Arnold Schoenberg (1874-1951)

Today he celebrates Schoenberg's sheer inventiveness, including the development of the 12-tone compositional method.

Schoenberg, seen by many as the inventor of modern music, is perhaps best known as the creator of the twelve-tone method of composition. But it was an idea whose development he kept secret, until revealing it to his students in the 1920s. Donald traces the origins of the method which came to define the composer for many, from Schoenberg's early imitative work, through his exploration of the fullest possible romanticism, to the method's maturation during the 1930s.

Ei, du Lütte

Simon Joly Chorale

Robert Craft, Conductor

Gurreleider, Final Part: Behold, the Sun.

Bergen Philharmonic Choir

Gothenburg Symphony Orchestra

Edward Gardner, Conductor

Jane Grey, Op 12 No 1

Melanie Diener, Soprano

Urs Liska, Piano

Five Piano Pieces, Op 23 (Sehr Langsam; Waltzer)

Maurizio Pollini, Piano

Variations for Orchestra, Op 31

CBSO

Simon Rattle, Conductor

Phantasy for Violin with Piano Accompaniment, Op 47 (Scherzando)

Ulf Wallin, Violin

Roland Pontinen, Piano

Part of Radio 3's 'Breaking Free - the minds that changed music', exploring the music of the Second Viennese School.

Donald Macleod focuses on Schoenberg's invention of a new compositional method.

Schoenberg's family life did not always run smoothly. His first wife ran off with the painter Schoenberg had engaged to teach them both, with tragic consequences. His relationship with his eldest son was never warm, Schoenberg's parenting style being old-fashioned to say the least. His second marriage however was a happy one, and the basis of a second family in America. Donald looks at Schoenberg's family life and relationships.

Four Songs, Op 2

Konrad Jarnot, Baritone

Urs Liska, Piano

Die Glückliche Hand, Op 18

Siegmund Nimsgern, Bass

BBC Singers

BBC Symphony Orchestra

Pierre Boulez, Conductor

Wind Quintet, Op 26: Rondo

London Sinfonietta

David Atherton, Conductor

Concerto for Piano and Orchestra, Op 42

Mitsuko Uchida, Piano

The Cleveland Orchestra

Part of Radio 3's 'Breaking Free - the minds that changed music', exploring the music of the Second Viennese School.

Donald Macleod focuses on Schoenberg's family life, including his troubled first marriage.

It's ironic that the man who should become known as the leader of the Second Viennese School had such a limited formal education. He'd attended a technical school and had to provide for his family as a teenager, so was largely self-taught, yet his impact as a teacher is still felt today. Donald looks at Schoenberg's life in the context of the various teaching roles he took on.

Suite in Old Style: Minuet and Trio

Rundfunk-Sinfonieorchester Berlin

John Mauceri, Conductor

Three Pieces for Piano, Op 11

Maurizio Pollini, Piano

Three Satires for Mixed Chorus, Op 28

Sudfunk-Chor Stuttgart

Rupert Huber, Conductor

String Trio, Op 45

Arnold Schonberg Trio

Part of Radio 3's 'Breaking Free - the minds that changed music', exploring the music of the Second Viennese School.

Donald Macleod focuses on Schoenberg's success as a teacher.

Schoenberg never really knew where to call home. In Europe he had moved frequently between Vienna and Berlin as well as further afield, and the developing political situation in pre-war Germany and Austria made permanency impossible for him. From the thirties he lived in the states - but this was an exile rather than a homecoming. Donald explores the composer's relationship with the places he lived.

Pelleas and Melisande Op 5 (extract: Lebhaft, Sehr Rasch)

Philharmonia Orchestra

Robert Craft, Conductor

Six Little Piano Pieces Op 19 1911

Glen Gould, Piano

Pierrot Lunaire Op 21

Sonia Bergamasco, Speaker

Contempoartensemble

Mauro Ceccanti, Conductor

Piano Pieces Op 33a & b

Maurizio Pollini, Piano

Concerto for Violin and Orchestra Op 36

Pierre Amoyal, Violin

London Symphony Orchestra

Pierre Boulez, Conductor

Part of Radio 3's 'Breaking Free - the minds that changed music', exploring the music of the Second Viennese School.

Donald Macleod on Schoenberg's moves between Germany and Austria, and further afield.

Schoenberg was sincere about faith and belief throughout his life, though not always with consistency. Superstition governed his daily life, in particular a horror of the number thirteen, whilst in religion he first converted from Judaism to Protestantism and later back again, not least because of the impact of the persecution of Jews. Towards the end of his life, he wrote several Jewish works celebrating the establishment of the state of Israel.

Early Songs (Ekloge; Juble, sch怀ne junge Rose; Einst hat vot deines Vaters Haus; Einsam bin ich und alleine; Lied der Schnitterin; Vergissmeinnicht; M䀀dchenlied)

Claudia Barainsky, Soprano

Urs Liska, Piano

Friede auf Erden Op 13

BBC Singers

Pierre Boulez, Conductor

Kol Nidre Op 39

Simon Joly Chorale

Philharmonia Orchestra

Robert Craft, Conductor

A Survivor From Warsaw Op 46

Simon Callow, Narrator

London Symphony Orchestra

Thrice a Thousand Years Op 50a

Südfunk-Chor Stuttgart

Rupert Huber, Conductor

Part of Radio 3's 'Breaking Free - the minds that changed music', exploring the music of the Second Viennese School.

Donald Macleod on Schoenberg's changes of faith and his predilection for superstition.

Is there a more controversial, infamous figure in 20th-century music than Arnold Schoenberg? Arguably no other 20th-century composer's ideas have been more influential among composers since; however, his music is still neglected and misunderstood by programmers and audiences. Schoenberg was a revolutionary - one of the founders of musical Modernism - but he also recognised the importance of musical tradition. His music defined the times in which he lived, and whether you see Schoenberg as the most important innovator in 20th-century music, or as a heretic who led his followers to an artistic dead end, he was absolutely dedicated to art – both musical and visual. Over the course of this week, Kate Molleson explores the twists and turns of Schoenberg's life, and tracks the composer's changing relationship with art through the prism of 5 different visual works, from an image which terrified and obsessed Schoenberg as a child, through the composer's own paintings, and one of his practical twelve-tone selection dials, to a portrait of Schoenberg painted while he was in exile in America, by his friend and fellow composer George Gershwin.

In Monday's episode, Kate explores Arnold Schoenberg's relationship with the city of his birth – Vienna, and examines the impact that the adverse critical reception to his early works in Vienna had on the young composer. We also explore an image which terrified and obsessed Schoenberg as a young boy in the city - an illustration which accompanied the story 'The Ghost Ship' by Wilhelm Hauff – and explore the parallels which can be drawn between that painting and Schoenberg's experiences in Vienna.

Strauss (arr. Schoenberg)

Roses from the South

Paul Badura-Skoda, piano

Kuchl Quartet

2 Gesange, Op , No 1 “Dank ?

Konrad Jarnot, baritone

Urs Liska, piano

4 Lieder, Op 2, No 1 “Erwartung ?

Pelleas und Melisande, Op 5 (Langsam)

Bergen Philharmonic Orchestra

Edward Gardner, conductor

Verklarte nacht, Op 4

Isabelle Faust, violin

Anne Katharina Schreiber, violin

Antoine Tamestit, viola

Danusha Waskiewicz, viola

Jean-Guihen Queyras, cello

Christian Poltéra, cello

Kate Molleson explores Schoenberg's relationship with the city of his birth - Vienna.

Kate Molleson explores Arnold Schoenberg's relationship with the city of his birth – Vienna – and the impact the adverse critical reception there to his early works had on him.

Is there a more controversial, infamous figure in 20th-century music than Arnold Schoenberg? Arguably no other twentieth-century composer's ideas have been more influential among composers since; however, his music is still neglected and misunderstood by programmers and audiences. Schoenberg was a revolutionary - one of the founders of musical Modernism - but he also recognised the importance of musical tradition. His music defined the times in which he lived, and whether you see Schoenberg as the most important innovator in 20th century music, or as a heretic who led his followers to an artistic dead end, he was absolutely dedicated to art – both musical and visual. Over the course of this week, Kate Molleson explores the twists and turns of Schoenberg's life, and tracks the composer's changing relationship with art through the prism of 5 different visual works, from an image which terrified and obsessed Schoenberg as a child, through the composer's own paintings, and one of his practical twelve-tone selection dials, to a portrait of Schoenberg painted while he was in exile in America, by his friend and fellow composer George Gershwin.

In Monday's episode, Kate explores Arnold Schoenberg's relationship with the city of his birth – Vienna, and examines the impact that the adverse critical reception to his early works in Vienna had on the young composer. We also explore an image which terrified and obsessed Schoenberg as a young boy in the city - 'The Ghost Ship' by Wilhelm Hauff – and explore the parallels which can be drawn between that painting and Schoenberg's experiences in Vienna.

Pelleas und Melisandre, Op 5 (Langsam)

Is there a more controversial, infamous figure in 20th-century music than Arnold Schoenberg? Arguably no other 20th-century composer's ideas have been more influential among composers since; however, his music is still neglected and misunderstood by programmers and audiences. Schoenberg was a revolutionary - one of the founders of musical Modernism - but he also recognised the importance of musical tradition. His music defined the times in which he lived, and whether you see Schoenberg as the most important innovator in 20th-century music, or as a heretic who led his followers to an artistic dead end, he was absolutely dedicated to art – both musical and visual. Over the course of this week, Kate Molleson explores the twists and turns of Schoenberg's life, and tracks the composer's changing relationship with art through the prism of 5 different visual works, from an image which terrified and obsessed Schoenberg as a child, through the composer's own paintings, and one of his practical twelve-tone selection dials, to a portrait of Schoenberg painted while he was in exile in America, by his friend and fellow composer George Gershwin.

In Tuesday's programme, Kate Molleson takes as her image one of Schoenberg's most expressive paintings as we explore Schoenberg's traumatic first marriage, and the importance for him of Gustav Mahler.

6 little piano pieces (No 6)

Daniel Barenboim, piano

Mahler (arr. for Voice and Chamber ensemble by Schoenberg and Webern, 1921)

Das Lied von der Erde (No 3, Of Youth)

Charles Reid (tenor)

Attacca Quartet, Virginia Arts Festival Chamber Players

JoAnn Falletta, conductor

Gurrelieder (excerpt)

Thomas Quasthoff, speaker

Rundfunkchor Berlin

Leipzig Radio Choir

Berlin Philharmonic

Sir Simon Rattle, conductor

String Quartet No 2, Op 10 (3rd mvt, Langsam, 'Litanei')

Carolyn Sampson, soprano

Heath Quartet

Erwartung (excerpt)

Phyllis Bryn-Julson, soprano

City of Birmingham Symphony Orchestra

Friede auf Erden

Kent Nagano, conductor

Is there a more controversial, infamous figure in 20th-century music than Arnold Schoenberg? Arguably no other twentieth-century composer's ideas have been more influential among composers since; however, his music is still neglected and misunderstood by programmers and audiences. Schoenberg was a revolutionary - one of the founders of musical Modernism - but he also recognised the importance of musical tradition. His music defined the times in which he lived, and whether you see Schoenberg as the most important innovator in 20th century music, or as a heretic who led his followers to an artistic dead end, he was absolutely dedicated to art – both musical and visual. Over the course of this week, Kate Molleson explores the twists and turns of Schoenberg's life, and tracks the composer's changing relationship with art through the prism of 5 different visual works, from an image which terrified and obsessed Schoenberg as a child, through the composer's own paintings, and one of his practical twelve-tone selection dials, to a portrait of Schoenberg painted while he was in exile in America, by his friend and fellow composer George Gershwin.

[LISTEN NOW]

Is there a more controversial, infamous figure in 20th-century music than Arnold Schoenberg? Arguably no other 20th-century composer's ideas have been more influential among composers since; however, his music is still neglected and misunderstood by programmers and audiences. Schoenberg was a revolutionary - one of the founders of musical modernism - but he also recognised the importance of musical tradition. His music defined the times in which he lived, and whether you see Schoenberg as the most important innovator in 20th-century music, or as a heretic who led his followers to an artistic dead end, he was absolutely dedicated to art – both musical and visual. Over the course of this week, Kate Molleson explores the twists and turns of Schoenberg's life, and tracks the composer's changing relationship with art through the prism of 5 different visual works, from an image which terrified and obsessed Schoenberg as a child, through the composer's own paintings, and one of his practical twelve-tone selection dials, to a portrait of Schoenberg painted while he was in exile in America, by his friend and fellow composer George Gershwin.

In Wednesday's episode, Kate explores Schoenberg's terror of the number thirteen, and his interest in and development of systems – from intricate variations of chess, to models of transport networks, and methods for notating tennis games. And as the world around him descended into the First World War, we learn about another system - Schoenberg's great breakthrough musical development – which he claimed would ‘guarantee the supremacy of German music for the next one hundred years.

De Profundis

Accentus

Laurence Equilbey, conductor

Pierrot Lunaire, Op 21 (Act II excerpt)

Salome Kammer, vocalist

Ensemble Avantgarde

Hans Zender, conductor

Die eiserne Brigade (The Iron Brigade)

London Sinfonietta

David Atherton, conductor

Bach (orch. Schoenberg)

Gott Schopfer, heiliger Geist, BWV 631

Philharmonia Orchestra

Robert Craft, conductor

Suite for piano, Op 25 (2nd mvt, Gavotte & 3rd mvt, Musette)

Glenn Gould, piano

Suite, Op 29 (3rd mvt, Theme and Variations)

Ensemble Intercontemporain

Pierre Boulez, conductor

Begleitungsmusik zu finer Lichtspielszene (Accompaniment Music to a Film Scene), Op 34

BBC Symphony Orchestra

Kate Molleson explores Schoenberg's breakthrough musical system.

As the world descended into war, Kate Molleson explores Schoenberg's breakthrough musical development, one of a number of systems he invented, and his terror of the number 13.

Is there a more controversial, infamous figure in 20th-century music than Arnold Schoenberg? Arguably no other twentieth-century composer's ideas have been more influential among composers since; however, his music is still neglected and misunderstood by programmers and audiences. Schoenberg was a revolutionary - one of the founders of musical modernism - but he also recognised the importance of musical tradition. His music defined the times in which he lived, and whether you see Schoenberg as the most important innovator in 20th century music, or as a heretic who led his followers to an artistic dead end, he was absolutely dedicated to art – both musical and visual. Over the course of this week, Kate Molleson explores the twists and turns of Schoenberg's life, and tracks the composer's changing relationship with art through the prism of 5 different visual works, from an image which terrified and obsessed Schoenberg as a child, through the composer's own paintings, and one of his practical twelve-tone selection dials, to a portrait of Schoenberg painted while he was in exile in America, by his friend and fellow composer George Gershwin.

[LISTEN NOW]

Is there a more controversial, infamous figure in 20th-century music than Arnold Schoenberg? Arguably no other 20th-century composer's ideas have been more influential among composers since; however, his music is still neglected and misunderstood by programmers and audiences. Schoenberg was a revolutionary - one of the founders of musical Modernism - but he also recognised the importance of musical tradition. His music defined the times in which he lived, and whether you see Schoenberg as the most important innovator in 20th-century music, or as a heretic who led his followers to an artistic dead end, he was absolutely dedicated to art – both musical and visual. Over the course of this week, Kate Molleson explores the twists and turns of Schoenberg's life, and tracks the composer's changing relationship with art through the prism of 5 different visual works, from an image which terrified and obsessed Schoenberg as a child, through the composer's own paintings, and one of his practical twelve-tone selection dials, to a portrait of Schoenberg painted while he was in exile in America, by his friend and fellow composer George Gershwin.

In 1919, Schoenberg painted a ‘Vision of Christ' in watercolour. Using that as a jumping off point, in Thursday's programme, Kate Molleson explores Schoenberg's changing relationship with religion and his attitudes towards faith, something which informed much of his music. We also explore how the political situation in Germany and Austria led to Schoenberg fleeing Europe for exile in America.

Songs for male chorus, Op 35 No 6 Verbundenheit 'Man hilft zur Welt dir kommen

BBC Singers

Pierre Boulez, conductor

Die Jakobsleiter: Ob rechts, ob links

Dietrich Henschel, baritone (Gabriel)

Salome Kammer, soprano

Heidi Meier, soprano

Jonas Kaufmann, tenor

Stephan Rugamer, tenor

Kurt Azesberger, tenor

Michael Volle, baritone

James Johnson, baritone

Rundfunkchor Berlin

Deutsches Symphonie-Orchester Berlin

Kent Nagano, conductor

Kol Nidre, Op 39

Alberto Mizrahi, narrator

Chicago Symphony Chorus

Chicago Symphony Orchestra

Riccardo Muti, conductor

Moses und Aron (Act II excerpt)

SWR Sinfonieorchester Baden-Baden & Freiburg

EuropaChorAkademie

Sylvain Cambreling, conductor

Concerto for String Quartet and Orchestra (after Handel)

The Lark Quartet

The San Francisco Ballet Orchestra

Jean-Louis LeRoux, conductor

Kate Molleson explores Schoenberg's relationship with religion.

Is there a more controversial, infamous figure in 20th-century music than Arnold Schoenberg? Arguably no other twentieth-century composer's ideas have been more influential among composers since; however, his music is still neglected and misunderstood by programmers and audiences. Schoenberg was a revolutionary - one of the founders of musical Modernism - but he also recognised the importance of musical tradition. His music defined the times in which he lived, and whether you see Schoenberg as the most important innovator in 20th century music, or as a heretic who led his followers to an artistic dead end, he was absolutely dedicated to art – both musical and visual. Over the course of this week, Kate Molleson explores the twists and turns of Schoenberg's life, and tracks the composer's changing relationship with art through the prism of 5 different visual works, from an image which terrified and obsessed Schoenberg as a child, through the composer's own paintings, and one of his practical twelve-tone selection dials, to a portrait of Schoenberg painted while he was in exile in America, by his friend and fellow composer George Gershwin.

[LISTEN NOW]

Is there a more controversial, infamous figure in 20th-century music than Arnold Schoenberg? Arguably no other 20th-century composer's ideas have been more influential among composers since; however, his music is still neglected and misunderstood by programmers and audiences. Schoenberg was a revolutionary - one of the founders of musical Modernism - but he also recognised the importance of musical tradition. His music defined the times in which he lived, and whether you see Schoenberg as the most important innovator in 20th-century music, or as a heretic who led his followers to an artistic dead end, he was absolutely dedicated to art – both musical and visual. Over the course of this week, Kate Molleson explores the twists and turns of Schoenberg's life, and tracks the composer's changing relationship with art through the prism of 5 different visual works, from an image which terrified and obsessed Schoenberg as a child, through the composer's own paintings, and one of his practical twelve-tone selection dials, to a portrait of Schoenberg painted while he was in exile in America, by his friend and fellow composer George Gershwin.

In Friday's programme, Kate Molleson explores Schoenberg's final years in exile in the US. The friends and colleagues who surrounded him at this time seem very much at odds with the image we have today of Schoenberg as the serious and intense arch modernist. We learn about his love of tennis, his friendship with George Gershwin, and see how Schoenberg made an impact on Hollywood without ever writing a film score!

Prelude to Genesis

Festival Singers of Toronto

CBC Symphony Orchestra

Robert Craft, conductor

Suite for string orchestra (2nd mvt, Adagio)

Berlin Radio Symphony Orchestra

John Mauceri, conductor

Brahms (orch. Schoenberg)

Piano Quartet No 1 in G Minor, Op 25 (2nd mvt, Intermezzo)

Luzerner Sinfonieorchester

Michael Sanderling, conductor

Chamber Symphony No 2, Op 38b

Philharmonia Orchestra

A Survivor from Warsaw, Op 46

John Horton, speaker

Notturno

Daniel Hope, violin

Jane Berthe, harp

Zürcher Kammerorchester

Is there a more controversial, infamous figure in 20th-century music than Arnold Schoenberg? Arguably no other twentieth-century composer's ideas have been more influential among composers since; however, his music is still neglected and misunderstood by programmers and audiences. Schoenberg was a revolutionary - one of the founders of musical Modernism - but he also recognised the importance of musical tradition. His music defined the times in which he lived, and whether you see Schoenberg as the most important innovator in 20th century music, or as a heretic who led his followers to an artistic dead end, he was absolutely dedicated to art – both musical and visual. Over the course of this week, Kate Molleson explores the twists and turns of Schoenberg's life, and tracks the composer's changing relationship with art through the prism of 5 different visual works, from an image which terrified and obsessed Schoenberg as a child, through the composer's own paintings, and one of his practical twelve-tone selection dials, to a portrait of Schoenberg painted while he was in exile in America, by his friend and fellow composer George Gershwin.

[LISTEN NOW]