Though the tone technique represents only a single and by no means predominant aspect of the composer's style, it remains the single characteristic most closely associated with his music. Schoenberg made repeated, though varied, use of the technique across the spectrum of genres, from chamber works like the String Quartet No. Schoenberg fled the poisonous political atmosphere of Europe in and spent the remainder of his life primarily in the United States, becoming a naturalized citizen in During this phase of his career, he returned to frank tonality at times, as in the Theme and Variations for band , reaffirming his connection to the great German musical heritage that extended back to Bach.
For Schoenberg , the dissolution of tonality was a logical and inevitable step in the evolution of Western music. Despite a steady stream of critical brickbats throughout his entire career, the composer, whose life inspired one of 20th century's great novels, Thomas Mann 's Doctor Faustus, persisted in his aims, insisting that his music was the result of an overwhelming creative impulse.
Though debate over the man and his music rages on, Schoenberg is today acknowledged as one of the most significant figures in music history. The composer, a well-known triskaidekaphobe, died in Los Angeles, California on July 13, AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Blues Classical Country. Electronic Folk International. Jazz Latin New Age. Philharmonie, Main Hall.
Wednesday, 12 September Philharmonie, Chamber Music Hall. Sunday, 17 September Friday, 18 September Sunday, 20 September Saturday, 19 September Thursday, 17 September Wednesday, 16 September Monday, 14 September Saturday, 12 September Sunday, 13 September Thursday, 10 September Monday, 7 September Sunday, 6 September Saturday, 5 September However, these were trivial as he lacked any formal training until the early s. At that point, he began to be taught by Zemlinsky, and the two formed a close friendship.
Schoenberg was into his mid-twenties before he produced any significant compositions; these include a selection of songs and a string sextet. From , Schoenberg spent two years in Berlin, teaching and performing in cabaret. He produced Pelleas und Melisande , a symphonic poem which took the model established by Strauss and brought to it extra richness of counterpoint and a greater density of themes. On his return to Vienna in , Schoenberg moved into private tutoring, teaching some — such as Berg — who would go on to become significant figures in their own right.
His first string quartet was written as a single movement rather than the four that had been usual up to that point. In , he moved on to develop atonality in his work, even as he tried to include more and more disruptive elements in his music. His Chamber Symphony , for example, had included a run of fourths. Schoenberg did not entirely abandon tonality, as can be seen from his Suite in G of the s, as well as his second Chamber Symphony and certain examples of band music.
Nevertheless, from onward, the composer abandoned the idea of a sense of key, for example in his use of poems in the final movements of his String Quartet No. For several years, he continued to work in this pioneering style, with rhythmic structure and traditional themes also being dropped. His shorter works, such as Five Orchestral Pieces , can be described as Expressionist, with one intense state of music being defined by a number of short examples.
In Erwartung , Schoenberg describes the dramatic story of an angry woman looking for a lover.
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