Arnold Schoenberg or Schönberg was an Austrian and American composer, music theorist, teacher and writer. He was among the first modernists who transformed the practice of harmony in 20th-century classical music, and a central element of his music was its use of motives as a means of coherence. He propounded concepts like developing variation, the emancipation of the dissonance, and the "unity of musical space".
Dreimal sieben Gedichte aus Albert Girauds "Pierrot lunaire", commonly known simply as Pierrot lunaire, Op. 21, is a melodrama by Arnold Schoenberg. It is a setting of 21 selected poems from Albert Giraud's cycle of the same name as translated into German by Otto Erich Hartleben. The work is written for reciter who delivers the poems in the Sprechstimme style accompanied by a small instrumental ensemble. Schoenberg had previously used a combination of spoken text with instrumental accompaniment, called "melodrama", in the summer-wind narrative of the Gurre-Lieder, which was a fashionable musical style popular at the end of the nineteenth century. Though the music is atonal, it does not employ Schoenberg's twelve-tone technique, which he did not use until 1921.
20th-century classical music is art music that was written between the years 1901 and 2000, inclusive. Musical style diverged during the 20th century as it never had previously, so this century was without a dominant style. Modernism, impressionism, and post-romanticism can all be traced to the decades before the turn of the 20th century, but can be included because they evolved beyond the musical boundaries of the 19th-century styles that were part of the earlier common practice period. Neoclassicism and expressionism came mostly after 1900. Minimalism started later in the century and can be seen as a change from the modern to postmodern era, although some date postmodernism from as early as about 1930. Aleatory, atonality, serialism, musique concrète, and electronic music were all developed during the century. Jazz and ethnic folk music became important influences on many composers during this century.
Eberhard Sengpiel was a German sound engineer. He was also a musician in his own right and a lecturer at the Berlin University of the Arts, UdK-Berlin.
In music, modernism is an aesthetic stance underlying the period of change and development in musical language that occurred around the turn of the 20th century, a period of diverse reactions in challenging and reinterpreting older categories of music, innovations that led to new ways of organizing and approaching harmonic, melodic, sonic, and rhythmic aspects of music, and changes in aesthetic worldviews in close relation to the larger identifiable period of modernism in the arts of the time. The operative word most associated with it is "innovation". Its leading feature is a "linguistic plurality", which is to say that no musical language, or modernist style, ever assumed a dominant position.
Inherent within musical modernism is the conviction that music is not a static phenomenon defined by timeless truths and classical principles, but rather something which is intrinsically historical and developmental. While belief in musical progress or in the principle of innovation is not new or unique to modernism, such values are particularly important within modernist aesthetic stances.
Tibor Varga was a Hungarian violinist, conductor, and world renowned music teacher who developed pedagogic methods for teaching string music. He was a founding member of the string department in the Detmold music conservatory.
The University of Music and Performing Arts Vienna is an Austrian university established in 1817 located in Vienna. With a student body of over three thousand, it is the largest institution of its kind in Austria, and one of the largest in the world.
Felix Werder AM was a German-born Australian composer of classical and electronic music, and also a noted critic and educator. The son of a distinguished liturgical composer, he composed all his life. His published and recorded music includes symphonies, chamber music for all combinations, solo concerti, choral works and operas.
The Hochschule für Musik Detmold is a university-level music school situated in Detmold, Germany.
Helmut Kretschmar is a German classical tenor who spent most of his career performing in concerts and recitals with major orchestras and at important music festivals internationally. Although he focused his career mainly within the concert repertoire, Kretschmar did appear two times on the opera stage, notably singing in the world premiere of Arnold Schoenberg's Moses und Aron in 1954. Possessing a rich and warm lyric tenor voice, Kretschmar excelled in the concert repertoire of Johann Sebastian Bach, George Frideric Handel, Joseph Haydn, and Felix Mendelssohn. Also an admired interpreter of Lieder, Kretschmar performed and recorded a number of works by Franz Schubert, Robert Schumann, and Hugo Wolf.
Gerhard Steinke is a German sound engineer.
Genesis Suite is a 1945 work for narrator, chorus and orchestra. A musical interpretation of the first eleven chapters of the Book of Genesis, the suite was a collaborative work by seven composers, some of whom wrote film music in Hollywood. The project was conceived by Nathaniel Shilkret, a noted conductor and composer of music for recording, radio and film. Shilkret wrote one of the seven pieces and invited the remaining composers to submit contributions as work-for-hire. Arnold Schoenberg and Igor Stravinsky wrote, respectively, the first and last parts. The Biblical text used in the spoken word narrative is the American King James Version. It was intended to be a crossover from art music to popular music.
Marina Rosenfeld is an American composer, sound artist and visual artist based in New York City. Her work has been produced and presented by the Park Avenue Armory, Museum of Modern Art, Portikus (Frankfurt), Donaueschinger Musiktage, and such international surveys as documenta 14 and the Montreal, Liverpool, PERFORMA, and Whitney biennials, among many others. She has performed widely as an improvising turntablist, and served as co-chair of Music/Sound in the MFA program at the Milton Avery School of the Arts, Bard College, from 2007 to 2020. She has also taught at Harvard, Yale, Brooklyn College, and Dartmouth.
GENUIN is an independent classical music label and remote classical music recording studio based in Leipzig, Germany. The term “genuin” comes from Latin and stands for “innate, authentic, not counterfeit.”
The Chamber Symphony No. 1 in E major, Op. 9 is a composition by Austrian composer Arnold Schoenberg.
Thomas Edward Clark was an English conductor and music producer for the BBC. Through his positions in leading new music organizations and his wide-ranging contacts with British and European composers, he had a major impact on making contemporary classical music available to the British public for over 30 years. He was a leading figure in the BBC's Concerts of Contemporary Music between 1926 and 1939, and he played a significant role in the founding and early development of the BBC Symphony Orchestra. He held prominent positions in the International Society for Contemporary Music (ISCM) from its inception in 1922, and was its president from 1947 to 1952.
The Verband Deutscher Tonmeister e.V. (VDT) is a registered association for audio industry professionals. The VDT has evolved from the Deutsche Filmtonmeister-Vereinigung that was founded in Munich in 1950.
The WDR Rundfunkchor Köln is the choir of the German broadcaster Westdeutscher Rundfunk (WDR), based in Cologne. It was founded in 1947. The choir premiered works by contemporary composers including Arnold Schoenberg's unfinished opera Moses und Aron in 1954, Karlheinz Stockhausen's Momente, Luigi Nono's Il canto sospeso, Bernd Alois Zimmermann's Requiem für einen jungen Dichter and Penderecki's St Luke Passion.
Joanna Nickrenz was an American record producer. She won four Grammy Awards, and received nine Grammy nominations over the course of her career, including two wins and five nominations for Classical Producer of the Year.
The Begleitungsmusik zu einer Lichtspielscene, Op. 34 —also known in English as Accompaniment to a Film Scene, Accompaniment to a Cinematographic Scene, Accompaniment to a Cinematic Scene, and Music to Accompany a Cinema Scene—is an orchestral work by Arnold Schoenberg composed in late 1929 and early 1930.
