Arnold Schönberg (13 September 1874 – 13 July 1951) was an Austrian compose… Read Full Bio ↴Arnold Schönberg (13 September 1874 – 13 July 1951) was an Austrian composer and painter, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. After his move to the United States in 1934, he altered the spelling of his surname from Schönberg to Schoenberg.
Schönberg's approach, both in terms of harmony and development, has been one of the most influential of 20th-century musical thought. Many European and American composers from at least three generations have consciously extended his thinking, whereas others have passionately reacted against it. During the rise of the Nazi Party in Austria, Schönberg's works were labelled as degenerate music.
Schönberg was known early in his career for simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner. Later, his name would come to personify innovations in atonality (although Schönberg himself detested that term) that would become the most polemical feature of 20th-century art music. In the 1920s, Schönberg developed the twelve-tone technique, an influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. He also coined the term developing variation, and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a centralized melodic idea.
Schönberg was also a painter, an important music theorist, and an influential teacher of composition; his students included Alban Berg, Anton Webern, Hanns Eisler, Egon Wellesz, and later John Cage, Lou Harrison, Earl Kim, Leon Kirchner, and other prominent musicians.
Many of Schönberg's practices, including the formalization of compositional method, and his habit of openly inviting audiences to think analytically, are echoed in avant-garde musical thought throughout the 20th century. His often polemical views of music history and aesthetics were crucial to many significant 20th-century musicologists and critics, including Theodor W. Adorno, Charles Rosen and Carl Dahlhaus, as well as the pianists Artur Schnabel, Rudolf Serkin, Eduard Steuermann and Glenn Gould.
Schönberg's approach, both in terms of harmony and development, has been one of the most influential of 20th-century musical thought. Many European and American composers from at least three generations have consciously extended his thinking, whereas others have passionately reacted against it. During the rise of the Nazi Party in Austria, Schönberg's works were labelled as degenerate music.
Schönberg was known early in his career for simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner. Later, his name would come to personify innovations in atonality (although Schönberg himself detested that term) that would become the most polemical feature of 20th-century art music. In the 1920s, Schönberg developed the twelve-tone technique, an influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. He also coined the term developing variation, and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a centralized melodic idea.
Schönberg was also a painter, an important music theorist, and an influential teacher of composition; his students included Alban Berg, Anton Webern, Hanns Eisler, Egon Wellesz, and later John Cage, Lou Harrison, Earl Kim, Leon Kirchner, and other prominent musicians.
Many of Schönberg's practices, including the formalization of compositional method, and his habit of openly inviting audiences to think analytically, are echoed in avant-garde musical thought throughout the 20th century. His often polemical views of music history and aesthetics were crucial to many significant 20th-century musicologists and critics, including Theodor W. Adorno, Charles Rosen and Carl Dahlhaus, as well as the pianists Artur Schnabel, Rudolf Serkin, Eduard Steuermann and Glenn Gould.
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02Gurre-Lieder for Soloists, Chorus and Orchestra/Nun dämpft die Damm'rung jeden Ton (Waldemar) - Voice4:32BBC Choral Society
03Gurre-Lieder for Soloists, Chorus and Orchestra/O, wenn des Mondes Strahlen leise gleiten (Tove) - Voice3:16BBC Choral Society
04Gurre-Lieder for Soloists, Chorus and Orchestra/Ross! Mein Ross! Was schleichst du so träg! (Waldemar) - Voice3:35BBC Choral Society
05Gurre-Lieder for Soloists, Chorus and Orchestra/Sterne jubeln, das Meer, es leuchtet (Tove) - Voice3:06BBC Choral Society
06Gurre-Lieder for Soloists, Chorus and Orchestra/So tanzen die Engel vor Gottes Thron nicht (Waldemar) - Voice2:51BBC Choral Society
07Gurre-Lieder for Soloists, Chorus and Orchestra/Nun sag ich dir zum ersten Mal (Tove) - Voice4:51BBC Choral Society
08Gurre-Lieder for Soloists, Chorus and Orchestra/Es ist Mitternachtszeit (Waldemar) - Voice5:48BBC Choral Society
09Gurre-Lieder for Soloists, Chorus and Orchestra/Du sendest mir einen Liebesblick (Tove) - Voice5:58BBC Choral Society
10Gurre-Lieder for Soloists, Chorus and Orchestra/Du wunderliche Tove! (Waldemar) - Voice9:58BBC Choral Society
11Gurre-Lieder for Soloists, Chorus and Orchestra/Tauben von Gurre! Sorge quält mich (Stimme der Waltaube) - Voice12:30BBC Choral Society
12Gurre-Lieder for Soloists, Chorus and Orchestra/Herrgott, weisst du, was du tatest (Waldemar) - Voice5:47BBC Choral Society
13Gurre-Lieder for Soloists, Chorus and Orchestra/Erwacht, König Waldemars Mannen wert! (Waldemar) - Voice2:56BBC Choral Society
14Gurre-Lieder for Soloists, Chorus and Orchestra/Deckel des Sarges klappert und klappt (Bauer) - Voice3:30BBC Choral Society
15Gurre-Lieder for Soloists, Chorus and Orchestra/Gegrüsst, o König, an Gurre-Seestrand (Waldemars Mannen) - Voice5:33BBC Choral Society
16Gurre-Lieder for Soloists, Chorus and Orchestra/Mit Toves Stimme flustert der Wald (Waldemar) - Voice3:44BBC Choral Society
17Gurre-Lieder for Soloists, Chorus and Orchestra/Ein seltsamer Vogel ist so'n Aal (Klauss-Narr) - Voice7:18BBC Choral Society
18Gurre-Lieder for Soloists, Chorus and Orchestra/Du strenger Richter droben (Waldemar) - Voice2:28BBC Choral Society
19Gurre-Lieder for Soloists, Chorus and Orchestra/Der Hahn erhebt den Kopf zur Kraht (Waldemars Mannen) - Voice6:34BBC Choral Society
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SCHOENBERG: Gurre-Lieder
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