Boston and NY, see Stuckenshmidt bio p 372–384
Okumaya devam et...
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| Schoenberg melded the stylistically [[War of the Romantics|opposed]] [[German Romanticism]] of [[Brahms]] and [[Wagner]], coining the term [[developing variation]]. He was among the first [[modernist]] composers to write music of dense [[Motif (music)|motivic]] relations penetrating well beyond the musical [[Schenkerian analysis|surface]] in [[unified field]]s. His [[String Quartets (Schoenberg)#String Quartet No. 2, Op. 10|String Quartet No. 2]] (1907–1908) is famed for its [[atonality]]. His style as both a painter and composer was [[expressionist]], for example in ''[[Erwartung]]'' (1909) and ''[[Pierrot lunaire]]'' (1912). In the 1920s Schoenberg substantially developed his [[twelve-tone technique]] in music systematically interrelating all notes of the [[chromatic scale]], often exploiting [[combinatoriality|combinatorial]] [[hexachord]]s. Confronting popular [[antisemitism]], he returned to [[Judaism]], embracing [[Zionism]] and working on ''[[Die Jakobsleiter]]'' (1915–1922, unfinished) and ''[[Moses und Aron]]'' (1923–1937, unfinished). His twelve-tone music did not always eschew [[tonality|tonal]] inflection; his Suite, Op. 29 (1924–1926) features [[consonance]]s and tonal melody. | Schoenberg melded the stylistically [[War of the Romantics|opposed]] [[German Romanticism]] of [[Brahms]] and [[Wagner]], coining the term [[developing variation]]. He was among the first [[modernist]] composers to write music of dense [[Motif (music)|motivic]] relations penetrating well beyond the musical [[Schenkerian analysis|surface]] in [[unified field]]s. His [[String Quartets (Schoenberg)#String Quartet No. 2, Op. 10|String Quartet No. 2]] (1907–1908) is famed for its [[atonality]]. His style as both a painter and composer was [[expressionist]], for example in ''[[Erwartung]]'' (1909) and ''[[Pierrot lunaire]]'' (1912). In the 1920s Schoenberg substantially developed his [[twelve-tone technique]] in music systematically interrelating all notes of the [[chromatic scale]], often exploiting [[combinatoriality|combinatorial]] [[hexachord]]s. Confronting popular [[antisemitism]], he returned to [[Judaism]], embracing [[Zionism]] and working on ''[[Die Jakobsleiter]]'' (1915–1922, unfinished) and ''[[Moses und Aron]]'' (1923–1937, unfinished). His twelve-tone music did not always eschew [[tonality|tonal]] inflection; his Suite, Op. 29 (1924–1926) features [[consonance]]s and tonal melody. |
| He taught at the [[Prussian Academy of Arts]] (1926–1933), resigning as the Nazis took power, first to [[Boston]] via [[Paris]]. He taught at the Malkin Conservatory (1933–1934), the [[University of Southern California]] (1935–1936), and as faculty at the [[University of California, Los Angeles]] (1936–1944), where a [[UCLA Herb Alpert School of Music#Schoenberg Music Building|facility]] is named in his honor. He explored writing [[film music]], as he had done idiosyncratically in ''[[Begleitungsmusik zu einer Lichtspielscene]]'' (1929–1930). He wrote more tonal music, as in the [[Chamber Symphony No. 2 (Schoenberg)|Chamber Symphony No. 2]] (completed 1939). Taking aim at Hitler in ''[[Ode to Napoleon]]'' (1942, after [[Byron]]), he drew on Beethoven's [[Symphony_No._5_(Beethoven)#Fate_motif|fate motif]] and the {{lang|fr|[[Marseillaise]]|italics=no}}. [[Theodor Körner (president)|Theodor Körner]] beckoned him with [[List of honorary citizens of Vienna|honorary citizenship]], but Schoenberg was ill as depicted in his String Trio (1946). He memorialized [[Holocaust]] victims in ''[[A Survivor from Warsaw]]'' (1947). The [[Buchmann-Mehta School of Music|Israel Conservatory and Academy of Music]] elected him honorary president (1951). | He taught at the [[Prussian Academy of Arts]] (1926–1933), resigning from [[Paris]] as the Nazis took power. He taught at the Malkin Conservatory in both [[Boston]] and [[New York City]] (1933–1934), the [[University of Southern California]] (1935–1936), and as faculty at the [[University of California, Los Angeles]] (1936–1944), where a [[UCLA Herb Alpert School of Music#Schoenberg Music Building|facility]] is named in his honor. He explored writing [[film music]], as he had done idiosyncratically in ''[[Begleitungsmusik zu einer Lichtspielscene]]'' (1929–1930). He wrote more tonal music, as in the [[Chamber Symphony No. 2 (Schoenberg)|Chamber Symphony No. 2]] (completed 1939). Taking aim at Hitler in ''[[Ode to Napoleon]]'' (1942, after [[Byron]]), he drew on Beethoven's [[Symphony_No._5_(Beethoven)#Fate_motif|fate motif]] and the {{lang|fr|[[Marseillaise]]|italics=no}}. [[Theodor Körner (president)|Theodor Körner]] beckoned him with [[List of honorary citizens of Vienna|honorary citizenship]], but Schoenberg was ill as depicted in his String Trio (1946). He memorialized [[Holocaust]] victims in ''[[A Survivor from Warsaw]]'' (1947). The [[Buchmann-Mehta School of Music|Israel Conservatory and Academy of Music]] elected him honorary president (1951). |
| At least three generations of composers extended his music's somewhat [[Formalism (philosophy)|formalized]] [[harmony]] and rigorous [[development (music)|development]]. Many were passionately against it. Among [[List of music students by teacher: R to S#Arnold Schoenberg|his students]] in Europe were [[Alban Berg]], [[Anton Webern]], [[Hanns Eisler]], [[Egon Wellesz]], and [[Nikos Skalkottas]]; in the US, [[John Cage]], [[Lou Harrison]], [[Earl Kim]], [[Robert Gerhard]], [[Leon Kirchner]], [[Dika Newlin]], and [[Oscar Levant]]. His aesthetic and music-historical views influenced musicologists [[Theodor W. Adorno]] and [[Carl Dahlhaus]], as well as pianists [[Charles Rosen]], [[Artur Schnabel]], [[Rudolf Serkin]], [[Eduard Steuermann]], and [[Glenn Gould]]. The [[Arnold Schönberg Center]] collects his archival legacy. | At least three generations of composers extended his music's somewhat [[Formalism (philosophy)|formalized]] [[harmony]] and rigorous [[development (music)|development]]. Many were passionately against it. Among [[List of music students by teacher: R to S#Arnold Schoenberg|his students]] in Europe were [[Alban Berg]], [[Anton Webern]], [[Hanns Eisler]], [[Egon Wellesz]], and [[Nikos Skalkottas]]; in the US, [[John Cage]], [[Lou Harrison]], [[Earl Kim]], [[Robert Gerhard]], [[Leon Kirchner]], [[Dika Newlin]], and [[Oscar Levant]]. His aesthetic and music-historical views influenced musicologists [[Theodor W. Adorno]] and [[Carl Dahlhaus]], as well as pianists [[Charles Rosen]], [[Artur Schnabel]], [[Rudolf Serkin]], [[Eduard Steuermann]], and [[Glenn Gould]]. The [[Arnold Schönberg Center]] collects his archival legacy. |
Okumaya devam et...