Arnold Schoenberg

Arnold Schoenberg remains one of the most controversial figures in the history of music. From the final years of the nineteenth century to the period following the World War II, Schoenberg produced music of great stylistic diversity, inspiring fanatical devotion from students, admiration from peers like Mahler, Strauss, and Busoni, riotous anger from conservative Viennese audiences, and unmitigated hatred from his many detractors. Born in Vienna on 13 September 1874, into a family that was not particularly musical, Schoenberg was largely self-taught as a musician. An amateur cellist, he demonstrated from early age a particular aptitude for composition. He received rudimentary instruction in harmony and counterpoint from Oskar Adler and studied composition briefly with Alexander Zemlinsky, his eventual brother-in-law. Early in his career, Schoenberg took jobs orchestrating operettas, but most of his life was spent teaching, both privately and at various institutions, and composing. His moves between teaching jobs were as much a result of seeking respite from the bouts of ill health which hampered him as they were due to his being offered a position. The composer's early works bear the unmistakable stamp of high German Romanticism, perhaps nowhere more evident than in his first important composition, Verklrte Nacht, Op. 4 (1899). With works like the Five Orchestral Pieces (1909) and the epochal Pierrot lunaire (1912), Schoenberg embarked upon one of the most influential phases of his career. Critics reviled this "atonal" (Schoenberg preferred "pantonal") music, whose structure does not include traditional tonality. Still, the high drama and novel expressive means of Schoenberg's music also inspired a faithful and active following. Most notable among Schoenberg's disciples were Alban Berg and Anton Webern, both of whom eventually attained stature equal to that of their famous mentor. These three composers -the principal figures of the so-called Second Viennese School -- were the central force in the development of atonal and 12-tone music in the first half of the twentieth century and beyond. Schoenberg's Suite for Piano (1921-1923) occupies a place of central importance in the composer's catalogue as his first completely 12-tone composition. Though the 12-tone technique represents only a single, and by no means predominant, aspect of the composer's style, it remains the single characteristic mostly closely associated with his music. Schoenberg made repeated, though varied, use of the technique across the spectrum of genres, from chamber works like the String Quartet No. 4 (1936) and the Fantasy for Violin and Piano (1949) to orchestral works like the Violin Concerto (1935-1936) and the Piano Concerto (1942), to choral works like A Survivor from Warsaw (1947). Schoenberg fled the poisonous political atmosphere of Europe in 1933 and spent the remainder of his life primarily in the United States, becoming a naturalized citizen in 1941. During this phase of his career, he at times returned to frank tonality, as in the Theme and Variations for band (1943), reaffirming his connection to the great German musical heritage that extended back to Bach. For Schoenberg, the dissolution of tonality was a logical and inevitable step in the evolution of Western music. Despite a steady stream of critical brickbats throughout his entire career, the composer, whose life inspired one of twentieth century's great novels, Thomas Mann's Doctor Faustus, persisted in his aims, insisting that his music was the result of an overwhelming creative impulse. Though debate over the man and his music rages on, Schoenberg is today acknowledged as one of the most significant figures in music history. The composer, a well-known triskaidekaphobe, died in Los Angeles, CA, on July 13, 1951.

Contribution of Schoenberg
Composer Quote "I believe what I do and do only what I believe; and woe to anybody who lays hands on my faith. Such a man I regard as an enemy, and no quarter given!" -Schoenberg on his peculiar style of music. Introduction Schoenberg redefined music in the early twentieth century. Perhaps no name on a concert's ballot scares the average listener more than that of Arnold Schoenberg. After fifty years of accustoming ourselves to his modern style, many of he pieces are still difficult to understand and evaluate. Even his early works, which were reminiscent of Johannes Brahms and Richard Strauss, are still disliked because they were written by his infamous hand. His twelve-tone technique is the first attempts at atonality during his era and would be never developed and explored by later composers such as Anton van Webern and Alban Berg. Schoenberg would be known as the inventor of atonalism and the ravisher of the listener's ears. Historical Context Arnold Schoenberg was born in Vienna on September 13th,1874 as son of the merchant Samuel Schoenberg and his wife Pauline. With eight years he learned to play the violin and began to compose. After having been an apprentice with a bank clerk after his father's death when he turned sixteen, he joined the orchestra "Polyhymnia" in 1891. Since that time, he kept up a lifelong friendship with Alexander von Zemlinsky, the conductor of the orchestra. He was himself conductor of the metalworker-choir in Stockerau. At the age of twenty he came forward with his first original composition , a few piano pieces, and began to take lessons with his friend Zemlinsky. In 1901 he married Zemlinksky's sister, Mathilde and they moved to Berlin. Soon, because of Strauss' recommendation, he was appointed to teach at Berlin's Stern Academy. Two years later he returned to Vienna to start a private teaching school. Berg and Webern, would carry forth his art of atonality, became his first pupils. His brother-in-law, Zemlinsky, introduced him to the then court opera director Gustav Mahler, who gave his support to Schoenberg. Around this time, Schoenberg first began to stretch the realm of tonality, and began to move more towards composing atonal pieces. The year 1906 may be considered as one of the numerous births of modern music. Schoenberg's music caused a cultural shock. The legendary "scandal concert" of 1908, where his String Quartet #2, op.10 and the chamber symphony (op.9) were performed for the first time, was received with a lack of understanding by the press and with vociferous protests by the public. People hurled insults at the composer during the performance itself, and the reporters rushed back to the offices to declare Schoenberg "insane." In 1912, Schoenberg returned to Berlin to conduct a few of his pieces. Now Schoenberg was experimenting in every possible way. In a piece Pierrot Lunaire, he mixes conventional speech and singing to form an altogether different form of vocalization. And here in Berlin, was where he first began his composition in the twelve-tone series, also known as dodecaphony. These types of compositions were considered part of a larger group, known as serialism, in which compositions were mathematical rather than original.

In 1923, his wife, Mathilde, died. Ten months later he remarried and seemed to be quite happy with his new wife. He began work on his new opera, Moses und Aron. At first the piece was called Moses und Aaron, but due to his fear of the number thirteen, he quickly cut the second 'a' from the title. But in 1933, his stay in Berlin was cut short for the rise of the Nazi Party. He, being of the Jewish religion, quickly left Germany for the US. He stayed in Los Angeles the rest of his life, teaching at the University of Southern California and at UCLA. His later works tried to blend the traditional classical music with his twelve-tone series, but the product was still the same: an undecipherable piece of pure genius. During the last year of his life he composed more religious pieces such as A Survivor from Warsaw. He died on July 13th, 1951. His pieces added life to the aging romantic age. Yet the pieces were beyond his time and still are today. His greatest contribution to music was the development of the twelvetone series. Along with Stravinsky, they are the two greatest influences in the twentieth century, and their marks shall last a lifetime. His Music Audio Clip (MIDI):Pierrot Lunaire by Arnold Schoenberg... journey inside the mind of the composer His earlier pieces are quite easily comprehended and immaculate to listen to. Perhaps the greatest of his pieces would be his string sextet, Verklrte Nacht, op.4. Its romantic character and richness in harmony and color are clearly seen. The influence of Richard Wagner and Richard Strauss is evident in this masterpiece. His two chamber symphonies are also liked. In Pierrot Lunaire, the mixture of speech and song produces a eerie effect and drives forth the pieces portrayal of a creeping madness taking over a person. His famous symphonic poem, Pelleas and Melisande, is noted for the first-time use of a trombone glissando. His opera, Moses und Aron, displays the twelve-tone series and atonality in the opera setting. This piece was not only revolutionary, but also hated during his time. And his most massive piece, Gurrelieder, combines vocals, orchestra and a narrator to produce a piece that is difficult to follow yet somewhat pleasing to the ears. It was so massive, that Schoenberg had to order special music paper to script all the parts. It took twelve years to write, and after that another two years to produce its first production.His four string quartets are very likeable. The first still holds on to the quickly-disappearing tonality and classicism. But his second quartet stretches the boundaries and considered the beginning of his atonal compositions. His third and fourth are very difficult to listen to, yet if one listens carefully, there is a hint of romanticism in the pieces. Nonetheless, his first quartet is the most heard of the four conceptions. His Famous Compositions His notable pieces include his opera, Moses und Aron, Transfigured Night, Gurrelieder, Pelleas and Melisande, his five pieces for orchestra, and his first string quartet. He also wrote a string trio in his later years, but that has yet to become famous. Other links of interest: List of Chamber Works by Schoenberg Other Modern Composers Emory University: Arnold Schoenberg Classical Music Pages: Arnold Schoenberg Classical Net: Arnold Schoenberg

Stage Works 65 tracks

Erwartung, Op.17 (monodrama in 1 act) 4 tracks Moses und Aron (opera; unfinished) 31 tracks Die glckliche Hand (1-act drama) Op.18 8 tracks Pierrot lunaire (melodrama), for voice and chamber ensemble, Op.21 22 tracks

Piano Works 96 tracks

Fragments of Piano Pieces 6 tracks 3 Klavierstcke (early work) 3 tracks 6 Little Pieces, Op.19 31 tracks Organ Sonata (fragments of 2 movements) 2 tracks 3 Pieces, Op.11 19 tracks 5 Pieces, Op.23 10 tracks 2 Pieces, Op.33 4 tracks Suite for Piano, Op.25 20 tracks Variations on a Recitative in D-, for organ, Op.40 1 track

Orchestral Works 99 tracks

Concertos 19 tracks Cello Concerto (trans. of Monn's 'Concerto for keyboard and orchestra in D major') 3 tracks Concerto for String Quartet and Orchestra (after Handel's Concerto Grosso, Op.6, No.7) 13 tracks Violin Concerto, Op.36 3 tracks

Other Orchestral Works 80 tracks

Accompaniment to a Film-Scene (Begleitungssik zu einer Lichtspielszene), Op.34mu 2 tracks Chamber Symphony No.1 in E, Op.9 11 tracks Chamber Symphony No.2 in Eb-, Op.38 4 tracks Komm, Gott Schpfer, heiliger Geist (trans. from Bach) 1 track Pelleas und Melisande (symphonic poem), Op.5 7 tracks 5 Pieces for Orchestra, Op.16 5 tracks Prelude and Fugue in Eb (trans. from Bach) 3 tracks Schmcke dich, o liebe Seele (trans. from Bach) 1 track String Quartet No.2, arranged for soprano and strings (arr. from Op.10) 5 tracks Suite in G for String Orchestra 5 tracks Theme and Variations, for wind band in G-, Op.43a 11 tracks Variations for Orchestra, Op.31 12 tracks Verklrte Nacht, for string orchestra (arr. from String Sextet, Op.4) 13 tracks

Chamber Works 83 tracks

Fantasy for Violin and Piano, Op.47 5 tracks Fragment for Violin and Piano 1 track Ode to Napoleon Buonaparte, for narrator, piano and strings, Op.41 1 track Quintet for Winds, Op.26 12 tracks Serenade for baritone and septet, Op.24 7 tracks

String Quartet No.1 in D-, Op.7 4 tracks String Quartet No.2 in F#-, for soprano and string quartet, Op.10 4 tracks String Quartet No.3, Op.30 4 tracks String Quartet No.4, Op.37 4 tracks String Trio, Op.45 9 tracks Suite, septet in Eb, Op.29 8 tracks Theme and Variations in G-, for wind ensemble, Op.43a 3 tracks Untitled piece in D-, for violin and piano 1 track Verklrte Nacht, for string sextet, Op.4 19 tracks Weihnachtsmusik (Musique de Nol), for 2 violins, cello, piano and harmonium 1 track

Vocal Works 159 tracks

Songs and Song Cycles 70 tracks 2 Ballads, for voice and piano, Op.12 2 tracks The Book of the Hanging Gardens (song cycle for voice and piano), Op.15 15 tracks Brettl-Lieder (Cabaret Songs) 6 tracks 4 Folk Song Arrangements, for voice and piano 4 tracks Gedenken ('Es steht sein Bild noch immer da'), song for voice and piano 1 track Herzgewchse, for soprano, celesta, harp, and harmonium, Op.20 1 track Lied der Waldtaube, for mezzo soprano and 17 instruments (arr. from 'Gurrelieder') 1 track 4 Orchestral Songs, Op.22 4 tracks 6 Orchestral Songs, Op.8 11 tracks Schilflied: Drben geht die Sonne scheiden, song for voice and piano 1 track 6 Songs, for mezzo-soprano or baritone and piano, Op.3 3 tracks 2 Songs, for voice and piano, Op.14 2 tracks 4 Songs, for voice and piano, Op.2 16 tracks 8 Songs, for voice and piano, Op.6 3 tracks

Choral Works 89 tracks

De Profundis, Op.50b 2 tracks Die Jacobsleiter (Jacob's Ladder; oratorio) 11 tracks Dreimal tausend Jahre, Op.50a 1 track Ei du Ltte, partsong for male chorus 1 track 3 Folksongs 3 tracks 3 German Folksongs, Op.49 3 tracks Gurrelieder (oratorio) for 5 soloists, reciter, chorus, and orchestra 46 tracks Kol Nidre, for narrator, chorus and orchestra, Op.39 3 tracks Peace on Earth (Friede auf Erden), for chorus and chamber ensemble, Op.13 2 tracks 4 Pieces, for chorus and ensemble, Op.27 4 tracks 6 Pieces, for male chorus, Op.35 7 tracks Prelude, for wordless chorus and orchestra (for collaborative cantata "Genesis Suite"), Op.44 2 tracks 3 Satires, for chorus and instruments, Op.28 3 tracks A Survivor from Warsaw, for narrator, male chorus and orchestra, Op.46 1 track

Dr. Rodolfo V. Pamor Jr. Memorial National High School

Talojongon, Tigaon, Camarines Sur

PROJECT IN MAPEH
Submitted by: Aldrin Opea IV- St. John

Submitted to: Mrs. Jocelyn F. Gregorio

MAPEH TEACHER