He is considered to have brought more human values to the twelve-tone system, his works seen as more emotional than Schoenberg's.

The two operas of Schoenberg's pupil Alban Berg, Wozzeck ( 1925 ) and Lulu ( incomplete at his death in 1935 ) share many of the same characteristics as described above, though Berg combined his highly personal interpretation of Schoenberg's twelve-tone technique with melodic passages of a more traditionally tonal nature ( quite Mahlerian in character ) which perhaps partially explains why his operas have remained in standard repertory, despite their controversial music and plots.

But the poems have dense histories as songs and sets of songs both before and after Schoenberg's landmark Opus 21.

The theatrical / operatic possibilities of Schoenberg's score have been realized by at least two major ensembles: the Opera Quotannis, which staged a version of Pierrot lunaire ( with singer Christine Schadeberg ) at the New School for Social Research in 1995 and, more recently, the internationally acclaimed contemporary music sextet eighth blackbird, which premiered a " cabaret opera " dramatizing the Schoenberg cycle in 2009.

His mature works, using Arnold Schoenberg's twelve-tone technique, have a textural clarity and emotional coolness which greatly influenced composers at Darmstadt, such as Pierre Boulez, Luigi Nono, and Karlheinz Stockhausen.

Schoenberg's approach, both in terms of harmony and development, is among the major landmarks of 20th-century musical thought ; at least three generations of composers in the European and American traditions have consciously extended his thinking or, in some cases, passionately reacted against it.

Some piano and chamber works, such as Arnold Schoenberg's string sextet Verklärte Nacht, have similarities with symphonic poems in their overall intent and effect.

In addition, many world premieres such as Arnold Schoenberg's Erwartung ( 1967 ) have been presented.

11 pieces, and suggests that Prokofiev may have known and been inspired by Schoenberg's Op.

He produced a performing translation of Schoenberg's Pierrot Lunaire in English and translated, either alone or with a collaborator, such works as Stravinsky's Poetics of Music.

Schoenberg's significant compositions in the repertory of modern art music extend over a period of more than 50 years.

Herbert Lindenberger in his book Opera in History, for example, views Mahagonny alongside Schoenberg's Moses und Aron as indicative of the two poles of modernist opera.

She wrote the libretto for Schoenberg's one-act opera Von heute auf morgen under the pseudonym Max Blonda.

None the less, within a short time of its premiere, Dukas's opera was produced in Vienna, where it aroused much interest in Schoenberg's circle, and in Frankfurt, Milan and New York.

* March 12-Arnold Schoenberg's opera Moses und Aron has its first performance in Hamburg ( it is given a staged première on June 6 in Zurich ).

Libeskind, a musician himself, took inspiration from music and considered the museum the final act of Arnold Schoenberg's unfinished opera, Moses und Aron.

Goehr will return time and again to the idea of carrying out a synthesis of fragments or unfinished projects left by other artists, albeit in a metaphorical way: the cantata The Death of Moses resonates with Schoenberg's unfinished Moses und Aron ; the opera Arianna ( 1995 ) is the setting of the libretto of a lost opera by Monteverdi ; and the posthumously published prose fragments by Franz Kafka lurk behind Das Gesetz der Quadrille ( 1979 ), Sur terre en l ’ air ( 1997 ) and Schlussgesang ( 1990 ).

Norman is also known for the Gurre-Lieder of Arnold Schoenberg and for Schoenberg's one-woman opera Erwartung.

In March 2011, LaBruce directed a performance of Arnold Schoenberg's opera Pierrot Lunaire at the Hebbel am Ufer Theatre in Berlin.

McCracken made a number of complete opera recordings, including " Le prophète " ( with Marilyn Horne and Renata Scotto, ( Col / CBS ), c1976 ), " Carmen " ( conducted by Leonard Bernstein, ( DG ), 1972 ), " Fidelio " ( with Birgit Nilsson, ( Decca / London ), 1964 ), " Otello " ( with Dame Gwyneth Jones, ( EMI / Angel ), 1968 ) and " Pagliacci ", on which side 4 of the original LP version was a recital of opera arias, ( Decca / London ), ( 1967 ), as well as Schoenberg's Gurre-Lieder ( with Jessye Norman, Tatiana Troyanos and David Arnold, ( Phi ), 1979 ), and a program of Irish and Scottish songs with piano ( EMI / Angel ), 1977.

In 1973 he recorded Schoenberg's opera Moses und Aron with Günter Reich, Louis Devos, choir und orchestra of the Österreichischer Rundfunks, used as a soundtrack for the film Moses und Aron.

Following the success of his first play Afore Night Come ( 1962 ), Rudkin translated works by Aeschylus, Roger Vitrac, the libretto of Schoenberg's Moses and Aaron, and wrote the book to the Western Theatre Ballet's Sun into Darkness ( Sadlers Wells 1963 ) and the libretto for Gordon Crosse's comic opera, The Grace of Todd.

Successful presentations followed from November 1957 onwards: Fidelio ; Ariadne auf Naxos ; Idomeneo ; a double bill of Schoenberg's Erwartung and Stravinsky's Le Rossignol ( conducted by the composer ); and a December 1961 The Magic Flute which resulted in an invitation from President John Kennedy at the White House for some excerpts from the opera.

Schoenberg's Pierrot has kindled inspiration not only among fellow composers but also among choreographers and singer-performers.

Membership in the school is not generally extended to Schoenberg's many pupils in the United States from 1933, such as John Cage, Leon Kirchner and Gerald Strang, nor to many other composers who, at a greater remove, wrote compositions evocative of the Second Viennese style, such as the Canadian pianist Glenn Gould.

Therefore, other than Strauss and numerous concert overtures by others, there are only isolated symphonic poems by German and Austrian composers — Hans von Bülow's Nirwana ( 1866 ), Hugo Wolf's Penthesilea ( 1883-5 ) and Arnold Schoenberg's Pelleas und Melisande ( 1902-3 ).

Making his debut with Schoenberg's Pierrot Lunaire, he was a champion of 20th century composers such as Richard Strauss, Webern, Berg and Varèse, and actively promoted the work of younger contemporary composers including Xenakis and Nono.

In December 1941 he was deported by the Nazis to Terezín concentration camp, where along with Leoš Janáček's pupil Pavel Haas, Hans Krása, and Schoenberg's pupil Viktor Ullmann he became one of the major composers in that camp, one of the few in which artistic activity occurred on any scale.

Other examples of this type of transcription include Bach's arrangement of Vivaldi's four-violin concerti for four keyboard instruments and orchestra ; Mozart's arrangement of some Bach fugues from The Well-Tempered Clavier for string trio ; Beethoven's arrangement of his Große Fuge, originally written for string quartet, for piano duet, and his arrangement of his Violin Concerto as a piano concerto ; Franz Liszt's piano arrangements of the works of many composers, including the symphonies of Beethoven ; Tchaikovsky's arrangement of four Mozart piano pieces into an orchestral suite called " Mozartiana "; Mahler's re-orchestration of Schumann symphonies ; and Schoenberg's arrangement for orchestra of Brahms's piano quintet and Bach's " St. Anne " Prelude and Fugue for organ.

Mahler adopted him as a protégé and continued to support him even after Schoenberg's style reached a point which Mahler could no longer understand ; Mahler worried about who would look after him after his death.

Both of them had already produced copious and talented music in a late Romantic idiom but felt they gained new direction and discipline from Schoenberg's teaching.

Several yet later pupils, such as Winfried Zillig, the Catalan Roberto Gerhard, the Transylvanian Norbert von Hannenheim and the Greek Nikos Skalkottas, are sometimes covered by the term, though ( apart from Gerhard ) they never studied in Vienna but as part of Schoenberg's masterclass in Berlin.

Martin developed his mature style based on a very personal use of Arnold Schoenberg's twelve tone technique, having become interested in this around 1932, but did not abandon tonality.

His dissonant, contrapuntal style was similar to Arnold Schoenberg's although he did not employ the same twelve tone system.

Later, as his career progressed, he began to use Schoenberg's twelve-tone technique more and more often, though he did occasionally revert to his earlier styles.

Eisler was the first of Schoenberg's disciples to compose in the twelve-tone or serial technique.

The music Wolpe was writing between 1929 and 1933 was dissonant, using Arnold Schoenberg's twelve-tone technique.

Rihm's early work, combining contemporary techniques with the emotional volatility of Mahler and of Schoenberg's early expressionist period, was regarded by many as a revolt against the avant-garde generation of Boulez, Stockhausen ( with whom he studied in 1972 – 73 ), and others, and led to a large number of commissions in the following years.

He was a member of the Second Viennese School with Arnold Schoenberg and Anton Webern, and produced compositions that combined Mahlerian Romanticism with a personal adaptation of Schoenberg's twelve-tone technique.

He also wrote songs, including his Seven Early Songs ( Sieben Frühe Lieder ), three of which were Berg's first publicly performed work in a concert that featured the music of Schoenberg's pupils in Vienna that year.

Among Schoenberg's teaching was the idea that the unity of a musical composition depends upon all its aspects being derived from a single basic idea ; this idea was later known as developing variation.

Like much of his mature work, it employs an idiosyncratic adaptation of Schoenberg's twelve-tone technique that enables the composer to produce passages openly evoking tonality, including quotations from historical tonal music, such as a Bach chorale and a Carinthian folk song.

Zemlinsky, moreover, was in turn the teacher of Arnold Schoenberg, and Brahms was apparently impressed by two movements of Schoenberg's early Quartet in D major which Zemlinsky showed him.

Schoenberg's pupil Anton Webern, in his 1933 lectures, posthumously published under the title The Path to the New Music, claimed Brahms as one who had anticipated the developments of the Second Viennese School, and Webern's own Op.

While Chamber Symphony bears a strong resemblance to Arnold Schoenberg's Chamber Symphony Op.

These " modernist " landmarks include the atonal ending of Arnold Schoenberg's Second String Quartet in 1908, the expressionist paintings of Wassily Kandinsky starting in 1903 and culminating with his first abstract painting and the founding of the Blue Rider group in Munich in 1911, and the rise of fauvism and the inventions of cubism from the studios of Henri Matisse, Pablo Picasso, Georges Braque and others in the years between 1900 and 1910.

Schoenberg's early musico-dramatic works, Erwartung ( 1909, premiered in 1924 ) and Die glückliche Hand display heavy use of chromatic harmony and dissonance in general.

While Mahler's symphonies call for extravagant resources, Arnold Schoenberg's two Chamber Symphonies, opp.

Although it began as a song cycle ( as reflected also by its title ), Arnold Schoenberg's Gurre-Lieder ( 1900 – 1903 / 1910 – 11 ) evolved into one of the century's largest secular cantatas.

Igor Stravinsky and Sergei Prokofiev were in the ascendant, and Arnold Schoenberg's experiments were leading music into atonality.

It is perhaps instructive to realise Holst attended an early performance of Schoenberg's Five Pieces for Orchestra in 1914 ( the year he wrote " Mars ", " Venus " and " Jupiter ") and owned a score of it.

The work, which is being toured in 2012 to mark the centennial of Schoenberg's composition of Pierrot lunaire, was conceived, directed, and choreographed by Mark DeChiazza.

Each of its three ten-minute sections features a Spreschstimme soprano who sings fragments of Schoenberg's 21 selections accompanied by flute, clarinet, violin, cello, and piano.

" The Fool as paradigm: Schoenberg's Pierrot Lunaire and the modern artist.

He met Alban Berg, who was also a pupil of Schoenberg's, and these two relationships would be the most important in his life in shaping his own musical direction.