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Updated: July 22, 2025
It is distinctively "modern," employing the resources of the "new" harmonic displacements and the multicoloured modern orchestral apparatus. Korngold is so receptive that he reveals just now the joint influences of Strauss and Schoenberg. Yet I think the path lies straight before this young genius, a straight and shining path.
Men as disparate as Schoenberg and Magnard and Igor Strawinsky have been seeking, in their own fashion, the one through a sort of mathematical harshness, the second through a Gothic severity, the third through a machine-like regularity, to give their work a new boldness, a new power and incisiveness of design.
With Schoenberg, freedom in modulation is not only permissible, but is an iron rule; he is obsessed by the theory of overtones, and his music is not only horizontally and vertically planned, but, so I pretend to hear, also in a circular fashion. He says: "Harmonie fremde Töne gibt es also nicht" and a sly dig at the old-timers "sondern nur dem Harmoniesystem fremde."
I don't know how true this may be; the same sort of thing was said of Mallarmé and Paul Cézanne and Richard Strauss, and was absolutely without foundation. Schoenberg is an autodidact, the lessons in composition from Alexander von Zemlinsky not affecting his future path-breaking propensities. His mission is to free harmony from all rules.
"It was said," observed the baron sardonically, "that when thou disappeared with the gamekeeper's daughter at Obercassel Heaven knows where! thou wast swallowed up in a whirlpool with some creature. Ach Gott! I believe it! But a truce to this balderdash. And so thou wantest to know of the 'coy' sisters of Schoenberg? Hark ye, Jann, that cousin of thine is a Schonberg.
And even the "Kammersymphonie," despite all the signs of transition to a more personal manner, despite the increased scholasticism of tone, despite the more acidulous coloration, despite the distinctly novel scherzo, with its capricious and fawn-like leaping, is not quite characteristic of the man. It is in the string quartet, Opus 7, that Schoenberg first speaks his proper tongue.
The orchestral poem after Maeterlinck's "Pelléas" is also ultra-romantic and post-Wagnerian. The trumpet theme, the "Pelléas" theme, for instance, is lineally descended from the "Walter von Stolzing" and "Parisfal" motives. The work reveals Schoenberg striving to emulate Strauss in the field of the symphonic poem; striving, however, in vain.
Therefore, before I attempt a critical or uncritical valuation of the art of Arnold Schoenberg let me make a clean breast of my prejudices in the manner suggested by Hennequin and Robertson. Besides, it is a holy and unwholesome idea to purge the mind every now and then. First: I place pure music above impure, i. e., instrumental above mixed.
The Rosé Quartet performed the sextet "Verklärte Nacht" and the Quartet, Opus 7. The "Kammersymphonie" and the choral work "Gurrelieder" were also played. In 1910 Schoenberg was appointed teacher of composition in the Imperial Academy. He is said at present to be in Vienna.
And, curiously enough, throughout the group the old romantic allegiance of the earliest Schoenberg reaffirms itself. Wotan with his spear stalks through the conclusion of the first of the "Three Pieces for Pianoforte."
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