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ARNOLD SCHOENBERG/ 2009
(  Satoshi Kinoshita )
| Series: | Prints on paper: Portraits | | Medium: | Giclée on Japanese matte paper | | Size (inches): | 16.5 x 11.7 (paper size) | | Size (mm): | 420 x 297 (paper size) | | Edition size: | 25 | | Catalog #: | PP_090 | | Description: | From an edition of 25. Signed, titled, date, copyright, edition in pencil on the reverse / Aside from the numbered edition of 5 artist's proofs and 2 printer's proofs.
"My music is not modern, it is merely badly played." - Arnold Schoenberg
-uncyclopedia.wikia.com/wiki/Arnold_Schoenberg
Arnold Schoenberg -
Arnold Schoenberg (pronounced [ˈaːrnɔlt ˈʃøːnbɛrk]) (13 September 1874 – 13 July 1951) was an Austrian and later American composer, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. He used the spelling Schönberg until after his move to the United States in 1934 (Steinberg 1995, 463), "in deference to American practice" (Foss 1951, 401), though one writer claims he made the change a year earlier (Ross 2007, 45). Schoenberg was known early in his career for successfully extending the traditionally opposed German Romantic traditions of both Brahms and Wagner, and later and more notably for his pioneering innovations in atonality. During the rise of the Nazi party in Austria, his music was labeled, alongside swing and jazz, as degenerate art. In the 1920s, he developed the twelve-tone technique, a widely 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. Schoenberg's approach, both in terms of harmony and development, is among the major landmarks of 20th century musical thought; at least three generations of composers in the European and American traditions have consciously extended his thinking and, in some cases, passionately reacted against it.
Schoenberg was also a painter, an important music theorist, and an influential teacher of composition; his students included Alban Berg, Anton Webern, Hanns Eisler, and later John Cage, Lou Harrison, Earl Kim, Wayne Barlow, and many other prominent musicians. Many of Schoenberg'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 of the 20th century's significant musicologists and critics, including Theodor Adorno, Charles Rosen, and Carl Dahlhaus.
Schoenberg's archival legacy is collected at the Arnold Schönberg Center in Vienna.
Works:
Complete list of compositions with opus numbers
* 2 Gesänge [2 Songs] for baritone, op. 1 (1898)
* 4 Lieder [4 Songs], op. 2 (1899)
* 6 Lieder [6 Songs], op. 3 (1899/1903)
* Verklärte Nacht [Transfigured night], op. 4 (1899)
* Pelleas und Melisande, op. 5 (1902/03)
* 8 Lieder [8 Songs] for soprano, op. 6 (1903/05)
* String Quartet no. 1, D minor, op. 7 (1904/05)
* 6 Lieder [6 Songs] with orchestra, op. 8 (1903/05)
* Kammersymphonie [Chamber symphony] no. 1, E major, op. 9 (1906)
* String Quartet no. 2, F-sharp minor (with Soprano), op. 10 (1907/08)
* Drei Klavierstücke, op. 11 (1909)
* 2 Balladen [2 Ballads], op. 12 (1906)
* Friede auf Erden [Peace on earth], op. 13 (1907)
* 2 Lieder [2 Songs], op. 14 (1907/08)
* 15 Gedichte aus Das Buch der hängenden Gärten [15 Poems from The book of the hanging gardens] by Stefan George, op. 15 (1908/09)
* Fünf Orchesterstücke [5 Pieces for Orchestra], op. 16 (1909)
* Erwartung [Expectation], monodrama in one act, [for soprano and orchestra], op. 17 (1909)
* Die glückliche Hand [The lucky hand], drama with music, for voices and orchestra, op. 18 (1910/13)
* Sechs Kleine Klavierstücke [6 Little piano pieces], op. 19 (1911)
* Herzgewächse [Foliage of the heart] for Soprano, op. 20 (1911)
* Pierrot lunaire, 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, op. 24 (1920/23)
* Suite for Piano, op. 25 (1921/23)
* Wind Quintet, op. 26 (1924)
* 4 Stücke [4 Pieces], op. 27 (1925)
* 3 Satiren [3 Satires], op. 28 (1925/26)
* Suite, op. 29 (1925)
* String Quartet no. 3, op. 30 (1927)
* Variations for Orchestra, op. 31 (1926/28)
* Von heute auf morgen [From today to tomorrow] opera in one act, op. 32 (1928)
* 2 Stücke [2 Pieces] for Piano, op. 33a (1928) & 33b (1931)
* Begleitmusik zu einer Lichtspielszene [Accompanying music to a film scene], op. 34 (1930)
* 6 Stücke [6 Pieces] for Male Chorus, op. 35 (1930)
* Violin Concerto, op. 36 (1934/36)
* String Quartet No. 4, op. 37 (1936)
* Kammersymphonie [Chamber symphony] no. 2, E-flat minor, op. 38 (1906/39)
* Kol nidre for Chorus and Orchestra, op. 39 (1938)
* Variations on a recitative for Organ, op. 40 (1941)
* Ode to Napoleon Buonaparte for Voice, Piano and String Quartet, op. 41 (1942)
* Piano Concerto, op. 42 (1942)
* Theme and variations for Band, op. 43a (1943)
* Theme and variations for Orchestra, op. 43b (1943)
* Prelude to “Genesis” for Chorus and Orchestra, op. 44 (1945)
* String Trio, op. 45 (1946)
* A Survivor from Warsaw, op. 46 (1947)
* Phantasy for Violin and Piano, op. 47 (1949)
* 3 Songs, op. 48 (1933)
* 3 Folksongs, op. 49 (1948)
* Dreimal tausend Jahre [Three times a thousand years], op. 50a (1949)
* Psalm 130 “De profundis”, op. 50b (1950)
* Modern psalm, op. 50c (1950, unfinished)
Works by genre:
Operas
* Erwartung [Expectation], monodrama for soprano and orchestra, op. 17 (1909)
* Die glückliche Hand [The Lucky Hand], drama with music, for voices and orchestra, op. 18 (1910–13)
* Von heute auf morgen [From Today to Tomorrow], opera in one act, op. 32 (1928–29)
* Moses und Aron [Moses and Aaron], opera in three acts (1930–32, unfinished)
Orchestral
* Fünf Orchesterstücke [5 Pieces for Orchestra], op. 16 (1909)
* Variations for Orchestra, op. 31 (1926/28)
* Suite, G major, for string orchestra (1934)
* Theme and Variations, op. 43b (1943)
Concertante
* Cello Concerto “after Monn’s Concerto in D major for harpsichord” (1932/33)
* Concerto for String Quartet and Orchestra, "freely adapted from Handel’s Concerto grosso in B-flat major, op. 6, no. 7" (1933)
* Violin Concerto, op. 36 (1934/36)
* Piano Concerto, op. 42 (1942)
Vocal/Choral Orchestral
* 6 Lieder [6 Songs] with orchestra, op. 8 (1903/05)
* Gurre-Lieder [Songs of Gurre] (1901/11)
* 4 Lieder [4 Songs] for Voice and Orchestra, op. 22 (1913/16)
* Kol nidre for Chorus and Orchestra, op. 39 (1938)
* Prelude to “Genesis” for Chorus and Orchestra, op. 44 (1945)
* A Survivor from Warsaw, op. 46 (1947)
Band
* Theme and Variations, op. 43a (1943)
Chamber
* String Quartet
o Presto, in C major for String Quartet (1894(?))
o String Quartet, in D major (1897)
o Scherzo, in F major, and Trio in a minor for String Quartet, rejected from D major String Quartet (1897)
o String Quartet No. 1, D minor, op. 7 (1904/05)
o String Quartet No. 2, F-sharp minor (with Soprano), op. 10 (1907/08)
o String Quartet No. 3, op. 30 (1927)
o String Quartet No. 4, op. 37 (1936)
* untitled work in D minor for Violin and Piano (unknown year)
* Verklärte Nacht [Transfigured night] (string sextet), op. 4 (1899)
* Ein Stelldichein [A rendezvous] for Mixed Quintet (1905), fragment
* Kammersymphonie [Chamber symphony] no. 1, E major, op. 9 (1906)
* Die eiserne Brigade [The iron brigade] for Piano Quintet (1916)
* Serenade, for seven players, op. 24 (1920/23)
* Weihnachtsmusik [Christmas music] for two Violins, Cello, Harmonium, and Piano (1921)
* Wind Quintet, op. 26 (1924)
* Suite for Three clarinets (E-flat, B-flat, and Bass), Violin, Viola, Violoncello and Piano, op. 29 (1925) (with ossia flute and bassoon parts substituting for E-flat and Bass clarinet)
* Sonata for Violin and Piano (1927) (a 43-bar fragment)
* Kammersymphonie [Chamber symphony] no. 2, E-flat minor, op. 38 (1906/39)
* Fanfare on motifs of Die Gurre-Lieder (11 Brass instruments and Percussion) (1945)
* String Trio, op. 45 (1946)
* Phantasy for Violin and Piano, op. 47 (1949)
Keyboard
* Drei Klavierstücke [3 Pieces] (1894)
* 6 Stücke [6 Pieces] for 4 hands (1896)
* Scherzo (Gesamtausgabe fragment 1) (ca. 1894)
* Leicht, mit einiger Unruhe [Lightly with some restlessness], C-sharp minor (Gesamtausgabe fragment 2) (ca. 1900)
* Langsam [Slowly], A-flat major (Gesamtausgabe fragment 3) (1900/01)
* Wenig bewegt, sehr zart [Calmly, very gentle], B-flat major (Gesamtausgabe fragment 4) (1905/06)
* 2 Stücke [2 Pieces] (Gesamtausgabe fragments 5a & 5b) (1909)
* Drei Klavierstücke, op. 11 (1909)
* Stück [Piece] (Gesamtausgabe fragment 6) (1909)
* Stück [Piece] (Gesamtausgabe fragment 7) (1909)
* Stück [Piece] (Gesamtausgabe fragment 8) (ca. 1910)
* Mäßig, aber sehr ausdrucksvoll [Measured, but very expressive] (Gesamtausgabe fragment 9) (March 1918)
* Langsam [Slowly] (Gesamtausgabe fragment 10) (Summer 1920)
* Stück [Piece] (Gesamtausgabe fragment 11) (Summer 1920)
* Langsame Halbe [Slow half-notes], B (Gesamtausgabe fragment 12) (1925)
* Quarter note = mm. 80 (Gesamtausgabe fragment 13) (February 1931)
* Sehr rasch; Adagio [Very fast; Slowly] (Gesamtausgabe fragment 14) (July 1931)
* Andante (Gesamtausgabe fragment 15) (10 October 1931)
* Piece (Gesamtausgabe fragment 16) (after October 1933)
* Moderato (Gesamtausgabe fragment 17) (April 1934?)
* Organ Sonata (fragments) (1941)
Choral
* Ei, du Lütte [Oh, you little one] (late 1890s)
* Friede auf Erden [Peace on earth], op. 13 (1907)
* Die Jakobsleiter [Jacob’s ladder] (1917/22, unfinished)
* 3 Satiren [3 Satires], op. 28 (1925/26)
* 3 Volksliedsätze [3 Folksong movements] (1929)
* 6 Stücke [6 Pieces] for Male Chorus, op. 35 (1930)
* 3 Folksongs, op. 49 (1948)
* Dreimal tausend Jahre [Three times a thousand years], op. 50a (1949)
* Psalm 130 “De profundis”, op. 50b (1950)
* Modern psalm, op. 50c (1950, unfinished)
Songs
* Gedenken (Es steht sein Bild noch immer da) [Remembrance (His picture is still there)] (1893/1903?)
* In hellen Träumen hab’ ich dich oft geschaut [In vivid dreams so oft you appeared to me] (1893)
* 12 erste Lieder [12 First songs] (1893/96)
* Ein Schilflied (Drüben geht die Sonne scheiden) [A bulrush song (Yonder is the sun departing)] (1893)
* Warum bist du aufgewacht [Why have you awakened] (1893/94)
* Waldesnacht, du wunderkühle [Forest night, so wondrous cool] (1894/96)
* Ecloge (Duftreich ist die Erde) [Eclogue (Fragrant is the earth)] (1896/97)
* Mädchenfrühling (Aprilwind, alle Knospen) [Maiden’s spring (April wind, all abud)] (1897)
* Mädchenlied (Sang ein Bettlerpärlein am Schenkentor) [Maiden’s song (A pair of beggars sang at the giving gate)] (1897/1900)
* Mailied (Zwischen Weizen und Korn) [May song (Between wheat and grain)]
* Nicht doch! (Mädel, lass das Stricken [But no! (Girl, stop knitting)] (1897)
* 2 Gesänge [2 Songs] for baritone, op. 1 (1898)
* 4 Lieder [4 Songs], op. 2 (1899)
* 6 Lieder [6 Songs], op. 3 (1899/1903)
* Die Beiden (Sie trug den Becher in der Hand) [The two (She carried the goblet in her hand)] (1899)
* Mannesbangen (Du musst nicht meinen) [Men’s worries (You should not...)] (1899)
* Gruss in die Ferne (Dunkelnd über den See) [Hail from afar (Darkened over the sea)] (August 1900)
* 8 Brettllieder [8 Cabaret songs] (1901)
* Deinem Blick mich zu bequemen [To submit to your sweet glance] (1903)
* 8 Lieder [8 Songs] for soprano, op. 6 (1903/05)
* 2 Balladen [2 Ballads], op. 12 (1906)
* 2 Lieder [2 Songs], op. 14 (1907/08)
* 15 Gedichte aus Das Buch der hängenden Gärten [15 Poems from The book of the hanging gardens] by Stefan George, op. 15 (1908/09)
* Am Strande [At the seashore] (1909)
* Herzgewächse [Foliage of the heart] for High Soprano (with harp, celesta & harmonium) op. 20 (1911)
* Pierrot lunaire, op. 21 (1912) (reciter with 5 instruments)
* Petrarch-Sonnet from Serenade, op. 24 (1920/23) (bass with 7 instruments)
* 4 Deutsche Volkslieder [4 German folksongs] (1929)
* Ode to Napoleon Buonaparte for Voice, Piano and String Quartet, op. 41 (1942)
* 3 Songs, op. 48 (1933)
Canons
* O daß der Sinnen doch so viele sind! [Oh, the senses are too numerous!] (Bärenreiter I) (April? 1905) (4 voices)
* Wenn der schwer Gedrückte klagt [When the sore oppressed complains] (Bärenreiter II) (April? 1905) (4 voices)
* Wer mit der Welt laufen will [He who wants to run with the world] (for David Bach) (Bärenreiter XXI) (March 1926; July 1934) (3 voices)
* Canon (Bärenreiter IV) (April 1926) (4 voices)
* Von meinen Steinen [From my stones] (for Erwin Stein) (Bärenreiter V) (December 1926) (4 voices)
* Arnold Schönberg beglückwünschst herzlichst Concert Gebouw [Arnold Schoenberg congratulates the Concert Gebouw affectionately] (Bärenreiter VI) (March 1928) (5 voices)
* Mirror canon with two free middle voices, A major (Bärenreiter VIII) (April 1931) (4 voices)
* Jedem geht es so [No man can escape] (for Carl Engel) (Bärenreiter XIII) (April 1933; text 1943) (3 voices)
* Mir auch ist es so ergangen [I, too, was not better off] (for Carl Engel) (Bärenreiter XIV) (April 1933; text 1943) (3 voices)
* Perpetual canon, A minor (Bärenreiter XV) (1933) (4 voices)
* Mirror canon, A minor (Bärenreiter XVI) (1933) (4 voices)
* Es ist zu dumm [It is too dumb] (for Rudolph Ganz) (Bärenreiter XXII) (September 1934) (4 voices)
* Man mag über Schönberg denken, wie man will [One might think about Schoenberg any way one wants to] (for Charlotte Dieterle) (Bärenreiter XXIII) (1935) (4 voices)
* Double canon (Bärenreiter XXV) (1938) (4 voices)
* Mr. Saunders I owe you thanks (for Richard Drake Saunders) (Bärenreiter XXVI) (December 1939) (4 voices)
* I am almost sure, when your nurse will change your diapers (for Artur Rodzinsky on the birth of his son Richard) (Bärenreiter XXVIII) (March 1945) (4 voices)
* Canon for Thomas Mann on his 70th birthday (Bärenreiter XXIX) (June 1945) (2 violins, viola, violoncello)
* Gravitationszentrum eigenen Sonnensystems [You are the center of gravity of your own solar system] (Bärenreiter XXX) (August 1949) (4 voices)
Transcriptions and arrangements
* Bach: Chorale prelude Schmücke dich, o liebe Seele [Deck thyself, oh dear soul], BWV 654 (arr. 1922: orchestra)
* Bach: Chorale prelude Komm, Gott, Schöpfer, heiliger Geist [Come, God, Creator, Holy ghost], BWV 631 (arr. 1922: orchestra)
* Bach: Prelude and fugue in E-flat major “St Anne”, BWV 552 (arr. 1928: orchestra)
* Brahms: Piano quartet in G minor, Op. 25 (arr. 1937: orchestra)
* Denza: Funiculì, Funiculà (arr. 1921: voice, clarinet, mandolin, guitar, violin, viola, violoncello)
* Mahler: Das Lied von der Erde [The Song of the Earth] (arr. Arnold Schoenberg & Anton Webern, 1921; completed by Rainer Riehn, 1983: soprano, flute & piccolo, oboe & English horn, clarinet, bassoon & contrabassoon, horn, harmonium, piano, 2 violins, viola, violoncello, double bass)
* Mahler: Lieder eines fahrenden Gesellen [Songs of a Wayfarer] (arr. Arnold Schoenberg, 1920: voice, flute, clarinet, harmonium, piano, 2 violins, viola, violoncello, double bass, percussion)
* Monn: Concerto for cello in G minor, transcribed and adapted from Monn’s Concerto for harpsichord (1932/33)
* Reger: Eine romantische Suite [A Romantic Suite], Op. 125 (arr. Arnold Schoenberg & Rudolf Kolisch, 1919/1920: flute, clarinet, 2 violins, viola, violoncello, harmonium for 4 hands, piano for 4 hands)
* Schubert: Rosamunde, Fürstin von Zypern Incidental music, D. 797 (arr. Arnold Schoenberg, 1903?: piano for 4 hands)
* Schubert: Ständchen [Serenade], D. 889 (arr. Arnold Schoenberg (1921) (voice, clarinet, bassoon, mandolin, guitar, 2 violins, viola, violoncello))
* Sioly: Weil i a alter Drahrer bin [For I’m a real old gadabout] (arr. 1921: clarinet, mandolin, guitar, violin, viola, violoncello)
* Johann Strauss II: Kaiser-Walzer [Emperor Waltz], Op. 437 (arr. 1925: flute, clarinet, 2 violins, viola, violoncello, piano)
* Johann Strauss II: Rosen aus dem Süden [Roses from the South], Op. 388 (arr. 1921: harmonium, piano, 2 violins, viola, violoncello)
-en.wikipedia.org/wiki/Arnold_Schoenberg
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