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.
Fünf Klavierstücke: 5. Walzer
Arnold Schönberg Lyrics
We have lyrics for these tracks by Arnold Schönberg:
Tove "O, wenn des Mondes Strahlen leise gleiten" Oh, wenn des Mondes Strahlen leise gleiten, Und Friede sich …
Tove "Sterne jubeln das Meer es leuchtet" Sterne jubeln, das Meer, es leuchtet, Presst an die Küste se…
Tove "Sterne jubeln, das Meer, es leuchtet" Sterne jubeln, das Meer, es leuchtet, Presst an die Küste se…
Waldemar "Nun dämpft die Dämmerung jeden Ton" Nun dämpft die Dämm'rung jeden Ton Von Meer und Land, Die fl…
Waldemar "Ros! Mein Ros! Was schleist du so träg" Roß! Mein Roß! Was schleichst du so träg? Nein, ich seh's,…
Waldemar "So tanzen die Engel vor Gottes Thron nicht" So tanzen die Engel vor Gottes Thron nicht, Wie die Welt…
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허민
20c 초반 음악
쇤베르크 - [다섯 개의 피아노 소품] Op.[23] 中 [5. 왈츠]
★제 3기 [12음 기법]
[12음 기법] : [완전한 무조성 음악]을 [성취]하기 위하여 [음렬]을 만들어 [12음을 모두 한번씩 사용]한다는 것이다.
이렇게 해서 만들어진 (음의 나열)을 [＊기본 음렬] 이라고 한다.
기본음렬을 [1)전위] [2)역행] [3)전위역행] 시켜 [철저하기 무조적]이며 [체계화된 음악]을 만드는 작곡 기법이다.
[다섯 개의 피아노 소품] Op.[23] : 12음 기법이 [★체계화 되는 과정]을 잘 보여준 작품이다.
앞의 4곡은 (무조 기법)으로 작곡되었지만 (12음 기법이) [부분적]으로 나타나고
[마지막 5번 왈츠] 는 [12음 기법으로 작곡 되었다]
WilliamJamesRoss
What a beautiful gem of a piece of music, like a precious jewel. Each time one looks at it and listens to it, he delights in its perfection!
Scott McGill
I could not agree more
elio
Ich werde dieses Lied den ganzen Tag im Kopf haben.
John Wilkinson
what an extraordinarily rich masterpiece.
MCT_Masahiro
Wunderschön!!!!!
Scott McGill
What a work of genius
Chris
Sounds like 2 cats fighting on a Piano. Love the rich and dense, unsettling atmosphere though! This is awesome.
허민
20c 초반 음악
쇤베르크 - [다섯 개의 피아노 소품] Op.[23] 中 [5. 왈츠]
★제 3기 [12음 기법]
[12음 기법] : [완전한 무조성 음악]을 [성취]하기 위하여 [음렬]을 만들어 [12음을 모두 한번씩 사용]한다는 것이다.
이렇게 해서 만들어진 (음의 나열)을 [＊기본 음렬] 이라고 한다.
기본음렬을 [1)전위] [2)역행] [3)전위역행] 시켜 [철저하기 무조적]이며 [체계화된 음악]을 만드는 작곡 기법이다.
[다섯 개의 피아노 소품] Op.[23] : 12음 기법이 [★체계화 되는 과정]을 잘 보여준 작품이다.
앞의 4곡은 (무조 기법)으로 작곡되었지만 (12음 기법이) [부분적]으로 나타나고
[마지막 5번 왈츠] 는 [12음 기법으로 작곡 되었다]
Ueli Raz
Because of the great stability, there is a certain affinity with Chinese, Korean and Japanese music: everything is equally close to the centre point.
טורו יודה
so good... so good performance...