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.
Three Piano Pieces Op.11 : 1. Mäßige Viertel
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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John Zielinski
I'm going to have this tune stuck in my head all day.
Anigmus
John Zielinski this gave me a good laugh
Scriabin is my Dog
The part at 1:07 was stuck in my head all day, unironically
J. Vonhögen
🤣 That's really funny!
Ernie Buchinski
It is quite a catchy and simple little melody, isn't it? ;-)
Stuart Segan
Which one? The dum dum dum dee dee dee or the dum dum dum dee dee dee one?
Simon Holt
Some of the most beautiful notes ever written for piano. The way the chords are perfectly weighted and with such delicacy. Never tire of it. Haunting.
Jeffry Phillips Burns
Yes, C# is such a lovely note, isn’t is?—and E natural is pretty nice too. I wish I had thought of them.
Simon Holt
You will, Jeffry, you will.😉@Jeffry Phillips Burns
Robin
@Jeffry Phillips Burnsis this a joke that the op didn’t get or are you serious