Arnold Schoenberg - Wikipedia

11/10/2020 Arnold Schoenberg - Wikipedia
Arnold Schoenberg
Arnold Schoenberg or Schönberg (/ˈʃɜːrnbɜːrɡ/, US also

/ˈʃoʊn-/; German: [ˈʃøːnbɛɐ̯k] ( listen); 13 September 1874 – 13
July 1951) was an Austrian-born 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. With the rise
of the Nazi Party, Schoenberg's works were labeled degenerate
music, because they were modernist and atonal. He emigrated to
the United States in 1933, becoming an American citizen in 1941.
Schoenberg's approach, bοth in terms of harmony and

development, has shaped much of the 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.
Arnold Schoenberg, Los Angeles,
1948
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 art 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, Stefania Turkewich, and later John Cage, Lou
Harrison, Earl Kim, Robert Gerhard, Leon Kirchner, Dika Newlin, 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.
Contents
Biography
Early life
1901–1914: experimenting in atonality
World War I
Development of the twelve-tone method
https://en.wikipedia.org/wiki/Arnold_Schoenberg 1/17
Third Reich and move to the United States

Superstition and death
Music
First period: Late Romanticism
Second period: Free atonality
Third period: Twelve-tone and tonal works
Reception and legacy
First works
Twelve-tone period
Criticism
Relationship with the general public
Thomas Mann's novel Doctor Faustus
Personality and extramusical interests
Textbooks
Writings
See also
References
Further reading
External links
Recordings by Schoenberg
Biography
Early life
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 (R. Schoenberg 2018), 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 (Helm
2006–2017). Arnold was largely self-taught. He took only counterpoint
lessons with the composer Alexander Zemlinsky, who was to become his
first brother-in-law (Beaumont 2000, 87).
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 Arnold Schönberg in
version of this, which became one of his most popular pieces. Both Payerbach, 1903
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 (Boss 2013, 118). 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" (Stuckenschmidt 1977, 103; Schoenberg 1975,
136).
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 (Marquis Who's Who n.d.).
1901–1914: experimenting in atonality
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 (Neighbour 2001).
During the summer of 1908, Schoenberg's wife Mathilde left him

for several months for a young Austrian painter, Richard Gerstl
Schönberg Family, a painting by
(who committed suicide in that November after Mathilde
Richard Gerstl, 1907 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 (Stuckenschmidt 1977, 96).
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 (https://archive.org/search.php?q

uery=%28creator%3A%22Arnold%20Sch%C3%B6nberg%22%20OR%20creator%3A%22Arnold%20
Schoenberg%22%29%20AND%20mediatype%3Atexts%20NOT%20Goethe) (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 (Hailey 1993, 55–57).
World War I
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" (Schoenberg 1975,
104) (according to Norman Lebrecht (2001), this is a reference to
Schoenberg's apparent "destiny" as the "Emancipator of Dissonance").
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
Arnold Schoenberg by reckoning! Now we will throw these mediocre kitschmongers into
Egon Schiele, 1917 slavery, and teach them to venerate the German spirit and to worship the
German God" (Ross 2007, 60).
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 paid 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 (Rosen 1975, 65). 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 (Rosen 1996, 66).
Development of the twelve-tone method
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 (https://archive.org/search.php?query=%
28creator%3A%22Arnold%20Sch%C3%B6nberg%22%20OR%20creator%3A%22Arnold%20Schoenb
erg%22%29%20AND%20mediatype%3Atexts%20NOT%20Goethe) (Theory of Harmony) to
Fundamentals of Musical Composition (Schoenberg 1967), 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! (Stein 1987, 100; quoted in Strimple 2005, 22)
Arnold Schoenberg, 1927,
by Man Ray
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 (Neighbour 2001; Silverman 2010, 223). 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 (Shoaf 1992, 64).
Arnold used the notes G and E ♭ (German: Es, i.e., "S") for "Gertrud Schoenberg", in the Suite, for
septet, Op. 29 (1925) (MacDonald 2008, 216) (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 (Auner 1999, 85).
Third Reich and move to the United States
Schoenberg continued in his post until the Nazis came to power in 1933. While vacationing in France,
he was warned that returning to Germany would be dangerous. Schoenberg formally reclaimed
membership in the Jewish religion at a Paris synagogue, then traveled with his family to the United
States (Friedrich 1986, 31). This happened, however, only after his attempts to move to Britain came
to nothing. He enlisted the aid of his former student and great champion Edward Clark, a senior
producer with the BBC, in helping him gain a British teaching post or even a British publisher, but to
no avail.
His first teaching position in the United States was at the Malkin Conservatory in Boston. 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 (UCLA Department of Music & [2008]; University of Southern California Thornton
School of Music & [2008]). 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; 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 (Crawford 2009, 116; Feisst 2011, 6; Laskin 2008; MacDonald 2008, 79;
Schoenberg 1975, 514; Starr 1997, 383; Watkins 2010, 114). Composers Leonard Rosenman and
George Tremblay and the Hollywood orchestrator Edward B. Powell studied with Schoenberg at this
time.
After his move to the United States, where he arrived on 31 October 1933 (Slonimsky, Kuhn, and
McIntire 2001), the composer used the alternative spelling of his surname Schoenberg, rather than
Schönberg, in what he called "deference to American practice" (Foss 1951, 401), though according to
one writer he first made the change a year earlier (Ross 2007, 45).
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 (Plush 1996).
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,
Warsaw Ghetto Uprising. In 1947
Schoenberg also returned to tonality with works during his last
Schoenberg wrote A Survivor from
period, like the Suite for Strings in G major (1935), the Chamber Warsaw in commemoration of this
Symphony No. 2 in E♭ minor, Op. 38 (begun in 1906, completed event.
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 (Marcus 2016, 188). Here he was the first composer
in residence at the Music Academy of the West summer conservatory (Greenberg 2019).
Superstition and death
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 (quoted in Lebrecht 1985, 294). This possibly began in 1908 with the
composition of the thirteenth song of the song cycle Das Buch der Hängenden Gärten Op. 15
(Stuckenschmidt 1977, 96). 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 (Nuria Schoenberg-Nono, quoted in Lebrecht 1985, 295). 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 (Stuckenschmidt 1977,
520). 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" (Stuckenschmidt 1977, Schoenberg's grave in the
521). Zentralfriedhof, Vienna
Schoenberg's ashes were later interred at the Zentralfriedhof in

Vienna on 6 June 1974 (McCoy 1999, 15).
Music
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"
(Haimo 1990, 4), and important musical In Schoenberg's Variations for Orchestra, Op. 31,
characteristics—especially those related to motivic tone row form P1's second half has the same
development—transcend these boundaries completely. notes, in a different order, as the first half of I10:
The first of these periods, 1894–1907, is identified in "Thus it is possible to employ P1 and I10
simultaneously and in parallel motion without
the legacy of the high-Romantic composers of the late
causing note doubling" (Leeuw 2005, 154–55).
nineteenth century, as well as with "expressionist"
movements in poetry and art. The second, 1908–1922, 0:00 MENU
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.
0:00 MENU
Second period: Free atonality
Schoenberg's music from 1908 onward experiments in Featuring hexachordal combinatoriality between
a variety of ways with the absence of traditional keys its primary forms, P1 and I6, Schoenberg's Piano
or tonal centers. His first explicitly atonal piece was Piece, Op. 33a, tone row contains three perfect
the second string quartet, Op. 10, with soprano. The fifths, which is the relation between P1 and I6,
last movement of this piece has no key signature, and a source of contrast between "accumulations
marking Schoenberg's formal divorce from diatonic of 5ths" and "generally more complex
harmonies. Other important works of the era include simultaneity" (Leeuw 2005, 155–57). For
his song cycle Das Buch der Hängenden Gärten, example, group A consists of B♭-F-C-B♮, while the
Op. 15 (1908–1909), his Five Orchestral Pieces, Op. 16 "more blended" group B consists of A-F♯-C♯-D♯
(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" (Schoenberg 1984, 218), 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" (Stuckenschmidt 1977, 277). 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 (Haimo 1990, 41):
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
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 (Rosen 1996, 4; Stuckenschmidt 1977, 184).
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
(Stuckenschmidt 1977, 185).
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" (Haimo 1990, 2–3).
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 (Schonberg 1970, 503).
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
Watschenkonzert, caricature in Die
present day, composers such as Pierre Boulez, Karlheinz
Zeit from 6 April 1913
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, 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 (Lewis
n.d.) 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 (Anon. 2013).
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" (Ross 2007, 156).
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 (Taruskin 2004, 7). Richard Taruskin asserts 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
(Taruskin 2004, 10). 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 (Taruskin
2004, 12).
Relationship with the general public
Writing in 1977, Christopher Small observed, "Many music lovers, even today, find difficulty with
Schoenberg's music" (Small 1977, 25). 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 (Cook
1998, 46).
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" (Earle 2003, 643).
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" (Walsh
2018, 321–22).
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
(E. R. Schoenberg 2018, 109–149).
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" (O'Brien 2009).
Personality and extramusical interests

Schoenberg was a painter of considerable ability, whose works were
considered good enough to exhibit alongside those of Franz Marc and
Wassily Kandinsky (Stuckenschmidt 1977, 142) as fellow members of
the expressionist Blue Rider group.
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 (Stuckenschmidt 1977,
551–552).
Textbooks
1922. Harmonielehre (https://archive.org/search.php?query=%28cr Arnold Schoenberg, self-
eator%3A%22Arnold%20Sch%C3%B6nberg%22%20OR%20creat portrait, 1910
or%3A%22Arnold%20Schoenberg%22%29%20AND%20mediatyp
e%3Atexts%20NOT%20Goethe), 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 the third edition
of original, as Theory of Harmony. Berkeley, Los Angeles: University of California Press.
ISBN 978-0-520-04945-1.
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, Chicago:
University of Chicago Press. OCLC 752682744 (https://www.worldcat.org/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.
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.
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.
See also
Arnold Schönberg Complete Edition
Arnold Schönberg Prize
References
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Auner, Joseph H. 1999. "Schoenberg and His Public in 1930: The Six Pieces For Male Chorus,
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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.
Boss, Jack. 2013. Mahler's Musical Idea: A Schenkerian-Schoenbergian Analysis of the Adagio
from Symphony No. 10 (https://www.academia.edu/2776725/Mahlers_Musical_Idea_A_Schenkeri
an-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 Émigrés 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 & 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 &
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Press. ISBN 978-0-520-20949-7.
Foss, Hubert. 1951. "Schoenberg, 1874–1951" The Musical Times 92, no. 1 (September): 401–
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Greenberg, Robert (26 August 2019). "Music History Monday: Lotte Lehmann" (https://web.archiv
e.org/web/20200207093617/https://robertgreenbergmusic.com/music-history-monday-lotte-lehma
nn/). robertgreenbergmusic.com. Archived from the original (https://robertgreenbergmusic.com/mu
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Hailey, Christopher. 1993. Franz Schreker, 1878–1934: A Cultural Biography. Cambridge and
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52composers.com (accessed 24 June 2018).
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10/05/travel/05culture.html?pagewanted=all&_r=0). The New York Times (3 October 2008).
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Lebrecht, Norman. 2001. "Why We're Still Afraid of Schoenberg (http://www.scena.org/columns/le
brecht/010708-NL-Schoenberg.html)". 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.
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Bohn, Scheltema & Holkema, 1977. ISBN 978-90-313-0244-4.
Lewis, Uncle Dave. n.d. "Review of (http://www.allmusic.com/album/max-deutsch-der-schatz-mw0
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McCoy, Marilyn. 1999. "A Schoenberg Chronology". In Schoenberg and His World, edited by
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Marcus, Kenneth H. 2016. Schoenberg and Hollywood Modernism. Cambridge: Cambridge
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Marquis Who's Who. n.d. (Who Was Who in America, Volume III {1951–1960}). (accessed 4
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Neighbour, O[liver] W. 2001. "Schoenberg [Schönberg], Arnold (Franz Walter)". The New Grove
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Sean O'Brien, "Book of a Lifetime: Doktor Faustus, by Thomas Mann (https://www.independent.c
o.uk/arts-entertainment/books/reviews/book-of-a-lifetime-doktor-faustus-by-thomas-mann-177800
6.html)". Independent (28 August).
Plush, Vincent. 1996. "They Could Have Been Ours (http://www.schoenberg.at/library/index.php/p
ublications/show/7464)", 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 &
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 978-0520296831 University of California Press.
Schoenberg, Randy. 2018. "Samuel Schönberg (https://www.geni.com/people/Samuel-Schönber
g/5214595834900112099)". 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,
Schönberg), 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 9780028655710.
Small, Christopher. 1977. Schoenberg. Novello Short Biographies. Sevenoaks, Kent: Novello.
Starr. 1997.
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 (https://books.google.com/books?id=
qepYmsiSnwoC&pg=PA22). Portland, Oregon & 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. 2004. The Poietic Fallacy. New York: The Musical Times no. 1885 (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 (https://web.archive.org/web/200
60514111634/http://www.music.ucla.edu/Facilities/index.html)" (accessed 1 December 2008).
University of Southern California Thornton School of Music. [2008]. "Performance Halls and
Studios (https://web.archive.org/web/20091126084644/http://www.usc.edu/schools/music/about/h
alls/index.html)" (accessed 1 December 2008).
Walsh, Stephen. 2018. Debussy: A Painter in Sound. London: Faber and Faber Limited
ISBN 9780571330164; New York: Alfred A. Knopf ISBN 9781524731922.
Watkins, Glenn. 2010. The Gesualdo Hex: Music, Myth, and Memory. New York: W. W. Norton &
Company. ISBN 978-0-393-07102-3.
Further reading
Adorno, Theodor. 1967. Prisms, translated from the German by Samuel and Shierry Weber
London: Spearman; Cambridge, Massachusetts: MIT Press.
Anon. 2002. "Arnold Schönberg and His God (https://web.archive.org/web/20090707115926/htt
p://www.schoenberg.at/4_exhibits/asc/gott_2002/asc_gott_e.htm)". Vienna: Arnold Schönberg
Center (accessed 1 December 2008).
Anon. 1997–2013. "'Degenerate' Music (http://fcit.usf.edu/holocaust/arts/musdegen.htm)". 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.
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. "The Test Pressings of Schoenberg Conducting Pierrot lunaire: Sprechstimme
Reconsidered". (https://web.archive.org/web/20070603152717/http://www.societymusictheory.org/
mto/issues/mto.06.12.1/mto.06.12.1.byron_frames.html) Music Theory Online 12, no. 1
(February).
Cohen, Mitchell, "A Dissonant Schoenberg in Berlin and Paris," "Jewish Review of Books," April
2016.
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 (https://ww
w.academia.edu/4245635/Les_Fonctions_structurelles_de_lharmonie_dArnold_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 (http://www.searchnewmusic.org/gur.pdf)". Search: Journal for New Music and Culture 5
(Summer). Online journal (Accessed 17 October 2011).
Greissle-Schönberg, Arnold, and Nancy Bogen. [n.d.] Arnold Schönberg's European Family (http
s://web.archive.org/web/20090823073704/http://www.schoenbergseuropeanfamily.org/) (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-
0312025403.
Mailman, Joshua Banks (September 2015). "Schoenberg's Chordal Experimentalism Revealed
through Representational Hierarchy Association (RHA), Contour Motives, and Binary State
Switching" (https://www.researchgate.net/publication/283199863). Music Theory Spectrum. 37 (2):
224–252. doi:10.1093/mts/mtv015 (https://doi.org/10.1093%2Fmts%2Fmtv015).
Meyer, Esther da Costa. 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
Orenstein, Arbie. 1975. Ravel: Man and Musician. London: Columbia University Press.
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 (https://archive.org/search.php?query=%28creator%3
A%22Arnold%20Sch%C3%B6nberg%22%20OR%20creator%3A%22Arnold%20Schoenberg%2
2%29%20AND%20mediatype%3Atexts%20NOT%20Goethe), 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 and Company
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
Works written by or about Arnold Schoenberg at Wikisource
Arnold Schoenberg (https://www.britannica.com/EBchecked/topic/527896) at the Encyclopædia
Britannica
Arnold Schoenberg Center in Vienna (http://www.schoenberg.at/index.php?lang=en)
"Arnold Schoenberg biography" (http://brahms.ircam.fr/composers/composer/2902/) (in French).
IRCAM.
Complete Schoenberg Discography & List of Works (https://web.archive.org/web/2007112716334
7/http://www.usc.edu/libraries/archives/schoenberg/as_disco/shoaf.htm)
Texts of vocal works by Schoenberg with translations in various languages (http://www.lieder.net/li
eder/get_settings.html?ComposerId=2512) at The LiederNet Archive (http://www.lieder.net/).
"How Arnold Schoenberg Became Lonely: Imagination versus Reality" (http://www.berfrois.com/20
11/07/lonesome-schoenberg/), Sabine Feisst,
Free scores by Arnold Schoenberg at the International Music Score Library Project (IMSLP)
"Discovering Schoenberg" (http://bbc.co.uk/schoenberg). BBC Radio 3.

Excerpts from sound archives (http://www.musiquecontemporaine.fr/en/search?disp=all&query=S
choenberg&exp_inl=on&exp_aud=on&so=ta) of Schoenberg's works.
Recordings by Schoenberg
Recordings at archive.org (https://archive.org/search.php?query=%28creator%3A%22Arnold%20
Sch%C3%B6nberg%22%20OR%20creator%3A%22Arnold%20Schoenberg%22%29%20AND%2
0mediatype%3Aaudio)
Video and audio as part of musicology studies (http://www.biu.ac.il/hu/mu/min-ad/06/)
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Arnold Schoenberg - Wikipedia

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Arnold Schoenberg - Wikipedia

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11/10/2020 Arnold Schoenberg - Wikipedia

Arnold Schoenberg or Schönberg (/ˈʃɜːrnbɜːrɡ/, US also

Schoenberg's approach, bοth in terms of harmony and

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

Third Reich and move to the United States

Arnold Schoenberg was born into a lower middle-class Jewish family in

In his twenties, Schoenberg earned a living by orchestrating operettas,

In 1898 Schoenberg converted to Christianity in the Lutheran church. According to MacDonald

1901–1914: experimenting in atonality

In October 1901, Schoenberg married Mathilde Zemlinsky, the

During the summer of 1908, Schoenberg's wife Mathilde left him

During the summer of 1910, Schoenberg wrote his Harmonielehre (https://archive.org/search.php?q

World War I brought a crisis in his development. Military service

In what Alex Ross calls an "act of war psychosis", Schoenberg drew

Development of the twelve-tone method

Schoenberg viewed his development as a natural progression, and he did

For the present, it matters more to me if people understand

Third Reich and move to the United States

During this final period, he composed several notable works,

Superstition and death

considered adding the digits of his age. He died on Friday, 13 July

Schoenberg's ashes were later interred at the Zentralfriedhof in

First period: Late Romanticism

those that are perpetually dissolved, varied, and re-

Third period: Twelve-tone and tonal works

1. Hexachordal inversional combinatoriality

Reception and legacy

Schoenberg criticized Igor Stravinsky's new neoclassical trend in

Schoenberg's serial technique of composition with twelve notes

Relationship with the general public

Thomas Mann's novel Doctor Faustus

Personality and extramusical interests

He was interested in Hopalong Cassidy films, which Paul Buhle and

"Discovering Schoenberg" (http://bbc.co.uk/schoenberg). BBC Radio 3.

Retrieved from "https://en.wikipedia.org/w/index.php?title=Arnold_Schoenberg&oldid=980348774"

This page was last edited on 26 September 2020, at 01:08 (UTC).

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