Drei Klavierstücke ("Three Piano Pieces"), Op. 11, is a set of pieces for solo piano written by the Austrian composer Arnold Schoenberg in 1909. They represent an early example of atonality in the composer's work.

Zwei Klavierstücke, Op. 33, also known as Zwei Stücke, or in English as Two Piano Pieces and Two Pieces, is a composition for piano by Austrian composer Arnold Schoenberg. They were composed between 1928 and 1931 and were Schoenberg's last works for solo piano.

The Five Pieces for Orchestra (Fünf Orchesterstücke), Op. 16, were composed by Arnold Schoenberg in 1909, and first performed in London in 1912. The titles of the pieces, reluctantly added by the composer after the work's completion upon the request of his publisher, are as follows: The Five Pieces further develop the notion of "total chromaticism" that Schoenberg introduced in his Three Piano Pieces, Op. 11 (composed earlier that year) and were composed during a time of intense personal and artistic crisis for the composer.

The following is a list of all the compositions by Austrian composer Arnold Schoenberg.

Arnold Schoenberg or Schönberg (13 September 1874 – 13 July 1951) was an Austrian and American avant-garde composer, music theorist, teacher and writer. He was among the first modernists who transformed the practice of harmony in 20th-century classical music, and a central element of his music was its use of motivic processes as a means of coherence. He propounded concepts like developing variation, the emancipation of the dissonance, and the "unity of musical space". Schoenberg's early works, like Verklärte Nacht (1899), represented a Brahmsian–Wagnerian synthesis on which he built. Mentoring Anton Webern and Alban Berg, he became the central figure of the Second Viennese School. They consorted with visual artists, published in Der Blaue Reiter, and wrote atonal, expressionist music, attracting fame and stirring debate. In his String Quartet No. 2 (1907–1908), Erwartung (1909), and Pierrot lunaire (1912), Schoenberg visited extremes of emotion; in self-portraits he emphasized his intense gaze. While working on Die Jakobsleiter (from 1914) and Moses und Aron (from 1923), Schoenberg confronted popular antisemitism by returning to Judaism and substantially developed his twelve-tone technique. He systematically interrelated all pitches of the chromatic scale in his twelve-tone music, often exploiting combinatorial hexachords and sometimes admitting tonal elements. Schoenberg resigned from the Prussian Academy of Arts (1926–1933), emigrating as the Nazis took power; they banned his (and some of his students') music, labeling it "degenerate". He taught in the US, including at the University of California, Los Angeles (1936–1944), where facilities are named in his honor. He explored writing film music (as he had done idiosyncratically in Begleitungsmusik zu einer Lichtspielscene, 1929–1930) and wrote more tonal music, completing his Chamber Symphony No. 2 in 1939. With citizenship (1941) and US entry into World War II, he satirized fascist tyrants in Ode to Napoleon (1942, after Byron), deploying Beethoven's fate motif and the Marseillaise. Post-war Vienna beckoned with honorary citizenship, but Schoenberg was ill as depicted in his String Trio (1946). As the world learned of the Holocaust, he memorialized its victims in A Survivor from Warsaw (1947). The Israel Conservatory and Academy of Music elected him honorary president (1951). His innovative music was among the most influential and polemicized of 20th-century classical music. At least three generations of composers extended its somewhat formal principles. His aesthetic and music-historical views influenced musicologists Theodor W. Adorno and Carl Dahlhaus. The Arnold Schönberg Center collects his archival legacy.

In music, Op. 6 stands for Opus number 6. Compositions that are assigned this number include: Barber – Cello Sonata Bartók – 14 Bagatelles Beethoven – Sonata in D major for piano four-hands, Op. 6 Berg – Three Pieces for Orchestra Chopin – Mazurkas, Op. 6 Corelli – Christmas Concerto Corelli – Concerto grosso in D major, Op. 6, No. 4 Corelli – Twelve concerti grossi, Op. 6 Enescu – Violin Sonata No. 2 Handel – Concerti grossi, Op. 6 Paganini – Violin Concerto No. 1 Rachmaninoff – Morceaux de salon, Op. 6 Reger – Drei Chöre, Op. 6 Rimsky-Korsakov – Fantasy on Serbian Themes Schoenberg – Concerto for String Quartet and Orchestra Schumann – Davidsbündlertänze Scriabin – Piano Sonata No. 1 Sibelius – Cassazione, for orchestra (1904, revised 1905) Strauss – Cello Sonata Strauss – Wiener Launen-Walzer Suk – Serenade for Strings Tchaikovsky – None but the Lonely Heart Vivaldi – Six Violin Concertos, Op. 6 York – Les Gentilhommes

The following is a list of all the compositions by Austrian composer Arnold Schoenberg.

Arnold Schoenberg's Suite for Piano (German: Suite für Klavier), Op. 25, is a 12-tone piece for piano composed between 1921 and 1923. The work is the earliest in which Schoenberg employs a row of "12 tones related only to one another" in every movement: the earlier 5 Stücke, Op. 23 (1920–23) employs a 12-tone row only in the final waltz movement, and the Serenade, Op. 24, uses a single row in its central Sonnet. The basic tone row of the suite consists of the following pitches: E–F–G–D♭–G♭–E♭–A♭–D–B–C–A–B♭. In form and style, the work echoes many features of the Baroque suite. There are six movements: A typical performance of the entire suite takes around 16 minutes. In this work, Schoenberg employs transpositions and inversions of the row for the first time: the sets employed are P-0, I-0, P-6, I-6 and their retrogrades. Arnold Whittall has suggested that "[t]he choice of transpositions at the sixth semitone—the tritone—may seem the consequence of a desire to hint at 'tonic-dominant' relationships, and the occurrence of the tritone G–D♭ in all four sets is a hierarchical feature which Schoenberg exploits in several places". The suite was first performed by Schoenberg's pupil Eduard Steuermann in Vienna on 25 February 1924. Steuermann made a commercial recording of the work in 1957. The first recording of the Suite for Piano to be released was made by Niels Viggo Bentzon some time before 1950. The Gavotte movement contains "a parody of a baroque keyboard suite that involves the cryptogram of Bach's name as an important harmonic and melodic device" and a related quotation of Schoenberg's Op. 19/vi. Edward T. Cone (1972) has catalogued what he believes to be a number of mistakes in Reinhold Brinkmann's 1968 revised edition of Schoenberg's piano music, one of which is in measure number five of the Suite's "Gavotte", G♭ instead of G♮. Henry Klumpenhouwer invokes Sigmund Freud's concept of parapraxes (i.e., mental slips) to suggest a psychological context explaining the deviation from the note predicted from the tone row.

The following is a list of all the compositions by Austrian composer Arnold Schoenberg.