41:
946:
1085:, refused to review the concert. On the day of the performance, she published an editorial attacking Slonimsky's competence as a conductor and accused him of performing modern music as a way of "seeking publicity and an easy ladder to fame". His engagement with the Los Angeles Philharmonic was terminated after the Schoenberg performance. Schoenberg was grateful to Slonimsky for championing his newest music and befriended him when he came to settle in Los Angeles in October. In 1977, Slonimsky told an interviewer that the performance had "proved to that I was the good guy and the rest were bad guys".
394:
1052:
3771:
1222:
334:
never been there, just as if it had simply been forgotten, that is quite different from the way it is on the stage, where it has to be removed by some device. And there are a thousand things besides that be easily done in this medium, whereas the stage's resources are very limited. My foremost wish is therefore for something the opposite of what the cinema generally aspires to. I want: the utmost unreality!
1132:
605:
missing talent, ignorance, and thoughtlessness, and which has damaged my works very deeply in spite of the musical accomplishments, this horror is still making me shake all over too much, so that I must be very cautious. How shall I protect myself against such matters? I do not know Mr. Moholy. But if I have especially bad luck, then he combines the rascally, ignorant skepticism of a Mr.
582:
2352:. Now, Schoenberg had never been performed in California up to that timeâthat was 1933âand Schoenberg himself was very appreciative of it. He was a very embittered person, and the fact that I conducted this piece even before he arrived in California proved to him that I was the good guy and the rest were bad guys. Of course, his
1245:, who wrote that its listeners are prepared to accept dissonances they otherwise would not "since it is only film music". He added that it is "illustrative music of the utmost constructive rigor", but felt that Schoenberg had "paid a price" for its sophistication with a "coarsening of the formal conception".
260:, which wanted to include it in a commemorative collection of scores they commissioned from German film composers. Schoenberg had no particular film or film scene in mind while composing the work, but he did later consider performing it along with an abstract film. His music was adapted for a short film by
1203:
The strikes directly at the mind which it instantly disorients by surrounding it with the haunted, reverberant loneliness of a world without familiar landmarks, a world floating in space and oddly unidentifiable since it is as much jungle as desert. The music dates back to 1940 and many a score has
484:
Schoenberg began to work on the music after
September 20, 1929, when he returned from his vacation in the Netherlands; he resumed work at the Prussian Academy of Arts in early October. The negative of the manuscript score indicates a starting date of October 15, but preparations for the premiere and
361:
One should not consider the talking film to be simply a coupling of picture, language, and music. One the contrary, it is a completely new and independent instrument for innovative artistic expression. In this sense it has a great future. It is surely here through the force of the Idea that the word
333:
he basic unreality of the events, which is inherent in the words, is something that they should be able to bring out even better in the filming (nasty idea that it is!). For me this is one of the main reasons for considering it. For instance, in the film, if the goblet suddenly vanishes as if it had
2347:
and so forth. But in Havana there was no difficulty, because they were not poisoned by critics or by established opinion. In Havana their own music was so radical that VarĂšse and Ives was quite natural to them. They actually could play it and rehearse it better than New York musicians or
Hollywood
302:
Schoenberg had contradictory feelings about film and film music; he aspired to work on film projects, but abhorred the film industry. The artistic possibilities of film interested him, but its essentially collaborative creative process ultimately dissuaded him from exploring it as a vehicle for his
604:
I find your suggestion about the abstract film, after thinking it over and over, very tempting indeed, since it solves the problem of this "music to no film". Only one thing, the horror of the Berlin staging of my two stage works, the abomination which was here committed because of lack of faith,
370:. Namely: standards of artistic value! ow true artists will be able to grant to true and deep ideas and emotions: then marketability of broad mass appeal will certainly no longer alone determine production; then German film will achieve the position that corresponds to its poets and musicians!
1186:
Rarely has such intensifying music been packed so successfully into so small a compass. ny listener must recognize that the surface qualities of the music, the sonorities, the rhythms, the immediate apprehendability of the form establish the work as the most accessible
Schoenberg of the
498:, nor did he initially contemplate a later use for the score as incidental music. He also did not demarcate which sections in the score corresponded to the moods of "Threatening Danger", "Fear", and "Catastrophe" referred to in the work's subtitle. Because of this, attempts at realizing
633:
does not open with a statement of its twelve-note row, but with a brief introduction, after which it unfolds in free variation form. Although its textures are simpler than that of the
Variations for Orchestra, Schoenberg uses a wide array of orchestral techniques. The interval of the
473:. Adler liaisoned between Schoenberg and Heinrichshofen Verlag during negotiations; he also coordinated the work's eventual publication, one of several commissioned by the publisher from German film composers for a commemorative collection. The structure of the
1074:
with great success in Cuba in April 1933, but listeners and the press in
Southern California were strongly opposed to it when he conducted its United States premiere in July. It was the first performance by the Los Angeles Philharmonic of a dodecaphonic work.
2027:
1117:
for an imaginary film. Despite its complex organization and evident difficulty, this music of
Schoenberg to me is merely another in the lengthening parade of 12-tone pieces which rasp, scratch, whine, and make what I believe
1165:
championed
Schoenberg's music in Los Angeles during the 1950s, which garnered the approval of the composer. He continued programing and conducting it after Schoenberg's death. At a cookout hosted by Schoenberg's widow,
312:
in 1910â1913, Schoenberg had the idea of directing a film that would have depicted the work's drama. He would have had total control over the scripts, acting, music, and any needed edits. He contemplated commissioning
348:
The opera has less to offer the eye than the film doesâand color film will soon be here too. Add music, and the general public will hardly need to hear an opera sung and acted any more, unless a new path is
1473:
1391:
2837:
987:
It is a wonderful piece, exciting beyond all measure. A marvelous sound. The structure of the ideas is magnificent. And the ending! The epilogue. Unprecedented, dearest friend! Totally overwhelming!
366:
will soon gain decisive influence. Therefore, the application of overall standards will become the rule, standards that up to now could only be reached by exceptionally gifted personalities like
416:, earned a comfortable living, and his music was regularly performed in major cities across Europe, which brought him international renown. Additionally, he had achieved a level of mastery with
1158:
Schoenberg's music for an imaginary film is full of a sense of fear, of looming danger, of catastrophe, is a landmark pointing the way for a full and accurate use of the new musical resources.
968:
in a review as a "succinct introduction to twelve-note technique". Its concert premiere conducted by
Klemperer resulted in a significant success for Schoenberg. Among those in the audience was
613:. There seems to be only one way: that Mr. Moholy works on the film together with me (in that case there is at least one participant who can think of something). But perhaps that can be done?
40:
885:. This performance, according to Sabine Feisst, was "apparently not considered a real premiere". It was subsequently forgotten about in Schoenberg studies and only rediscovered in 1988.
374:
In a later essay written in 1940, he rebuked this speech, explaining that he had expected a "renaissance of the arts" with the advent of sound film. "How wrong I had been!", he added.
3808:
3433:
1764:
3798:
945:
3008:
2958:
2908:
2863:
2695:
2645:
2508:
2461:
2415:
2368:
2053:
1790:
1585:
1499:
1454:
1096:
program scheduled for
January 11, 1934, that was intended to be his United States debut as a conductor, but he canceled because of back strain, and the work was not played.
1426:
2877:
2317:
1099:
Later performances in the United States continued to arouse critical antipathy. In a review for a 1953 performance by the Boston
Symphony Orchestra conducted by
502:
in the style of the photoplay music they allude to would be unfeasible. It is not clear whether the subtitle was added during or after the work's composition.
1383:
638:, which carries connotations of "tragedy", is frequently used; overall the key of E-flat minor is implied. The work ends with a recollection of its opening.
3793:
3285:
433:
3753:
3303:
1204:
moaned like a lost soul since. The difference is that in a master hand this world of the lost is as achingly real as the most indelible hallucination.
1384:"Schoenberg, Arnold 1874â1951 [Op. 34]. Begleitungsmusik zu einer Lichtspielscene [Full score] (Drohende Gefahr, Angst, Katastrophe)"
1007:
at the 1932 ISCM Festival, Schoenberg refused to grant them permission. A compromise was reached by including both works at a special concert of the
2534:
481:
in 1927 includes a cue composed by Gustav Lindner called "Drohende Gefahr" (Threatening Danger), which Schoenberg also used in his work's subtitle.
1333:
that their adaptation had "served its vague illustrative purpose reasonably well". After Foss presented the same adaptation at a concert with the
892:
in Berlin, with the Orchestra of the Kroll Opera conducted by Klemperer. This was followed by the British premiere on May 8, 1931, played by the
2356:
was perhaps played in Los Angeles, but his twelve-tone music was never heard in Los Angeles until I performed this piece at the Hollywood Bowl.
2926:
2280:
3390:
3220:
3178:
3159:
3133:
3039:
626:
1553:
1516:
976:: "People do seem to like the piece: ought I to draw any conclusions from that as to its quality? I mean: the public apparently likes it."
3703:
2476:
2429:
3590:
3404:
3378:
2663:
2613:
2383:
917:
1256:
as one of Schoenberg's "most immediately appealing twelve-tone works". He also described the work as feeling like a "foresight" of the
3521:
3485:
3370:
1362:
Schoenberg spelled it "lichtspielscene", which is the spelling used in the original edition, but other sources use "lichtspielszene".
1257:
1237:
is by far the best piece of real film music ever written, an ironic triumph if ever were there one, for the film itself was imaginary.
929:
878:
191:
3709:
3201:
3095:
3069:
2821:
2777:
2741:
2571:
2542:
2215:
2179:
1844:
1743:
1675:
1122:
once described as "nasty noises". To be sure, there is a superficial sense of vague emotional unpleasantness about it, but not much.
428:
2976:
1174:. Craft, who had heard that the choreographer was seeking a suitable Schoenberg work to adapt into a ballet, suggested to him the
271:
was generally positive; it was encored at its British premiere. The United States premiere in Los Angeles was contentious and the
3143:
838:
3610:
3278:
1334:
214:. 34 (literally "Accompaniment Music for a Light Play Scene (Threatening Danger, Fear, Catastrophe)")âalso known in English as
377:
When Schoenberg emigrated to Los Angeles in October 1933, one of his primary reasons for choosing the city was to be near the
3249:
2769:
2207:
1836:
1667:
1011:, conducted by Webern, that took place on June 21, 1932, during the ISCM Festival, but apart from it. The performance of the
3495:
2348:
musicians because they were not prejudiced against it. And also at the Hollywood Bowl I played Schoenberg's piece, called
772:
491:, as well as guest conducting engagements in London, detained his progress. The score was completed on February 14, 1930.
888:
The first concert performance, which for decades was considered the world premiere, occurred on November 6, 1930, at the
3513:
3450:
3421:
857:, the original manuscript score, along with the rest of Heinrichshofen Verlag's archives, was stored in a salt mine in
3427:
378:
3258:
245:
Schoenberg had developed an interest in film as a medium for his own creative work in the years before composing the
1284:). The 15-minute film layers Schoenberg's music over recitations of a letter he wrote to Kandinsky in 1923 decrying
3803:
3774:
3674:
3271:
3245:
3087:
2813:
2171:
1474:"Begleitungsmusik zu einer Lichtspielscene ["Accompaniment to a Cinematographic Scene"] Op. 34 (1929/1930)"
1196:
1100:
505:
Originally, he envisioned a more elaborate program for the work, as well as a choice between two possible endings:
904:. The work was encored for the studio audience after the broadcast. The North American premiere took place at the
3466:
3384:
1093:
991:
A subsequent Viennese performance scheduled later that year became involved in a preexisting dispute between the
3600:
905:
842:
413:
597:
477:, as well as its evocative sub-titles, recalled photoplay music. A collection of photoplay music published by
3031:
2362:
1020:
3734:
3570:
3329:
2343:
893:
462:
308:
3758:
3639:
3505:
3151:
3107:
688:
657:
606:
417:
340:
2563:
450:
about the former organization, but was especially enthusiastic at the idea of working with the latter.
393:
3724:
3714:
3663:
3349:
3253:
1828:
487:
596:
wrote to Schoenberg that the work could benefit from being played with an abstract film, suggesting
420:
that allowed him to begin applying it to large-scale forms, evidence of which is discernible in the
3813:
3740:
3729:
3061:
2981:
2290:
1558:
1304:
874:
381:, where he hoped to influence film music through his work as a teacher. During a conversation with
163:
1269:
261:
3657:
3002:
2972:
2952:
2689:
2639:
2502:
2455:
2409:
2124:
1922:
1914:
1579:
1448:
1167:
1076:
996:
746:
132:
3458:
1524:
1833:
The Doctor Faustus Dossier: Arnold Schoenberg, Thomas Mann, and their Contemporaries, 1930â1951
1241:
The filmic and programmatic quality of the work was a crucial part of its appeal, according to
353:
While participating in sound film experiments in September of that same year at the studios of
3294:
3216:
3197:
3174:
3155:
3129:
3091:
3065:
3053:
3035:
2931:
2922:
2902:
2857:
2817:
2773:
2737:
2567:
2538:
2522:
2285:
2211:
2195:
2175:
2047:
1840:
1784:
1739:
1671:
1493:
1326:
1195:
praised both the music and Craft's performance. After a November 17, 1960, performance by the
1171:
1081:
1055:
973:
961:
921:
889:
478:
354:
322:
318:
273:
239:
32:
2878:"The Films of Jean-Marie Straub and DaniĂšle Huillet: Complete Retrospective, MarchâJune 2019"
1918:
1894:
1033:, was another major success. Webern's "fanatically dedicated" performance was praised by the
3552:
2595:
2116:
1906:
1179:
1008:
681:
458:
447:
409:
3630:
3193:
2885:
2757:
2733:
2668:
2659:
2618:
2609:
2388:
1735:
1338:
1192:
969:
841:, the proportion of the orchestra, added piano and percussion notwithstanding, is "almost
610:
470:
367:
363:
314:
286:
171:
3620:
1341:
wrote in his review that it was a "stroke of genius" and an "absolutely brilliant idea".
3680:
3339:
2994:
2944:
2725:
2721:
2681:
2631:
2494:
2447:
2401:
2302:
2163:
1571:
1536:
1289:
1051:
1035:
925:
800:
649:
593:
585:
439:
397:
2614:"Records: Berg, Schoenberg, Webern, BartĂłk, and Carter, to Strauss' Own "Don Quixote""
972:. Schoenberg himself was unable to attend because of illness. Afterwards, he wrote to
442:, a proponent for improving the standards of film music, invited him to work with the
3787:
3668:
3562:
3079:
2592:
Robert Craft conducting the Columbia Symphony Orchestra: Berg, Schoenberg, and Webern
2327:(cassette tape). Interviewed by Bertonneau, Thomas. Slonimsky's home in Los Angeles:
1926:
1293:
1285:
1242:
1208:
Later in life, Klemperer, who disliked most of Schoenberg's atonal works, called the
1119:
1016:
719:
653:
641:
1221:
3747:
3542:
2761:
2587:
2526:
2481:
2434:
1431:
1316:
1162:
1143:
1135:
1105:
949:
897:
882:
854:
782:
326:
278:
181:
53:
1910:
652:, a form that Schoenberg had used often in his early works, and classified it as "
325:
in order to depict the work's symbolistic use of color and light. He explained to
2838:"Introduction to Arnold Schoenberg's "Accompaniment to a Cinematographic Scene""
2805:
2199:
1727:
1297:
1249:
1131:
1063:
858:
828:
726:
635:
443:
382:
282:
211:
72:
427:
He also began to seriously pursue working in film and sought guidance from the
385:
on April 8, 1940, he told her that he believed film music could never be good.
344:
wherein he worried that the rise of film would result in the decline of opera:
3685:
3236:
3213:
Schoenberg in Words, Volume 5: Schoenberg's Program Notes and Musical Analyses
3049:
1308:
1114:
1024:
777:
762:
2664:"On the Aisle: Wide Range of Music is Brilliantly Played in Rosbaud Farewell"
3719:
3319:
3086:. Translated by Puffett, Derrick; Clayton, Alfred (1st paperback ed.).
2438:. January 13, 1934. p. 11. Archived from the original on March 22, 2023
1321:
1214:
787:
757:
581:
466:
257:
167:
1427:"Schoenberg: Accompaniment to a Film Scene; Chamber Symphony; etc â review"
576:
IXb. Alleviation of the tension of the Threatened (salvation, deliverance)
3105:
Feisst, Sabine (Spring 1999). "Arnold Schoenberg and the Cinematic Art".
1029:
738:
705:
3056:(1987). Brand, Juliane; Hailey, Christopher; and Harris, Donald (eds.).
999:, and Schoenberg. Despite the organization's desire to perform both the
767:
752:
732:
711:
692:
2128:
2104:
1562:. May 8, 1931. p. 7. Archived from the original on March 20, 2023
1276:
Einleitung zu Arnold Schoenbergs Begleitmusik zu einer Lichtspielscene
494:
Schoenberg neither had any film or film scene in mind while composing
1059:
909:
813:
807:
3263:
2028:"Begleitungsmusik zu einer Lichtspielszene / Reinschrift, autograph"
2120:
3116:
2132:
1930:
1220:
1218:
and the String Trio, among the works by Schoenberg he liked best.
1130:
1050:
944:
823:
818:
792:
580:
392:
1282:
Introduction to Arnold Schoenberg's Accompaniment to a Film Scene
469:, which published a number of film scores and owned a library of
2328:
992:
913:
699:
3267:
1666:. Translated by Black, Leo (1st paperback ed.). Berkeley:
446:
and, later in 1932, Comedia Tonfilm. Schoenberg consulted with
285:
considered it one of Schoenberg's most attractive works, while
1154:, and cited it as an example for film composers to draw from:
901:
249:, but his personal artistic beliefs also made him wary of it.
1233:
Stravinsky also held the work in high regard. He told Craft:
873:
occurred on April 28, 1930, at the Broadcasting House of the
1944:
1942:
1940:
1732:
Schoenberg Remembered: Diaries and Recollections (1938â1976)
1480:. July 2, 2018. Archived from the original on March 28, 2023
1058:
conducted the North American and United States premieres in
2985:. p. 154. Archived from the original on March 23, 2023
2935:. p. 321. Archived from the original on March 23, 2023
2622:. p. 120. Archived from the original on March 23, 2023
2010:
2008:
1043:
continued several minutes into the concert's intermission.
592:
During the preparations for the first concert performance,
2672:. p. 27. Archived from the original on March 23, 2023
2485:. p. 12. Archived from the original on March 22, 2023
2392:. p. 23. Archived from the original on March 22, 2023
617:
Schoenberg declined to explore Klemperer's idea further.
2168:
Otto Klemperer: His Life and Times (Volume 1: 1885â1933)
663:
A typical performance takes approximately nine minutes.
289:
called it "best piece of real film music ever written".
2146:
2144:
2142:
2105:"The Pan American Association of Composers (1928â1934)"
1971:
1969:
1864:
1862:
1860:
1858:
1856:
2281:"What is Test of Ability for an Orchestral Conductor?"
2266:
2230:
2090:
1664:
Style and Idea: Selected Writings of Arnold Schoenberg
1597:
1595:
924:. He also conducted the United States premiere at the
3211:
Schoenberg, Arnold (2016). Jenkins, J. Daniel (ed.).
3084:
Schoenberg and the New Music: Essays by Carl Dahlhaus
2927:"Festival in Flux: Mr. Foss and Friends Come to Ojai"
588:
suggested performing the music with an abstract film.
3188:
Moldenhauer, Hans and Moldenhauer, Roseleen (1979).
3058:
The Berg-Schoenberg Correspondence: Selected Letters
979:
After having conducted the Austrian premiere of the
956:
were successful with audiences in London and Vienna.
400:
encouraged Schoenberg's interest in working in film.
357:
in Berlin, Schoenberg was recorded on film stating:
3695:
3650:
3581:
3533:
3476:
3443:
3414:
3361:
3310:
1895:"The Vindobona Collection of the Universal Edition"
1212:a "very, very good piece"; he rated it, along with
187:
177:
158:
143:
138:
128:
115:
107:
81:
71:
61:
23:
3190:Anton von Webern: A Chronicle of his Life and Work
2558:Craft, Robert (1993). "Influence or Assistance?".
3115:(1). Oxford University Press: 99â113 – via
2430:"Music: Symphony Hall, Boston Symphony Orchestra"
1662:Schoenberg, Arnold (1984). Stein, Leonard (ed.).
1229:the "best piece of real film music ever written".
983:on January 31, 1932, Webern wrote to Schoenberg:
3007:: CS1 maint: bot: original URL status unknown (
2957:: CS1 maint: bot: original URL status unknown (
2907:: CS1 maint: bot: original URL status unknown (
2862:: CS1 maint: bot: original URL status unknown (
2844:. Archived from the original on January 28, 2023
2694:: CS1 maint: bot: original URL status unknown (
2644:: CS1 maint: bot: original URL status unknown (
2507:: CS1 maint: bot: original URL status unknown (
2477:"Music: Burgin, Kapell Share Symphony Spotlight"
2460:: CS1 maint: bot: original URL status unknown (
2414:: CS1 maint: bot: original URL status unknown (
2367:: CS1 maint: bot: original URL status unknown (
2052:: CS1 maint: bot: original URL status unknown (
2034:. Archived from the original on October 22, 2021
1789:: CS1 maint: bot: original URL status unknown (
1584:: CS1 maint: bot: original URL status unknown (
1498:: CS1 maint: bot: original URL status unknown (
1453:: CS1 maint: bot: original URL status unknown (
2109:Anuario Interamericano de Investigacion Musical
1146:, who had studied with Schoenberg, praised the
960:After the world premiere conducted by Rosbaud,
877:in Frankfurt, Germany. It was performed by the
2331:. Archived from the original on April 24, 2023
2325:UCLA Library: Center for Oral History Research
2254:
2242:
1548:
1546:
1435:. Archived from the original on April 10, 2023
429:Gesellschaft der Filmmusikautoren Deutschlands
3809:Twelve-tone compositions by Arnold Schoenberg
3279:
1199:conducted by Rosbaud, she wrote of the work:
8:
3799:Orchestral compositions by Arnold Schoenberg
3628:
3618:
3608:
3598:
3588:
3550:
3540:
3519:
3503:
3493:
3483:
3456:
3368:
3347:
3337:
3327:
3317:
1771:. Archived from the original on July 8, 2022
1274:
1113:This essay in the 12-tone style a sort of
202:
3259:Heinrichshofen Verlag webpage for the score
2889:. Archived from the original on May 6, 2023
1765:"Begleitungsmusik zu einer Lichtspielszene"
338:In 1927, Schoenberg wrote an essay for the
3286:
3272:
3264:
3126:Schoenberg's New World: The American Years
2078:
1960:
1948:
1554:"Broadcasting: Contemporary Music Concert"
1523:. July 18, 1933. p. 5. Archived from
1517:"Bowl Program for the Week is Interesting"
916:, on April 30, 1933; it was played by the
465:and an agent for Heinrichshofen Verlag in
39:
20:
3434:Concerto for String Quartet and Orchestra
3398:Begleitungsmusik zu einer Lichtspielscene
3240:Begleitungsmusik zu einer Lichtspielscene
2014:
1987:
1625:
1313:Begleitungsmusik zu einer Lichtspielscene
1254:Begleitungsmusik zu einer Lichtspielscene
1227:Begleitungsmusik zu einer Lichtspielscene
1210:Begleitungsmusik zu einer Lichtspielscene
1178:. In 1960, he also recorded the work for
1176:Begleitungsmusik zu einer Lichtspielscene
1148:Begleitungsmusik zu einer Lichtspielscene
1090:Begleitungsmusik zu einer Lichtspielscene
1072:Begleitungsmusik zu einer Lichtspielscene
1041:Begleitungsmusik zu einer Lichtspielscene
1013:Begleitungsmusik zu einer Lichtspielscene
1001:Begleitungsmusik zu einer Lichtspielscene
981:Begleitungsmusik zu einer Lichtspielscene
966:Begleitungsmusik zu einer Lichtspielscene
954:Begleitungsmusik zu einer Lichtspielscene
871:Begleitungsmusik zu einer Lichtspielscene
673:Begleitungsmusik zu einer Lichtspielscene
646:Begleitungsmusik zu einer Lichtspielscene
631:Begleitungsmusik zu einer Lichtspielscene
500:Begleitungsmusik zu einer Lichtspielscene
496:Begleitungsmusik zu einer Lichtspielscene
475:Begleitungsmusik zu einer Lichtspielscene
455:Begleitungsmusik zu einer Lichtspielscene
422:Begleitungsmusik zu einer Lichtspielscene
406:Begleitungsmusik zu einer Lichtspielscene
269:Begleitungsmusik zu einer Lichtspielscene
254:Begleitungsmusik zu einer Lichtspielscene
247:Begleitungsmusik zu einer Lichtspielscene
204:Begleitungsmusik zu einer Lichtspielscene
25:Begleitungsmusik zu einer Lichtspielscene
16:1930 orchestral work by Arnold Schoenberg
3028:A Schoenberg Reader: Documents of a Life
2792:
2384:"Catching the Beat in Music World Today"
1999:
1803:
1292:, combined with archival footage of the
223:Accompaniment to a Cinematographic Scene
1759:
1757:
1755:
1375:
1355:
1182:. He wrote in the album's liner notes:
1015:, part of a program that also included
900:; the performance was broadcast by the
600:as a collaborator. Schoenberg replied:
94: â February 14, 1930
3000:
2950:
2900:
2855:
2708:
2687:
2637:
2500:
2453:
2407:
2360:
2150:
2066:
2045:
1975:
1893:Finocchiaro, Francesco (Autumn 2016).
1880:
1868:
1815:
1782:
1714:
1649:
1637:
1613:
1601:
1577:
1511:
1509:
1491:
1468:
1466:
1464:
1446:
1412:
609:with the unimaginative decency of Mr.
444:Deutsche Gesellschaft fĂŒr Ton und Bild
242:composed in late 1929 and early 1930.
2768:(1981 paperback ed.). Berkeley:
2316:Slonimsky, Nicolas (March 17, 1977).
2279:Jones, Isabel Morse (July 23, 1933).
2206:(1987 paperback ed.). Berkeley:
1702:
1690:
1288:in Germany and a 1933 speech made by
861:. It is lost and presumed destroyed.
321:to design the sets, as well as using
207:(Drohende Gefahr, Angst, Katastrophe)
7:
1425:Clements, Dominy (August 25, 2011).
1388:J & J Lubrano Music Antiquarians
1252:referred to the "concise and moody"
461:, at the time music director of the
1394:from the original on March 19, 2023
1311:and William Malloch programmed the
412:as professor of composition at the
404:At the time of the creation of the
3794:Compositions for chamber orchestra
3171:Schoenberg and Hollywood Modernism
2977:""Legacy" does its composer proud"
2764:(1959). "Some Musical Questions".
2267:Moldenhauer & Moldenhauer 1979
2231:Moldenhauer & Moldenhauer 1979
2166:(1983). "The Kroll in Midstream".
2091:Moldenhauer & Moldenhauer 1979
930:Los Angeles Philharmonic Orchestra
879:Frankfurt Radio Symphony Orchestra
514:âshort (the calm before the storm)
229:Accompaniment to a Cinematic Scene
192:Frankfurt Radio Symphony Orchestra
14:
3704:Arnold Schönberg Complete Edition
1315:with a screening of a scene from
875:SĂŒdwestdeutsche Rundfunkdienst AG
235:Music to Accompany a Cinema Scene
164:SĂŒdwestdeutsche Rundfunkdienst AG
3770:
3769:
2475:Durgin, Cyrus (March 21, 1953).
2382:Wickham, Ina (January 7, 1934).
2318:"Interview of Nicolas Slonimsky"
1170:, on July 29, 1953, he met with
438:. Upon hearing this, his friend
2350:Accompaniment to a Cinema Scene
1335:Brooklyn Philharmonic Orchestra
1039:; the ovation that greeted the
3250:WDR Symphony Orchestra Cologne
3173:. Cambridge University Press.
2770:University of California Press
2560:Stravinsky: Glimpses of a Life
2208:University of California Press
1837:University of California Press
1668:University of California Press
1047:Antipathy in the United States
1:
3611:Das Buch der hÀngenden GÀrten
2389:Davenport Democrat and Leader
1919:10.5406/musimoviimag.9.3.0038
1911:10.5406/musimoviimag.9.3.0038
1023:and the Viennese premiere of
918:Havana Philharmonic Orchestra
256:for Heinrichshofen Verlag in
217:Accompaniment to a Film Scene
119:
66:Accompaniment to a Film Scene
46:
2732:(Revised ed.). London:
2730:Conversations With Klemperer
2289:. p. 30. Archived from
1088:Schoenberg had included the
3215:. Oxford University Press.
3169:Marcus, Kenneth H. (2016).
3128:. Oxford University Press.
2810:Arnold Schoenberg's Journey
1225:Igor Stravinsky called the
1079:, the music critic for the
1009:Workers' Symphony Orchestra
928:on July 23, 1933, with the
408:, Schoenberg had succeeded
3830:
3496:Sechs kleine KlavierstĂŒcke
3088:Cambridge University Press
2814:Farrar, Straus, and Giroux
2255:Berg & Schoenberg 1987
2243:Berg & Schoenberg 1987
2204:Arnold Schoenberg: Letters
2172:Cambridge University Press
1899:Music and the Moving Image
1197:Chicago Symphony Orchestra
869:The world premiere of the
625:Similarly to Schoenberg's
463:DĂŒsseldorf Municipal Opera
238:âis an orchestral work by
162:Broadcasting House of the
86:October 15, 1929
3767:
3385:Five Pieces for Orchestra
3301:
2766:Memories and Commentaries
2533:(2007 ed.). London:
2341:Well, in Havana I played
2170:(1996 reissue ed.).
1103:, a music critic for the
1094:Boston Symphony Orchestra
485:publication of the opera
38:
30:
3391:Variations for Orchestra
1070:Slonimsky conducted the
671:The instrumentation for
627:Variations for Orchestra
573:VIIIb. The Danger passes
414:Prussian Academy of Arts
3688:(Relatives by marriage)
3124:Feisst, Sabine (2011).
3032:Oxford University Press
2531:Composing for the Films
2103:Root, Deane L. (1972).
2032:Arnold Schönberg Center
1769:Arnold Schönberg Center
1478:Arnold Schönberg Center
1191:Reviewing the same LP,
1152:Composing for the Films
952:'s performances of the
147:April 8, 1930
3735:Second Viennese School
3629:
3619:
3609:
3599:
3589:
3571:A Survivor from Warsaw
3551:
3541:
3520:
3504:
3494:
3484:
3457:
3405:Chamber Symphony No. 2
3379:Chamber Symphony No. 1
3369:
3348:
3338:
3328:
3318:
3026:Auner, Joseph (2003).
2886:Goethe-Institut London
2081:, p. 328, n. 117.
1337:on February 13, 1981,
1275:
1239:
1230:
1206:
1189:
1160:
1139:
1124:
1067:
989:
957:
894:BBC Symphony Orchestra
658:dodecaphonic technique
615:
589:
579:
519:The threatening Danger
401:
372:
351:
336:
277:refused to review it.
203:
3759:Twelve-tone technique
3640:Four Orchestral Songs
3371:Pelleas und Melisande
3152:Yale University Press
3108:The Musical Quarterly
2975:(February 16, 1981).
2662:(November 18, 1960).
2069:, p. 109, n. 19.
1883:, p. 109, n. 16.
1839:. p. 39, n. 11.
1829:Schoenberg, E. Randol
1235:
1224:
1201:
1184:
1156:
1134:
1111:
1054:
985:
948:
602:
584:
507:
418:twelve-tone technique
396:
359:
346:
341:Neues Wiener Tagblatt
331:
267:The reception of the
111:Heinrichshofen Verlag
3725:Developing variation
3453:(Opp. 7, 10, 30, 37)
3350:Von heute auf morgen
3304:List of compositions
2816:. pp. 221â222.
2257:, p. 433, n. 3.
1150:in their 1947 book,
524:III. The Threatened
488:Von heute auf morgen
3730:Expressionist music
3330:Die glĂŒckliche Hand
3238:Performance of the
3062:The Macmillan Press
2982:New York Daily News
2795:, pp. 102â103.
1990:, pp. 188â189.
1693:, pp. 196â197.
1559:The Daily Telegraph
1305:Ojai Music Festival
1272:made a film titled
309:Die glĂŒckliche Hand
3522:Zwei KlavierstĂŒcke
3506:FĂŒnf KlavierstĂŒcke
3486:Drei KlavierstĂŒcke
3144:MacDonald, Malcolm
3054:Schoenberg, Arnold
2923:Bernheimer, Martin
2842:Straub-Huillet.com
2736:. pp. 93â94.
2566:. pp. 41â42.
2564:St. Martin's Press
2523:Adorno, Theodor W.
2196:Schoenberg, Arnold
1231:
1140:
1077:Isabel Morse Jones
1068:
958:
598:LĂĄszlĂł Moholy-Nagy
590:
558:grows ever greater
402:
133:Symphony orchestra
3804:1930 compositions
3781:
3780:
3295:Arnold Schoenberg
3254:Cristian MÄcelaru
3222:978-0-19-538557-1
3192:. New York City:
3180:978-1-107-06499-7
3161:978-0-300-09540-1
3135:978-0-19-063217-5
3041:978-0-19-517201-0
2932:Los Angeles Times
2812:. New York City:
2612:(April 9, 1961).
2293:on March 20, 2023
2286:Los Angeles Times
1818:, pp. 96â97.
1734:. New York City:
1640:, pp. 95â96.
1527:on March 19, 2023
1331:Los Angeles Times
1327:Martin Bernheimer
1258:rise of the NSDAP
1172:George Balanchine
1082:Los Angeles Times
1056:Nicolas Slonimsky
995:, its co-founder
974:Heinrich Jalowetz
962:Theodor W. Adorno
941:Success in Europe
922:Nicolas Slonimsky
890:Kroll Opera House
839:Malcolm MacDonald
479:Universal Edition
453:The idea for the
355:Universum-Film AG
319:Wassily Kandinsky
274:Los Angeles Times
240:Arnold Schoenberg
197:
196:
33:Arnold Schoenberg
3821:
3773:
3772:
3741:Schönberg Family
3634:
3624:
3614:
3604:
3594:
3556:
3553:Die Jakobsleiter
3546:
3525:
3509:
3499:
3489:
3462:
3374:
3353:
3343:
3333:
3323:
3288:
3281:
3274:
3265:
3248:, played by the
3242:
3226:
3207:
3184:
3165:
3139:
3120:
3101:
3075:
3045:
3013:
3012:
3006:
2998:
2992:
2990:
2973:Zakariasen, Bill
2969:
2963:
2962:
2956:
2948:
2942:
2940:
2925:(May 27, 1979).
2919:
2913:
2912:
2906:
2898:
2896:
2894:
2882:
2874:
2868:
2867:
2861:
2853:
2851:
2849:
2834:
2828:
2827:
2802:
2796:
2790:
2784:
2783:
2758:Stravinsky, Igor
2754:
2748:
2747:
2718:
2712:
2706:
2700:
2699:
2693:
2685:
2679:
2677:
2660:Cassidy, Claudia
2656:
2650:
2649:
2643:
2635:
2629:
2627:
2610:Cassidy, Claudia
2606:
2600:
2599:
2596:Columbia Records
2584:
2578:
2577:
2555:
2549:
2548:
2519:
2513:
2512:
2506:
2498:
2492:
2490:
2472:
2466:
2465:
2459:
2451:
2445:
2443:
2426:
2420:
2419:
2413:
2405:
2399:
2397:
2379:
2373:
2372:
2366:
2358:
2338:
2336:
2322:
2313:
2307:
2306:
2300:
2298:
2276:
2270:
2264:
2258:
2252:
2246:
2240:
2234:
2228:
2222:
2221:
2192:
2186:
2185:
2160:
2154:
2148:
2137:
2136:
2100:
2094:
2088:
2082:
2076:
2070:
2064:
2058:
2057:
2051:
2043:
2041:
2039:
2024:
2018:
2012:
2003:
1997:
1991:
1985:
1979:
1973:
1964:
1958:
1952:
1946:
1935:
1934:
1890:
1884:
1878:
1872:
1866:
1851:
1850:
1825:
1819:
1813:
1807:
1801:
1795:
1794:
1788:
1780:
1778:
1776:
1761:
1750:
1749:
1724:
1718:
1712:
1706:
1700:
1694:
1688:
1682:
1681:
1659:
1653:
1647:
1641:
1635:
1629:
1623:
1617:
1611:
1605:
1599:
1590:
1589:
1583:
1575:
1569:
1567:
1550:
1541:
1540:
1534:
1532:
1513:
1504:
1503:
1497:
1489:
1487:
1485:
1470:
1459:
1458:
1452:
1444:
1442:
1440:
1422:
1416:
1410:
1404:
1403:
1401:
1399:
1380:
1363:
1360:
1278:
1264:Film adaptations
1180:Columbia Records
1127:Later appraisals
1005:Friede auf Erden
906:National Theatre
648:a return to the
459:F. Charles Adler
457:originated from
448:Klaus Pringsheim
437:
410:Ferruccio Busoni
306:While composing
252:He composed the
206:
154:
152:
124:
123: 9 minutes
121:
103:
101:
99:
93:
91:
51:
48:
43:
21:
3829:
3828:
3824:
3823:
3822:
3820:
3819:
3818:
3784:
3783:
3782:
3777:
3763:
3691:
3671:(Grandchildren)
3646:
3631:Pierrot lunaire
3577:
3529:
3514:Suite for Piano
3472:
3459:VerklÀrte Nacht
3451:String quartets
3439:
3422:Violin Concerto
3410:
3357:
3306:
3297:
3292:
3237:
3233:
3223:
3210:
3204:
3194:Alfred A. Knopf
3187:
3181:
3168:
3162:
3142:
3136:
3123:
3104:
3098:
3078:
3072:
3048:
3042:
3025:
3022:
3017:
3016:
2999:
2988:
2986:
2971:
2970:
2966:
2949:
2938:
2936:
2921:
2920:
2916:
2899:
2892:
2890:
2880:
2876:
2875:
2871:
2854:
2847:
2845:
2836:
2835:
2831:
2824:
2804:
2803:
2799:
2791:
2787:
2780:
2772:. p. 108.
2756:
2755:
2751:
2744:
2734:Faber and Faber
2726:Heyworth, Peter
2722:Klemperer, Otto
2720:
2719:
2715:
2707:
2703:
2686:
2675:
2673:
2669:Chicago Tribune
2658:
2657:
2653:
2636:
2625:
2623:
2619:Chicago Tribune
2608:
2607:
2603:
2594:(liner notes).
2586:
2585:
2581:
2574:
2557:
2556:
2552:
2545:
2521:
2520:
2516:
2499:
2488:
2486:
2474:
2473:
2469:
2452:
2441:
2439:
2428:
2427:
2423:
2406:
2395:
2393:
2381:
2380:
2376:
2359:
2354:VerklÀrte Nacht
2334:
2332:
2320:
2315:
2314:
2310:
2296:
2294:
2278:
2277:
2273:
2265:
2261:
2253:
2249:
2241:
2237:
2229:
2225:
2218:
2210:. p. 148.
2194:
2193:
2189:
2182:
2174:. p. 328.
2164:Heyworth, Peter
2162:
2161:
2157:
2149:
2140:
2102:
2101:
2097:
2089:
2085:
2079:Schoenberg 2016
2077:
2073:
2065:
2061:
2044:
2037:
2035:
2026:
2025:
2021:
2013:
2006:
1998:
1994:
1986:
1982:
1974:
1967:
1961:Schoenberg 2016
1959:
1955:
1949:Schoenberg 2016
1947:
1938:
1892:
1891:
1887:
1879:
1875:
1867:
1854:
1847:
1827:
1826:
1822:
1814:
1810:
1802:
1798:
1781:
1774:
1772:
1763:
1762:
1753:
1746:
1738:. p. 207.
1736:Pendragon Press
1726:
1725:
1721:
1713:
1709:
1701:
1697:
1689:
1685:
1678:
1670:. p. 337.
1661:
1660:
1656:
1648:
1644:
1636:
1632:
1624:
1620:
1612:
1608:
1600:
1593:
1576:
1565:
1563:
1552:
1551:
1544:
1530:
1528:
1515:
1514:
1507:
1490:
1483:
1481:
1472:
1471:
1462:
1445:
1438:
1436:
1424:
1423:
1419:
1411:
1407:
1397:
1395:
1382:
1381:
1377:
1372:
1367:
1366:
1361:
1357:
1352:
1347:
1339:Bill Zakariasen
1266:
1193:Claudia Cassidy
1129:
1049:
970:Igor Stravinsky
943:
938:
867:
851:
843:Classical-sized
835:
675:is as follows:
669:
667:Instrumentation
623:
548:VI. The Danger
471:photoplay music
431:
391:
315:Oskar Kokoschka
300:
295:
287:Igor Stravinsky
166:
150:
148:
122:
97:
95:
89:
87:
85:
57:
49:
17:
12:
11:
5:
3827:
3825:
3817:
3816:
3811:
3806:
3801:
3796:
3786:
3785:
3779:
3778:
3768:
3765:
3764:
3762:
3761:
3756:
3751:
3744:
3737:
3732:
3727:
3722:
3717:
3712:
3707:
3699:
3697:
3693:
3692:
3690:
3689:
3683:
3681:Rudolf Kolisch
3678:
3672:
3666:
3661:
3654:
3652:
3648:
3647:
3645:
3644:
3636:
3626:
3616:
3606:
3596:
3585:
3583:
3579:
3578:
3576:
3575:
3567:
3558:
3548:
3537:
3535:
3531:
3530:
3528:
3527:
3517:
3511:
3501:
3491:
3480:
3478:
3474:
3473:
3471:
3470:
3464:
3454:
3447:
3445:
3441:
3440:
3438:
3437:
3431:
3428:Piano Concerto
3425:
3418:
3416:
3412:
3411:
3409:
3408:
3402:
3394:
3388:
3382:
3376:
3365:
3363:
3359:
3358:
3356:
3355:
3345:
3340:Moses und Aron
3335:
3325:
3314:
3312:
3308:
3307:
3302:
3299:
3298:
3293:
3291:
3290:
3283:
3276:
3268:
3262:
3261:
3256:
3232:
3231:External links
3229:
3228:
3227:
3221:
3208:
3202:
3185:
3179:
3166:
3160:
3140:
3134:
3121:
3102:
3096:
3080:Dahlhaus, Carl
3076:
3070:
3046:
3040:
3021:
3018:
3015:
3014:
2995:Newspapers.com
2964:
2945:Newspapers.com
2914:
2869:
2829:
2822:
2797:
2785:
2778:
2749:
2742:
2713:
2711:, p. 159.
2701:
2682:Newspapers.com
2651:
2632:Newspapers.com
2601:
2579:
2572:
2550:
2543:
2537:. p. 24.
2514:
2495:Newspapers.com
2467:
2448:Newspapers.com
2421:
2402:Newspapers.com
2374:
2363:cite interview
2308:
2303:Newspapers.com
2271:
2269:, p. 382.
2259:
2247:
2245:, p. 427.
2235:
2233:, p. 376.
2223:
2216:
2187:
2180:
2155:
2138:
2121:10.2307/779819
2095:
2093:, p. 362.
2083:
2071:
2059:
2019:
2017:, p. 188.
2015:MacDonald 2008
2004:
2002:, p. 102.
1992:
1988:MacDonald 2008
1980:
1965:
1963:, p. 329.
1953:
1951:, p. 328.
1936:
1885:
1873:
1852:
1845:
1831:, ed. (2018).
1820:
1808:
1806:, p. 101.
1796:
1751:
1744:
1719:
1707:
1705:, p. 196.
1695:
1683:
1676:
1654:
1642:
1630:
1626:MacDonald 2008
1618:
1606:
1591:
1572:Newspapers.com
1542:
1537:Newspapers.com
1521:Long Beach Sun
1505:
1460:
1417:
1415:, p. 371.
1405:
1374:
1373:
1371:
1368:
1365:
1364:
1354:
1353:
1351:
1348:
1346:
1343:
1290:Bertolt Brecht
1270:StraubâHuillet
1265:
1262:
1128:
1125:
1101:Richard Burgin
1048:
1045:
1036:Wiener Zeitung
1021:Symphony No. 2
997:Edward J. Dent
964:described the
942:
939:
937:
934:
926:Hollywood Bowl
866:
863:
850:
847:
834:
833:
832:
831:
826:
821:
816:
810:
797:
796:
795:
790:
785:
780:
775:
770:
765:
760:
755:
743:
742:
741:
735:
729:
716:
715:
714:
708:
702:
696:
677:
668:
665:
650:symphonic poem
622:
619:
594:Otto Klemperer
586:Otto Klemperer
578:
577:
574:
571:
565:
559:
552:
546:
539:The Threatened
535:
528:
526:become anxious
522:
515:
440:Franz Schreker
398:Franz Schreker
390:
387:
299:
296:
294:
291:
262:StraubâHuillet
195:
194:
189:
185:
184:
179:
175:
174:
160:
156:
155:
145:
141:
140:
136:
135:
130:
126:
125:
117:
113:
112:
109:
105:
104:
83:
79:
78:
75:
69:
68:
63:
59:
58:
44:
36:
35:
28:
27:
15:
13:
10:
9:
6:
4:
3:
2:
3826:
3815:
3812:
3810:
3807:
3805:
3802:
3800:
3797:
3795:
3792:
3791:
3789:
3776:
3766:
3760:
3757:
3755:
3752:
3750:
3749:
3745:
3743:
3742:
3738:
3736:
3733:
3731:
3728:
3726:
3723:
3721:
3718:
3716:
3713:
3711:
3708:
3706:
3705:
3701:
3700:
3698:
3694:
3687:
3684:
3682:
3679:
3677:(Grandnephew)
3676:
3675:Claude-Michel
3673:
3670:
3667:
3665:
3662:
3660:(Second wife)
3659:
3656:
3655:
3653:
3649:
3642:
3641:
3637:
3633:
3632:
3627:
3623:
3622:
3617:
3613:
3612:
3607:
3603:
3602:
3597:
3593:
3592:
3587:
3586:
3584:
3580:
3573:
3572:
3568:
3565:
3564:
3563:Genesis Suite
3559:
3555:
3554:
3549:
3545:
3544:
3539:
3538:
3536:
3532:
3524:
3523:
3518:
3515:
3512:
3508:
3507:
3502:
3498:
3497:
3492:
3488:
3487:
3482:
3481:
3479:
3475:
3468:
3465:
3461:
3460:
3455:
3452:
3449:
3448:
3446:
3442:
3435:
3432:
3429:
3426:
3423:
3420:
3419:
3417:
3413:
3406:
3403:
3400:
3399:
3395:
3392:
3389:
3386:
3383:
3380:
3377:
3373:
3372:
3367:
3366:
3364:
3360:
3352:
3351:
3346:
3342:
3341:
3336:
3332:
3331:
3326:
3322:
3321:
3316:
3315:
3313:
3309:
3305:
3300:
3296:
3289:
3284:
3282:
3277:
3275:
3270:
3269:
3266:
3260:
3257:
3255:
3252:conducted by
3251:
3247:
3243:
3241:
3235:
3234:
3230:
3224:
3218:
3214:
3209:
3205:
3203:0-394-47237-3
3199:
3195:
3191:
3186:
3182:
3176:
3172:
3167:
3163:
3157:
3153:
3149:
3145:
3141:
3137:
3131:
3127:
3122:
3118:
3114:
3110:
3109:
3103:
3099:
3097:0-521-33783-6
3093:
3089:
3085:
3081:
3077:
3073:
3071:0-333-45176-7
3067:
3063:
3059:
3055:
3051:
3047:
3043:
3037:
3033:
3029:
3024:
3023:
3019:
3010:
3004:
2996:
2984:
2983:
2978:
2974:
2968:
2965:
2960:
2954:
2946:
2934:
2933:
2928:
2924:
2918:
2915:
2910:
2904:
2888:
2887:
2879:
2873:
2870:
2865:
2859:
2843:
2839:
2833:
2830:
2825:
2823:0-374-10590-1
2819:
2815:
2811:
2807:
2801:
2798:
2794:
2793:Dahlhaus 1988
2789:
2786:
2781:
2779:0-520-04402-9
2775:
2771:
2767:
2763:
2762:Craft, Robert
2759:
2753:
2750:
2745:
2743:0-571-13561-7
2739:
2735:
2731:
2727:
2723:
2717:
2714:
2710:
2705:
2702:
2697:
2691:
2683:
2671:
2670:
2665:
2661:
2655:
2652:
2647:
2641:
2633:
2621:
2620:
2615:
2611:
2605:
2602:
2597:
2593:
2589:
2588:Craft, Robert
2583:
2580:
2575:
2573:0-312-08896-5
2569:
2565:
2561:
2554:
2551:
2546:
2544:9780826499028
2540:
2536:
2532:
2528:
2527:Eisler, Hanns
2524:
2518:
2515:
2510:
2504:
2496:
2484:
2483:
2478:
2471:
2468:
2463:
2457:
2449:
2437:
2436:
2431:
2425:
2422:
2417:
2411:
2403:
2391:
2390:
2385:
2378:
2375:
2370:
2364:
2357:
2355:
2351:
2346:
2345:
2330:
2326:
2319:
2312:
2309:
2304:
2292:
2288:
2287:
2282:
2275:
2272:
2268:
2263:
2260:
2256:
2251:
2248:
2244:
2239:
2236:
2232:
2227:
2224:
2219:
2217:0-520-06009-1
2213:
2209:
2205:
2201:
2197:
2191:
2188:
2183:
2181:0-521-49509-1
2177:
2173:
2169:
2165:
2159:
2156:
2153:, p. 26.
2152:
2147:
2145:
2143:
2139:
2134:
2130:
2126:
2122:
2118:
2114:
2110:
2106:
2099:
2096:
2092:
2087:
2084:
2080:
2075:
2072:
2068:
2063:
2060:
2055:
2049:
2033:
2029:
2023:
2020:
2016:
2011:
2009:
2005:
2001:
2000:Dahlhaus 1988
1996:
1993:
1989:
1984:
1981:
1978:, p. 98.
1977:
1972:
1970:
1966:
1962:
1957:
1954:
1950:
1945:
1943:
1941:
1937:
1932:
1928:
1924:
1920:
1916:
1912:
1908:
1904:
1900:
1896:
1889:
1886:
1882:
1877:
1874:
1871:, p. 97.
1870:
1865:
1863:
1861:
1859:
1857:
1853:
1848:
1846:9780520296831
1842:
1838:
1834:
1830:
1824:
1821:
1817:
1812:
1809:
1805:
1804:Dahlhaus 1988
1800:
1797:
1792:
1786:
1770:
1766:
1760:
1758:
1756:
1752:
1747:
1745:0-918728-14-2
1741:
1737:
1733:
1729:
1723:
1720:
1717:, p. 16.
1716:
1711:
1708:
1704:
1699:
1696:
1692:
1687:
1684:
1679:
1677:0-520-05294-3
1673:
1669:
1665:
1658:
1655:
1652:, p. 96.
1651:
1646:
1643:
1639:
1634:
1631:
1628:, p. 70.
1627:
1622:
1619:
1616:, p. 81.
1615:
1610:
1607:
1604:, p. 95.
1603:
1598:
1596:
1592:
1587:
1581:
1573:
1561:
1560:
1555:
1549:
1547:
1543:
1538:
1526:
1522:
1518:
1512:
1510:
1506:
1501:
1495:
1479:
1475:
1469:
1467:
1465:
1461:
1456:
1450:
1434:
1433:
1428:
1421:
1418:
1414:
1409:
1406:
1393:
1389:
1385:
1379:
1376:
1369:
1359:
1356:
1349:
1344:
1342:
1340:
1336:
1332:
1329:wrote in the
1328:
1324:
1323:
1318:
1314:
1310:
1306:
1301:
1299:
1295:
1294:Paris Commune
1291:
1287:
1286:anti-Semitism
1283:
1279:
1277:
1271:
1263:
1261:
1259:
1255:
1251:
1246:
1244:
1243:Carl Dahlhaus
1238:
1234:
1228:
1223:
1219:
1217:
1216:
1211:
1205:
1200:
1198:
1194:
1188:
1183:
1181:
1177:
1173:
1169:
1164:
1159:
1155:
1153:
1149:
1145:
1137:
1133:
1126:
1123:
1121:
1120:Ernest Newman
1116:
1110:
1108:
1107:
1102:
1097:
1095:
1091:
1086:
1084:
1083:
1078:
1073:
1066:respectively.
1065:
1061:
1057:
1053:
1046:
1044:
1042:
1038:
1037:
1032:
1031:
1026:
1022:
1018:
1017:Gustav Mahler
1014:
1010:
1006:
1002:
998:
994:
988:
984:
982:
977:
975:
971:
967:
963:
955:
951:
947:
940:
935:
933:
931:
927:
923:
920:conducted by
919:
915:
911:
907:
903:
899:
896:conducted by
895:
891:
886:
884:
881:conducted by
880:
876:
872:
864:
862:
860:
856:
848:
846:
844:
840:
837:According to
830:
829:double basses
827:
825:
822:
820:
817:
815:
811:
809:
805:
804:
803:
802:
798:
794:
791:
789:
786:
784:
781:
779:
776:
774:
771:
769:
766:
764:
761:
759:
756:
754:
751:
750:
749:
748:
744:
740:
736:
734:
730:
728:
724:
723:
722:
721:
717:
713:
709:
707:
703:
701:
697:
694:
690:
686:
685:
684:
683:
679:
678:
676:
674:
666:
664:
661:
659:
655:
654:program music
651:
647:
643:
642:Carl Dahlhaus
639:
637:
632:
628:
620:
618:
614:
612:
608:
601:
599:
595:
587:
583:
575:
572:
570:
566:
564:
560:
557:
553:
551:
547:
545:of the Danger
544:
540:
536:
533:
529:
527:
523:
520:
516:
513:
509:
508:
506:
503:
501:
497:
492:
490:
489:
482:
480:
476:
472:
468:
464:
460:
456:
451:
449:
445:
441:
435:
430:
425:
423:
419:
415:
411:
407:
399:
395:
388:
386:
384:
380:
379:film industry
375:
371:
369:
365:
358:
356:
350:
345:
343:
342:
335:
330:
328:
324:
320:
316:
311:
310:
304:
297:
292:
290:
288:
284:
280:
276:
275:
270:
265:
263:
259:
255:
250:
248:
243:
241:
237:
236:
231:
230:
225:
224:
219:
218:
213:
209:
208:
205:
193:
190:
186:
183:
180:
176:
173:
169:
165:
161:
157:
146:
142:
137:
134:
131:
127:
118:
114:
110:
106:
84:
80:
76:
74:
70:
67:
64:
60:
55:
42:
37:
34:
29:
26:
22:
19:
3748:Sprechstimme
3746:
3739:
3702:
3638:
3621:HerzgewÀchse
3591:Zwei GesÀnge
3569:
3561:
3543:Gurre-Lieder
3477:Instrumental
3467:Wind Quintet
3397:
3396:
3239:
3212:
3189:
3170:
3147:
3125:
3112:
3106:
3083:
3057:
3027:
2993:– via
2987:. Retrieved
2980:
2967:
2943:– via
2937:. Retrieved
2930:
2917:
2891:. Retrieved
2884:
2872:
2846:. Retrieved
2841:
2832:
2809:
2806:Shawn, Allen
2800:
2788:
2765:
2752:
2729:
2716:
2704:
2680:– via
2674:. Retrieved
2667:
2654:
2630:– via
2624:. Retrieved
2617:
2604:
2591:
2582:
2559:
2553:
2530:
2517:
2493:– via
2487:. Retrieved
2482:Boston Globe
2480:
2470:
2446:– via
2440:. Retrieved
2435:Boston Globe
2433:
2424:
2400:– via
2394:. Retrieved
2387:
2377:
2353:
2349:
2342:
2340:
2333:. Retrieved
2324:
2311:
2301:– via
2295:. Retrieved
2291:the original
2284:
2274:
2262:
2250:
2238:
2226:
2203:
2200:Stein, Erwin
2190:
2167:
2158:
2131:– via
2112:
2108:
2098:
2086:
2074:
2062:
2036:. Retrieved
2031:
2022:
1995:
1983:
1956:
1929:– via
1902:
1898:
1888:
1876:
1835:. Berkeley:
1832:
1823:
1811:
1799:
1773:. Retrieved
1768:
1731:
1728:Newlin, Dika
1722:
1710:
1698:
1686:
1663:
1657:
1645:
1633:
1621:
1609:
1570:– via
1564:. Retrieved
1557:
1535:– via
1529:. Retrieved
1525:the original
1520:
1482:. Retrieved
1477:
1437:. Retrieved
1432:The Guardian
1430:
1420:
1408:
1396:. Retrieved
1387:
1378:
1358:
1330:
1320:
1317:F. W. Murnau
1312:
1303:At the 1979
1302:
1281:
1273:
1267:
1253:
1247:
1240:
1236:
1232:
1226:
1213:
1209:
1207:
1202:
1190:
1185:
1175:
1163:Robert Craft
1161:
1157:
1151:
1147:
1144:Hanns Eisler
1141:
1136:Robert Craft
1112:
1106:Boston Globe
1104:
1098:
1089:
1087:
1080:
1071:
1069:
1040:
1034:
1028:
1012:
1004:
1000:
990:
986:
980:
978:
965:
959:
953:
950:Anton Webern
898:Anton Webern
887:
883:Hans Rosbaud
870:
868:
855:World War II
852:
836:
799:
783:glockenspiel
745:
727:French horns
718:
680:
672:
670:
662:
645:
640:
630:
624:
616:
603:
591:
568:
562:
555:
549:
542:
538:
534:draws closer
531:
525:
518:
511:
504:
499:
495:
493:
486:
483:
474:
454:
452:
426:
421:
405:
403:
376:
373:
360:
352:
347:
339:
337:
332:
327:Emil Hertzka
323:colorization
307:
305:
301:
279:Robert Craft
272:
268:
266:
253:
251:
246:
244:
234:
233:
228:
227:
222:
221:
216:
215:
201:
200:
198:
182:Hans Rosbaud
65:
54:Max Fenichel
45:Schoenberg,
24:
18:
3664:Eric Randol
3601:Vier Lieder
3560:Prelude to
3547:(1900â1911)
3415:Concertante
3050:Berg, Alban
2709:Feisst 2011
2151:Feisst 2011
2067:Feisst 1999
1976:Feisst 1999
1881:Feisst 1999
1869:Feisst 1999
1816:Feisst 1999
1715:Marcus 2016
1650:Feisst 1999
1638:Feisst 1999
1614:Marcus 2016
1602:Feisst 1999
1413:Feisst 2011
1298:Vietnam War
1250:Allen Shawn
1142:Adorno and
1064:Los Angeles
644:called the
636:minor third
563:Catastrophe
432: [
389:Composition
383:Dika Newlin
283:Allen Shawn
50: 1930
3814:Film music
3788:Categories
3686:Luigi Nono
3362:Orchestral
3148:Schoenberg
3060:. London:
2598:. MS 6216.
2344:Ionisation
1703:Auner 2003
1691:Auner 2003
1345:References
1309:Lukas Foss
1115:mood music
1025:Alban Berg
849:Manuscript
778:tambourine
763:snare drum
747:Percussion
691:(doubling
532:The Danger
303:own work.
298:Background
188:Performers
151:1930-04-08
98:1930-02-14
90:1929-10-15
52:(photo by
3720:Atonality
3557:(1917â22)
3344:(1930â32)
3320:Erwartung
3003:cite news
2989:March 23,
2953:cite news
2939:March 23,
2893:March 21,
2848:March 21,
2690:cite news
2676:March 22,
2640:cite news
2626:March 22,
2535:Continuum
2503:cite news
2489:March 22,
2456:cite news
2442:March 23,
2410:cite news
2396:March 22,
2335:March 21,
2297:March 20,
2038:March 20,
1927:191858131
1905:(3): 50.
1775:March 19,
1580:cite news
1566:March 19,
1531:March 19,
1484:March 19,
1449:cite news
1439:March 19,
1398:March 19,
1370:Citations
1322:Nosferatu
1268:In 1972,
1248:In 2002,
1215:Erwartung
936:Reception
865:Premieres
788:xylophone
758:bass drum
706:clarinets
682:Woodwinds
611:Schlemmer
554:VII. The
467:Magdeburg
364:art music
264:in 1972.
258:Magdeburg
178:Conductor
168:Frankfurt
108:Publisher
3775:Category
3754:Students
3643:, Op. 22
3635:, Op. 21
3625:, Op. 20
3615:, Op. 15
3574:, Op. 46
3566:, Op. 44
3526:, Op. 33
3516:, Op. 25
3510:, Op. 23
3500:, Op. 19
3490:, Op. 11
3469:, Op. 26
3430:, Op. 42
3424:, Op. 36
3407:, Op. 38
3401:, Op. 34
3393:, Op. 31
3387:, Op. 16
3354:, Op. 32
3334:, Op. 18
3324:, Op. 17
3146:(2008).
3082:(1988).
2903:cite web
2858:cite web
2808:(2002).
2728:(1985).
2529:(1947).
2198:(1964).
2048:cite web
1785:cite web
1730:(1980).
1494:cite web
1392:Archived
1296:and the
1030:Der Wein
859:StaĂfurt
773:triangle
739:trombone
733:trumpets
607:Rabenalt
569:Collapse
159:Location
139:Premiere
116:Duration
82:Composed
3696:Related
3669:Marlena
3658:Gertrud
3605:, Op. 2
3595:, Op. 1
3463:, Op. 4
3444:Chamber
3381:, Op. 9
3375:, Op. 5
3246:YouTube
3020:Sources
2202:(ed.).
1187:period.
1168:Gertrud
1138:in 1967
1109:wrote:
853:During
814:violins
808:violins
801:Strings
768:tam-tam
753:timpani
712:bassoon
693:piccolo
561:VIIIa.
541:become
521:appears
368:Chaplin
293:History
172:Germany
149: (
129:Scoring
96: (
88: (
62:English
3651:Family
3534:Choral
3436:(1933)
3219:
3200:
3177:
3158:
3132:
3094:
3068:
3038:
2820:
2776:
2740:
2570:
2541:
2214:
2178:
2129:779819
2127:
2115:: 64.
1925:
1917:
1843:
1742:
1674:
1060:Havana
910:Havana
824:cellos
819:violas
629:, the
349:found.
232:, and
3715:6-Z44
3582:Vocal
3311:Opera
3117:JSTOR
2881:(PDF)
2321:(PDF)
2133:JSTOR
2125:JSTOR
1931:JSTOR
1923:S2CID
1915:JSTOR
1350:Notes
1092:on a
793:piano
720:Brass
689:flute
621:Music
567:IXa.
550:grows
543:aware
512:Quiet
436:]
3710:6-20
3217:ISBN
3198:ISBN
3175:ISBN
3156:ISBN
3130:ISBN
3092:ISBN
3066:ISBN
3052:and
3036:ISBN
3009:link
2991:2023
2959:link
2941:2023
2909:link
2895:2023
2864:link
2850:2023
2818:ISBN
2774:ISBN
2738:ISBN
2696:link
2678:2023
2646:link
2628:2023
2568:ISBN
2539:ISBN
2509:link
2491:2023
2462:link
2444:2023
2416:link
2398:2023
2369:link
2337:2023
2329:UCLA
2299:2023
2212:ISBN
2176:ISBN
2054:link
2040:2023
1841:ISBN
1791:link
1777:2023
1740:ISBN
1672:ISBN
1586:link
1568:2023
1533:2023
1500:link
1486:2023
1455:link
1441:2023
1400:2023
1062:and
1003:and
993:ISCM
914:Cuba
812:2nd
806:1st
700:oboe
556:fear
530:IV.
517:II.
362:and
281:and
199:The
144:Date
73:Opus
3244:on
2117:doi
1907:doi
1319:'s
1027:'s
1019:'s
908:in
902:BBC
845:".
660:".
656:in
537:V.
510:I.
317:or
31:by
3790::
3196:.
3154:.
3150:.
3113:83
3111:.
3090:.
3064:.
3034:.
3030:.
3005:}}
3001:{{
2979:.
2955:}}
2951:{{
2929:.
2905:}}
2901:{{
2883:.
2860:}}
2856:{{
2840:.
2760:;
2724:;
2692:}}
2688:{{
2666:.
2642:}}
2638:{{
2616:.
2590:.
2562:.
2525:;
2505:}}
2501:{{
2479:.
2458:}}
2454:{{
2432:.
2412:}}
2408:{{
2386:.
2365:}}
2361:{{
2339:.
2323:.
2283:.
2141:^
2123:.
2111:.
2107:.
2050:}}
2046:{{
2030:.
2007:^
1968:^
1939:^
1921:.
1913:.
1901:.
1897:.
1855:^
1787:}}
1783:{{
1767:.
1754:^
1594:^
1582:}}
1578:{{
1556:.
1545:^
1519:.
1508:^
1496:}}
1492:{{
1476:.
1463:^
1451:}}
1447:{{
1429:.
1390:.
1386:.
1325:.
1307:,
1300:.
1260:.
932:.
912:,
737:1
731:2
725:2
710:1
704:2
698:1
687:1
434:de
424:.
329::
226:,
220:,
212:Op
210:,
170:,
120:c.
102::
77:34
47:c.
3287:e
3280:t
3273:v
3225:.
3206:.
3183:.
3164:.
3138:.
3119:.
3100:.
3074:.
3044:.
3011:)
2997:.
2961:)
2947:.
2911:)
2897:.
2866:)
2852:.
2826:.
2782:.
2746:.
2698:)
2684:.
2648:)
2634:.
2576:.
2547:.
2511:)
2497:.
2464:)
2450:.
2418:)
2404:.
2371:)
2305:.
2220:.
2184:.
2135:.
2119::
2113:8
2056:)
2042:.
1933:.
1909::
1903:9
1849:.
1793:)
1779:.
1748:.
1680:.
1588:)
1574:.
1539:.
1502:)
1488:.
1457:)
1443:.
1402:.
1280:(
695:)
153:)
100:)
92:)
56:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
