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Updated: July 22, 2025
Remember the monstrous fuss made over the methods of Richard Strauss and Claude Debussy. I shouldn't be surprised if ten years hence Arnold Schoenberg proves quite as conventional a member of musical society as those other two "anarchs of art." A very deceptive mask is literature.
And that a man who could portray in tone sheer ugliness with such crystal clearness is to be reckoned with in these topsyturvy times. I have called Arnold Schoenberg a musical anarchist, using the word in its best estate anarchos, without a head. Perhaps he is a superman also, and the world doesn't know it.
Nor are they "music of the past." They belong rather more to the sort of music that has no more relation with yesteryear than it has with this or next. They belong to the sort that never has youth and vigor, is old the moment it is produced. Their essential inexpressiveness makes almost virtueless the characteristics which Schoenberg has carried into them from out his fecund period.
In a colony, Schoenberg, near Dürrmenz, Arnaud passed the remainder of his life. He declined the pressing offer of our King William III. to take the command of a regiment in the English army.
I say "exquisitely horrible," for pain can be at once exquisite and horrible; consider toothache and its first cousin, neuralgia. And the border-land between pain and pleasure is a territory hitherto unexplored by musical composers. Wagner suggests poetic anguish; Schoenberg not only arouses the image of anguish, but he brings it home to his auditory in the most subjective way.
Jones, Representative Bynum of North Carolina, and Colonel Schoenberg, and Dr. Duncan as his surgeon. The Committee's report then continues in these words: "Shortly after three o'clock P. M. the parties exchanged shots according to the terms of meeting. Mr. Cilley fired first before he had fully elevated his piece, and Mr. Graves one or two seconds afterwards. Both missed.
For instance, my first impressions of Schoenberg were neither flattering to his composition nor to my indifferent critical acumen.
They make it seem as though Schoenberg had, through a process of consideration and thought and study, arrived at the conclusion that the music of the future would, in the logic of things, take such and such a turn, that tonality as it is understood was doomed to disappear, that part-writing would attain a new independence, that new conceptions of harmony would result, that rhythm would attain a new freedom through the influence of the new mechanical body of man, and had proceeded to incorporate his theories in tone.
The string sextet, if compared to the later music, is sunny and Mozartian in its melodic and harmonic simplicity. They tell me that Schoenberg once wrote freely in the normal manner, but finding that he could not attract attention he deliberately set himself to make abnormal music.
His compositions are not numerous. Schoenberg appears to be a reflective rather than a spontaneous creator. Here is an abridged list: Opus 1, 2, and 3 (composed, 1898-1900); Opus 4, string sextet, which bears the title, Verklärte Nacht ; Gurrelieder, after J. P. Jacobsen, for solos; chorus and orchestra , published in the Universal Edition, Vienna; Opus 5, Pelléas et Mélisande, symphonic poem for orchestra , Universal Edition aforesaid; Opus 6, eight lieder (about 1905); Opus 7, E string quartet, D minor ; Opus 8, six orchestral lieder ; Opus 9, Kammersymphonie ; two ballads for voice and piano ; Peace on Earth, mixed chorus
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