# Favorite Works of Schoenberg



## SottoVoce (Jul 29, 2011)

I was very surprised at how diverse the choices were for the 'favorite works of Brahms thread'. I expect the favorites of Schoenberg to be much more diverse, because more controversial. 


There are no one piece that are an absolute favorite of mine, but there are handful from the various 'periods; the op. 19 pieces, the masterful String Quartets, the op. 16 Pieces, etc. But if I were to pick a Desert Island piece, it would be the Ode to Napoleon Bonaparte, the great synthesis of his early and middle styles.


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## tdc (Jan 17, 2011)

The Chamber Symphonies.


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## Blake (Nov 6, 2013)

The String Quartets.


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## brotagonist (Jul 11, 2013)

Without looking at the discs and risking omitting my all-time favourite  I could add, as favourites:

Pierrot Lunaire
Serenade
Wind Quintet
Suite
SQs
Variations
Piano Concerto
Violin Concerto
Chamber Symphonies 1&2
Pelleas und Melisande
Verklärte Nacht
Ode to Napoleon Buonaparte

I'm sure I missed something great


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## Crudblud (Dec 29, 2011)

The String Trio is always thrilling for me. Not sure if it's my favourite of his, but then I've always been more of a Webern man.


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## ptr (Jan 22, 2013)

Pierrot Lunaire always puts a smile in my ears!

/ptr


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## hpowders (Dec 23, 2013)

The Piano Concerto, especially as performed by Uchida/Boulez/Cleveland.

Schoenberg hit a grand slam home run with this one!!

If you are European, then the reaction to the Schoenberg Piano Concerto must be:

GOAL!! GOAL!! GOAL!! GOAL!! GOAL!! :tiphat:


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## Morimur (Jan 23, 2014)

Truthfully, I've never heard a Schoenberg piece I didn't like. I guess if I had to choose just one, it'd be 'Moses und Aron'.


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## mmsbls (Mar 6, 2011)

My favorites are probably:

String Quartets
Chamber Symphonies 1&2
Verklärte Nacht

Of these, I've only heard Verklärte Nacht performed live, and it was spectacular.


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## Mandryka (Feb 22, 2013)

Moses und Aaron probably.


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## Mahlerian (Nov 27, 2012)

Early: String Quartet No. 1, Chamber Symphony No. 1, Friede auf Erden
Middle: Pierrot lunaire, op. 19 piano pieces, Five Orchestral Pieces
Late: String Quartet No. 3, Moses und Aron, Op. 50 Choral Works

So much to choose from...


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## musicrom (Dec 29, 2013)

I've hated pretty much every piece I've heard of Schoenberg until I heard one movement of one of his pieces about a month ago. (I know, I know, sorry!)

I was very surprised by the fifth section of Pelleas und Melisande (Ein wenig bewegt). I haven't listened to anything else from that piece, but it was pretty good. I was shocked that it was actually tonal.


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## Op.123 (Mar 25, 2013)

hpowders said:


> The Piano Concerto, especially as performed by Uchida/Boulez/Cleveland.
> 
> Schoenberg hit a grand slam home run with this one!!
> 
> ...


I thought I told you to stop changing your avatar. :lol:


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## Mahlerian (Nov 27, 2012)

musicrom said:


> I was very surprised by the fifth section of Pelleas und Melisande (Ein wenig bewegt). I haven't listened to anything else from that piece, but it was pretty good. *I was shocked that it was actually tonal.*


Schoenberg wrote tonal music all his life. I'm not sure why people aren't aware of this.

The other thing is that to those of us who love Schoenberg, his "atonal" music really sounds mostly the same as his tonal music. It's clearly the same composer working in both.


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## hpowders (Dec 23, 2013)

Burroughs said:


> I thought I told you to stop changing your avatar. :lol:


I don't remember changing it. I believe I signed up for "random avatar".

Wait a minute!!! You changed yours!!! The young Brahms! How could Clara stay away?

Good looking and tonal!!! An irresistible two punch!!!! :tiphat:


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## musicrom (Dec 29, 2013)

Mahlerian said:


> Schoenberg wrote tonal music all his life. I'm not sure why people aren't aware of this.
> 
> The other thing is that to those of us who love Schoenberg, his "atonal" music really sounds mostly the same as his tonal music. It's clearly the same composer working in both.


It's probably because (at least this is the case for me) the first piece I heard of Schoenberg sounded so bad to me that I decided not to explore his music further. A couple times after that I accidentally heard some Schoenberg and disliked it as well. It was only last month when Pandora played that Schoenberg that I found out for the first time that he also wrote tonal pieces.

If you could point me towards some good tonal pieces of his, I might listen to them and appreciate him a bit more.


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## arpeggio (Oct 4, 2012)

*Attack of the Band Junkie*

_Theme and Variations for Band_


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## Mahlerian (Nov 27, 2012)

musicrom said:


> It's probably because (at least this is the case for me) the first piece I heard of Schoenberg sounded so bad to me that I decided not to explore his music further. A couple times after that I accidentally heard some Schoenberg and disliked it as well. It was only last month when Pandora played that Schoenberg that I found out for the first time that he also wrote tonal pieces.


It's just that the amount of ignorance spread about Schoenberg on classical forums is startling. I've seen people claim Schoenberg was tone deaf (though he had perfect pitch), that all of his more talented colleagues rejected him (he was admired by Mahler, Ravel, Shostakovich, Britten, and many other composers of very different persuasions), that no one performs his music (not true), that his music is box office poison (not true any longer). People I know who don't know classical music culture think it's insane that anyone believes that someone can be considered not to have survived the test of time if their music is still played and admired a century after it was written.

People think they hate his music, when they've certainly never experienced it as I do: lyrical, playful, always melodic and full of life. I keep hearing about "noise" and the "destruction of music" and other such things that have nothing to do with what I hear, which is simply music, developed out of the extended harmony of Brahms, Strauss, and Mahler.



musicrom said:


> If you could point me towards some good tonal pieces of his, I might listen to them and appreciate him a bit more.


Verklarte Nacht is the Schoenberg piece that people who don't like Schoenberg like (although I of course like it myself). It's one of his earliest pieces to be pretty much fully characteristic of his style.





I'm very fond of his pieces for choir, including Friede auf Erden. A bit heavy for Christmas music, perhaps, but beautiful all the same.





I love the Chamber Symphony No. 1, which is certainly no further out than Hindemith in tonal terms (just some quartal harmony here and there). It packs an entire four movements' worth of development and contrast into a compacted, intense 20 minute span.





His Lieder for orchestra and voice, op. 8, are also excellent, but unfortunately not available on Youtube in their orchestral version.


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## DrKilroy (Sep 29, 2012)

musicrom said:


> It's probably because (at least this is the case for me) the first piece I heard of Schoenberg sounded so bad to me that I decided not to explore his music further. A couple times after that I accidentally heard some Schoenberg and disliked it as well. It was only last month when Pandora played that Schoenberg that I found out for the first time that he also wrote tonal pieces.
> 
> If you could point me towards some good tonal pieces of his, I might listen to them and appreciate him a bit more.


What got me into Schoenberg were Pierrot Lunaire and the First String Quartet. You might try these. The SQ is more tonal, but still challenging. It is very beautiful at the same time, though.

Best regards, Dr


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## elgar's ghost (Aug 8, 2010)

Pierrot lunaire, string quartets 3 & 4, the Serenade, Erwartung, Violin Concerto, A Survivor from Warsaw, the Suite for Piano, some of the lieder... Nothing I don't like, really, although Gurrelieder gets me glancing at my watch at times.


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## starthrower (Dec 11, 2010)

I'm also a big fan of Mose und Aaron and chamber symphony no.1 Also dig Five Pieces For Orchestra, and Variations.


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## tdc (Jan 17, 2011)

Multiple mentions for Chamber Symphony No. 1, but it appears I am the only one so far including Chamber Symphony No. 2. Personally, I find No. 2 more appealing than No. 1.

*Edit* - My mistake I see others have mentioned No. 2 as well...


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## SottoVoce (Jul 29, 2011)

musicrom said:


> It's probably because (at least this is the case for me) the first piece I heard of Schoenberg sounded so bad to me that I decided not to explore his music further. A couple times after that I accidentally heard some Schoenberg and disliked it as well. It was only last month when Pandora played that Schoenberg that I found out for the first time that he also wrote tonal pieces.
> 
> If you could point me towards some good tonal pieces of his, I might listen to them and appreciate him a bit more.


Excepting Verklarte Nacht and the Lieder, I think Schoenberg becomes 'easier' to listen to as his career goes on; for me, Pelleas and Mellisande, more even than Erwartung and the 5 Pieces, is the hardest piece to take in fully. The twelve-tone works become much easier than the Erwartung and The Lucky Hand, and then the last period I think is the most accessible. I'm not sure if others feel this way. I think this is what Glenn Gould meant when he said that Schoenberg's twelve-tone creation was an attempt to 'simplify' and put into code the rich and bursting harmony of Post-Wagnerian music.

Nevertheless, if it there is a good way to get into Schoenberg, it is chronologically. Start with the tonal pieces. Notice that even in this peeriod, this is a composer that does not at all fit the stereotype of the dry academicism and elitism that most put in him; Verklarte Nacht is bursting with melodies as pretty as anything from the age before him, and something like op 19 can sound like Till Eugenspiel! Make your way, slowly, and with repeated listens to the free atonal works. Don't expect to like every work. But Schoenberg is one of those composers, like Brahms I think (and very unlike Beethoven in my opinion), that manages to be consistently good at a very early point in his life, and thus we're met with, as in this thread, a massive diversity in masterworks. There will be something in this great catalogue that shocks you immediately. Once you get that first shock, you will be 'in', or at the very least will be justified in your distaste of Schoenberg. You will want to give this music another chance.

Whatever is the case, as Mahlerian said, you must remember that it is the same Schoenberg that is writing the tonal pieces and the atonal pieces. He didn't change in character, at least drastically, either personally or musicall. Most accounts of Schoenberg were one of deep passion with a very light sense of humor (Peter Serkin). I think his music shows this (often in the same place; listen to the Serenade, which is overwhelmingly beautiful.) Notice also that the same 'revolution' that Schoenberg was taking was not solely Schoenberg's invention; in the poetry and the arts, Eliot, Matisse, Kandinsky, were all undergoing a fragmentation and, later, a regression into neoclassicism.

These are some facts that helped me appreciate Schoenberg. He is a difficult composer, and requires patience. But this is not exclusive to his atonal works; anyone who hears the First String Quartet (Mahler: "I have written complicated music myself in scores of up to thirty staves and more; yet here is a score of not more than four staves, and I am unable to read them") will understand that Schoenberg is just naturally difficult, as some say Brahms or Bach is. But he is, in my opinion (and many others), one of the greatest composers we have. Difficulty is nothing with that reward.


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## Mahlerian (Nov 27, 2012)

SottoVoce said:


> There will be something in this great catalogue that shocks you immediately. Once you get that first shock, you will be 'in', or at the very least will be justified in your distaste of Schoenberg. You will want to give this music another chance.


I'd like to highlight this part of your excellent post. Remember, Schoenberg's intent is *never* simply to shock or offend (Mahler was once accused of the same thing). Anything that comes off as garish or bizarre is there for a reason, every harmonic clash serving some contrapuntal/harmonic purpose that can be heard when the effect itself is no longer unfamiliar.

Music that thrives entirely on shock value or newness doesn't survive, because the devices become familiar and all that's left when that novelty is gone is something banal that was dressed up to appear more interesting.


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## SottoVoce (Jul 29, 2011)

Mahlerian said:


> I'd like to highlight this part of your excellent post. Remember, Schoenberg's intent is *never* simply to shock or offend (Mahler was once accused of the same thing). Anything that comes off as garish or bizarre is there for a reason, every harmonic clash serving some contrapuntal/harmonic purpose that can be heard when the effect itself is no longer unfamiliar.
> 
> Music that thrives entirely on shock value or newness doesn't survive, because the devices become familiar and all that's left when that novelty is gone is something banal that was dressed up to appear more interesting.


Shock was a bad word. Harold Bloom speaks of not knowing how to respond to Whitman's poetry as a teenager, until the he was "wounded" by 'Crossing Brooklyn Ferry', where at that point he has never looked back since. There needs to be that initial shock of love with the music, or poem, or painting. "Wound" is a much better word, since when we speak of admiring a work but not loving it, we say it is "impenetrable to us".


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## Guest (May 24, 2014)

Not one person mentioned Gurrelieder as a favorite yet (I may have missed one). Y'all be trippin'.


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## Rhythm (Nov 2, 2013)

SottoVoce said:


> … Harold Bloom speaks of not knowing how to respond to Whitman's poetry as a teenager, until the he was "wounded" by 'Crossing Brooklyn Ferry', where at that point he has never looked back since. There needs to be that initial shock of love with the music, or poem, or painting. "Wound" is a much better word, since when we speak of admiring a work but not loving it, we say it is "impenetrable to us".


SottoVoce, thank you for mentioning Harold Bloom, a paragon of metaphor, in my way of thinking.

R.


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## dgee (Sep 26, 2013)

I've gotta plug Pelleas and Melisande, it's one of my all time favouritest late romantic blowouts. Other highlights for me are Erwartung, 2nd quartet, 1st chamber symphony, The Lucky Hand, the fascinating 6 little piano pieces and the Serenade


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## aleazk (Sep 30, 2011)

The piano and violin concertos. But many other pieces as well. His output is very diverse.

But, if I can make a confession, I prefer Webern over Schoenberg and Berg. There's certain 'traditional' element in Schoenberg's gestural language that I have never been able to digest entirely. I find Webern's aesthetics more appealing to me. I wouldn't go as far as Boulez when he said that Webern was the only composer who 'truly understood' the kind of aesthetics implied by the 12-tone method; but a more tempered version of this is closer to my thinking. So, adding to Mahlerian's comment: no, Schoenberg didn't destroy music with his 12-tone method; in fact, he left too many of its traditional structures still standing


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## Xaltotun (Sep 3, 2010)

My favourite is Gurrelieder, and I also absolutely love Verklärte Nacht... so yes, I'm still on the early steps on my Schoenberg journey. But usually, when I hear a new Schoenberg piece, I'm left positively intrigued and excited, even if I don't feel that I completely "got it". Well, when I heard Pierrot I thought that I'll never want to hear that again, but that was an exception. String quartets, Moses und Aron, Jakobsleiter... such interesting pieces.

What I love about Schoenberg is that his music proved to me that there is no gap in the continuity from late Romanticism to Modernism. He is so very aware of tradition, and he is expanding upon it, not destroying it. He is basically a romantic soul trying to cope and find meaning in a modern world, or maybe rather: he is someone who is trying to justify the past in a changed situation. His music says to me that the past was not a huge mistake or a dead end, instead, it is understandable even in the 20th century if we but follow logically where it leads. If the past would be calcified and glorified as a "Golden Calf", it would be ultimately discarded in this new context, and new music would stand upon nothing; instead, the past must be kept alive, radically alive, if we wish to see where it would take us.


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## StlukesguildOhio (Dec 25, 2006)

(Schoenberg) is a difficult composer, and requires patience. But this is not exclusive to his atonal works; anyone who hears the First String Quartet (Mahler: "I have written complicated music myself in scores of up to thirty staves and more; yet here is a score of not more than four staves, and I am unable to read them") will understand that Schoenberg is just naturally difficult, as some say Brahms or Bach is. But he is, in my opinion (and many others), one of the greatest composers we have. Difficulty is nothing with that reward.

I have struggled with his work for some time... until I have come to the point of resignation. His music simply isn't for me. Not when there are so many other composers whose works bring me the greatest pleasure. I suspect this difficulty... "density"?... is what leaves me cold. I have had the same response to his early tonal works... and a similar response to Brahms. I eventually came to an appreciation of Brahms through his Requiem and his chamber works... which strike me as complex... but less dense.

For all my difficulty with Schoenberg, I actually appreciate a good deal of music by Berg and Webern... as well as later "difficult" Modernist music by composers such as Ernst Krenek, Hartmann, Messiaen, Takemitsu, etc...

Having said this... I quite enjoyed the choral work posted above: Friede auf Erden


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## Blake (Nov 6, 2013)

aleazk said:


> The piano and violin concertos. But many other pieces as well. His output is very diverse.
> 
> But, if I can make a confession, I prefer Webern over Schoenberg and Berg. There's certain 'traditional' element in Schoenberg's gestural language that I have never been able to digest entirely. I find Webern's aesthetics more appealing to me. I wouldn't go as far as Boulez when he said that Webern was the only composer who 'truly understood' the kind of aesthetics implied by the 12-tone method; but a more tempered version of this is closer to my thinking. *So, adding to Mahlerian's comment: no, Schoenberg didn't destroy music with his 12-tone method; in fact, he left too many of its traditional structures still standing *


Ahah! Schoenberg was quite Romantic. I'm glad we have more of these perspectives being expressed. Because many are starting to believe into "fact" that Schoenberg and his 'atonal ilk' were some cold, extreme disruption in music.... and I certainly don't perceive this way.


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## violadude (May 2, 2011)

The Book of Hanging Gardens, while probably not my absolute favorite Schoenberg work, is my favorite work that I don't hear mentioned as much as I want to. Any fans of lieder should definitely give this cycle a listen.






Seriously, just give the first song a listen. The entrance of the voice is incredibly haunting.


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## Manxfeeder (Oct 19, 2010)

I'd have a hard time picking a favorite Schoenberg piece. I'd say my knee-jerk response is his Five Pieces for Orchestra. I heard Farben once, didn't get the piece's name or composer, but it made such an impact on me that 20 years later I heard it again, and I immediately recognized it. It was a shock to find out the composer was Schoenberg, but it was a shock into wakefulness. I've been hooked ever since.


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## aleazk (Sep 30, 2011)

Vesuvius said:


> Ahah! Schoenberg was quite Romantic. I'm glad we have more of these perspectives being expressed. Because many are starting to believe into "fact" that Schoenberg and his 'atonal ilk' were some cold, extreme disruption in music.... and I certainly don't perceive this way.


Well, in any case, it's not a very original opinion, considering that Schoenberg himself said he was a "conservative". Of course, "conservative" is an exaggeration, but the point is clear.

Wikipedia has a very interesting quote from american composer (and Schoenberg student) Lou Harrison about the Piano Concerto:

_"One of the major joys ... is in the structure of the phrases. You know when you are hearing a theme, a building or answering phrase, a development or a coda. There is no swerving from the form-building nature of these classical phrases. The pleasure to be had from listening to them is the same that one has from hearing the large forms of Mozart. ... This is a feeling too seldom communicated in contemporary music, in much of which the most obvious formal considerations are not evident at all. ... The nature of his knowledge in this respect, perhaps more than anything else, places him in the position of torch-bearer to tradition in the vital and developing sense"_

I completely agree with that, but not so much with the value judgment he makes about the place of that in modern music, and also I don't think phrasing is obscured in modern music. What is different is the syntactics (in some aspects only; after all it's all music, an some syntactical elements are very primitive and never changed) and the aesthetics.

Schoenberg's piano concerto is possibly the closest thing to a Mozart piano concerto ever composed in the 20th century. This shows, of course, the lack of discernment of those saying that Schoenberg "killed" all the traditions.

In Webern, you have motifs, etc., of course, but the way in which they are conceived, treated and developed is completely new (but with Bach as precedent). And, as Boulez said, "fits" the world implied by the 12-tone method in a natural way, and possibly that's why it was so influential in post-war composers. And even in composers that were not serial, like Ligeti. If you listen to his late period, the phrasing, processes and timbral effects are Webernian in nature sometimes. Although in the timbral realm, Schoenberg was quite influential to Webern I would say.

So, I would say Schoenberg was a fascinating figure, with a foot in the most audacious modernism, and the other in the most audacious traditionalism! But that also makes him unique.

The more conservative audiences have in Schoenberg the perfect transitional figure for making their jump to the 20th century more "hard-core" type of modernism. Paradoxically, it's actually the "high density" of his counterpoint (a characteristic of the chromatic late romantic period) what makes some of these audiences to shy away.

I strongly recommend the Piano Concerto in the Uchida/Boulez version: 





Grace and elegance, in the Mozartian sense, are the right words for that piece.

(Note: all of that was in reference to a very specific thing, musical phrasing, which I found very striking when I listened to the concerto for the first time; in a more superficial level, the romantic lyricism is evident in all members of the second viennese school; you could say Webern is also Mozartian in his coolness, but that's a different thing than the phrasing issue I mentioned; you could say Schoenberg's or Mozart's phrasing is more intuitive, human, humored, while Webern's is more systematic, mechanical, like a machine in its inexorable working; my favorites in this aspect are the Concerto for nine instruments and the Piano Variations)


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## Couac Addict (Oct 16, 2013)

Too often people hear Schoenberg without really exploring. He covered a lot of ground.
People forget about the Wagner-esque prelude to Gurre-Lieder.





...just as they forget that Picasso wasn't always an abstract painter.


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## Marschallin Blair (Jan 23, 2014)

_Variations_, Op. 31









_Pierrot Lunaire_


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## millionrainbows (Jun 23, 2012)

Mahlerian said:


> Schoenberg wrote tonal music all his life. I'm not sure why people aren't aware of this.
> 
> The other thing is that to those of us who love Schoenberg, his "atonal" music really sounds mostly the same as his tonal music. It's clearly the same composer working in both.


Yes, I noticed this the other day after listening to Verkarte Nacht, followed by the String Trio.....NOT!!


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## millionrainbows (Jun 23, 2012)

There's so many dimensions to Schoenberg.

Verkarte Nacht, String Sextet version, Op. 4
Five Pieces for Orchestra, Op. 16
The String Quartets (all of 'em)
Serenade Op. 24
Wind Quintet Op. 26
Variations for Orchestra Op. 31
Violin Concerto Op. 36
Piano Concerto Op. 42
Theme and Variations for Band Op. 43a/for Orchestra, Op. 43b


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## Andolink (Oct 29, 2012)

Violadude is right about *The Book of the Hanging Gardens*. It's a total masterpiece.

The *4th String Quartet* just might be my all time favorite Schoenberg piece but *Moses and Aaron* is right up there too.


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## starthrower (Dec 11, 2010)

violadude said:


> The Book of Hanging Gardens, while probably not my absolute favorite Schoenberg work, is my favorite work that I don't hear mentioned as much as I want to. Any fans of lieder should definitely give this cycle a listen.
> 
> 
> 
> ...


That is the finest version I've heard with female voice. It's from a rather expensive set on the Kontrapunkt label.
http://www.arkivmusic.com/classical/album.jsp?album_id=93350

Here's another great set (complete lieder) that is very affordable, and features a male vocal, which I prefer for this kind of music. Audio samples are at bottom of page. http://www.arkivmusic.com/classical/Name/Urs-Liska/Performer/194459-2


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## DiesIraeCX (Jul 21, 2014)

- String Trio
- String Quartets
- Verklärte Nacht (String Sextet)


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## Guest (Nov 3, 2014)

DiesIraeVIX said:


> - String Trio
> - String Quartets
> - Verklärte Nacht (String Sextet)


Have you listened to Gurrelieder? Seems like it could be up your alley. One of my favorite Schoenberg works for sure.


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## DiesIraeCX (Jul 21, 2014)

arcaneholocaust said:


> Have you listened to Gurrelieder? Seems like it could be up your alley. One of my favorite Schoenberg works for sure.


I haven't, thanks for the recommendation, just started listening to it. I love this orchestral prelude so far. 




 (Chailly/RSO, Jerusalem, Dunn, Fassbaender)


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## Mahlerian (Nov 27, 2012)

arcaneholocaust said:


> Have you listened to Gurrelieder? Seems like it could be up your alley. One of my favorite Schoenberg works for sure.


Some people aren't aware, because it doesn't have an opus number and was premiered so long after the composition work (with the orchestration finished later), but Gurrelieder was written after Verklarte Nacht.

Anyway, Schoenberg wrote very well for strings throughout his life (he was an enthusiastic amateur violinist/cellist, and his first works were for violin duo), and if I had to choose the two instruments that suited him best, they would be strings and the human voice.


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## Turangalîla (Jan 29, 2012)

_Moses und Aron_ wins for me.

Although I also adore Pierrot, Gurrelieder, and that adorable opus 25 piano suite.

Edit: *GASP* not sure how I left the piano concerto off the list...pretty sure that wins


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## hpowders (Dec 23, 2013)

It will always be the Piano Concerto for me.


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## Chronochromie (May 17, 2014)

Verklarte Nacht, but it's one of the few I've heard by him.


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## millionrainbows (Jun 23, 2012)

It's worth noting that the Second Viennese School were basically lieder writers. That's why there is so little work for solo piano.


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## starthrower (Dec 11, 2010)

brotagonist said:


> Without looking at the discs and risking omitting my all-time favourite  I could add, as favourites:
> 
> Pierrot Lunaire
> Serenade
> ...


Die Gluckliche Hand

Just listened to it on YouTube. It's a great piece! I need a recording of the wind quintet as well. I suppose I'll pick up the Naxos CD with both.


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## MoonlightSonata (Mar 29, 2014)

Verklärte Nacht is simply divine.


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## arpeggio (Oct 4, 2012)

_Theme and Variations for Band_

What? arpeggio selected a band work?


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## ComposerOfAvantGarde (Dec 2, 2011)

String Quartet no. 3, Serenade, Pierrot Lunaire, Chamber Symphony no. 1, Ode to Napoleon, A Survivor from Warsaw, 5 pieces for orchestra....I think those are my absolute favourites from Schoenberg.


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## ComposerOfAvantGarde (Dec 2, 2011)

Oh and the string trio!!!!!!!!


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## SeptimalTritone (Jul 7, 2014)

String Quartet 1 and 2, and Fantasy for Violin and Piano, and Moses and Aaron are pretty good too.

And yes, the string trio is freaking perfect.


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## ComposerOfAvantGarde (Dec 2, 2011)

The last movement of SQ2 turns me on.


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## Sloe (May 9, 2014)

I have to admit that I like Gurrelieder and Erwartung.


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