Composer Schönberg. Arnold Schönberg

21.11.2020

; The main representative and founder of one of the directions of modern "serious" music, distinguished by the complexity of the language and discontinuance of the sound, is known as the "Athonal" or "12-tone" music (dodecafonia terms and serial technique also apply). Schönberg was born on September 13, 1874 in Vienna. Until 1925 lived mainly in Vienna. In 1925, he became a professor of the composition at the Prussian Academy of Arts in Berlin and worked there until 1933. Leaving Germany, he moved to the United States, where he taught first at the Malkin conservatory in Boston, from 1935 - at the University of Southern California, from 1936 - in California University in Los -Andgeles. Schönberg died in Brentvideo (California) on July 13, 1951.

Schönberg was a wonderful teacher, which contributed to the widespread extension of his ideas; He created a whole composer school (the so-called New Viennese School), which united such outstanding musicians as A.Fon Webern, A. Berg, E. Kshenek, E.Velles and Maisler. Famous harmony textbook released by Schönberg in 1911 ( Harmonielehre), I made a stronger impression that I expressed the traditional doctrine of harmony from the point of view of a non-school teacher, but an active modern composer.
see also Harmony.

The origins of Schönberg's music - in the late monolatory art of R. Vagner, A. Brukner, R. Straus and Mr. Malera. Similar influences are so obvious that critics often do not pay attention to three others. important qualities Schönberg style, which are opposite to the romantic tradition. First, the late romance developed their musical thoughts in a dense, saturated harmonic cloth, while Schonberg, with the exception of several early works (for example, Song Gourre, Gurrelieder, for soloists, three choirs and orchestra, 1910-1911), preferred a concise statement of the idea, without unnecessary repetitions, and a clear, thorough invoice. Secondly, Schönberg possessed a positive warehouse of thinking, and therefore even the most romantic writings (such as Early Sextet Enlightened night, Verklärte Nacht.OR. 4) differ in the logicality of development and structural clarity. Thirdly, the Schönberg polyphonic technique is characterized by confidence and virtuosity, bringing it closer not to those mentioned above romantics, but rather with I.Brams.

Although the entire path of the composer is a consistent movement in the chosen direction, it is customary to highlight three periods (or style) of Schönberg. The compositions of the first period (OR. 1-10, 12-14) demonstrate the gradual complication of the language, the growth of dissonants, but they still have traditional tonality and, to some extent, traditional functional harmony. Starting with piano pies. 11, written later op. 14, the composer sought to avoid the diatonic sequence and applied as equal to all twelve tones of the chromatic sound hand, i.e. Does not make one of them with a tonal center. The third period begins with OR. 23: composer gravity to a clear organization musical material Causes the method more versatile and hard, rather than the funds used by them earlier. The method consists in organizing twelve tones, components of the octave, into a melodic sequence, where each tone is used no more than once. Such a sequence is called "nearby" or "Series". For each composition, one "row" is usually elected, it can be developed by various kinds of movements (transpositions) and variations, but the whole essay is necessarily built on the basis of a given "row".

It remains to list the fundamentally important essays of Schönberg, in addition to those mentioned above, is a symphonic poem for the orchestra Pelleas and Melizanda (Pelleas und Melisande), op. five; Chamber symphony. (Kammersymphonie.) OR. nine; Fifteen poems from Stephen George's book "Book of hanging gardens" (Fünfzehn Gedichte Aus Stefan George "S" Das Buch Der Hängenden Gärten "), op. fifteen; One-act opera Happy hand (Die Glückliche Hand.), op. eighteen; Six small piano plays (Sechs Kleine Klavierstücke.), Op. nineteen; Lunar Piero. (Pierrot Lunaire.) - Twenty one poem for reader and eight tools, op. 21; Five piano plays (Fünf Klavierstücke.), op. 23; Piano Suite.OR. 25; Quintet for wooden wind and horn, op. 26; Variations for orchestra, op. 31; Musical accompaniment for the film (BEGLETINGSMUSIK ZU EINER LICHTSPIELSZENE), op. 34; OR. 34; Oda Napoleon (Ode to Napoleon Buonaparte) For Readers, String Quartet and Piano, OR. 41; Concerto for piano with orchestra, op. 42; Four strings quartet, op. 7, 10, 30, 37.

The largest expressionist in music, he was panically afraid of numbers 13, even invented a special technique, a dodecafonium consisting only of 12 tones. In the struggle with his phobia, he tried to become a Protestant, but soon returned to Judaism, dedicated to the last 15 years of creativity with Jewish topics. And yet, with horror, waiting for its 76th anniversary, since the amount of numbers gave mystical 13, the famous conductor and composer Arnold Schönberg died on Friday, July 13, 1951, while he had time to pronounce one word - "Harmony".

He began to learn about the violin on only 12 years old. The reasons for such a late admission to the music of the boy, born in 1874 in the Vienna Jewish family, in which, in addition, the mother was a pedagogue of the piano, wounded in the mass of the problems of paramount importance. Father died when Arnold was not fulfilled and eight years old. To at least somehow exist, he had to help the mother and to take for a little-old paid work already at such a young age.

So he began to play on the violin only with the beginning of a visit to the real school. Moreover, without having money on a professional teacher, Arnold himself recognized the basics of the game. This, nevertheless, did not prevent him from soon to compose his own little violin duets, and then even the trio and quartets. Firmly deciding to become a composer, he left the school. He contributed to this and acquaintance with the composer and conductor Alexander Treminsky, who introduced Schönberg to the circle of musicians. Regular joint classes soon turned into friendship, and then to kinship when Schönberg married Ceminsky's sister.

Already in 1898, his youthful quartet was made by one of the Viennese chamber ensembles, who had considerable success. But here is his first songs (Lieder, for example) for some reason caused bewilderment and even a scandal. Apparently, during the period of the pood and passionate hobby, Wagner, their mood was considered supreme. However, despite the angry attacks of some critics, a romantic by nature, Schönberg still continued poetic musical experiments. And soon the wonderful sextet "Night of Enlightenment" appeared on the light. It is he who is considered the first work where Schönberg showed himself a real master.

By the way about the Wagner mentioned. Of course, at the time of the essay of His first works of Schönberg and did not think to confront his music. He admired them, like most musicians of that time. But, it can be seen, some subconscious and not yet a meaningful protest was still present. And the right were critics that estimated his first works as going against the embedded Wagner principles. After all, later Schönberg really in protest against the impending threat of fascism will create the opera "Moses and Aron", conceived as an antipode with the works of the Wagner's non-advocated to them.

In Wagner Opera, the hero who possesses strength, and does not matter, positive this or a negative character - "Aryan" heroes allowed everything. In the Opera Moses and Aron (as the basis of which the episode was taken, when Moses went to Sinai for ten commandments) Heroes of Schönberg won solely due to the high morality and purity of thoughts. A description of all majesty and significance of this work is better, of course, entrust to professionals. But it is worth mentioning that the opera has become the largest work of Schönberg, composed of them in dodecophone technique. Technique created by him including under the oppression of their phobia. It also reflected in the name of the opera. After all, instead of the correct "Moses and Aaron" ("Moses und Aaron"), the number of letters in which is 13, he called it "Moses and Aron" ("Moses und Aron"), wanting to avoid in the name of an unhappy number.

Opera will be released in 1932, when Schönberg was already a recognized composer, teacher, musicologist, conductor, publicist, and even a famous artist, whose portfolio was about three hundred drawings. But it was the result of truly painstaking ten-year work. We will turn back in 1898 again. Before achieving all this, only to submitted to the public its first essays Schönberg first had to decide the issue of earnings. And since the lack of money, as a rule, is always an obstacle to creativity, he conducted by the choir and small orchestras, was engaged in orchestration of someone else's theatrical music, transfers - a word, I was glad to be any job.

He returned to writing only in 1903, becoming a conductor and a teacher of the Stern Conservatory in Berlin. From this point on, its fame as a teacher is beginning to grow. He writes theoretical works, one of which is its famous "doctrine of harmony". His music is becoming popular, and in the early 20s it invents new method - Dodecafonia, first tried in Serenade. Of course, like all the innovative, the method immediately criticized, but, as the time has shown, it was he who had the biggest impact on the European and American classical music of the 20th century.

In America, Schönberg emigrated in 1933, after coming to power in Germany Nazis. Although on the ominous figure of Hitler, he drew attention much earlier. And when Vasily Kandinsky allowed himself to negatively speak of the Jews and encouraging about Hitler, the ideas of which, in his opinion, "can improve the spirit of the nation", Schönberg was outraged to the limit. Kandinsky, trying to settle the relationship in a response letter, pointed out that it was Schönberg - "a good Jew", and it does not apply to him. But the composer objected him: "Don't you see that he prepares a new warfolomeev night and in the darkness of this night no one will notice that Schönberg is a good Jew?"

Immediately after the emigration, Schönberg moves to Judaism and becomes one of the most irreconcilable anti-fascists, embodying its solidarity with the oppressed "Ode Napoleon complimentary." But one of the most striking works of Schönberg on a Jewish topic is considered "survived from Warsaw." Moreover, against the background of the male choir and orchestra, Schönberg was removed by the reader, because, in his opinion, "no singing could transfer the whole horror of what was experienced by prisoners." The work written by him on a single impulse after the composer of the facts of the facts of inhuman torments of the ghetto prisoners ends the scene to the death of the Jews singing "Shma Israel" performed by a male chorus in Hebrew.

With age, the spiritual works of Schönberg took a separate and very significant place in his work. He warmly welcomed the establishment of the state of Israel and was going to even move to Jerusalem, having bought his library and manuscripts by the Jewish National Library. And shortly before the death became the honorary president of the Israeli Academy of Music.

The death took him in very unusual circumstances. He was horrified by his 76th anniversary, as the amount of numbers gave so terrible for him, mystical number 13. However, two months before his birthday, on the eve of Friday, on July 13, 1951, he told his wife that he would die tomorrow. All day, he silently lay down in bed. Shortly before the end of the day, his wife said that everything was behind, he did not die and you can get up. At that moment he said only the word "harmony" and died. Perhaps this is a legend, but the time mentioned everywhere Arnold Schönberg's death is 23 hours and 47 minutes. Time is 13 minutes before midnight.

Regular article

A. Schendberg. Los Angeles, 1948
Arnold Schönberg
ARNOLD FRANZ WALTER SCHOENBERG
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Occupation:	Musician
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Schönberg, Arnold (Schönberg, Arnold; 1874, Vienna, - 1951, Los Angeles) - composer, musical theorist, teacher and painter, one of the prosecutors of expressionism and the author of the Dodecafon system in music, the head of the so-called New Vienna School.

early years

Born in a family of a poor merchant. As a child, he studied playing the violin and cello, played in amateur orchestras and composed musical plays, not possessing at first the foundations of the composition; Only at 16 years old Schönberg began to systematically engage in music.

In 1891 he graduated from a real gymnasium and went to work in a private bank, but after a few years he left the bank and devoted himself entirely to music. His teacher was a composer and conductor A. Von Tseminsky, who gave Schönberg the lessons of the polyphony. In 1895-99. conducted by the workers in the suburb of Vienna.

In 1898, Schönberg moved to Christianity (in one of the Protestant confessions), and in 1901 he married her sister of his teacher, Matilde von Cemelinskaya.

Work at the beginning of the XX century

In 1901-1903 He lived in Berlin, conducted by the orchestra in the cabaret of writers and gave private lessons. From 1903 he taught in one of the Viennese Music Schools.

In 1911, Schönberg met V. Kandinsky, which had a great influence on the artistic worldview of both. Schönberg was known as an artist: In 1911, he first showed his work at the exhibition of the Artists of the Blue Horseman in Berlin, exhibited in Vienna, in other cities, sometimes together with Kandinsky.

As a conductor Schönberg performed with concerts in Berlin, Vienna, Amsterdam, London, St. Petersburg) and many other cities, but he had never had a permanent earnings (even the letter of Schönberg was preserved for the city of Malee, relating by 1910, asking about material assistance).

During the First World War served in the Austrian army. Since 1925, on the initiative of L. Keszenberg, was invited to the post of professor at the Prussian Academy of Arts in Berlin, from where he was fired in 1933 with the arrival of Nazis to power.

In the times of Nazism

Emigrated to France.

In 1941, Schönberg received the news of the death of his brother left in Austria, and in 1942, "Oda Napoleon" was written to the words J. Byron, in which the dysfunction of evil, violence, the killings of innocent people cause explicit associations with disasters and events of the Second World War; Pamflet Bairon, written in 1814, sounds in this interpretation as an actual anti-drug product.

The text of Cantata "I survived from Warsaw" (1947; for the reader, choir and orchestra), written by the composer himself, reproduces the story of one of the few prevailing prisoners of Warsaw Ghetto. In the fabric of the works woven the words of Shma. The work is extremely concise - only six and a half minutes; Expressionist techniques of musical speech are pointed in it to the limit.

Other works of Schönberg on a Jewish theme - "Modern Psalm" (not completed), "From the depths" (1950; on Psalm 130 for the choir), the choir "three times a thousand years old" (1950; for the words D. Rinesa), etc. .

Zionist motifs

Over the years (1926-51), Schönberg wrote a drama "Bible Way" on the return of Jews to the historical homeland and the future of the revived Jewish state. Schönberg was not alien to Zionist goals. In 1923 he wrote: "I was forced to understand and remember forever that I was not German, not European, and I am a Jew."

He showed interest, in particular, to the concept of V. Zhabotinsky and his works. Published the article by the Zionist orientation: "Israelites and Jews" (1923), "about Zionism" (1924), "Jewish question" (1933), "Notes on politics towards Jews" (1933), "Jewry program from four Paragraphs "(beginning of the 1940s.) And others.

Schönberg welcomed the birth of the state of Israel and promoted the creation of a training center in Jerusalem, with whom, by his plan, the largest musical Jewish musical figures were to cooperate.

New Viennese School

Schönberg - the founder and the head of the so-called new Vienna school, which arose as the creative Commonwealth of the composer and his students - A. Berg and A. Webern; The school determined the ways of development of modern musical art.

Schönberg was one of the largest musical teachers of the 20th century, among his students, in addition to Berg and Weberna, - E. Velles (1885-1974), H. Eisler (1898-1962), R. Komin (1896-1978), R. Serkin and others. Many largest composers are 20 in. - B. Barkok, I. Stravinsky, S. Prokofiev, D. Shostakovich, P. Hindemite - experienced the impact of music and the teachings of Schönberg and applied the Dodecafon technique of the composition.

Theoretical works

Among the theoretical works of Schönberg - "The Doctrine of Harmony" (1911), "allowance for beginner composers" (1943), "Style and idea" (1950), "structural functions of harmony" (1954), "Fundamentals of the composition" (1967) and Others.

His library and manuscripts Schönberg bequeathed the Jewish National and University Library in Jerusalem. Shugely before the death of Schönberg, the Israeli Academy of Music elected him to his honorary president.

Sources

Kee, Volume 10, count. 158-161

Notification: The preliminary basis of this article was an article

All the darkness and guilt of the world new music took over. All her happiness is to know the misfortune; All her beauty is to abandon the visibility of beauty.
T. ADORNO

A. Schönberg entered the history of the music of the XX century. As the creator of the dodecafon composition of the composition. But the value and scale of the activities of the Austrian master are not exhausted by this fact. Schönberg was a diversified person. He was a brilliant teacher who attacked the whole pleiad of modern musicians, among which such famous masters like A. Webern and A. Berg (together with their teacher, they formed the so-called Novovenian school). He was an interesting painter artist, friend O. Kokoshki; His paintings have repeatedly appeared at exhibitions and printed in reproductions in the Munich magazine Blue Horseman near the works of P. Cesanna, A. Matisse, V. Van Gogh, B. Kandinsky, P. Picasso. Schönberg was a writer, poet and prose, the author of the texts of many of his writings. But first of all, he was a composer who left a significant heritage, the composer, who passed a very difficult, but honest and uncompromising path.

Schönberg's work is closely connected with musical expressionism. It is noted by the tension of the experiences and acute response to the worldwho characterized many modern artists who worryed in the atmosphere of dismantling, premonition and accomplishment of terrible social cataclysms (Schönberg united with them and general life fate - wandering, unpleasution, the prospect of living and die away from their homeland). Perhaps the closest analogy of Schönberg's identity is a compatriot and a contemporary composer, Austrian writer F. Kafka. Just as in the novels and novels of Kafki, in the music of Schönberg, an exacerbated life is thickened sometimes to feverish wardings, sophisticated lyrics bordered with Grotesque, turning into a mental nightmare.

Creating its hard and deeply stoned art, Schönberg was fanatism in convictions. All his life, he walked along the path of the greatest resistance, struggling with mockery, bullying, deaf misunderstanding, torture, bitter need. "In the Vienna of 1908, the city of Operette, classics and pompous romanticism - Schönberg swam against the current," wrote G. Eisler. It was not exactly the usual conflict of an innovative artist with a philistical environment. I say a little that Schönberg was an innovator, who set himself a rule to speak in art, just that was not said before him. According to some researchers of his creativity, the new has performed here in an extremely specific, condensed version, in the form of some essence. The supercontruited impressionability, requiring adequate quality from the listener, explains the special difficulty of Schönberg music for perception: even against the background of its contemporaries-radicals Schönberg is the most "difficult" composer. But this does not deny the values \u200b\u200bof his art, subjectively honest and serious, rebelled against vulgar sweet and lightweight tinsel.

Schönberg combined the ability to strong feeling with ruthlessly disciplining intelligence. This combination he owes a turning point. Milestones of the composer's life path reflect the consistent aspiration from traditionally romantic statements in the Spirit of R. Wagner (instrumental compositions "Enlightened Night", Pelleas and Melizanda, Cantata "Gourre's songs") to a new, strictly verified creative method. However, the romantic pedigree Schönberg affected and later, giving the impulse of increased excitation, hypertrophied expressiveness of its works of the turn of 1900-10. Such is, for example, the monodram "Waiting" (1909, a monologue of a woman who came to the forest on a date with his beloved and found him dead).

The post-coaty cult mask, refined affecting in the style of "tragic cabaret" felt in the melodrama "Lunar Pierrot" (1912) for a female voice and tool ensemble. In this work, Schönberg first embodied the principle of the so-called speech singing (Sprechgesang): the solo party, although fixed in the scores of notes, but its sound system is approximate - as in the declaignation. And "Waiting" and "Lunar Piero" are written in an atonal manner, corresponding to a new, extraordinary warehouse of images. But a significant and distinction between works: an orchestra-ensemble with its stupid, but differentiated expressive paints from now on, the composer is more attracting the composer than the complete orchestral composition of the late-monantic type.

However, the creation of a twelvethiton (dodecapon) composition of the composition was the following and decisive step towards a strictly economical letter. At the basis of the instrumental writings of Schumnberg 20-40s, such as suite for piano, variations for the orchestra, concerts, string quartets, - lie a series of 12 non-repeating sounds, taken in four basic versions (technique, rising ancient polyphonic variation ).

The dodecafonic composition method acquired a lot of admirers. Evidence of the resonance of the Schönberg invention in the cultural world was "Citation" of its T. Mann in the novel "Dr. Faustus"; There also refers to the danger of "intellectual cold", which lies the composer using a similar manner of creativity. Universal and self-sufficient, this method did not - even for its creator. More precisely, he was only so inspired, because it did not interfere with the natural intuition of the master and the musical and auditory experience accumulated on them, sometimes injecting them - contrary to all the "theories of avoidance" - diverse associations with tonal music. The parting of the composer with a tonal tradition was not at all irrevocable: the famous period of the "late" Schönberg that much can still be said to Major, it confirms that. Immersed in the problems of composer equipment, Schönberg at the same time was far from the cabinet closetness.

Events of the Second World War, the suffering and death of millions of people, the hate of the peoples to fascism, responded very significant composer plans. So, "Oda Napoleon" (1942, at Art. J. Byrona) is an angry pamphlet against tyranny power, an essay is fulfilled by a murderous sarcasm. The text of Cantata "I survived from Warsaw" (1947), perhaps the most famous essay of Schönberg, reproduces the authentic story of one of the few people who survived the tragedy of the Warsaw Ghetto. The work transmits the horror and despair of the last days of ghetto prisoners, converted by an old prayer. Both writings are brightly pressed and perceived as the documents of the era. But the publicistic severity of the statement did not move into the shadow of the natural tendency of the composer to philosophousism, to the problem of the normal sound, which he developed with the help of mythological plots. The interest in the poetics and symbolism of the biblical myth was manifested in the 30th year., In connection with the project of the Oratori of the "Ladder of Jacob".

Then Schönberg began working on an even more monumental work that he dedicated all last years His life (however, without completing it). We are talking about the opera Moses and Aaron. The mythological foundation served as a composer only a reason for reflection over current issues of modernity. The main motive of this "drama of ideas" is a personality and people, the idea and its perception of mass. The continuous verbal duel of Moses and Aaron depicted in the opera - this is the eternal conflict between the "thinker" and "leader", between the Prophet-Challenger, trying to withdraw its people from slavery, and the speaker-demagogue, which in his attempt to make an idea for examplely visible and affordable In fact, it betrays it (the collapse of the idea is accompanied by the rampant of the natural strength, with the amazing brightness embodied by the author in the orgiastic "Golden Taurus dance"). The intransigence of the positions of the heroes is emphasized by musically: the ascetic-declamation party of Moses, alien to the traditional opera singing, contrasts the operating beautiful Party of Aaron. The work is widely represented the oratorical start. Choral episodes of the opera with their monumental polyphonic graphics are torn to the Bakhakh "passions". Here detects the degree of Schönberg with the tradition of Austro-German music. This connection, as well as the inheritance of Schönberg spiritual experience European culture as a whole, is evaluated over time. Here is the source of an objective assessment of Schönberg creativity and the hope that the "difficult" art of the composer will find access to possibly wider circles of listeners.

Years of activity Country

Austria

Professions http://www.schoenberg.at/

Arnold Franz Walter Schonberg (it. ARNOLD FRANZ WALTER SCHOENBERG Initially Schönberg.; September 13 - July 13) - Austrian and American composer, teacher, musicologist, conductor. The largest representative of the musical expressionism, the founder of the new Vienna school, the author of such techniques, like dodecafony (12-tone) and serial technique.

Biography

The same traditions he developed in Pelleas and Melizanda poem (1902-1903), Cantate "Gourre's songs" (1900-1911), "First String Quartet" (). Schönberg's name begins to win fame. He admit such prominent musicians as Gustav Malener and Richard Strauss. From 1904, he begins to private teaching harmony, counterpoint and composition. The next important stage in Schönberg's music was his "First Chamber Symphony" (1906).

In the early 20s, it invents the new "composition of the composition with 12 tones with each other", well known as "Dodecafonia", first trying him in his "Serenade". 24 (1920-1923). This method was the most influential for the European and American classical music of the 20th century.

One of the most significant achievements of Schönberg was his unfinished opera on the biblical plot "Moses and Aaron", started in the early 1930s. All the music of the opera is built on one 12-time series. Main Moses Party is performed by the reader in the manner of Sprechgesang, the role of Aaron is charged with a tenor.

Schönberg's grave at the Central Cemetery of Vienna

Throughout the life of Schönberg led active pedagogical activity and brought up a whole popula of composers. The most outstanding of them Anton Webern, Alban Berg, Ernst Kchenek, Hans Eisler, Roberto Gerhard. Schönberg created and headed the whole composer school famous called "New Viennese School". Hauer his early works wrote under the influence of Shenberg's atonal music. In the city, already in California, his private student becomes John Cage. In parallel with the teaching, the writing of music, the organization of concerts and the performance in them as Cerizer Schönberg was also the author of many books, textbooks, theoretical studies and articles. Among other things, he wrote pictures that were distinguished by the originality and fervent fantasy.

In honor of Schönberg, a crater on Mercury was named.

Works

2 Gesänge (2 songs) for Bariton and Piano, Op. 1 (1897-1898)
4 Lieder (4 songs) for voice and piano, op. 2 (1899)
6 Lieder (6 songs) for voice and piano, op. 3 (1899/1903)
"VERKLÄRTE NACHT" ("Enlightened Night"), Op. 4 (1899)
"Gourre's songs" for soloists, choir and orchestra (1900, orchestration 1911)
Pelleas und Melisande, (Pelleas and Melisanda) Op. 5 (1902/03)
8 Lieder (8 songs) for soprano and piano, op. 6 (1903/05)
First String Quartet, D Minor, Op. 7 (1904/05)
6 Lieder (6 songs) with ORCHESTRA, OP. 8 (1903/05)
Kammersymymphonie No. 1 (first chamber symphony), OP. 9 (1906)
Second string quartet, Fa-Dieze Minor (with soprano), Op. 10 (1907/08)
3 stücke (3 pieces) for piano, op. 11 (1909)
2 Balladen (2 ballads) for voice and piano, op. 12 (1906)
"Friede Auf Erden" ("World on Earth"), Op. 13 (1907)
2 Lieder (2 songs) for voice and piano, op. 14 (1907/08)
15 Gedichte Aus Das Buch Der Hängenden Gärten

(15 poems from the "Book of Hanging Gardens" Stefan George), Op. 15 (1908/09)

Fünf Orchesterstücke (5 plays for orchestra), op. 16 (1909)
"Erwartung" ("Waiting") Monodram for Soprano and Orchestra, Op. 17 (1909)
"Die Glückliche Hand" ("Happy Hand")

Drama with music for choir and orchestra, op. 18 (1910/13)

Three small plays for chamber orchestra (1910)
Sechs Kleine Klavierstücke (6 small plays) for piano, op. 19 (1911)
Herzgewächse ("Heart Savages") for Soprano and Ensemble, Op. 20 (1911)
"Pierrot Lunaire", ("Lunar Piero") 21 melodrama

For voice and ensemble on poems Albert Giro, Op. 21 (1912)

4 Lieder (4 songs) for voice and orchestra, op. 22 (1913/16)
5 STÜCKE (5 pieces) for piano, op. 23 (1920/23)
Serenade (Serenade) for ensemble and baritone, op. 24 (1920/23)
Suite for Piano, Op. 25 (1921/23)
Spirit Quintet, Op. 26 (1924)
4 stücke (4 pieces) for mixed choir, op. 27 (1925)
3 Satiren (3 satires) for mixed choir, op. 28 (1925/26)
Suite, Op. 29 (1925)
Third string quartet, op. 30 (1927)
Variations for Orchestra, Op. 31 (1926/28)
"VON HEUTE AUF MORGEN" ("From today for tomorrow")

One-act opera for 5 votes and orchestra, op. 32 (1929)

2 Stücke (2 pieces) for piano, op. 33A (1928) & 33b (1931)
BEGLEITMUSIK ZU EINER LICHTSPIELSZENE

(Music for the film) for the orchestra, op. 34 (1930)

6 Stücke (6 pieces) for male choir, op. 35 (1930)
A typical concert, op. 36 (1934/36)
Fourth string quartet, op. 37 (1936)
Kammersymymphonie No. 2 (second chamber symphony), OP. 38 (1906/39)
"KOL NIDRE" ("All Vows") for the choir and orchestra, op. 39 (1938)
Variations to "Recatative" for the organ, Op. 40 (1941)
Ode to Napoleon Buonaparte (Ot Napoleon)

For voice and stepping quintet, op. 41 (1942)

Piano concert, op. 42 (1942)
Theme and Variations for the Brass Orchestra, Op. 43A (1943)
Theme and Variations for the Symphony Orchestra, Op. 43b (1943)
Prelude to "Genesis" for the choir and orchestra, op. 44 (1945)
Strong trio, op. 45 (1946)
A Survivor from Warsaw, ("Surger from Warsaw"), Op. 46 (1947)
Fantasy for violin with piano, op. 47 (1949)
3 Songs (3 songs) for low voice and OP Piano. 48 (1933-1943)
3 Folksongs (3 choirs - German folk songs), Op. 49 (1948)
"Dreimal Tausend Jahre" ("Three times a thousand years") for mixed choir, Op. 50A (1949)
PSALM 130 "De profundis" ("from depth") for mixed choir, op. 50b (1949-1950)
"Modern Psalm" ("Modern Psalm")

For reader, mixed choir and OP orchestra. 50c (1950, unfinished)

"MOSES UND ARON" ("Moses and Aaron") Opera in three actions (1930-1950, illegally)

Music studies

Schönberg A. Style and Thought. Articles and materials / Sost., Per., Comment. N. O. Vlasova and O. V. Loseva. M., 2006. ISBN 5-85285-838-2
Schoenberg, Arnold. Structural Functions of Harmony. (Translation of Leonard Shtyina) New York, London: W. W. Norton and Company. 1954, 1969 (revised). ISBN 0-393-00478-3.
Schoenberg, Arnold (Translated by Roy E. Carter). Harmonielehre Translated Title Theory of Harmony.). Berkeley, Los Angeles: University of California Press. Originally Published 1911. Translation Based on Third Ed. Of 1922, Published 1978. ISBN 0-520-04945-4.
Schoenberg, Arnold (Edited by Leonard Stein). Style and Idea.. London: London, Faber & Faber. ISBN 0-520-05294-3. Some Translations by Leo Black; This is an Expanded Edition of 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 In Both Editions.
Schoenberg, Arnold (Edited by Gerald Strang and Leonard Stein). Fundamentals of Musical Composition. Belmont Music Publishers.
Schoenberg, Arnold. Die Grundlagen Der Musikalischen Komposition. Universal Edition
Schoenberg, Arnold. PRELIMINARY EXERCISES IN COUNTERPOINT. Los Angeles: Belmont Music Publishers 2003

Literature

Sollertinsky I. I. Arnold Schönberg. L., 1934.
Vlasova N. O. Creativity Arnold Schonberg. M., 2007. ISBN 978-5-382-00367-2.
Ryzhzhsky A. S. Choir's Creativity Arnold Schonberg. M., 2010. ISBN 978-5-9973-0966-4.
Vitol I., the doctrine of harmony ("Harmonielehre") Arnold Schönberg, "Music Contemporary", 1915, No. 2.
Roslaists N., "Lunar Piero" Arnold Schönberg, "To the New Berengas", 1923, No. 3.
Karatygin V., Arnold Shenberg, "Speech", 1912, No. 339, the same, in Sat.: V. G. Kratygin. Life, activities, articles and materials, t. 1, L., 1927.
Igor Glebov [Asafiev B.V.], A. Schendberg and his "Gurre-Lieder", [Annex to the Symphony Program. Concert 7 XII 1927], L., 1927, the same, in Sat .: Asafiev B.V., Critical articles, essays and reviews. From the heritage of the end of the tenths - the early thirties, L., 1967.
Schneerson, about music alive and dead, M., 1960, 1964.
Schneerson, about Schönberg letters, at Sat.: Music and Modernity, Issue. 4, M., 1966.
Halopov Yu., About three foreign systems of harmony, in Sat.: Music and modernity, vol. 4, M., 1966.
Denisov E., Dodecafonia and the problems of modern composer equipment, in Sat.: Music and modernity, vol. 6, M., 1969.
Pavlishin C, creativity A. Shönberg, 1899-1908, in Sat.: Music and modernity, vol. 6, M., 1969.
Pavlishin C, "Miskane P'ero" A. Shenberg, K., 1972 (on Ukr. Yaz.).
Laul R., about the creative method of A. Schonberg, in Sat.: Questions of theory and aesthetics of music, vol. 9, L., 1969.
Laul R., crisis features in melodic thinking by A. Schönberg, in Sat.: The crisis of bourgeois culture and music, M., 1972.
Kremlin Yu., Essays of creativity and aesthetics of the New Vienna School, L., 1970.
Elix M., Sprechgesang in Moon Piero A. Schendberg, in Sat.: Music and Modernity, Vol. 7, M., 1971.
Druskin M., Austrian expressionism, in its KN: On Western European Music of the 20th century, M., 1973.
Shakhnazarov N., about the aesthetic views of Schönberg, in Sat.: The crisis of bourgeois culture and music, vol. 2, M., 1973.
Shakhnazarov N., Arnold Schönberg - "Style and Idea", in the book: Problems of musical aesthetics, M., 1974.
Auner, Joseph. A Schoenberg Reader. Yale University Press. 1993. ISBN 0-300-09540-6.
Brand, Julianne; Hailey, christopher; and harris, donald, editors. The Berg-Schoenberg Correspondence: Selected Letters. New York, London: W. W. Norton and Company. 1987. ISBN 0-393-01919-5.
Shawn, allen. ARNOLD SCHOENBERG'S JOURNEY. New York: Farrar Straus and Giroux. 2002. ISBN 0-374-10590-1.
Stefan, Paul. ARNOLD SCHÖNBERG. Wandlung - Legende - Erscheinung - Bedeutung. - WIEN / BERLIN / LEIPZIG: Zeitkunst-Verlag; BERLIN / WIEN / LEIPZIG: ZSOLNAY, 1924.
THE ORIGIN OF MUSIC - BOB FINK. Reviews; ISBN 0-912424-06-0. One or More Chapters Deal with Modern Music, Atonality and Schoenberg.
Weiss, Adolph (March-April 1932). "The Lyceum of Schonberg", Modern Music 9/3, 99-107

Notes

Links

IMSLP - International Music Score Library Project's Schoenberg Page.
A Century of New Music In Vienna, With Many Photos, Maps, And Links to Audio Files
Recording Phantasy, Op. 47 - Helen Kim, Violin; ADAM BOWES, PIANO LUNA NOVA NEW MUSIC ENSEMBLE
Recording Chamber Symphony, Op. 9 (1906) Webern Transcription (1922-23) LUNA NOVA NEW MUSIC ENSEMBLE