Arnold Schoenberg was a pioneering composer associated with German Expressionism and the leader of the Second Viennese School. His innovative approach to harmony and musical development marked a significant turning point in 20th-century music, influencing generations of composers. He is renowned for developing the twelve-tone technique and the concept of developing variation, fundamentally altering compositional methods. Beyond his musical achievements, Schoenberg was also a painter, a crucial music theorist, and an influential teacher whose analytical approach and aesthetic views continue to resonate in contemporary musical thought.
This simplified study and conductor's score for four songs is a must-have for Arnold Schoenberg fans. The edition of this orchestral song cycle features his popular, innovative, yet accessible works for voice and orchestra that represent his developmental period and include the much-loved works for voice and orchestra that Schoenberg himself called "the best thing I have yet written." It's an excellent resource for music schools, the professional musician, and the student.
Schoenberg's Correspondence with Alma Mahler documents a modern music friendship spanning a half century (1903-1951) and two continents.
Early in his career, the composer Arnold Schoenberg maintained correspondence with many notable figures: Gustav Mahler, Heinrich Schenker, Guido Adler, Arnold Rosé, Richard Strauss, Alexander Zemlinsky, and Anton von Webern, to name a few. In this volume of Oxford's Schoenberg in Words series, Ethan Haimo and Sabine Feisst present English translations of the entirety of Arnold Schoenberg's early correspondence, from the earliest extant letters in 1891 to those written in the aftermath of the controversial premieres of his String Quartet No. 1, Op. 7, and the Kammersymphonie, Op. 9. The letters provide a wealth of information on many of the crucial stages in Schoenberg's early career, offering invaluable insights into his daily life and working habits. New details emerge about his activities at Wolzogen's Buntes Theater in Berlin, his frequently confrontational interactions with his first publisher (Dreililien Verlag), the reactions of friends and critics to the premieres of his works, his role in the founding of the Vereinigung schaffender Tonkünstler, his activities as a teacher, and his (all too often unsuccessful) attempts to convince musicians to perform his music. Presented alongside the editors' extensive running commentary, the more than 300 letters in this volume create a vivid picture of the young Schoenberg and his times.
Focusing on the musical composition, this work presents Arnold Schoenberg's "Pelleas und Melisande," a symphonic poem for orchestra, originally published in 1920. It is recognized for its cultural significance and is being reproduced despite potential imperfections from the original artifact or the scanning process. This edition aims to preserve the legacy of printed works, highlighting its relevance in classical music literature. The book serves as a valuable resource for those interested in symphonic poetry and classical music genres.
Die Publikation zeigt eine Auswahl von Arnold Schönbergs bildnerischen Werken.
Schoenberg's music examples range from the entire development sections of classical symphonies to analyses of the harmonic progressions of Strauss, Debussy, Reger, and his own early music.
Fundamentals of Musical Composition represents the culmination of more than forty years in Schoenberg's life devoted to the teaching of musical principles to students and composers in Europe and America.
This treatise relates Schoenberg's concept of the musical idea. It defines his thought on gestalt, motive, grundgestalt, phrase, rhythm and accent, the construction function of harmony, homophonic and contrapuntal forms, and compositional coherence.
Only Stravinsky can claim as much credit as Schoenberg for the most dramatic innovations in twentieth-century music. Inventor of the twelve-tone row, explorer of atonality and the hexachord, composer of tone poems, songs, and chamber music, and chief spokesman for the Vienna Circle, Schoenberg has become ever more influential as his successors have come to understand him. ø Fuller understanding has been delayed because many of his writings have not yet been edited or published. This volume collects four short works, each concentrated on a key issue in composition. Written in 1917, but altered and augmented many times in later years, the manuscripts edited and translated in this volume have never been published before. ø Their importance can permit no further delay since they present Schoenberg's thinking well after the publication in 1911 of Harmonielehre, his revolutionary theoretical book. The later texts provide numerous prospects for enhancing the study and appreciation of Schoenberg's compositions and theories. ø Also a painter, Schoenberg enjoyed the friendship of Kandinsky and the Berlin expressionists. This volume includes a frontispiece reproducing one of Schoenberg's paintings.
This harmony text ranges over such diverse subjects as nature, artistic creativeness, culture, and aesthetic theories of the past. The author writes of his fascination with sound; on the idea that musical order may be manifested in many inconceivable ways; and questions the need of order in music.