Arnold Schönberg, whose creativity can be described as innovative, lived interesting and he entered the history of world music as a revolutionary who made a coup in the composition, created his school in music, left an interesting heritage and a whole Pharyad of students. Arnold Schönberg is one of the outstanding composers of the 20th century.
Childhood and family
On September 13, 1874, Arnold Schönberg was born in Vienna, whose biography will be difficult, but always associated with music. Schianberg family lived in Jewish ghetto. Father - Samuel Shenberg - was from the Presburg, he had his own shoe store. Mother - Paulina is native of Prague, was a piano teacher. Arnold had an ordinary childhood, nothing foreshadowed his great future.
Distribution
FROM early years Mother began to learn Arnold music, he filed hope. But there was no means to continue learning from the family. He independently compiled the science of the composition. Several lessons in counterpoint was given to him Shurin, the famous Austrian composer and a conductor, for whom Sister Schönberg Matilda married, - Alexander von Cemelinsky. The musicians were very saddled, all their lives remained like-minded people and often helped each other with advice, argued about art. It was Ceminsky that strongly recommended a colleague to become a professional music writer. The future composer Arnold Schönberg already in adolescence acutely felt his vocation, and although the circumstances were not in his favor, all his free time gave music.
Beginning of a professional path
The family lived is not good, and when the Father died, Arnold at that time was 15, it became completely difficult. The young man had to take for any job. Arnold Schönberg worked as a bank clerk, a peddler shopping, led the workers of the choir, wrote orchestration for herp. But he did not leave his music to music, his own works wrote in his spare time. Already in 1898, the works of Schönberg from the scene were performed in Vienna. In 1901, he leaves for Berlin, where he earns music lessons, in the Stern Conservatory, he even leads the course of the composition.
At this time, he meets Gustav Maller, who had a significant impact on the Schönberg worldview. In 1903 it returns to Vienna and begins to work in a music school. At the same time, he has time to write music, during this period it is withstanding in the traditions of the German composer school of the late 19th century. The most significant work of this stage was: String Sextet "Enlightened Night", Pelleas and Melizanda Poem (1902-1903), Cantata Gurre (1900-1911). Arnold Schönberg was distinguished by great performance, at the beginning of the way he simultaneously taught, wrote music, gave concerts.
Biography and music
In the work of the composer of Schönberg, there are three periods: tonal (from 1898 to 1908), the atonal (1909-1922) and dodecafon (since 1923). The evolution of the musician is connected with his search for a new path and a new expressiveness. His fate is revealed first with expressionism, on the basis of which he later makes his revolutionary discoveries. Until 1907, Schönberg moves in the traditional channel of classical music. But this year there is a radical change in his artistic worldview, he reflects a lot about music, writes theoretical work. There is a complication of his musical language, the thrust increases to dissonance, but so far the traditional harmony is preserved.
And in 1909 a new round of his life begins. In 1911, Arnold Schönberg, whose biography, is gaining momentum in the musical world, again goes to Berlin, where for 4 years tours as a conductor. By this time, he was already famous in Europe with a musician. In 1915, the composer is calling for the army for two years. This atonial period is characterized by refusing from the tonal center of the work, Shenberg is trying to equally apply 12 tones of chromatic sound. In 1923, he receives the title of professor of music and an invitation to work in the Berlin School of Music. With the coming to power of the Nazis in 1933, Schönberg dismissed from the Conservatory, and he, fearing further persecutions as a representative of the Jewish nation, emigrates. At first he leaves for France, and later in the United States.
The third period of creativity of the composer was marked by its main discoveries. It begins to the rational organization of the musical series, the compositions are built from twelve tones, which are not repeated in one row. So dodecafon music appears. In the work of Schungberg, the era, full of change, as well as his subjective-emotional experiences was fully reflected.
Music theory
The composer always tried to control the forms and expressive means of their music, which coming most often unconsciously. Therefore, all his staged experiences and reflections were set forth in serious scientific papers. In 1911, Arnold Schönberg writes its first big theoretical work "The Doctrine of Harmony". Already in him, he outlined his ideas about the tonal harmony, which were the main all life for him. This book has become the only fully completed work of the composer. Later he is taken to write a few work at the same time, constantly corrects them and adds, during his lifetime they were not published.
Only in 1994, the work was published, combined into one volume - "relationship, counterpoint, tool, the doctrine of form. These reflections on musical logic and thoughts, about orchestra, about the preparatory exercises in the counterpoint and the composition were not completed by the author, but show the direction in which his research was. The "bases of the musical composition" were published at the end of the 20th century by the masters's students. Arnold Schönberg made a significant contribution to the theory of music, he managed to see the evolution of musical thought and anticipate her development for years ahead. In his writings, Schönberg reflects on the integrity of the work, the development of musical thought and comes to the idea of \u200b\u200bmonotonality.
Pedagogical activity
The composer throughout his life was engaged in teaching - first at school, then at the Conservatory in Berlin. In the emigration, he worked at Boston Universities, Southern California, Los Angeles, teaching music theory and composition. Arnold Schönberg created a whole composer school, which received the name "New Viennese School". He brought up students in the spirit of serving music, he categorically did not advise them to follow his example, and to look for only their own way in art. His best students are A. Berg and A. Webern, who until the end of the days retained the loyalty to his ideas and grew by independent composers worthy of their teacher. Shenberg led all musical objects, special attention paid to the polyphony, which was considered the basis of skill. With his disciples, the composer continued to communicate closely and after their release, he was for them a continued authority. It was precisely this that allowed him to form him a whole pleiad of like-minded people.
Dodecafonia Arnold Schönberg
Arnold Shenberg, short biography Which can be described in one word "dodecafonia", became an ideologist and promoter of a new direction in music. In its search for the maximum economical music letter, the composer comes to the idea of \u200b\u200ba 12-tone composition system. This discovery makes the composer to study the newly writing music, he experiments with a lot with the form, looking for new features of his sound-frequency method.
The foundations of the new technique he tests on piano plays, which writes a lot. Later he moves to the creation of large works (suite, quartets, orchestras) in a new style. Its discoveries were fundamentally influenced by the development of music in the 20th century. His ideas that he did not fully developed were picked up by followers, developed, brought to perfection, sometimes before exhaustion. His contribution to music was manifested in the desire to streamline the musical form.
Main Works
Arnold Schönberg left a huge musical heritage. But his most important work is the unfinished opera "Moses and Aaron", the design of which appeared in the 20s of the 20th century and embodied the whole evolution and search for the composer. In Opere Schönberg embodied all his philosophical worldview, all his soul. Also, significant works of the composer include: "Chamber Symphony", OR. 9, Opera "Happy hand", 5 piano plays, op. 23, "Oda Napoleon".
Personal life
Arnold Schönberg, whose photo can be seen today in all textbooks on the history of music, has lived a rich life. In addition to music, he was a lot of painting, his work was exhibited in major galleries in Europe. He was friends with Kokoshka, Kandinsky, was a member of the Prussian Academy of Arts. For your life, about 300 works wrote.
Arnold Shenberg married for the first time rather early, for this he in 1898 switched to Protestantism. The wife cheated him, went to her lover, but then returned to his family, and her lover committed suicide. His wife Matilda died in 1923, and this ended the stormy period of the personal life of the composer. A year later, he married the sister's violinist and happily lived with her the remainder of life. In 1933, he decides to return to Judaism and passes the corresponding rite in the Paris synagogue.
Fears of Arnold Schönberg
The composer was distinguished by high intelligence, mathematical abilities, but the irrational beginning was also not alien to him. All his life he was pursued by strange fears and premonitions. What was panicked by the composer Arnold Shenberg? He had a rare phobia - he was panically afraid of numbers 13. He was born of this number, all his life avoided houses and hotel rooms under such a number. So what was afraid of Arnold Shenberg in the end? Figures? No, of course, he was afraid of death. He was sure that he would die the 13th that the figure 76 - in the amount of 13 - will bring him death. All year of his coming 76th anniversary, he lived in tension, until he lay down in one day with confidence that today death will come behind him. He knew all day in bed, waiting for the last hour. By night, the wife could not stand and forced him to stop engage in nonsense and stand out with bed. But 13 minutes before midnight, he uttered the word "harmony" and left this world. So, on July 13, 1951, the world lost
Schönberg Arnold (Schönberg, ARNOLD; 1874, Vienna, - 1951, Los Angeles), composer, musical theorist, teacher and painter, one of the prosecutors of expressionism and the author of the Dodecafinal system in music, the head of the so-called new Viennese school. Born in a family of a poor merchant. As a child, he studied playing the violin and cello, played in amateur orchestras and composed musical plays, not possessing at first the foundations of the composition; Only at 16 years old Schönberg began to systematically engage in music. In 1891 he graduated from a real gymnasium and went to work in a private bank, but after a few years he left the bank and devoted himself entirely to music. His teacher was a composer and conductor A. Von Tseminsky, who gave Schönberg the lessons of the polyphony. In 1895-99. conducted by the workers in the suburb of Vienna.
In 1898, Schönberg moved to Christianity (in one of the Protestant confessions), and in 1901 he married her sister of his teacher, Matilde von Cemelinskaya. In 1901-1903 He lived in Berlin, conducted by the orchestra in the cabaret of writers and gave private lessons. From 1903 he taught in one of the Viennese Music Schools. In 1911, Schönberg met V. Kandinsky, which had a great influence on the artistic worldview of both. Schönberg was known as an artist: In 1911, he first showed his work at the exhibition of the Artists of the Blue Horseman in Berlin, exhibited in Vienna, in other cities, sometimes together with Kandinsky. As a conductor Schönberg performed with concerts in Berlin, Vienna, Amsterdam, London, St. Petersburg) and many other cities, but he had never had a permanent earnings (even the letter of Schönberg was preserved for the city of Malee, relating by 1910, asking about material assistance). During the First World War served in the Austrian army. Since 1925, on the initiative of L. Keszenberg, was invited to the post of professor at the Prussian Academy of Arts in Berlin, from where he was fired in 1933 with the arrival of Nazis to power. Emigrated to France.
In 1933, Schönberg passed in the synagogue in Paris the rite of return to Judaism. Soon Schönberg moved to the USA, where at first he lived in Boston (he taught at a private conservatory) and in New York. I read lectures in Chicago and in other cities. From 1934 he was a professor at the University of California. In 1940, Schönberg adopted American citizenship.
The early writings of Schönberg were written under the influence of V. R. Wagner, partly I. Brahms: Sextet "Enlightened Night" on R. Demel (1899), Symphony Poem "Pelleas and Melizanda" on M. Meterlinka (1902-1903), Cantata "Songs Gourre "on the words I. Jacobsen (1900-11), the first string quartet (1905). The features of expressionism appear in Chamber Symphony (1906), the second string quartet (1907-1908), 15 songs on the verses of S. George (1908-1909), in the Monodrame "Waiting" according to M. Pappenheim (1909), opera "Happy Hand »On your own libretto (1913).
The turn in the work of Schönberg was the cycle of Moon Pierro's melodiclamations on the poems of the Belgian poet A. Zhiro (1912) for a female voice and the instrumental ensemble, in which the so-called voice melody (speech singing) was first applied and which was a complete model of expressionist musical art. In this work, the composer was looking for new principles of musical design.
Schönberg was the creator of a new 12-stage composition of the composition called Schönberg "Dodecafon", the essence of which is that the chromatic series used by the composer - "series" (or parts "series") - equal units, unlike the classical system with Its main (resistant) and subordinate stages of the gamma. As a result, ladhotonality (in particular, Major and Minor) and the lade links between the sounds are disappeared, the concepts of consonating and dissonating chords and other suites are erased. Music, studied with dodecafon technology, is atonal. The first essay of Schönberg, built entirely on the principles of Dodecafonia, - Suite for Piano (1921-23).
Schönberg served as one of the prototypes of the composer Adrian Leverman in the Roman T. Manna "Dr. Faustus", on behalf of which the author outlined the theory of Dodecafonia in detail. There was a controversy about the use of his theory (Schönberg belongs to the words: "The future will show who was a contemporary who!"). At the request of Schönberg, all the editions of the Roman were accompanied by an explanation of T. Mann: "In general, many of their details the theoretical sections of this book are obliged to the teachings of Schönberg about harmony."
Schönberg was convinced that the creation of a dodecphone system of the composition is not the result of an arbitrary act, but the historically determined and necessary stage in the development of musical art, but did not consider its universal system.
Schonberg and his teachings were subjected to fierce attacks, including with political positions. The Nazis declared the art of Schönberg and his followers "degenerate" and banned him. (Nazi critic wrote: "Schönberg uses the old, well-known Jewish tactics, having a goal of destroying the cultural basics of the nation, in which they [Jews] leaked, and the approval of their Jewish - cultural values.")
Texts, plots, Bible Images and other traditional and modern Jewish topics were the most important component of Schönberg's creativity. The topic of relationships with God and with his people, he was already in the early work - "Symphony of Psalms" (1912-14, not completed). Regarding the Orator of the "Staircase of Jacob" (1917-22, not finished) Schönberg wrote: "A modern person, passing through materialism, socialism and anarchy, ... Despite his atheism, still retains some crumbs of old faith. He fights God ... And finally, finds God, and becomes religious. Learn to pray! .. "Schönberg composed not only music, but also the text of the oratorio. In May 1930, Schönberg began working on the opera "Moses and Aaron", which was never completed. Libretto to Opera wrote the composer himself, even choreography in the "Dance around the Golden Taurus" scene came up with himself. The role of Moses is performed by the readers in the manner of speech singing, the Aaron's party is charged with a singer (tenor). Moses, therefore, is opposed to brother as a rational beginning (thought) irrational. In the creation of intense drama, the choir and orchestra play a large role (its triple composition is supplemented with an ensemble on stage). Opera "Moses and Aaron" is one of the most significant creative achievements of Schönberg.
Your call to "learn to pray!" Schönberg embodied in Nidra for Readers, Choir and Orchestra (1938; The basis of the work - the melody of Nidre, adopted in Ashkenaz / see Ashkenazi / communities); The work was first performed in Los Angeles.
In 1941, Schönberg received the news of the death of his brother left in Austria, and in 1942, "Oda Napoleon" was written to the words J. Byron, in which the dysfunction of evil, violence, the killings of innocent people cause explicit associations with disasters and events of the Second World War; Pamflet Bairon, written in 1814, sounds in this interpretation as an actual anti-drug product.
The text of Cantata "Iceed from Warsaw" (1947; for the reader, choir and orchestra), written by the composer himself, reproduces the story of one of the few who saved the participants of Warsaw (see Warsaw) Ghetto. In the fabric of the works woven the words of Shma. The work is extremely concise - only six and a half minutes; Expressionist techniques of musical speech are pointed in it to the limit. Other works of Schönberg on a Jewish theme - "Modern Psalm" (not completed), "From the depths" (1950; on Psalm 130 for the choir), the choir "three times a thousand years old" (1950; for the words D. Rinesa), etc. .
Over the years (1926-51), Schönberg wrote a drama "Bible Way" on the return of Jews to the historical homeland and the future of the revived Jewish state. Schönberg was not alien to Zionist (see Zionism) goals. In 1923 he wrote: "I was forced to understand and remember forever that I was not German, not European, and I am a Jew." He showed interest, in particular, to the concept of V. Zhabotinsky and his works. Published the article by the Zionist orientation: "Israelites and Jews" (1923), "about Zionism" (1924), "Jewish question" (1933), "Notes on politics towards Jews" (1933), "Jewry program from four Paragraphs "(beginning of the 1940s.) And others. Schönberg welcomed the birth of the state of Israel and promoted the creation of a training center in Jerusalem, with whom, by his plan, the largest musical Jewish musical figures were to cooperate.
Schönberg - the founder and the head of the so-called new Vienna school, which arose as the creative Commonwealth of the composer and his students - A. Berg and A. Webern; The school determined the ways of development of modern musical art. Schönberg was one of the largest musical teachers of the 20th century, among his students, in addition to Berg and Weberna, - E. Velles (1885-1974), H. Eisler (1898-1962), R. Komin (1896-1978), R. Serkin and others. Many largest composers are 20 in. - B. Barkok, I. Stravinsky, S. Prokofiev, D. Shostakovich, P. Hindemite - experienced the impact of music and the teachings of Schönberg and applied the Dodecafon technique of the composition.
Among the theoretical works of Schönberg - "The Doctrine of Harmony" (1911), "allowance for beginner composers" (1943), "Style and idea" (1950), "structural functions of harmony" (1954), "Fundamentals of the composition" (1967) and Others. His library and manuscripts Schönberg bequeathed the Jewish National and University Library in Jerusalem. Shugely before the death of Schönberg, the Israeli Academy of Music elected him to his honorary president.
Austria
Arnold Franz Walter Schonberg (it. ARNOLD FRANZ WALTER SCHOENBERG Initially Schönberg.; September 13 - July 13) - Austrian and American composer, teacher, musicologist, conductor. The largest representative Music expressionism, the founder of the new Viennese school, the author of such technicians as a dodecafony (12-tone) and serial technique.
Biography
The same traditions he developed in Pelleas and Melizanda poem (1902-1903), Cantate "Gourre's songs" (1900-1911), "First String Quartet" (). Schönberg's name begins to win fame. He admit such prominent musicians as Gustav Malener and Richard Strauss. From 1904, he begins to private teaching harmony, counterpoint and composition. The next important stage in Schönberg's music was his "First Chamber Symphony" (1906).
In the early 20s, it invents the new "composition of the composition with 12 tones with each other", well known as "Dodecafonia", first trying him in his "Serenade". 24 (1920-1923). This method was the most influential for the European and American classical music of the 20th century.
One of the most significant achievements of Schönberg was his unfinished opera on the biblical plot "Moses and Aaron", started in the early 1930s. All the music of the opera is built on one 12-time series. Main Moses Party is performed by the reader in the manner of Sprechgesang, the role of Aaron is charged with a tenor.
Schönberg's grave at the Central Cemetery of Vienna
Throughout the life, Schönberg led an active pedagogical activity and brought up a whole poprayard of composers. The most outstanding of them Anton Webern, Alban Berg, Ernst Kchenek, Hans Eisler, Roberto Gerhard. Schönberg created and headed the whole composer school famous called "New Viennese School". Hauer his early works wrote under the influence of Shenberg's atonal music. In the city, already in California, his private student becomes John Cage. In parallel with teaching, writing music, the organization of concerts and the performance in them as Cerizer Schönberg was also the author of many books, textbooks, theoretical studies and articles. Among other things, he wrote pictures that were distinguished by the originality and fervent fantasy.
In honor of Schönberg, a crater on Mercury was named.
Works
- 2 Gesänge (2 songs) for Bariton and Piano, Op. 1 (1897-1898)
- 4 Lieder (4 songs) for voice and piano, op. 2 (1899)
- 6 Lieder (6 songs) for voice and piano, op. 3 (1899/1903)
- "VERKLÄRTE NACHT" ("Enlightened Night"), Op. 4 (1899)
- "Gourre's songs" for soloists, choir and orchestra (1900, orchestration 1911)
- Pelleas und Melisande, (Pelleas and Melisanda) Op. 5 (1902/03)
- 8 Lieder (8 songs) for soprano and piano, op. 6 (1903/05)
- First String Quartet, D Minor, Op. 7 (1904/05)
- 6 Lieder (6 songs) with ORCHESTRA, OP. 8 (1903/05)
- Kammersymymphonie No. 1 (first chamber symphony), Op. 9 (1906)
- Second string quartet, Fa-Dieze Minor (with soprano), Op. 10 (1907/08)
- 3 stücke (3 pieces) for piano, op. 11 (1909)
- 2 Balladen (2 ballads) for voice and piano, op. 12 (1906)
- "Friede Auf Erden" ("World on Earth"), Op. 13 (1907)
- 2 Lieder (2 songs) for voice and piano, op. 14 (1907/08)
- 15 Gedichte Aus Das Buch Der Hängenden Gärten
- Fünf Orchesterstücke (5 plays for orchestra), op. 16 (1909)
- "Erwartung" ("Waiting") Monodram for Soprano and Orchestra, Op. 17 (1909)
- "Die Glückliche Hand" ("Happy Hand")
- Three small plays for chamber orchestra (1910)
- Sechs Kleine Klavierstücke (6 small plays) for piano, op. 19 (1911)
- Herzgewächse ("Heart Savages") for Soprano and Ensemble, Op. 20 (1911)
- "Pierrot Lunaire", ("Lunar Piero") 21 melodrama
- 4 Lieder (4 songs) for voice and orchestra, op. 22 (1913/16)
- 5 STÜCKE (5 pieces) for piano, op. 23 (1920/23)
- Serenade (Serenade) for ensemble and baritone, op. 24 (1920/23)
- Suite for Piano, Op. 25 (1921/23)
- Spirit Quintet, Op. 26 (1924)
- 4 stücke (4 pieces) for mixed choir, op. 27 (1925)
- 3 Satiren (3 satires) for mixed choir, op. 28 (1925/26)
- Suite, Op. 29 (1925)
- Third string quartet, op. 30 (1927)
- Variations for Orchestra, Op. 31 (1926/28)
- "VON HEUTE AUF MORGEN" ("From today for tomorrow")
- 2 Stücke (2 pieces) for piano, op. 33A (1928) & 33b (1931)
- BEGLEITMUSIK ZU EINER LICHTSPIELSZENE
- 6 Stücke (6 pieces) for male choir, op. 35 (1930)
- A typical concert, op. 36 (1934/36)
- Fourth string quartet, op. 37 (1936)
- Kammersymymphonie No. 2 (second chamber symphony), OP. 38 (1906/39)
- "KOL NIDRE" ("All Vows") for the choir and orchestra, op. 39 (1938)
- Variations to "Recatative" for the organ, Op. 40 (1941)
- Ode to Napoleon Buonaparte (Ot Napoleon)
- Piano concert, op. 42 (1942)
- Theme and Variations for the Brass Orchestra, Op. 43A (1943)
- Theme and Variations for the Symphony Orchestra, Op. 43b (1943)
- Prelude to "Genesis" for the choir and orchestra, op. 44 (1945)
- Strong trio, op. 45 (1946)
- A Survivor from Warsaw, ("Surger from Warsaw"), Op. 46 (1947)
- Fantasy for violin with piano, op. 47 (1949)
- 3 Songs (3 songs) for low Voice And Piano op. 48 (1933-1943)
- 3 Folksongs (3 choirs - German folk songs), Op. 49 (1948)
- "Dreimal Tausend Jahre" ("Three times a thousand years") for mixed choir, Op. 50A (1949)
- PSALM 130 "De profundis" ("from depth") for mixed choir, op. 50b (1949-1950)
- "Modern Psalm" ("Modern Psalm")
- "MOSES UND ARON" ("Moses and Aaron") Opera in three actions (1930-1950, illegally)
Music studies
- Schönberg A. Style and Thought. Articles and materials / Sost., Per., Comment. N. O. Vlasova and O. V. Loseva. M., 2006. ISBN 5-85285-838-2
- Schoenberg, Arnold. Structural Functions of Harmony. (Translation of Leonard Shtyina) New York, London: W. W. Norton and Company. 1954, 1969 (revised). ISBN 0-393-00478-3.
- Schoenberg, Arnold (Translated by Roy E. Carter). Harmonielehre Translated Title Theory of Harmony.). Berkeley, Los Angeles: University of California Press. Originally Published 1911. Translation Based on Third Ed. Of 1922, Published 1978. ISBN 0-520-04945-4.
- Schoenberg, Arnold (Edited by Leonard Stein). Style and Idea.. London: London, Faber & Faber. ISBN 0-520-05294-3. Some Translations by Leo Black; This is an Expanded Edition of the 1950 Philosophical Library (New York) publication edited by Dika Newlin. THE VOLUME CARRIES THE NOTE Several of the Essays ... Were Originally Written in German In Both Editions.
- Schoenberg, Arnold (Edited by Gerald Strang and Leonard Stein). Fundamentals of Musical Composition. Belmont Music Publishers.
- Schoenberg, Arnold. Die Grundlagen Der Musikalischen Komposition. Universal Edition
- Schoenberg, Arnold. PRELIMINARY EXERCISES IN COUNTERPOINT. Los Angeles: Belmont Music Publishers 2003
see also
Literature
- Sollertinsky I. I. Arnold Schönberg. L., 1934.
- Vlasova N. O. Creativity Arnold Schonberg. M., 2007. ISBN 978-5-382-00367-2.
- Ryzhzhsky A. S. Choir's Creativity Arnold Schonberg. M., 2010. ISBN 978-5-9973-0966-4.
- Vitol I., the doctrine of harmony ("Harmonielehre") Arnold Schönberg, "Music Contemporary", 1915, No. 2.
- Roslaists N., "Lunar Piero" Arnold Schönberg, "To the New Berengas", 1923, No. 3.
- Karatygin V., Arnold Shenberg, "Speech", 1912, No. 339, the same, in Sat.: V. G. Kratygin. Life, activities, articles and materials, t. 1, L., 1927.
- Igor Glebov [Asafiev B.V.], A. Schendberg and his "Gurre-Lieder", [Annex to the Symphony Program. Concert 7 XII 1927], L., 1927, the same, in Sat .: Asafiev B.V., Critical articles, essays and reviews. From the heritage of the end of the tenths - the early thirties, L., 1967.
- Schneerson, about music alive and dead, M., 1960, 1964.
- Schneerson, about Schönberg letters, at Sat.: Music and Modernity, Issue. 4, M., 1966.
- Halopov Yu., About three foreign systems of harmony, in Sat.: Music and modernity, vol. 4, M., 1966.
- Denisov E., Dodecafonia and the problems of modern composer equipment, in Sat.: Music and modernity, vol. 6, M., 1969.
- Pavlishin C, creativity A. Shönberg, 1899-1908, in Sat.: Music and modernity, vol. 6, M., 1969.
- Pavlishin C, "Miskane P'ero" A. Shenberg, K., 1972 (on Ukr. Yaz.).
- Laul R., about the creative method of A. Schonberg, in Sat.: Questions of theory and aesthetics of music, vol. 9, L., 1969.
- Laul R., crisis features in melodic thinking by A. Schönberg, in Sat.: The crisis of bourgeois culture and music, M., 1972.
- Kremlin Yu., Essays of creativity and aesthetics of the New Vienna School, L., 1970.
- Elix M., Sprechgesang in Moon Piero A. Schendberg, in Sat.: Music and Modernity, Vol. 7, M., 1971.
- Druskin M., Austrian expressionism, in its KN: On Western European Music of the 20th century, M., 1973.
- Shakhnazarov N., about the aesthetic views of Schönberg, in Sat.: The crisis of bourgeois culture and music, vol. 2, M., 1973.
- Shakhnazarov N., Arnold Schönberg - "Style and Idea", in the book: Problems of musical aesthetics, M., 1974.
- Auner, Joseph. A Schoenberg Reader. Yale University Press. 1993. ISBN 0-300-09540-6.
- Brand, Julianne; Hailey, christopher; and harris, donald, editors. The Berg-Schoenberg Correspondence: Selected Letters. New York, London: W. W. Norton and Company. 1987. ISBN 0-393-01919-5.
- Shawn, allen. ARNOLD SCHOENBERG'S JOURNEY. New York: Farrar Straus and Giroux. 2002. ISBN 0-374-10590-1.
- Stefan, Paul. ARNOLD SCHÖNBERG. Wandlung - Legende - Erscheinung - Bedeutung. - WIEN / BERLIN / LEIPZIG: Zeitkunst-Verlag; BERLIN / WIEN / LEIPZIG: ZSOLNAY, 1924.
- THE ORIGIN OF MUSIC - BOB FINK. Reviews; ISBN 0-912424-06-0. One or More Chapters Deal with Modern Music, Atonality and Schoenberg.
- Weiss, Adolph (March-April 1932). "The Lyceum of Schonberg", Modern Music 9/3, 99-107
Notes
Links
- IMSLP - International Music Score Library Project's Schoenberg Page.
- A Century of New Music In Vienna, With Many Photos, Maps, And Links to Audio Files
- Recording Phantasy, Op. 47 - Helen Kim, Violin; ADAM BOWES, PIANO LUNA NOVA NEW MUSIC ENSEMBLE
- Recording Chamber Symphony, Op. 9 (1906) Webern Transcription (1922-23) LUNA NOVA NEW MUSIC ENSEMBLE
| Blue rider | ||
|---|---|---|
| Founders | Vasily Kandinsky | Franz Mark | |
| Participants | Marianna Verekina | Gabriel Munter | Paul Clee | Moses Kogan | Alexey Shvsky | August Mac | Alfred Cuban | David Burliuk | Vladimir Burluk | Lionel Feyninger | Arnold Schönberg | Robert Delone | Heinrich Kampendonk | |
Categories:
- Personalia alphabetic
- Musicians alphabetically
- Born on September 13
- Born in 1874
- Born in Vienna
- Dead 13 July
- Dead in 1951
- Dead in Los Angeles
- Composers by alphabetic
- Composers of Austria
- Composers USA
- Blue rider
- Opera composers
- Expressionism
- Composers of the XX century
- Music theorists
- Treked Christianity Judea
- Back to the observance of the commandments of Torah
- Buried in the central cemetery of veins
Wikimedia Foundation. 2010.
Arnold Schönberg
Astrological sign: Virgo
Nationality: Austrian / Later Citizen USA
Music Style: Modernism
Signal work: "Five places for the orchestra"
Where could you hear this music: Is that in the concert hall
Wise words: "My music is not quite in the style of modern, just do it badly performed."
In the history of music, there are few people who collapsed with such a merciless criticism as on Arnold Schönberg. Of course, there will always be a critic, calling Beethoven "repulsive", and Mozart "Vulgar", but the maliciousness of Schönberg haters is nothing comparable.
Critics from leather Won climbed to describe his music metaphorically. The fruits of their efforts looked like this: "delusional and incoherent fantasies", "Sweetheart of squint demons", "feeding animals in a zoo", "bloody self-catering", "Cat, walking on the keyboard" and "Lecture about the fourth dimension, read in Chinese" . And the impact of Schönberg's music on the audience was liked "the messenger of the victim's flesh on small pieces ... a sharp knife, who was grown out."
And how did Shenberg deserve such hatred? He just wanted to lay the foundations of new Western music. What a height!
Your sextet is our "no!"
The Schönberg family held a shoe shop in the Jewish quarter of Vienna, pleaseing very modest income. The father of the composer, Samuel, filled in the shop while his wife Paulina, a music teacher, shared his knowledge with the son of Arnold. The boy studied so quickly that he soon knew more mother and later compiled musical wisdom independently. About various composite forms, he recognized from the encyclopedia ordered by mail; That is, he was able to compose Sonata only after he received Tom with the letter "C".
Samuel died when Arnold was fifteen years old, and the teenager had to quit school and start working. Having hurried to the bank Clerk, he hated this work with all his soul. He did not throw music; On the contrary, in 1893, having acquainted with the young composer Alexander von Tseminsky, he began to take Him from Himonia's lessons and counterpoint - did not receive other musical education. Then the bank in which he worked, went bankrupt. Schönberg settled the head of the Choir of Metal Workers in a small town, located twenty kilometers from Vienna. He was happy, although he often walked on foot, as a train ticket was not affordable.
His own essays in demand did not use. In 1899, he wrote a string sextete "Enlightened Night" and presented this work to the Viennese musical society. First of all, Matrah did not like the Wagner's emotionality of the selection. "Such an impression as if by the score of the" Tristan and Isoldus "was drunk with her fingers while she was still raw!" One of the judges spoke. Finally, the sextet rejected for the reason that it was contained chord, not recorded in the textbooks on the composition.
Schönberg did not give up. He again upset his family, while moving in 1898 from Judaism to Protestantism. With Alexander Background, Ceminsky Schönberg became close to even closer, after in 1901 he married his sister Matilde. In the same year, the spouses were born a daughter, and in the 1906th son.
I will have my own rules!
Schönberg, meanwhile, raised friends among artists and became interested in the idea of \u200b\u200bself-expression in painting. Considering that it is impossible to learn everything yourself, he began to take painting lessons from the young artist Richard Gershtle. Gershtl ratified for expressive psychologism in art, and under his guardianship Schönberg became unless brilliant, then a very skilled artist.
Matilda also became interested in painting, - and soon she and Hershtl began a stormy novel. In 1908, Matilda escaped with her lover. The composer poured his grief in music by writing a song cycle using dissonant consonance, wanting to block the disorder in his own soul. After a few months, Matilda returned to her husband and children, and the short time after Herschtl committed suicide. The happening shocked Schönberg; In addition, the second string quartet of the composer did not find an understanding of the public, - and Schönberg fell into a deep depression.
In the First World War, the composer was twice called in the army and both swarms of medical testimony. War, oddly enough, contributed to the formation of the musical philosophy of Schönberg. He came to the conviction that Classical Music - and especially German classical music - XPRs to such an extent that it can now be compared only with the victim of the "destructive heightened". Chords and harmonies were too "feminine", "boiled", turning into "hermaphrodites" and, worse in "Vodlytin". (As a completely innocent reduced septakord can be a hermaphrodite, remains a mystery to everyone, except for the most devoted fans of Schönberg.) The only way out is to deny decadent harmonies and reveal the arms of disharmony, attack and antiharmonia. The war provided Schonberg the opportunity once and for all to end with the kine French and their harmonic music. "Now we turn these small charlatans into slavery and teach them to revere in front of the German spirit and honor the German God," Schönberg thundered.
But one thing is the theory, other - practice: with creativity problems arose. Schönberg conceived large-scale works, but he could not bring them until completion. Throwing all the old rules that the musicians were guided by centuries, he only realized that the rules were a joke, in general, the necessary. And then Schönberg decided to invent his own set of rules. In 1923, he creates a "twelvethiton system", otherwise called "Dodecafonia". We will not go into the details of this system, they are too complicated, but in fact everything comes down to two main points. Firstly, twelvethiton music comes from a 12-tone skewness, and not from the 7th-tone on which Western music was based, starting with the "Toccati and Fugu Re Minor" Bach and ending with a song "Happy Birthday you". Secondly, in each product, these twelve tones are combined into a tone chain (not in the melody as such, but rather in a certain set of corrected tones between themselves) - it becomes the basis of the work. In the future, the rules are steadily complicated, and the composer already operates with such concepts as "the interpretation of a linear set", "isomorphic dismemberment" and "hexaded invertive combinatoriality". Be that as it may, Schönberg invented a new composite method, which asked the structure of its most ambitious work. He was delighted.
And listeners? Not to say very. The consonance, generated by the twelvethiton system, unpleasantly cut ear, and the public lacked patience (and often and desires) to delve into the composer's intent. A certain insightful critic noted that many works of Schönberg "on paper - twelvethiton logic triumph, as well as a thoroughly verified mathematical construction. But mathematics - not yet music, and not-dodecafonist such works seem to be unusable disgrace. "
And I do not need your religion too
Gradually, Schönberg was disappointed in Protestantism, although formally remained Lutheran. Religion did not prevent the German and Austrian authorities to pursue him as a Jew. Already in 1921 he was thrown from the Alpine Resort, where the Jews did not speak. Schönberg could remain, presenting a certificate of baptism in the Christian church, but the composer found such evidence below his dignity. This case was only an ominous omen of the upcoming inconsistencies.
In 1923, Matilda died after a short sickness. Schönberg wrapped around her, according to her unchanging goodness, but this did not prevent him from less than a year later to fall in love and marry Gertrude Cola, the beauty, which was twice as younger. They had three children. In the same period, Schönberg achieved some professional confessions - he was invited to the Prussian Academy of Arts in Berlin to the position of professor of the composition.
In 1933, the President of the Academy announced the firm intention of Hitler "to end with the dominance of Jews in Western music." Ground Schönberg left the room with a cry: "I heard you, and I don't need to repeat twice!" Two months later, he moved to Paris with his family. The feeling of Jewish solidarity in it was only strengthened, and Schönberg officially returned to the faith of ancestors.
Soon, Jewish refugees flooded Paris, and Schönberg found that he shines little with his profession in France. He accepted the proposal to teach at the Malkin conservatory in Boston and in October 1933 left in the United States, reinforcing his name speaking a little: Schoenberg turned out instead of Schonberg instead of Schonberg. He was sixty years old.
California - the place where you need to live
Malkina's conservatory disappointed composer, but in 1935 Schönberg was invited to lecture at the University of Southern California, and he moved to Hollywood with his family, where his children grew up true Americans. Working at the University of Southern California, and then at the University of California in Los Angeles, Schönberg began playing tennis and became a passionate fan of the student football team. Students adored this incomplete German, who became in every student to see the giftedness, regardless of whether he accepts his twelve-tonic system or not.
Critics likened the music of Schönberg "Lectures on the fourth dimension, read in Chinese" and "Sweetoplask of the squint demons".
With teaching, it was necessary to part in connection with the university policy that required a mandatory retirement, although specially for Schönberg retirement age increased from sixty-five years to seventy. Because the pension ranked on the working experience, Schönberg received only $ 38 per month. To keep the wife and three young children to such money is difficult, and Schönberg started private students, but he was hard to study at home with difficulty, the health of the composer worsened. In August 1946, he experienced a heart attack, condemned him for permanent physical weakness and ailments. Schönberg died on July 13, 1951.
To date, Schönberg is perhaps the most famous composer of them those whom no one ever heard. Although Schonberg probably had the greatest impact on the music of the twentieth century, his own works were rarely performed. However, his dedication to his ideas and personal courage - not to mention the hardness of the spirit, with which he met the ulcerative reviews for his writings, "they talk about him as an artist, who did not risk a risk and, contrary to the former authorities, smash the musical world to the ground.
This number will not pass? How else will pass!
Schönberg suffered a severe form of trianiyhekafobia - fear of numbers 13. It was so frightened this figure that he refused the 13th tact in his writings, replacing it on 12a, and claimed that he was going to get to the thirteenth page of the new manuscript, as everything starts to go Awerry. His unfinished opera Moses und Aron ("Moses and Aron") was originally called MOSES und Aaron, but he changed writing the name of the second character, and you already probably guessed why - because the number of letters was 13.
Schönberg was waiting for his 76th anniversary (7 + 6 \u003d 13), especially Friday on July 13th. He was depressed because of poor well-being and that day decided to stay in bed. At night, Schönberg woke up, raised, asked what time it was. "Frequently twelve," answered him. Having learned that a terrible day is about the blowjob, Schönberg with clear relief was again lay, closed his eyes - and died. On the clock was at night without thirteen minutes.
DIRTY JOB…
When Schönberg was called to the army in the First World War, he tried to hold on the shadows, hoping that the surrounding did not recognize the composer in it. Nevertheless, a certain army officer asked him once, whether he was not the "scandalous composer" who made so much noise.
Well, someone had to be, - Schönberg replied, - and no one wanted, so I took this job.
They just hate me!
Schönberg's attempt to take up visual arts ended in the same way as his musical undertakings. In the reviews at the 1910 exhibition, one of the critics wrote: "Schönberg's music and Schönberg paintings deprive you of hearing and vision with one blow."
Herr Schonberg - American
It was worth Schönberg to be at the University of Southern California, as his tastes in clothes changed dramatically: refusing the appearance of the "solid German professor", he preferred to dress on a more American way. However, it is difficult to judge how well he understood how to fit into the surrounding reality. His former student described the appearance of Schönberg in the audience: "... in a peach shirt, a green tie into white polka dot, on the pants woven belt of the wilderly purple shade with a huge, blinding eye with a golden buckle, and an incredibly catchy costume - gray in fine black and brown stripes" .
From the book Arnold: Biography of the author Lends From the book 100 great athletes Author Shugar Bert RandolphArnold Palmer (born in 1929) Television, this magic lamp, which in the 50s has moved miracles to the country more people than could even dream of Ginn, a friend of Aladdin, drew his attention to sports in 1960. In that year, TV "discovered" for himself
From the book Arnold. of the author LendsChapter 17: Arnold, Bridget, Maria and Stallone Returning to Los Angeles, Arnold began shooting "Commandos" - an adventure militant, close to style and content to the film Sylvester Stallone "Rambo: First Blood, Part II", having a phenomenal success. Arnold
From the book Memories of Maximilian Voloshin Author Voloshin Maximilian AlexandrovichFyodor Arnold his own and someone else's at the first year of the university met with the lovers of Mikhail Lavrov, a student-philologist, the son of the publisher of Russian thought, and with a colleague legal Faculty - Michelle Freedomy76. Mikhail Lavrov, whom comrades
From the book notes of the artist Author Mester Evgeny YakovlevichFyodor Arnold Fedor Karlovich Arnold (1877-1954) - a jury attorney, after the revolution, the legal advisers of his memories were transferred to the DMB professor V. M. Lavrov (Moscow). Text - by manuscript stored in DMV.
From the book Short meetings with great Author Fedosyuk Yuri AleksandrovichArnold Grigorievich Arnold In his time, it was the famous graders director, circus; Creator "Ballet on Ice"; In the past - a wonderful dancer; A man with a figure of Apollo, who spoke with a light Jewish accent, and a very kind person. We have a conversation on the racetrack .- on
From the book I give, I remember Author Mester Evgeny YakovlevichArnold Tsweig Arnold Tsweig After the war, this novelist settled in East Berlin in his time, was over the authorities as an anti-fascist and elected president of the Academy of Arts GDR. I do not remember, at whose invitation in March 1952, he arrived in Moscow. Me
From book 50 famous star couples by Scherbak MariaArnold Grigorievich Arnold In his time, it was the famous graders director, circus; Creator "Ballet on Ice"; In the past, a wonderful dancer; A man with a figure of Apollo, who spoke with a slight Jewish accent, and a very kind person. We have a conversation on the racetrack .- On which
From the book of history long and recent Author Arnold Vladimir IgorevichArnold Schwarzenegger and Maria Shriver Many regard the Family Union of the Screen Superman with a famous journalist, the niece of John Kennedy, marriage for the calculation. And it is not relatively, since loving Arnold has always given preference to luxurious kinodivs and
From the book 100 famous Americans Author Tabokin Dmitry VladimirovichVera Stepanovna Arnold (Zhitkov) Vera Stepanovna Arnold, Otzova Mother was Bolshevich and Bestuzhevka, in 1905 it was planted, but was released abroad (in Paris and Zurich) to be treated. Father studied in the gymnasium in Zurich, kept the cards of his campaigns, cut the tree; Kolmogorov, later
From the book 100 of the famous Jews Author Rudicheva Irina AnatolyevnaSchwarzenegger Arnold (born in 1947) Famous film actor, Austrian by origin, Hollywood superstar, producer, bodybuilder. US President's Advisor physical culture and sport (since 1992). The winner of the Golden Globe Prize for the role in the film "Stay
From the book trail to Chekhov Author Gromov Mikhail PetrovichSchönberg Arnold (born in 1874 - mind. In 1951) Austrian composer, a brilliant music theorist, conductor and teacher. Representative of musical expressionism, head of a new Vienna school. The founder of the Dodecafonia. Author opera, cantat, oral, vocal and
From the book further - noise. Listening to the twentieth century by the author Ross AlexMizinova (in the marriage of Shenberg) Lydia Stakhievna (1870-1937) Sami Sister Chekhov, Maria Pavlovna, "The Girl of Unusual Beauty. Real "Tsarevna Swan" from Russian fairy tales. Its ash curly hair, wonderful gray eyes under the "Sobolny" eyebrows, extraordinary
From the book Arnold and me. Life in the shadow of Austrian oak Author Autland Baker BarbaraShenberg, Debussy and Atonality, this happened in 1948 or 1949. The Brentwood Country Mart shopping center in the rich area of \u200b\u200bLos Angeles turned into a scene for a small scandal, which became the echo of the largest musical coup of the 20th century. Martha Feichtvanger, wife
From the book of the authorShenberg Schönberg was born in 1874. His father Samuel Schönberg came from the German-speaking Jewish community of Presburg, now it is Bratislava in Slovakia (initially the surname of the composer was written by Sch? Nberg, but in 1933, leaving Germany, he changed it on Schoenberg). In young age
From the book of the authorArnold writes a book. Deciding for himself, that the arrangement of his life will be the most painful revenge Arnold, I decided to become a real woman and for this purpose began to attend seminars on the expansion of consciousness. After these seminars, I began to handle
Arnold Schönberg
(1874-1951)
Meaning in the history of music:
The founder of Novovena School (Shenberg, Berg, Webern), most fully and consistently embodied in his work aesthetic principles musical expressionism. One of the composers whose creativity determined the path of the evolution of the music of the 20th century. Author "Dodecafonia", special technique of musical composition. Opened laws of the Dodecafinal composition acquired the importance of universal technology, which was used and used by many composers of the 20th century, regardless of their aesthetic addictions - this is Stravinsky, Blev, Britten, Nono, Dallapikola, Lyutoslav, Schnitke, and more. This is the meaning of Schönberg.
General Music Character:
Schönberg's musical language is extremely different concentration of musical "information", The emphasized avoidance of inertial moments, which cannot but limit its communicative opportunities. His music did not conquer universal recognition.
Main works:
Operas (4), of them
"Waiting" (1909)
"Moses and Aaron" (1930-1932, not finished)
Works for orchestra
symphonic poem "Pelleas and Melizanda" (1903)
2 Chamber Symphonies (1906), (1939)
Five pieces, op. 16 (1909)
Concerts (treble and piano)
Vocal-symphonic works
"Gourre's songs" for soloists, choir and orchestra (1900 - 1911)
oratorio "Staircase Jacob" (1917-1922, not finished)
"Survived from Warsaw" for the reader, husband. Choir and Orc. (1947)
Instrumental ensembles
"Enlightened Night", String Sextet (1899)
4 strings quartet
Spirit Quintet, OR. 26 (1924), etc.
Piano works
4 Cycles of Pieces (OR. 11, 19, 23, 33), Suite;
Works for choira. cappella
Camera-vocal works
"Lunar Piero" (1912)
"Oda Napoleon Bonaparte" (1942)
music and theoretical works
"The doctrine of harmony" (1911)
"Style and Idea" (Collection of Articles, 1950)
"Fundamentals of the musical composition" (1967).
Periodization of creativity:
In general, the evolution of Schumnberg's musical language is divided into three periods :
tonal(1897 - 1909),
atonal, or period of free attaance (1909 - 1923),
and dodecafon (1923 - 1951).
Education:
Right from Vienna. It was not possible to obtain a systematic general nor musical education. He was self-taught, except for the short-term lessons of counterpoint at the famous conductor and composer Alexander Tremlinsky, immediately appreciated the outstanding talent of a young musician.
A brief description of:
The first work, attracted extensive attention to the name of Schonberg as a composer, was string Sextet "Enlightened Night"OR. four (1899) The program for which was the poem of the German poet Richard Demel (the content of the poem, exactly reflected in the work of Schönberg, the following: Two people, a woman and man, go close to the cold lunar night; a woman is confessed in treason; a man forgives her and says the words of consolation; soul Both are merged in the pantheistic experience of the winter landscape). In the music language of the sect, romantic styles 2nd floor are synthesized. XIX century. It is distinguished by the perfection of the form, romantic spirituality combined with the psychological depth. In the works of Schönberg, directly following OR. 4, obviously look expressionist traitsThe musical tension increases sharply.
In the music fabric trace the desire to avoid the manifestations of inertia, general places, which leads to a significant compaction of the musical time, the extraordinary intensity of the expression. The desire of the composer to avoid a number of the qualities of the musical structure, which before as if by themselves they missed (from the clarity of metric pulsation to the road functionality), was associated with the new musical aesthetics - "Aesthetics of avoidance" .
By the 900s, the composer won quite high authority in Musical circles of Vienna and Berlin. The premieres of its works, let them accompanied, as a rule, scandals, had a certain part of the audience a noisy success. At this time began pedagogical activity Schönberg: He rallied a large group of inventive young composers looking for new ways to music. Among them is Alban Berg and Anton Webern.
Atonal period (1909 - 1923)
The frontier of the first two decades of the 20th century turned out to be swivel in the history of music. The essence of the fracture consisted in a significant weakening of the functional solutions of the classical wards, as a result of which the structure of Lada, previously relatively independent of style and a particular design, now in each individual work it became the same individualized as the thematic complex.
In the evolution of the sound organization of music to decentralization there are two different ways;
through the preservation of the tonal definiteness and the diatonic basis (Stravinsky, Prokofiev and Bark, later Ongger, Hindemite, Shostakovich)
or through their denial in total chromatization (Schönberg, Webern and Berg).
The first atonial work In the work of Schönberg (and in the history of music in general) - Three Pieces for Piano, OR. 11 (1909) . Here as an independent complex is a sharply dissembly combination of sounds. gES.- f.- h.- g., Which in the Ladyomantic harmonic context could (if it could) act only as a figurative consonance. The continuous flow of intertwined and alternating with the kaleidoscopic speed of impulsive motifs, constantly varying the denimity and dynamic intensity of their layers, forms a form that does not fit into any standard framework. Music deployment is fully controlled by the requirements of "Aesthetics of avoidance", which leads to the final suppressing the inertial forces of the musical structure. Sharply increase
intonation and harmonic tension of sound tissue,
concentration of "music events" and the associated "information density" of the musical stream.
Music embodies the disturbing state of disturbing state.
In the melody you can see new quality - the predominance of declamination, recipitive intonations. You can see new in the very graphic appearance of Schonberg melodies: Now obvious large expressive jumps prevail (special challenges are characterized by tensely dissonant intervals of large septim and low non). And these are racing predominantly in different directions, which is why the graphic drawing of the melodies acquires the character of a broken curve with sharp drops.
The "6 small places for piano, ORs that emerged in 1911. 19 "- new, special genre of musical aphorism. They are the maximum matching "aesthetics of avoidance":
no returns to the already said,
music fabric is not only atonal, but also aemptic, that is, deprived of the last stability factor.
Its aesthetic meaning was in the desire to catch an individual, unique, genuine, eliminating the general, known, conditional. In the future, Schönberg, always with the scale of musical statements, never returned to a similar aphoristic form, but it became the main for Webpers.
Main vocal compositions of this period -
one-act Monodrama (Opera with one act) "Waiting" (1909), the embodiment in the music of the expressionist "drama scream".At night on the illuminated moon, the edge of the forest wanders dressed in white woman, in a painful alarm, she is looking for his beloved. Her anxiety increases with every second, she won wild, fantastic shadows. Her soul is owned by scoring horror. Finally, it stumbles about something lying on Earth: her legs lies the corpse of who she was looking for. Despair is replaced by an explosion of hatred for the one that belongs to her belly. There is a pale, foggy morning.
"Happy hand" (op. 18, 1913),
melodrama (vocal cycle) for voice and chamber ensemble "Lunar Piero" (OR. 21, 1912). The Vocal Party is withstanding in a special manner invented by SchönbergSprechgesang, i.e "Speech singing" - Receipt, semi-flammation. The "speech singing" manner follows from the cleatative nature of Schönberg melodics, always clearly discovering their proximity to the excited human speech.
The path to the twelvethiton technique. Dodecafon works of the 20s
Over the next ten years (1914-1923), Schönberg almost does not publish new works. In his work and in theoretical surveys, he leads active search for the foundations of a new music language.In 1923, Schönberg in the circle of his students reports on the result of his long reflection - the opening of a new, dodecafon (twelvethiton) method of composition. "Dodecafonia" is the common name of the composite technique that occurs from the ancient Greek words "Dodec" (twelve) and "background)" (sound). Another name is also applied - "serial technique". In the same year he finishes Five plays for piano, op. 23 (1920-1923) where first elements of the dodecafon writing are observed, and fifth play, waltz, is completely withstanding in this technique.
From the general code rules The so-called strict (orthodox) dodecafonia We give some defining.
The basis of the entire sound structure of the dodecafon work lies the series is an individual sequence of twelve different sounds, covering all the steps of chromatic sound. For her, characteristic:
None of the sounds should be repeated until the end of the series;
Chromatic gamma cannot be used in the usual sequence, moves on the sober
It is impossible to use the same intervals of more than two;
When re-conducting the series, it is allowed to replace small intervals of composite.
2. Working with the series resembles polyphonic development techniques. The main series (O) has three modifications:
a) Inversion (I), in which all the intervals of the main series are built in the opposite direction;
b) Rakokhod (R), in which the sounds of the main series pass in the reverse sequence - from the end to the beginning;
c) Inversion crash (R1), in which the sounds of inversion pass in the reverse order.
All three varieties of the series can be transformed on any interval.
3. The series is the basis of the melodic and harmonic tissue of the work, i.e. Any chord consists of the sounds of a series dismembered for segments of three or four sounds.
Between the works of the atonal and dodecapon periods, the hearing is not felt so an explicit border, both between the works of tonal and attractive: the stylistic jump here is wrong here, it's more likely to talk about changing technology letters.
The main content of his creativity during this period is not determined by the emotions of fear of a certain impending catastrophe. Emotional dominant, for example, Quintite for winds is rich in a nuanacked lyrics, completely free from the excrected music characteristic of expressionist music and reflecting the unknown decisions of the deep landscapes of the human soul. Based on dodecphone technique, Schönberg returned to a major instrumental form, the construction of which considered it impossible in the attractive period. The absolutely classic type of sampling form can be detected in the first parts of the Quentte for the brass and third quartet, while the finals of these works are properly built Rondo.
Years of emigration.
From November 1933, Schönberg is forever justified in California (USA). In Emigration, Schönberg had to spend most of the strength for teaching work. This circumstance, as well as the worsening state of health, adversely affected creativity. The composer failed to complete its fundamental works - the oratorio of the "Jacob staircase" and the opera "Moses and Aaron".
One of the main works of the Dodecafon period and the entire Creativity of Schönberg - opera "Moses and Aaron" , created in the early 1930s. He chooses a biblical topic, treating it in a moral and philosophical aspect. The main content of the opera is the conflict between the Prophet Moses and his brother Aaron, representing antagonistic principles - thought and image. The antithesis turns out to be a very tank and multi-faceted: the philosophical thought as a pure embodiment of the moral idea is opposed to the art - the generation of sensual perception of the world, thereby becoming a demonic beginning.
The opposite of the main actors is emphasized by the nature of their parties: the Moses Party differing in the harsh pathos is almost entirely founded on the Sprechgesang, while the Aaron's party (tenor) is underlined cantilene, for it flowery, even rampage revolutions are characterized. It is because of the external attractiveness that the art embodied in anomine singing turns out to be more acceptable for the crowd than the thought and truth. Therefore, Aaron manages to captivate the Jews to the fall, the highest point of which the famous dance around the Golden Taurus is at the end of the second act. With his Opera, Schönberg claims the point of thought, opposing it to the rag of dark, irrational forces.
In the works recent years Schönberg acts as an accusatory of fascist barbarism. In one of its most laconic, but also strongly affecting works - "I survived from Warsaw" for readers, choir and orchestra, op. 46 (1947), written in his own text, Schönberg reaches an amazing conviction in the transfer of horrors of Nazi atrocities, but also in the expression of mental persistence, hearing in the final unison prayer chanting of people being sent to the gas chamber.
