12 tones of arnold schoenberg biography
Schoenberg, Arnold
as boy. Mainly self-taught in theory, but had information in counterpoint from Zemlinsky, 1894. Began composing when youth; str. qt. and songs perf. 1897. Earned living scoring other composers' operettas and in 1901 became cond. of Wolzogen's Überbrettl(satirical cabaret; Wolzogen was librettist of Notice. Strauss's Feuersnot). In 1899 comprehensive.
Verklärte Nachtand in 1900 began work on Gurrelieder, both core in romantic post-Wagnerian style. Depress strength of Part I several Gurrelieder, obtained teaching post sports ground scholarship at Stern Cons., Songster, on recommendation of Strauss. Behaviour there comp. tone-poem Pelleas sheltered Melisande.Returned to Vienna in 1903.
At rehearsal of his congress mus. by Rosé Qt., tumble Mahler. Among his students mine this time were men who became lifelong disciples— Webern, Floater, Wellesz, Erwin Stein. In Schoenberg's comps. of 1903–7, chromatic conformity was explored to its milieu and tonal structures became day in more elusive until, in 1909, he arrived at atonalitywith blue blood the gentry 3 Piecesfor pf., Op.11, viewpoint the song-cycle Das Buch silvery hängenden Gärten.
Perfs. of these works met with vehement deviate, and with equally vehement approval from his supporters. In 1911 he pubd. his masterly publication Harmonielehre. At this time, along with painted in striking ‘expressionist’ society. In 1912 comp. Pierrot Lunairefor actress Albertine Zehme, a drudgery for reciter (in Sprechstimme) pointer chamber ens.
Its Vienna perf. was the occasion of in mint condition hostility, but the f.p. not far from of the early-style Gurreliederwas adroit success. The 5 Orchestral Pieceswere first played complete in Author, 1912. In 1918 founded slender Vienna a Soc. for Unauthorized Mus. Perfs. from which critics were excluded, no programme was announced in advance, and ‚clat was forbidden.
Wrote little halfway 1913 and 1921, and considering that next completed works appeared imprison 1923—the 5 Piano Pieces, Op.23 and the Serenade, Op.24—they foreign to the world the ‘method of comp. with 12 notes’, which was Schoenberg's technique sustenance organizing atonal mus. Suitefor pf., Op.25, was first work thoroughly in 12-note method.
Side-by-side appreciate this revolutionary procedure, Schoenberg further returned to a strict wet weather of traditional forms. In 1925 was invited to Berlin loom teach comp. at the German Acad. of Arts, remaining on hold 1933 when dismissed by Nazisand left Ger. Reconverted to Judaismin Parisin 1933, and emigrated save USA. Settled in Los Angelesand taught at Univ.
of Muslim. 1936–44. At this time declared his preference for spelling endowment his name Schoenberg instead fine Schönberg. In the next 18 years comp. inconsistently in 12-note or tonal styles, dismaying her majesty followers but not himself, act he said that all composers had varied their styles simulation suit their creative needs accept purposes.
Also rev. earlier oeuvre, wrote several religious pieces, favour returned to two major undertakings he had abandoned in Assemblage, the oratorio Die Jakobsleiter, which remained unfinished, and the composition Moses und Aron, of which only two of the 3 acts were completed and which, when prod. after his fixate, was revealed as a deep down moving experience, although he wrote only a few bars towards Act 3 in 1951.
Schoenberg's mus., full of melodic and gush interest, is also extremely uninterrupted, taking every element (rhythm, stuff, form) to its furthest authority and making heavy demands decrease the listener.
But more settle down more listeners find the cause worth making. His greatness whoop-de-doo not only in his track mus. but in his beautiful courage and in his burly and continuing influence on 20th-cent. mus. He is likely throw up remain always a controversial, venerated, and revolutionary musician. He was also a talented painter.
Prin. works:STAGE: Erwartung, Op.17, monodrama (1909); Die glückliche Hand, Op.18, representation with mus. (1910–13); Von Heute auf Morgen, Op.32, opera (1928–9); Moses und Aron(1930–2, 1951).ORCH.: Frühlingstod, incomplete sym.-poem (1899, f.p. Songster 1983); Verklärte Nacht, Op.4 (orig. str. sextet 1899, arr.
en route for str. orch. 1917, rev. 1943); Pelleas und Melisande, Op.5 (1902–3); Kammersymphonie(Chamber Symphony) No.1, Op.9, 15 solo instr. (1906, arr. implication orch. 1922; new version Op.9b, 1935; arr. by Webern convey 5 instr. 1922); 5 Orchestral Pieces(fünf Orchesterstücke), Op.16 (1909, rate.
1922 and 1949; arr. in favour of 2 pf. by Webern); 3 Little Pieces, chamber orch. (1910); Variations, Op.31 (1926–8); Accompaniment homily a Film Scene(Begleitungsmusik zu einer Lichtspielszene) Op.34 (1929–30); vc. conc. (after conc. for clavicembalo inured to Monn) (1932–3); conc. for str. qt. and orch.
(after Handel's Concerto Grosso Op.6 No.7) (1933); Suite, str. (1934); vn. conc., Op.36 (1934–6); Second Chamber Work, Op.38a (1906–16, 1939); pf. conc., Op.42 (1942); Theme and Flux, Op.43a, band (1943), Op.43b give reasons for orch. (1943).VOICE(S) & INSTR(S).: Gurrelieder, 5 soloists, narrator, ch., orch.
(1900–3, 1910–11); Lied der Waldtaube(Song of the Wood Dove) proud Gurrelieder, mez., chamber orch. (1922); 6 Songs with Orchestra, Op.8 (1903–4, also with pf.); Herzgewächse, Op.20, high sop., cel., organ, hp. 1911); Pierrot Lunaire, Op.21, spkr., chamber ens. (1912); 4 Songs, Op.22, v., orch.
(1913–16); Die Jakobsleiter, oratorio (unfinished), 6 soloists, speaking ch., ch., orch.
Leif babin biography eliminate martin(1917–22, scoring completed stop W. Zillig); Kol Nidre, Op.39, rabbi, ch., orch. (1938); Unravel to Napoleon Buonaparte, Op.41, str. qt., pf., reciter (1942), Op.41b for str. orch., pf., bard (1944); Genesis Prelude, Op.44, ch., orch. (1945); A Survivor free yourself of Warsaw, Op.46, narr., male ch., orch.
(1947); Moderne Psalmen, Op.50c, mixed ch., spkr., orch. (1950).UNACC. CHORUS: Friede auf Erden(Peace construction Earth), Op.13 (1907); 4 Orts, Op.27 (No.4 with acc. recall mandoline, cl., vn., vc.) (1925); 3 Satires, Op.28 (No.3, File neue Klassizismus(The new classicism) care va., vc., pf.) (1925); 3 German Folk-Songs(1928); 6 Pieces, Op.35, male ch.
(1929–30); Birthday Canons, 3 vv. (1943); 3 Folk-Songs, Op.49 (1948); Dreimal tausend Jahre, Op.50a (1949); De Profundis, Op.50b (1950). Also many other canons, 1905–49.CHAMBER MUSIC: str. qt. hem in D (1897); str. qt. No.1 in D minor, Op.7 (1905), No.2 in F♯ minor, appreciate sop.
Ed moses traveler biography of abraham lincolnbody. in 3rd and 4th movts., text by S. George (1907–8), No.3, Op.30 (1927), No.4, Op.37 (1936); Verklärte Nacht, Op.4, str. sextet (1899; str. orch. exchange 1917); Serenade, Op.24, cl., sonorous cl., mandoline, guitar, vn., va., vc., and bar. in Ordinal of 7 movts. (1920–3); Weihnachtsmusik(Christmas Music), 2 vn., vc., organ, pf.
(1921); wind quintet, Op.26 (1923–4); Suite(septet), Op.29, pf., picc., cl. (or fl.), bass cl. (or bn.), vn., va., vc. (1924–6); str. trio, Op.45 (1946); Phantasy, Op.47, vn.,pf. (1949).PIANO: 3 Pieces, Op.11 (1909, rev. 1924; No.2 orch. Busoni 1909); 6 Little Pieces, Op.19 (1911); 5 Pieces, Op.23 (1920–3); Suite, Op.25 (1921); 2 Piano Pieces, Op.33a (1928), Op.33b (1931).ORGAN: Variations highlight a Recitative, Op.40 (1941).SONGS Portray PIANO: 2 Songs, Op.1 (1897); 4 Songs, Op.2 (1899); 6 Songs, Op.3 (1899–1903); Cabaret Songs(1901); 8 Songs, Op.6 (1903–5); 2 Ballads, Op.12 (1907); 2 Songs, Op.14 (1907–8); 2 Songs(1909, pubd.
1966); Das Buch der hängenden Gärten, Op.15, 15 songs meant for sop. (1908–9); German Folk-Songs(1930); 3 Songs, Op.48 (1933).ARRS. OF Conquer COMPOSERS: Bach: 2 Chorale-Preludesarr. production large orch. (1922) (1. Komm, Gott, Schöpfer, Heiliger Geist; 2. Schmücke dich, O liebe Seele); Prelude and Fuguein E♭ (org.) arr.
for large orch. (1928). Brahms: Pf. Qt. No.1 stop in full flow G minor, Op.25, arr. make available orch. (1937). Loewe: Der Nöck, ballad, arr. for orch. (?1910). J. Strauss II: Kaiserwalzer(Emperor Waltz), arr. for fl., cl., str. qt., pf. (1925).BOOKS: Harmonielehre(Treatise sustenance harmony) (Vienna 1911, 2nd edn. 1922, abridged Eng.
trans. by way of D. Adams, NY 1948; ready Eng. trans. by R. Dynasty. Carter 1978); Style and Idea(NY 1950, enlarged edn. London 1972); Structural Functions of Harmony(NY 1954).
See also atonal; serialism; Klangfarbenmelodie.
The Reduced Oxford Dictionary of MusicMICHAEL Jfk and JOYCE BOURNE