 Die Befreiung des Augenblicks Schonbergs Skandalkonzerte von 1907 und 1908 eine Dokumentation Wiener Veroffentlichungen zur Musikgeschichte 4 Vienna Cologne Weimar Bohlau ISBN 978 3 205 77103 6 Floirat Bernard 2001 Les Fonctions structurelles de l harmonie d Arnold Schoenberg Eska Musurgia ISBN 978 2 7472 0209 1 Frisch Walter ed 1999 Schoenberg and His World Bard Music Festival Series Princeton Princeton University Press ISBN 978 0 691 04860 4 cloth ISBN 978 0 691 04861 1 pbk Genette Gerard 1997 Immanence and Transcendence translated by G M Goshgarian Ithaca Cornell University Press ISBN 978 0 8014 8272 4 Gur Golan 2009 Arnold Schoenberg and the Ideology of Progress in Twentieth Century Musical Thinking Search Journal for New Music and Culture 5 Summer Online journal Accessed 17 October 2011 Greissle Schonberg Arnold and Nancy Bogen n d Arnold Schonberg s European Family e book The Lark Ascending Inc accessed 2 May 2010 Hyde Martha M 1982 Schoenberg s Twelve Tone Harmony The Suite Op 29 and the Compositional Sketches Studies in Musicology series edited by George Buelow Ann Arbor UMI Research Press ISBN 978 0 8357 1512 6 Kandinsky Wassily 2000 Arnold Schonberg als Maler Arnold Schonberg as Painter Journal of the Arnold Schonberg Center no 1 131 76 Mahler Alma 1960 Mein Leben with a foreword by Willy Haas Frankfurt am Main S Fischer My Life My Loves The Memoirs of Alma Mahler St Martin s Griffin 1958 Paperback ISBN 978 0 312 02540 3 Mailman Joshua Banks September 2015 Schoenberg s Chordal Experimentalism Revealed through Representational Hierarchy Association RHA Contour Motives and Binary State Switching Music Theory Spectrum 37 2 224 252 doi 10 1093 mts mtv015 Orenstein Arbie 1975 Ravel Man and Musician London Columbia University Press Payne Anthony 1968 Schoenberg Oxford Studies of Composers London Oxford University Press OCLC 915854222 Petropoulos Jonathan 2014 Artists Under Hitler New Haven and London Yale University Press ISBN 978 0 300 19747 1 Ringer Alexander 1990 Arnold Schoenberg The Composer as Jew Oxford Clarendon Press New York Oxford University Press ISBN 978 0 19 315466 7 Rollet Philippe ed 2010 Arnold Schonberg Visions et regards with a preface by Frederic Chambert and Alain Mousseigne Montreuil sous Bois Lienart ISBN 978 2 35906 028 7 Schoenberg Arnold 1922 Harmonielehre third edition Vienna Universal Edition Originally published 1911 Translation by Roy E Carter based on the third edition as Theory of Harmony Berkeley Los Angeles University of California Press 1978 ISBN 978 0 520 04945 1 Schoenberg Arnold 1959 Structural Functions of Harmony Translated by Leonard Stein London Williams and Norgate Revised edition New York London W W Norton 1969 ISBN 978 0 393 00478 6 Shawn Allen 2002 Arnold Schoenberg s Journey New York Farrar Straus and Giroux ISBN 978 0 374 10590 7 Stegemann Benedikt 2013 Theory of Tonality Theoretical Studies Wilhelmshaven Noetzel ISBN 978 3 7959 0963 5 Weiss Adolph 1932 The Lyceum of Schonberg Modern Music 9 no 3 March April 99 107 Wright James K 2007 Schoenberg Wittgenstein and the Vienna Circle Bern Verlag Peter Lang ISBN 978 3 03911 287 6 Wright James and Alan Gillmor eds 2009 Schoenberg s Chamber Music Schoenberg s World New York Pendragon Press ISBN 978 1 57647 130 2External links Edit Wikimedia Commons has media related to Arnold Schoenberg Wikiquote has quotations related to Arnold Schoenberg Wikisource has original works by or about Arnold Schoenberg Free scores by Arnold Schoenberg at the International Music Score Library Project IMSLP Discovering Schoenberg BBC Radio 3 Arnold Schoenberg Center in Vienna Archival records Arnold Schoenberg collection 1900 1951 Library of Congress Schonberg Linking two continents in sound a web based exhibition of Arnold Schonberg curated by Osterreichische Mediathek in cooperation with the Arnold Schonberg Center Recordings at Internet Archive Arnold Schoenberg 1874 1951 videos compiled by Randol Schoenberg on YouTube Portals Biography Classical music Opera Retrieved from https en wikipedia org w index php title Arnold Schoenberg amp oldid 1130687396, wikipedia, wiki, book, books, library,

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