Arnold Schönberg

Arnold Schönberg (13 September 1874 – 13 July 1951) was an Austrian composer and painter, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. After his move to the United States in 1934, he altered the spelling of his surname from Schönberg to Schoenberg. Schönberg's approach, both in terms of harmony and development, has been one of the most influential of 20th-century musical thought. Many European and American composers from at least three generations have consciously extended his thinking, whereas others have passionately reacted against it. During the rise of the Nazi Party in Austria, Schönberg's works were labelled as degenerate music. Schönberg 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 Schönberg himself detested that term) that would become the most polemical feature of 20th-century art music. In the 1920s, Schönberg 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. Schönberg was also a painter, an important music theorist, and an influential teacher of composition; his students included Alban Berg, Anton Webern, Hanns Eisler, Egon Wellesz, and later John Cage, Lou Harrison, Earl Kim, Leon Kirchner, and other prominent musicians. Many of Schönberg'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. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.

Classical contemporary classical Avant-Garde atonal 20th Century Classical




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Waldemar So tanzen die Engel vor Gottes Thron nicht
Sehr langsam
Teil Iii - Die Wilde Jagd - Waldemar Erwacht, Konig Waldemars Mannen Wer
Piano Piece op. 33a
Part III: Gegrusst, O Konig (Chorus: Waldermar's Men)
Intermezzo
V Le Trophe
Tove O, wenn des Mondes Strahlen leise gleiten
Unterm schutz von dichten blattergrunden
I. Largo - Allegro
VIII Les Brimborions
Gavotte - Musette - Gavotte
Teil II - Waldemar Hergorr, wei?? du, was du tatest
Waldemar Mit Toves Stimme fl??tert der Wald
I. Introduction
L'Angeuille
Da meine lippen reglos sind und brennen
Part I: Orchestral Prelude
Verklärte Nacht, Op. 4
Musette de Taverny
Op. 23 - sehr langsam
II. Largo
Schoenberg: Verklärte Nacht, Op. 4: I. Grave
Praeludium
Verklarte Nacht (Transfigured Night), Op. 4: Sehr langsam -
La douce Janneton
Weihnachtsmusik for 2 Violins, Cello, Harmonium and Piano
Praludium
3 Klavierstucke, Op. 11: No. 1. Massig
Part I: No. 1. Moondrunk
Presto in C Major
Piano Concerto, op. 42
III Le Tic-Toc-Choc - La Lutin
Part III: No. 16. Vulgarity
Pierrot Lunaire, Op.21 (1912) / Part 1: 1. Mondestrunken
La fine Madelon
VII Les Ombres errantes
Concerto for Piano and Orchestra, Op.42: Andante
Op. 11 - sehr langsam
Concerto for String Quartet &
Les Jeunes Seigneurs
Verklärte Nacht, Op.4: 4. Sehr breit und langsam (bar 229)
Schoenberg: 5 Orchestral Pieces, Op. 16: No. 3 Farben (Colours)
Divertimento Op. 86 (after Cou
String Quartet No. 3, Op. 30: I. Moderato
IV Les Fauvettes plaintives
VI Les Tours de Passe-Passe
La Linoette effarouchee
Verklärte Nacht, op 4; String Sextett for 2 Violins, 2 Violas and 2 Celli
I. Grave

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