• Name: Arnold Schoenberg
• Birthday: 09/13/1874
• Birth Place: Austria
• Died: 07/13/1951
• Place of Death: Los Angeles, CA
• Period: Modern
• Genre: Classical

Title	Release
Works for Piano: For Two Hands WA	1999
Pierrot Lunaire	1962
(41) Gurrelieder, oratorio for 5 soloists, reciter, chorus & orchestra	1932
(36) Pelleas und Melisande, symphonic poem, Op. 5	1988
(36) Pieces (5) for orchestra, Op. 16	1987
(55) Pierrot lunaire, melodrama for voice & chamber ensemble, Op. 21 WA
(55) Verklärte Nacht, for string sextet, Op. 4
(8) Die Jacobsleiter (Jacob's Ladder), oratorio	1980
(10) Accompaniment to a Film-Scene (Begleitungsmusik zu einer Lichtspielszene), Op. 34	1976
(17) Erwartung, monodrama in 1 act, Op. 17	1989
(6) Herzgewächse, song for soprano, celesta, harp & harmonium, Op. 20 WA	1994
O dass der Sinnen doch so viele sind, canon for 4 parts	1986
Wenn der schwer Gedrückte klagt, canon for 4 parts	1986
(2) Von Heute auf Morgen, opera, Op. 32	1958
(15) A Survivor from Warsaw, for narrator, male chorus & orchestra, Op. 46 WA
Alliance Waltzer, for 2 violins	2006
(4) Am Strande, song for voice & piano	1988
(10) Ballads (2) for voice & piano, Op. 12	1988
(24) Brettl-Lieder (Cabaret Songs), for voice & piano
(2) Cello Concerto (orchestration of Matthias Georg Monn's "Concerto for cello & orchestra in G minor")	1998
(6) Cello Concerto (transcription of Matthias Georg Monn's "Concerto for keyboard & orchestra in D major") (also for cello & piano)	2000
(45) Chamber Symphony No. 1 in E major, Op. 9
(3) Chamber Symphony No. 1, for piano, 4 hands (Arr. from Chamber Symphony Op.9)	1997
(16) Chamber Symphony No. 2 in E flat minor, Op. 38	2000
(4) Chamber Symphony No. 2, for 2 pianos (Arr. from Chamber Symphony Op.38)	1997
(7) Concerto for string quartet & orchestra (after Handel's Concerto Grosso, Op.6/7)	2002
(9) De Profundis, for chorus, Op. 50b	2005
(2) Deinem Blick zu mich bequemen, song for voice & piano	1988
Die eiserne Brigade (La brigade de fer), march for piano quintet	1991
(7) Die glückliche Hand, 1-act drama, Op. 18	2000
(6) Dreimal tausend Jahre, for chorus, Op. 50a	2005
Ei du Lütte, partsong for male chorus	2006
(2) Ein Stelldichein, for oboe, clarinet, piano, violin & cello (fragment, completed by Cerha)	1995
(24) Fantasy for violin & piano, Op. 47
Folk Song Arrangements (4) for voice & piano	1993
(4) Folksongs (3) for chorus	1990
(5) Fragments of Piano Pieces WA	1994
Fugue, for 4 parts (fragment)	2006
Gavotte and Musette (in Olden Style), for strings	2006
Geburtstags-Marsch, for 2 violins & viola, U. 10 (fragment)	2006
(4) Gedenken ("Es steht sein Bild noch immer da"), song for voice & piano	1988
(7) German Folksongs (3) for chorus, Op. 49	1988
Gruss in die Ferne: Dunkelnd über den See, song for voice & piano	1988
I am almost sure, when your nurse will change your diapers, canon for 4 parts	1996
(4) Kol Nidre, for narrator, chorus & orchestra, Op. 39	2007
(5) Lied der Waldtaube, for mezzo-soprano & 17 instruments (arr. from "Gurrelieder")	2000
Little Pieces (3) for chamber orchestra (No.3 unfinished)
(46) Little Pieces (6) for piano, Op. 19
Man mag über Schönberg denken wie man will (One might think about Schoenberg any way one wants to), canon for 4 parts	1989
Mannenbangen: Du musst nicht meinen, song for voice & piano	1988
(2) Mein Herz das ist ein tiefer Schacht, song for voice & piano	1988
Mirror canon, for 4 parts (April 1933)	2006

Arnold Schoenberg remains one of the most controversial figures in the history of music. From the final years of the nineteenth century to the period following the World War II, Schoenberg produced music of great stylistic diversity, inspiring fanatical devotion from students, admiration from peers like Mahler, Strauss, and Busoni, riotous anger from conservative Viennese audiences, and unmitigated hatred from his many detractors.

Born in Vienna on 13 September 1874, into a family that was not particularly musical, Schoenberg was largely self-taught as a musician. An amateur cellist, he demonstrated from early age a particular aptitude for composition. He received rudimentary instruction in harmony and counterpoint from Oskar Adler and studied composition briefly with Alexander Zemlinsky, his eventual brother-in-law. Early in his career, Schoenberg took jobs orchestrating operettas, but most of his life was spent teaching, both privately and at various institutions, and composing. His moves between teaching jobs were as much a result of seeking respite from the bouts of ill health which hampered him as they were due to his being offered a position.

The composer's early works bear the unmistakable stamp of high German Romanticism, perhaps nowhere more evident than in his first important composition, Verklärte Nacht, Op. 4 (1899). With works like the Five Orchestral Pieces (1909) and the epochal Pierrot lunaire (1912), Schoenberg embarked upon one of the most influential phases of his career. Critics reviled this "atonal" (Schoenberg preferred "pantonal") music, whose structure does not include traditional tonality. Still, the high drama and novel expressive means of Schoenberg's music also inspired a faithful and active following. Most notable among Schoenberg's disciples were Alban Berg and Anton Webern, both of whom eventually attained stature equal to that of their famous mentor. These three composers -- the principal figures of the so-called Second Viennese School -- were the central force in the development of atonal and 12-tone music in the first half of the twentieth century and beyond.

Schoenberg's Suite for Piano (1921-1923) occupies a place of central importance in the composer's catalogue as his first completely 12-tone composition. Though the 12-tone technique represents only a single, and by no means predominant, aspect of the composer's style, it remains the single characteristic mostly 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. 4 (1936) and the Fantasy for Violin and Piano (1949) to orchestral works like the Violin Concerto (1935-1936) and the Piano Concerto (1942), to choral works like A Survivor from Warsaw (1947).

Schoenberg fled the poisonous political atmosphere of Europe in 1933 and spent the remainder of his life primarily in the United States, becoming a naturalized citizen in 1941. During this phase of his career, he at times returned to frank tonality, as in the Theme and Variations for band (1943), 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 twentieth 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, CA, on July 13, 1951. ~ All Music Guide, All Music Guide