|OPERA: Glückliche Hand; Moses and Aaron; Von Heute auf Morgen.|
|ORCHESTRA: Verklaerte Nacht (orchestrated by Schönberg); Kammersymphonie; Five Pieces for Orchestra; Theme and Variations.|
|CHORAL: Gurre-Lieder; Pierrot Lunaire.|
|CHAMBER MUSIC: First String Quartet; Verklaerte Nacht; Second String Quartet.|
About Arnold Schönberg:
Schöberg: A Testimonial Volume by Leading Critics ( R. Pijper, publisher); Stefan- Paul Gruenfeldt . Schönberg; Wellesz Egon. Arnold Schönberg.
Musikblätter des Anbruch September 13, 1924 (Testimonial Issue).
Important recordings of music by Arnold Schönberg:
VICTOR: Gurre-Lieder (Stokowski); Verklaerte Nacht.
FEW contemporary composers have been the object of such vitriolic denunciation on the one hand, and ecstatic praise on the other, as Franz Schreker, modernist Austrian composer. Born in Monaco on March 23, 1878, Franz Schreker was brought at an early age to Vienna, where he began his musical studies at the Conservatory under Robert Fuchs, the well-known theorist. Here his independent spirit already manifested itself when he got into trouble with the authorities because he insisted upon founding a musical society for the purpose of giving concerts, which was expressly against the rules of the institution. He was, however, a brilliant pupil, and when he left the Conservatory it was with the highest of honors in composition.
His studies completed, Schreker plunged himself into the task of composition, and at the age of twenty produced his first opera Flammen which was so radical in its form and style that it failed to arouse the interest of musicians in Vienna. Flammen was to lie on Schreker's writing table for almost two decades before a producer could be found for it.
Like so many other modern composers, Franz Schreker soon combined creative work with pedagogical duties. After founding, in 1911, the famous Vienna Philharmonic Choir which, for several years, he was to direct with great talent, he accepted a professorship in composition at the Akademie der Tonkunst in Vienna. Here he remained for several years, working consistently at the same time upon his operas in which he was rebelling more and more violently against the Wagnerian school, and in which he was building a new modern operatic form which was to be the forerunner of the modern opera. The revolutionary nature of his work-- so many years ahead of its time--made recognition for Schreker's work impossible. For a long time, he worked in obscurity, producing opera after opera which he relegated to the drawer of his writing table as soon as he had finished them.
Germany and Austria continued their indifference to his music, and in all probability Schreker's work would have continued its existence in complete darkness if it were not for the fact that Paris was soon to lend an inquisitive ear to his experiments. Shortly before the war, the Paris Opera presented Der Ferne Klang. This performance brought Schreker into the limelight not only because it gave him the distinction of being the first German composer since Richard Wagner to be heard in Paris before attaining recognition in Germany, but also because Parisian critics found much in this opera to praise. "Whatever may be the fate of Der Ferne Klang," wrote Henri Quittard in the Figaro at the time, "it is certain that the composer must be counted from this day as one of the most original and most interesting writers of our epoch."