Arnold Schoenberg: A Revolutionary Evolution in Music
Arnold Schoenberg (1874-1951)
Early Influences and the Emancipation of Dissonance
Although Schoenberg’s early work in Vienna reveals influences of Brahms and Wagner, he spearheaded a musical revolution with his students. He challenged three centuries of established order by liberating music from tonality and the traditional distinction between consonance and dissonance. Schoenberg argued that dissonant notes were merely “less consonant,” thus emancipating dissonance and paving the way for new harmonic possibilities.
The Twelve-Tone Method
Schoenberg developed a compositional method using all twelve chromatic tones equally, giving each equal importance. This twelve-tone technique, finalized in 1923, contrasted with traditional tonality, where one tone served as the musical center. This revolutionary approach was met with resistance, with many finding his music dissonant and incomprehensible. The formation of the Society for Private Musical Performances in Vienna (1918) highlights the challenges Schoenberg faced in securing an audience for his new music.
From 1915 to 1923, Schoenberg paused composing to develop his twelve-tone method, also known as “Method of composing with 12 tones related only to one another.” This method serializes the twelve tones of the chromatic scale, giving each equal harmonic dignity.
Clarifying Terminology
The term “twelve-tone technique” is attributed to René Leibowitz. It’s important to distinguish Schoenberg’s twelve-tone method from atonality. While twelve-tone music can be atonal, using a twelve-tone technique doesn’t necessitate atonality. Furthermore, twelve-tone technique should not be confused with Serialization, which can involve serializing more than twelve sounds.
Schoenberg’s Musical Journey
1. Post-Romanticism (Early Works)
Schoenberg’s early compositions reflect post-romanticism, featuring ornate orchestrations and elements from other art forms, particularly literature. Notable works include Transfigured Night, Gurre-Lieder, Pelleas et Melisande, and Peace on Earth. Many of these were premiered by the Chamber Music Society of Vienna. Other important works include his First Chamber Symphony (1906) and his Second Chamber Symphony (begun in 1906, completed in 1939).
2. Atonality (1908 Onwards)
From 1908, Schoenberg’s music departed from the major-minor tonal system, becoming atonal, though he preferred the term “polytonal.” Key works from this period include String Quartet No. 2, Pierrot Lunaire (1912), and Three Pieces for Piano, Op. 11.
3. Twelve-Tone Music (1923 Onwards)
Schoenberg’s first twelve-tone work was Op. 23 for Piano (1923).