Tetley based this piece on music of the same name by composer Arnold Schoenberg.
Though it was published for only five years and in that time had only a small circulation, it had a remarkable impact on British musical and musicological life in the 1950s, and was instrumental in providing a home for the time's pro-Benjamin Britten and pro-Arnold Schoenberg writing, as well as launching the critical and editorial careers of Donald Mitchell and Hans Keller.
Examples may be found in Claude Debussy's "Prélude à l'après-midi d'un faune" (1894), Maurice Ravel's Daphnis and Chloë Suite No. 2 (1913), Richard Strauss's Elektra (1909), Arnold Schoenberg's Pierrot Lunaire, "Columbine" (1914), and William Schuman's Three Score Set for Piano (1944).
Arnold Schoenberg and his pupil Anton Webern proposed a theory on the emancipation of the dissonance to help analyse the general trend and, in particular, their own atonal music.
Graettinger's radical polystylistic soundworld, with its polyphonic density and bracing atonality, while drawing on ideas previously explored by the likes of Charles Ives, Igor Stravinsky, Aaron Copland and even Arnold Schoenberg, still remains truly distinctive.
Arnold Schwarzenegger | Arnold Schoenberg | Schoenberg | Benedict Arnold | Arnold Palmer | Arnold Bax | Matthew Arnold | Eddy Arnold | Hey Arnold! | Henry H. Arnold | David Arnold | Arnold Wesker | Thomas Arnold | Arnold Toynbee | Arnold Rothstein | Arnold Friberg | Arnold Dreyblatt | Arnold Bennett | Arnold Sommerfeld | Richard R. Arnold | Arnold Moss | Arnold Fanck | Arnold Böcklin | Arnold Arboretum | Arnold | Johnny Arnold | Frances Arnold | Arnold Zweig | Arnold Vosloo | Arnold Rüütel |
George Perle (1990) has argued that this amounts to "Tradition in 20th Century Music", the most significant element of which is the "shared premise of the harmonic equivalence of inversionally symmetrical pitch-class relations," among composers such as Edgard Varèse, Alban Berg, Béla Bartók, Arnold Schoenberg, Alexander Scriabin, Igor Stravinsky, Anton Webern, and himself.
It features the works - including world premieres - of five Jewish composers who were amongst the wave of intellectuals and artists who left Europe in the 1930s for the United States: Erich Wolfgang Korngold, Erich Zeisl, Ernst Toch, Arnold Schoenberg, and Mario Castelnuovo-Tedesco.
Founded by Fred Sherry, the Fred Sherry String Quartet was created to perform and record the four string quartets of Arnold Schoenberg.
Apart from his compositions, Cerha widely earned a reputation as an interpreter of the works of Alban Berg, Arnold Schoenberg and Anton Webern; his affinity for the works of the second Viennese school culminated in the completion of Alban Berg's opera Lulu by finishing the instrumentation of the 3rd act and filling the gaps in the score (premiered by Pierre Boulez in Paris, 1979).
These include his solo recordings of Charles Ives' Concord Sonata and sonatas of Joseph Haydn, vocal music with Jan DeGaetani and landmarks of the 20th century by composers such as Elliott Carter, George Crumb, Ralph Shapey and Arnold Schoenberg.
The myth was put into poetical form by the novelist and poet Jens Peter Jacobsen; a German translation of his poems forms the text of the huge cantata Gurrelieder by Arnold Schoenberg.
In 1950, Lange started to work with the Albuquerque Civic Symphony, less than two years after his predecessor Kurt Frederick had managed to bring the world premiere of Schoenbergs "A Survivor from Warsaw" to Albuquerque in November 1948.
The composition's title, German for "study of harmony," is found in the title of several music theory texts, including those written by Arnold Schoenberg (1911), Heinrich Schenker (1906), and Hugo Riemann (1893), with Adams explicitly referring to Schoenberg's.
Cyclic tonal progressions in the works of Romantic composers such as Gustav Mahler and Richard Wagner form a link with the cyclic pitch successions in the atonal music of Modernists such as Béla Bartók, Alexander Scriabin, Edgard Varèse, and the Second Viennese School (Arnold Schoenberg, Alban Berg, and Anton Webern).
She studied in the 1930s and early 1940s with such composers as Béla Bartók, Aaron Copland, and Arnold Schoenberg.
Albert Giraud's Pierrot lunaire (1884) marked a watershed in the moon-maddening of Pierrot, as did the song-cycle that Arnold Schoenberg derived from it (1912).
At sixteen, he was offered a scholarship to study with Arnold Schoenberg, but felt so repelled by his music and the Vienna School outlook that he refused the scholarship and went to study in France.
He is especially interested in twentieth century music, and, as accompanist, he initiated and let a series of lieder recitals, featuring music by such composers as Schoenberg, Pfitzner, Korngold, Rihm, Hindemith, Bridge, Holst, Rebecca Clarke, Crumb and Argento.
In the early 1920s the Viennese violinist Rudolf Kolisch began to study composition with Arnold Schoenberg, who also put Kolisch to work in the composer's "Society for Private Musical Performances" (Verein fuer musikalische Privatauffuehrungen).
The LaSalle Quartet was best known for its espousal of the Second Viennese School of Schoenberg, Berg and Webern, and of the European modernists who derived from that tradition, though they also performed standard classical and romantic literature.
Several American premieres have been presented on the LBO stage, including King Roger by Karol Szymanowski, Mozart’s, Schoenberg’s Die Jakobsleiter, Bernd Alois Zimmermann’s Turning, I Saw Great Injustice and John Cage’s Europeras 3&4 (issued in a commercial recording).
She made other appearances with the Santa Cecilia Orchestra in Bartók's Bluebeard's Castle, in Verdi's Requiem, and Rossini’s Petite messe solennelle; and with the RAI Orchestra in Peter Grimes and Britten's War Requiem, and Schönberg's Gurre-Lieder.
She was also the first to sing the French version of Hans Werner Henze's Elegy for Young Lovers in 1965, and Pierre Boulez chose Mesplé for his performances of Arnold Schoenberg's Jacob's Ladder.
Fejzo is the granddaughter of the Austrian composers Arnold Schoenberg and Eric Zeisl, and the sister of the attorney E. Randol Schoenberg.
Pollini is especially noted for his performances of Bach, Beethoven, Schubert, Chopin, Schumann, Brahms, Schoenberg, Webern and for championing modern composers such as Pierre Boulez, Luigi Nono, Karlheinz Stockhausen, Giacomo Manzoni, Salvatore Sciarrino and Bruno Maderna.
There he studied singing as well as composition with Bernhard Sekles and published his first work, a musical version of Albert Giraud's Pierrot Lunaire (independently from Arnold Schoenberg's work of the same year), in 1912-13.
Monotonality is a theoretical concept, principally deriving from the theoretical writings of Arnold Schoenberg and Heinrich Schenker, that in any piece of tonal music only one tonic is ever present, modulations being only regions or prolongations within, or extensions of the basic tonality.
He studied composition with Kenneth Leighton (his predecessor as Reid Professor of Music at the University of Edinburgh), Egon Wellesz (the first pupil of Arnold Schoenberg), and Witold Rudziński.
After Lohengrin, Konwitschny returned to Hamburg to cooperate with the conductor Ingo Metzmacher on Alban Berg's Lulu, Richard Wagner's Die Meistersinger von Nürnberg, and Arnold Schoenberg's Moses und Aron.
Béla Bartók, for example, "in such Strauss-influenced works as Duke Bluebeard's Castle," may be described as having still used, "dissonance 'such intervals as fourths and sevenths' for purposes of post-Romantic expression, not simply always as an appeal to the primal art of sound" - unlike Arnold Schoenberg and Strauss himself, who both believed in "a mythology of historical progress in Western music".
He gave the American premiere of Arnold Schoenberg's Op. 11 and performed pieces by other European modernists such as Ferruccio Busoni, Béla Bartók, Zoltán Kodály and Claude Debussy.
The composers of the Second Viennese School also produced several prominent concertos: Alban Berg's Chamber Concerto for piano, violin, and 13 winds (1923–25), not fully serial but incorporating many elements of Arnold Schoenberg's new system; Anton Webern's Concerto for nine instruments (1931–34), originally intended as a piano concerto; Berg's important Violin Concerto (1935); and Schoenberg's own Violin Concerto (1935–36) and Piano Concerto (1942).
His recording releases include works by composers such as Erik Satie, Philip Glass, Morton Feldman and Arnold Schoenberg.
Since the mid-1990s his works have been mostly composed for the combination of instruments known as the "Pierrot sextet" (after Arnold Schoenberg's Pierrot Lunaire: flute, clarinet, violin, cello, piano, with percussion instead of Schoenberg's singer), and have explored the application of the Fibonacci series (a numerical series in which each number is the sum of the previous two numbers: 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233…) to musical structures.
Verklärte Nacht (or Transfigured Night), Op. 4, is a string sextet in one movement composed by Arnold Schoenberg in 1899 and his earliest important work.
In addition, he participated in several contemporary opera productions, including The Walls (Die Wände ) by Adriana Hölszky, conducted by Alfons Kontarsky (Frankfurt); and the first performance of Arnold Schoenberg's The Lucky Hand (Die glückliche Hand, in an arrangement for chamber orchestra) by the United Ensemble Berlin, conducted by Peter Hirsch.
Numerous works were written for them by composers including Alban Berg, Anton Webern, Arnold Schoenberg, and Béla Bartók.