47 Facts About Arnold Schoenberg


Arnold Schoenberg is widely considered one of the most influential composers of the 20th century.

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Arnold Schoenberg was associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School.

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Arnold Schoenberg immigrated to the United States in 1933, becoming an American citizen in 1941.

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Arnold Schoenberg was known early in his career for simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner.

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Arnold Schoenberg 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.

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Arnold Schoenberg was an influential teacher of composition; his students included Alban Berg, Anton Webern, Hanns Eisler, Egon Wellesz, Nikos Skalkottas, Stefania Turkewich, and later John Cage, Lou Harrison, Earl Kim, Robert Gerhard, Leon Kirchner, Dika Newlin, Oscar Levant, and other prominent musicians.

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Many of Arnold 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.

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Arnold Schoenberg was born into a lower middle-class Jewish family in the Leopoldstadt district of Vienna, at "Obere Donaustraße 5".

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Arnold Schoenberg's father Samuel, a native of Szecseny, Hungary, later moved to Pozsony and then to Vienna, was a shoe-shopkeeper, and his mother Pauline Schoenberg (nee Nachod), a native of Prague, was a piano teacher.

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Arnold Schoenberg took only counterpoint lessons with the composer Alexander Zemlinsky, who was to become his first brother-in-law.

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Arnold Schoenberg later made an orchestral version of this, which became one of his most popular pieces.

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Mahler adopted him as a protege and continued to support him, even after Arnold Schoenberg's style reached a point Mahler could no longer understand.

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In October 1901, Arnold Schoenberg married Mathilde Zemlinsky, the sister of the conductor and composer Alexander von Zemlinsky, with whom Arnold Schoenberg had been studying since about 1894.

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From about 1911, Arnold Schoenberg belonged to a circle of artists and intellectuals who included Lene Schneider-Kainer, Franz Werfel, Herwarth Walden, and Else Lasker-Schuler.

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Arnold Schoenberg was not completely cut off from the Vienna Conservatory, having taught a private theory course a year earlier.

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Arnold Schoenberg was never able to work uninterrupted or over a period of time, and as a result he left many unfinished works and undeveloped "beginnings".

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In what Alex Ross calls an "act of war psychosis", Arnold Schoenberg drew comparisons between Germany's assault on France and his assault on decadent bourgeois artistic values.

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Arnold Schoenberg sought to provide a forum in which modern musical compositions could be carefully prepared and rehearsed, and properly performed under conditions protected from the dictates of fashion and pressures of commerce.

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Later, Arnold Schoenberg was to develop the most influential version of the dodecaphonic method of composition, which in French and English was given the alternative name serialism by Rene Leibowitz and Humphrey Searle in 1947.

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Arnold Schoenberg published a number of books, ranging from his famous Harmonielehre to Fundamentals of Musical Composition, many of which are still in print and used by musicians and developing composers.

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Arnold Schoenberg viewed his development as a natural progression, and he did not deprecate his earlier works when he ventured into serialism.

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Gertrude Kolisch Arnold Schoenberg wrote the libretto for Arnold Schoenberg's one-act opera Von heute auf morgen under the pseudonym Max Blonda.

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At her request Arnold Schoenberg's piece, Die Jakobsleiter was prepared for performance by Arnold Schoenberg's student Winfried Zillig.

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Arnold Schoenberg continued in his post until the Nazi regime Machtergreifung came to power in 1933.

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Arnold Schoenberg formally reclaimed membership in the Jewish religion at a Paris synagogue, then traveled with his family to the United States.

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Arnold Schoenberg enlisted the aid of his former student and great champion Edward Clark, a senior producer with the BBC, in helping him gain a British teaching post or even a British publisher, but to no avail.

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Arnold Schoenberg's first teaching position in the United States was at the Malkin Conservatory.

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Arnold Schoenberg moved to Los Angeles, where he taught at the University of Southern California and the University of California, Los Angeles, both of which later named a music building on their respective campuses Schoenberg Hall.

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Arnold Schoenberg was appointed visiting professor at UCLA in 1935 on the recommendation of Otto Klemperer, music director and conductor of the Los Angeles Philharmonic Orchestra; and the next year was promoted to professor at a salary of $5, 100 per year, which enabled him in either May 1936 or 1937 to buy a Spanish Revival house at 116 North Rockingham in Brentwood Park, near the UCLA campus, for $18, 000.

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Arnold Schoenberg lived there the rest of his life, but at first he was not settled.

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Arnold Schoenberg was unable to complete his opera Moses und Aron, which was one of the first works of its genre written completely using dodecaphonic composition.

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Arnold Schoenberg dreaded his sixty-fifth birthday in 1939 so much that a friend asked the composer and astrologer Dane Rudhyar to prepare Schoenberg's horoscope.

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Arnold Schoenberg died on Friday, 13 July 1951, shortly before midnight.

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Arnold Schoenberg had stayed in bed all day, sick, anxious, and depressed.

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Arnold Schoenberg's ashes were later interred at the Zentralfriedhof in Vienna on 6 June 1974.

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Arnold Schoenberg regarded it as the equivalent in music of Albert Einstein's discoveries in physics.

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Arnold Schoenberg announced it characteristically, during a walk with his friend Josef Rufer, when he said, "I have made a discovery which will ensure the supremacy of German music for the next hundred years".

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Arnold Schoenberg criticized Igor Stravinsky's new neoclassical trend in the poem "Der neue Klassizismus", which he used as text for the third of his Drei Satiren, Op.

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Arnold Schoenberg's students have been influential teachers at major American universities: Leonard Stein at USC, UCLA and CalArts; Richard Hoffmann at Oberlin; Patricia Carpenter at Columbia; and Leon Kirchner and Earl Kim at Harvard.

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Arnold Schoenberg's pupil and assistant Max Deutsch, who later became a professor of music, was a conductor.

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Allen Shawn has noted that, given Arnold Schoenberg's living circumstances, his work is usually defended rather than listened to, and that it is difficult to experience it apart from the ideology that surrounds it.

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Richard Taruskin asserted that Arnold Schoenberg committed what he terms a "poietic fallacy", the conviction that what matters most in a work of art is the making of it, the maker's input, and that the listener's pleasure must not be the composer's primary objective.

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Arnold Schoenberg himself looked forward to a time when, as he said, grocers' boys would whistle serial music in their rounds.

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Ben Earle found that Arnold Schoenberg, while revered by experts and taught to "generations of students" on degree courses, remained unloved by the public.

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Arnold Schoenberg was unhappy about this and initiated an exchange of letters with Mann following the novel's publication.

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Arnold Schoenberg was a painter of considerable ability, whose works were considered good enough to exhibit alongside those of Franz Marc and Wassily Kandinsky.

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Arnold Schoenberg was interested in Hopalong Cassidy films, which Paul Buhle and David Wagner attribute to the films' left-wing screenwriters—a rather odd claim in light of Schoenberg's statement that he was a "bourgeois" turned monarchist.

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