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“Write an opera text for me, Miss!” – August 1909: Schönberg and his family spent their vacation in Steinakirchen (Lower Austria). It was through Alexander Zemlinsky and Karl Kraus that the young Viennese physician Marie Pappenheim was introduced to the circle around Schönberg. During her medical studies at the University of Vienna, Pappenheim wrote poetry under the pseudonym Maria Heim, and it was in the Lower Austrian summer resort that Schönberg invited her to write a libretto: In expectation of her lover, the woman sets out in search and follows wrong trails to stations of uncertainty – remembrance – hope – rationalization – jealousy – sorrow – and finally excessive exhaltation of the man who survives only as a dead object. The depth of the forest scenario becomes a projection room for distressing traumatic states – obscurity, danger, threat, fear, loneliness, horror, darkness – and naturalistically reinterprets the subjective ordeal of suffering the woman lives through in four scenes. In his striving for an artistic synthesis, Schönberg also drafted the stage designs for his monodrama Erwartung (Expectation), along with a revolving stage construction that intended to enable the protagonist to walk continuously through the stylized woods using a seamless visual effect.

Questions et réponses

Qui a créé "Expectation (Scene 3)" ?

« Expectation (Scene 3) » est attribué à Arnold Schoenberg.

L'œuvre « Expectation (Scene 3) » de Arnold Schoenberg est-elle dans le domaine public, et pourquoi ?

«Expectation (Scene 3)» de Arnold Schoenberg est dans le dans le domaine public - ses droits d'auteur ont expiré. Les droits d'auteur sont calculés à partir de l'année du décès de l'artiste, et Arnold Schoenberg est décédé en 1951.

Les couleurs de «Expectation (Scene 3)» de Arnold Schoenberg sont-elles vives ou feutrées ?

La couleur de « Expectation (Scene 3) » présente une saturation de Muted et une intensité de Monochromatic.

Les couleurs de «Expectation (Scene 3)» de Arnold Schoenberg sont-elles saturées ou atténuées ?

«Expectation (Scene 3)» de Arnold Schoenberg est présenté avec une saturation de Muted.

Quelle est la date de création de «Expectation (Scene 3)» de Arnold Schoenberg ?

L'œuvre «Expectation (Scene 3)» de Arnold Schoenberg date de 1911.

L'œuvre « Expectation (Scene 3) » se trouve-t-elle dans le pays de son créateur ?

Oui - l'œuvre est conservée dans le pays d'origine de l'artiste. Arnold Schoenberg est né(e) en Autriche, et l'original de « Expectation (Scene 3) » est conservé dans un musée en Autriche.

Quelle couleur ressort le plus dans « Expectation (Scene 3) » ?

La couleur dominante de «Expectation (Scene 3)» de Arnold Schoenberg est le Espresso (#3c3c3b).

Quelle est l'orientation de «Expectation (Scene 3)» de Arnold Schoenberg ?

Le format de « Expectation (Scene 3) » est Panoramic. Cela est utile lors de la planification de l'emplacement d'une reproduction.

Biographie de l'artiste

Early Life and Musical Beginnings

Arnold Schoenberg, Austrian-American composer who created new methods of musical composition involving atonality, namely serialism and the twelve-tone row. He was also one of the most influential teachers of the 20th century; among his most significant pupils were Alban Berg and Anton Webern. He was born on September 13, 1874, in Vienna, Austria. His early life was marked by a humble beginning, with his father being a shoe-shopkeeper. Despite this, Schoenberg’s innate passion for music led him to largely self-educate himself in the field. Schoenberg's early works showcased a Brahmsian–Wagnerian synthesis. As he progressed, he became the central figure of the second Viennese School, alongside Anton Webern and Alban Berg. His compositions, including String Quartet No. 2 (1907–1908), Erwartung (1909), and Pierrot Lunaire (1912), exemplified his innovative approach to atonality.

Notable Works

Schoenberg’s oeuvre is remarkably diverse, encompassing orchestral music, chamber ensembles, vocal works, piano pieces, and film scores. However, he is undeniably best known for his groundbreaking explorations of atonality and serialism—methods that fundamentally reshaped the landscape of musical composition. Among his most celebrated achievements are: Suite No. 2 (1930), which showcases a masterful blend of tonal and dissonant elements; Music Typewriter (1928), an experimental piece utilizing a typewriter as a musical instrument; String Quartet No. 2 (1907–1908), considered a cornerstone of Viennese Expressionism; Erwartung (1909), a dramatic opera exploring themes of anxiety and anticipation; Pierrot Lunaire (1912), a song cycle that utilizes Sprechstimme—a vocal technique combining speech and singing—to convey profound emotional depth. Furthermore, Schoenberg’s film music includes scores for films such as “The Seven Deadly Sins” and “Moses and Aaron,” demonstrating his versatility as a composer across various genres.

Influence and Legacy

Schoenberg's musical innovations exerted an indelible influence on subsequent generations of composers. His pioneering use of serialism—a compositional technique based on mathematical sequences—established a new paradigm for tonal music, prompting composers like Alban Berg and Anton Webern to develop their own distinctive styles rooted in Schoenberg’s principles. Beyond the realm of composition, Schoenberg's aesthetic and music-historical views profoundly impacted musicologists Theodor W. Adorno and Carl Dahlhaus, shaping debates about musical interpretation and artistic expression. His uncompromising stance against prevailing musical conventions solidified his reputation as a visionary artist who challenged accepted norms and paved the way for radical experimentation in music.

Later Life and Recognition

Following the rise of Nazism in Germany, Schoenberg reluctantly abandoned Austria and emigrated to the United States in 1933, where he taught at Yale University until 1944. During World War II, he continued his musical pursuits while grappling with the horrors of the Holocaust—a profound experience that inspired him to create Survivor from Warsaw (1947), a poignant memorial to victims of Nazi persecution. In 1951, Schoenberg received honorary citizenship in Vienna and was elected president of the Israel Conservatory and Academy of Music, cementing his enduring legacy as one of the most influential figures in twentieth-century music history.