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

Zwei Gesänge (Two Songs), Op. 1, are two Lieder for baritone and piano composed by Arnold Schoenberg in fin-de-siècle Vienna, each setting to music a poem by Karl Michael von Levetzow. The songs approached the customary limits of the Lied genre in their length, depth of expression, density of texture, and transcription-like piano writing, foreshadowing Schoenberg's later innovations, notably in his monumental work, Gurre-Lieder. Like many of Schoenberg's early works, they reflect the dual influence of Johannes Brahms and Richard Wagner, two composers often considered opposites in Romantic music. In 1900, Eduard Gärtner (baritone) and Alexander Zemlinsky (piano) premiered them at Vienna's Bösendorfer-Saal. Audience reception was negative, though Alma Mahler was present and gave a more balanced assessment. In 1903 or 1904, Max Marschalk published them in Berlin under the full title Zwei Gesänge für eine Baritonstimme und Klavier (Two Songs for a baritone voice and piano). Schoenberg dedicated them to Zemlinsky.

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

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

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

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

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

In music, quartal harmony is the building of harmonic structures from the intervals of the perfect fourth, the augmented fourth, and the diminished fourth. For instance, a three-note quartal chord on C can be built by stacking perfect fourths, C–F–B♭. Quintal harmony is harmonic structure preferring the perfect fifth, the augmented fifth and the diminished fifth. For instance, a three-note quintal chord on C can be built by stacking perfect fifths, C–G–D.

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

Four Orchestral Songs, Op. 22 (German: Vier Lieder für Gesang und Orchester or Vier Orchesterlieder), is a composition by Austrian composer Arnold Schoenberg, scored for soprano and large orchestra.

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.

Zwei Gesänge (Two Songs), Op. 1, are two Lieder for baritone and piano composed by Arnold Schoenberg in fin-de-siècle Vienna, each setting to music a poem by Karl Michael von Levetzow. The songs approached the customary limits of the Lied genre in their length, depth of expression, density of texture, and transcription-like piano writing, foreshadowing Schoenberg's later innovations, notably in his monumental work, Gurre-Lieder. Like many of Schoenberg's early works, they reflect the dual influence of Johannes Brahms and Richard Wagner, two composers often considered opposites in Romantic music. In 1900, Eduard Gärtner (baritone) and Alexander Zemlinsky (piano) premiered them at Vienna's Bösendorfer-Saal. Audience reception was negative, though Alma Mahler was present and gave a more balanced assessment. In 1903 or 1904, Max Marschalk published them in Berlin under the full title Zwei Gesänge für eine Baritonstimme und Klavier (Two Songs for a baritone voice and piano). Schoenberg dedicated them to Zemlinsky.

Four Orchestral Songs, Op. 22 (German: Vier Lieder für Gesang und Orchester or Vier Orchesterlieder), is a composition by Austrian composer Arnold Schoenberg, scored for soprano and large orchestra.

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

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.

Zwei Gesänge (Two Songs), Op. 1, are two Lieder for baritone and piano composed by Arnold Schoenberg in fin-de-siècle Vienna, each setting to music a poem by Karl Michael von Levetzow. The songs approached the customary limits of the Lied genre in their length, depth of expression, density of texture, and transcription-like piano writing, foreshadowing Schoenberg's later innovations, notably in his monumental work, Gurre-Lieder. Like many of Schoenberg's early works, they reflect the dual influence of Johannes Brahms and Richard Wagner, two composers often considered opposites in Romantic music. In 1900, Eduard Gärtner (baritone) and Alexander Zemlinsky (piano) premiered them at Vienna's Bösendorfer-Saal. Audience reception was negative, though Alma Mahler was present and gave a more balanced assessment. In 1903 or 1904, Max Marschalk published them in Berlin under the full title Zwei Gesänge für eine Baritonstimme und Klavier (Two Songs for a baritone voice and piano). Schoenberg dedicated them to Zemlinsky.

A Survivor from Warsaw, Op. 46, is a work for narrator, chorus and orchestra by the Los Angeles–based Austrian composer Arnold Schoenberg, written in tribute to Holocaust victims. The main narration is written in Sprechgesang style, between speaking and singing; "never should there be a pitch" to its solo vocal line, wrote the composer. Scored for narrator, men's chorus and orchestra, it resulted from a suggested collaboration between Jewish Russian émigrée dancer Corinne Chochem and Schoenberg, but the dancer's initiative gave way to a project independently developed by the composer after he received a commission from the Koussevitzky Music Foundation for an orchestral work. Concept, text, and musical sketches date from July 7 to August 10, 1947 – the text, by Schoenberg, being in English until the concluding Hebrew plea, except for interjections in German. Composition followed immediately, from August 11 to 23, four years before the composer died. The work was premiered by the Albuquerque Civic Symphony Orchestra under the direction of Kurt Frederick on November 4, 1948. Czech writer Milan Kundera dedicated an essay in his book Encounter (2010) to A Survivor from Warsaw. It annoys him that educated people don't know that the cantata "is the greatest memorial ever dedicated to the Holocaust ... [but] people are fighting to ensure that the killers are not forgotten. But they forget Schönberg."

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

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

Jessye Mae Norman (September 15, 1945 – September 30, 2019) was an American opera singer and recitalist. She was able to perform dramatic soprano roles, but did not limit herself to that voice type. A commanding presence on operatic, concert and recital stages, Norman was associated with roles including Beethoven's Leonore, Wagner's Sieglinde and Kundry, Berlioz's Cassandre and Didon, and Bartók's Judith. The New York Times music critic Edward Rothstein described her voice as a "grand mansion of sound" that "has enormous dimensions, reaching backward and upward. It opens onto unexpected vistas. It contains sunlit rooms, narrow passageways, cavernous halls." Norman trained at Howard University, the Peabody Institute, and the University of Michigan. Her career began in Europe, where she won the ARD International Music Competition in Munich in 1968, which led to a contract with the Deutsche Oper Berlin. Her operatic début came as Elisabeth in Wagner's Tannhäuser, after which she sang as Verdi's Aida at La Scala in Milan. She made her first operatic appearance in the U.S. in 1982 with the Opera Company of Philadelphia, when cast as Jocasta in Stravinsky's Oedipus rex, and as Dido in Purcell's Dido and Aeneas. She went on to sing leading roles with many other companies, including the Metropolitan Opera, the Lyric Opera of Chicago, the Paris Opera, and the Royal Opera, London. Internationally well known, she was invited to sing at the second inauguration of Ronald Reagan and at Queen Elizabeth II's 60th birthday celebration in 1986 and performed La Marseillaise to celebrate the 200th anniversary of the French Revolution on July 14, 1989. She sang at the 1996 Summer Olympics opening ceremony in Atlanta and for the second inauguration of Bill Clinton in 1997. Norman sang and recorded recitals of music by Joseph Haydn, Franz Schubert, Johannes Brahms, Richard Strauss, Gustav Mahler, Ernest Chausson, and Francis Poulenc, among others. In 1984, she won the Grammy Award for Best Classical Vocal Solo, the first of five Grammy Awards that she would collect during her career. Apart from several honorary doctorates and other awards, she received the Grammy Lifetime Achievement Award, the National Medal of Arts, the Légion d'honneur, and was named a member of the British Royal Academy of Music. In 1990, UN secretary-general Javier Pérez de Cuéllar named her Honorary Ambassador to the United Nations.

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

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

This is an incomplete list of atonal musical compositions. Pieces are listed by composer.

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

This is a list of Private Passions episodes from 2005 to 2009. It does not include repeated episodes or compilations.

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

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

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

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

This is a list of Private Passions episodes from 2000 to 2004. It does not include repeated episodes or compilations.

Herzgewächse (German, 'Foliage of the Heart'), Op. 20, is a brief Lied that Austrian (and later American) composer Arnold Schoenberg finished in late 1911, during his atonal period in Vienna. Using the German translation by Karl Anton Klammer and Friedrich von Oppeln-Bronikowski, which he further modified, Schoenberg set Maurice Maeterlinck's poem "Feuillage du cœur" to music for high soprano, celesta, harmonium, and harp. The art song exemplifies Schoenberg's structurally innovative, modernist harmonic language and more traditional use of expressive word painting. The music evokes the poem's imagery of light and color playing on botanical forms inside a greenhouse, rendered as symbols of inner feelings. It employs rhythmic patterns, varied textures, ethereal timbres, and delicate, interlocking motives built from trichords and interval cycles. The virtuosic soprano melody, ranging G♯3–F6, is a musical metaphor for the Symbolist poem's narrative as centered on a moonlit lily, from its isolation among dark, entangled foliage and merely ornamental blooms to its spiritual ascent within the blue-glass enclosure. Scholars have suggested links to Richard Wagner's Tristan und Isolde and its study, the third Wesendonck Lied. Wassily Kandinsky and Franz Marc included a facsimile of the music manuscript in Der Blaue Reiter (1912). In his essay "The Relationship to the Text", which was also included, Schoenberg described his approach to the musical setting as a flow of ideas. At its planned 1912 Berlin premiere, Martha Winternitz-Dorda decided late not to sing Herzgewächse, likely due to its difficulty. She was also asked to sing it in Vienna; this, too, did not happen. Universal Edition obtained a music engraving of Herzgewächse in 1914. Eventually, after World War I and amid economic instability, they published it in 1920. Jean Wiéner organized its 1922 world premiere in Paris, and Eva Leoni sang its 1923 United States premiere to great acclaim with the International Composers Guild in New York City. Neue Musik (lit. 'New Music') enthusiasts in Freiburg im Bresgau gave Herzgewächse its apparent 1925 German premiere. Marianne Rau-Hoeglauer sang its 1928 Austrian premiere, conducted by Anton Webern. In 1945 post-World War II Paris, Combat promoted Lucienne Tragin singing Herzgewächse with René Leibowitz conducting and Pierre Boulez, who the song likely influenced, on harmonium. In early 1950s Los Angeles, Marni Nixon sang it twice, giving encores both times, and local radio aired one performance live. She and Robert Craft first recorded Herzgewächse in 1954, and many other musicians' recordings followed.

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

In April 2007, the Chicago Symphony Orchestra Association launched CSO Resound, its in-house record label. All recordings have been made live in concert in Orchestra Hall at Symphony Center, and a complete list of releases, chronological by recording date, is below. Dmitri Shostakovich's Symphony No. 5 in D Minor, Op. 47—Chicago Symphony Orchestra; Myung-Whun Chung, conductor. Recorded on September 21, 22, 23, and 26, 2006 (CSOR 901 803) Gustav Mahler's Symphony No. 3 in D Minor—Chicago Symphony Orchestra; Bernard Haitink, conductor; Michelle DeYoung, mezzo-soprano; Women of the Chicago Symphony Chorus (Duain Wolfe, director); Chicago Children’s Choir (Josephine Lee, director). Recorded on October 19, 20, and 21, 2006 (CSOR 901 701) Traditions and Transformations: Sounds of Silk Road Chicago (Ernest Bloch's Schelomo, Byambasuren Sharav's Legend of Herlen, Lou Harrison's Pipa Concerto, and Sergei Prokofiev's Scythian Suite)—Chicago Symphony Orchestra; Miguel Harth-Bedoya and Alan Gilbert, conductors; Yo-Yo Ma, cello; Wu Man, pipa; Silk Road Ensemble. Recorded on April 12, 13, and 17, 2007 (Bloch, Sharav, and Harrison), and May 17, 18, 19, and 22, 2007 (Prokofiev) (CSOR 901 801). 2008 Grammy Award for Best Engineered Album–Classical Anton Bruckner's Symphony No. 7 in E Major—Chicago Symphony Orchestra; Bernard Haitink, conductor. Recorded on May 10, 11, 12, and 15, 2007 (CSOR 901 704) Gustav Mahler's Symphony No. 6 in A Minor—Chicago Symphony Orchestra; Bernard Haitink, conductor. Recorded on October 18, 19, 20, and 23, 2007 (CSOR 901 804) Francis Poulenc's Gloria and Maurice Ravel's Daphnis and Chloe—Chicago Symphony Orchestra; Bernard Haitink, conductor; Jessica Rivera, soprano; Chicago Symphony Chorus (Duain Wolfe, director). Recorded on November 8, 9, and 10, 2007 (CSOR 901 906) Gustav Mahler's Symphony No. 1 in D Major—Chicago Symphony Orchestra; Bernard Haitink, conductor. Recorded on May 1, 2, and 3, 2008 (CSOR 901 902) Dmitri Shostakovich's Symphony No. 4 in C Minor. Op. 43 and Beyond the Score: Is Music Dangerous? (DVD)—Chicago Symphony Orchestra; Bernard Haitink, conductor; Gerard McBurney, narrator; Nicholas Rudall, actor. Recorded on May 8, 9, 10, 11, and 13, 2008 (CSOR 901 814). 2008 Grammy Award for Best Orchestral Performance Gustav Mahler's Symphony No. 2 in C Minor (Resurrection)—Chicago Symphony Orchestra; Bernard Haitink, conductor; Miah Persson, soprano; Christianne Stotijn, mezzo-soprano; Chicago Symphony Chorus (Duain Wolfe, director). Recorded on November 20, 21, 22, and 25, 2008 (CSOR 901 914) Richard Strauss's Ein Heldenleben and Anton Webern's Im Sommerwind—Chicago Symphony Orchestra; Bernard Haitink, conductor. Recorded on December 4, 5, and 6, 2008 (Strauss), and April 23, 24, 25, and 28, 2009 (Webern) (CSOR 901 1002) Giuseppe Verdi's Messa da Requiem—Chicago Symphony Orchestra; Riccardo Muti, conductor; Barbara Frittoli, soprano; Olga Borodina, mezzo-soprano; Mario Zeffiri, tenor; Ildar Abdrazakov, bass; Chicago Symphony Chorus (Duain Wolfe, director). Recorded on January 15, 16, and 17, 2009 (CSOR 901 1006). 2010 Grammy Awards for Best Classical Album and Best Choral Performance Igor Stravinsky's Pulcinella, Symphony in Three Movements, and Four Studies—Chicago Symphony Orchestra; Pierre Boulez, conductor; Roxana Constatinescu, mezzo-soprano; Nicholas Phan, tenor; Kyle Ketelsen, bass-baritone. Recorded on February 26, 27, 28, and March 3, 2009 (Symphony in Three Movements and Four Studies), and March 5, 6, and 7, 2009 (Pulcinella) (CSOR 901 918) Hector Berlioz's Symphonie fantastique, Op. 14 and Lélio, Op. 14b—Chicago Symphony Orchestra; Riccardo Muti, conductor; Gérard Depardieu, narrator; Mario Zeffiri, tenor; Kyle Ketelsen, bass-baritone; Chicago Symphony Chorus (Duain Wolfe, director). Recorded on September 23, 24, 25, and 28, 2010 (CSOR 901 1501) Chicago Symphony Orchestra Brass Live (works by Bach, Gabrieli, Grainger, Prokofiev, Revueltas, and Walton)—Chicago Symphony Orchestra Brass; Dale Clevenger, Jay Friedman, Michael Mulcahy, and Mark Ridenour, conductors. Recorded on December 16, 17, and 18, 2010 (CSOR 901 1101) Giuseppe Verdi's Otello—Chicago Symphony Orchestra; Riccardo Muti, conductor; Aleksandrs Antonenko, tenor (Otello); Krassimira Stoyanova, soprano (Desdemona); Carlo Guelfi, baritone (Iago); Barbara di Castri, mezzo-soprano (Emilia); Juan Francisco Gatell, tenor (Cassio); Michael Spyres, tenor (Roderigo); Paolo Battaglia, bass (Montano); Eric Owens, bass-baritone (Lodovico); David Govertsen, bass (A herald); Chicago Symphony Chorus (Duain Wolfe, director); Chicago Children’s Choir (Josephine Lee, director). Recorded on April 7, 9, and 12, 2011 (CSOR 901 1301) Riccardo Muti Conducts Mason Bates and Anna Clyne (Anna Clyne's Night Ferry and Mason Bates's Alternative Energy)—Chicago Symphony Orchestra; Riccardo Muti, conductor; Recorded on February 2, 3, 4, and 7, 2012 (Bates), and February 9, 10, and 11, 2012 (Clyne) (CSOR 901 1401) Arnold Schoenberg's Kol Nidre, Op. 39 and Dmitri Shostakovich's Suite on Verses of Michelangelo Buonarroti—Chicago Symphony Orchestra; Riccardo Muti, conductor; Ildar Abdrazakov, bass; Alberto Mizrahi, narrator; Chicago Symphony Chorus (Duain Wolfe, director). Recorded on March 15, 16, and 17, 2012 (Schoenberg), and June 14, 16, and 19, 2012 (Shostakovich) (CSOR 901 1602) Sergei Prokofiev's Suite from Romeo and Juliet—Chicago Symphony Orchestra; Riccardo Muti, conductor. Recorded on October 3, 5, 8, and 11, 2013 (CSOR 901 1402) Mason Bates's Anthology of Fantastic Zoology—Chicago Symphony Orchestra; Riccardo Muti, conductor. Recorded on June 18, 19, and 20, 2015 (CSOR 901 1601) Anton Bruckner's Symphony No. 9 in D Minor—Chicago Symphony Orchestra; Riccardo Muti, conductor. Recorded on June 23, 25, and 26, 2016 (CSOR 901 1701) Riccardo Muti Conducts Italian Masterworks (Giuseppe Verdi's Overture and Gli arredi festivi from Nabucco, Patria oppressa! from Macbeth, and Overture to I vespri siciliani; Giacomo Puccini's Intermezzo from Manon Lescaut; Pietro Mascagni's Intermezzo from Cavalleria rusticana; and Arrigo Boito's Prologue to Mefistofele)—Chicago Symphony Orchestra; Riccardo Muti, conductor; Riccardo Zanellato, bass; Chicago Symphony Chorus (Duain Wolfe, director); Chicago Children's Choir (Josephine Lee, director). Recorded on June 22, 23, 24, and 25, 2017 (CSOR 901 1801) Dmitri Shostakovich's Symphony No. 13 in B-flat Minor, Op. 113 (Babi Yar)—Chicago Symphony Orchestra; Riccardo Muti, conductor; Alexey Tikhomirov, bass; Men of the Chicago Symphony Chorus (Duain Wolfe, director). Recorded on September 21, 22, and 25, 2018 (CSOR 901 1901) 2020 Grammy Award for Best Engineered Album, Classical. Pietro Mascagni's Cavalleria Rusticana—Chicago Symphony Orchestra; Riccardo Muti, conductor; Anita Rachvelishvili, mezzo-soprano (Santuzza); Piero Pretti, tenor (Turiddu); Luca Salsi, baritone (Alfio); Ronnita Miller, mezzo-soprano (Lucia); Sasha Cooke, mezzo-soprano (Lola); Chicago Symphony Chorus (Duain Wolfe, director). Recorded on February 6, 7, and 8, 2020 (CSOR 901 2201) Contemporary American Composers (Jessie Montgomery's Hymn for Everyone, Max Raimi's Three Lisel Mueller Settings, and Philip Glass's Symphony No. 11)—Chicago Symphony Orchestra; Riccardo Muti, conductor; Elizabeth DeShong, mezzo-soprano. Recorded on March 22, 23, and 24, 2018 (Raimi), February 17, 18, and 19, 2022 (Glass), and April 28, 30, and May 3, 2022 (Montgomery) (CSOR 901 2301) 2023 Grammy Award for Best Engineered Album, Classical.

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

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

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

Sergei Vasilyevich Rachmaninoff (1 April [O.S. 20 March] 1873 – 28 March 1943) was a Russian composer, virtuoso pianist, and conductor. Rachmaninoff is widely considered one of the finest pianists of his day and, as a composer, one of the last great representatives of Romanticism in Russian classical music. Early influences of Tchaikovsky, Rimsky-Korsakov, and other Russian composers gave way to a thoroughly personal idiom notable for its song-like melodicism, expressiveness, dense contrapuntal textures, and rich orchestral colours. The piano is featured prominently in Rachmaninoff's compositional output and he used his skills as a performer to fully explore the expressive and technical possibilities of the instrument. Born into a musical family, Rachmaninoff began learning the piano at the age of four. He studied piano and composition at the Moscow Conservatory, from which he graduated in 1892, having already written several compositions. In 1897, following the disastrous premiere of his Symphony No. 1, Rachmaninoff entered a four-year depression and composed little, until supportive therapy allowed him to complete his well-received Piano Concerto No. 2 in 1901. Rachmaninoff went on to become conductor of the Bolshoi Theatre from 1904 to 1906, and relocated to Dresden, Germany, in 1906. He later embarked upon his first tour of the United States as a concert pianist in 1909. After the Russian Revolution, Rachmaninoff and his family left Russia permanently, settling in New York in 1918. Following this, he spent most of his time touring as a pianist in the US and Europe, from 1932 onwards spending his summers at his villa in Switzerland. During this time, Rachmaninoff's primary occupation was performing, and his compositional output decreased significantly, completing just six works after leaving Russia. By 1942, his declining health led him to move to Beverly Hills, California, where he died from melanoma in 1943.

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

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

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

The Book of the Hanging Gardens (German: Das Buch der hängenden Gärten), Op. 15, is a fifteen-part song cycle composed by Arnold Schoenberg between 1908 and 1909, setting poems of Stefan George. George's poems, also under the same title, track the failed love affair of two adolescent youths in a garden, ending with the woman's departure and the disintegration of the garden. The song cycle is set for solo voice and piano. The Book of the Hanging Gardens breaks away from conventional musical order through its usage of atonality. The piece was premiered by Austrian singer Martha Winternitz-Dorda and pianist Etta Werndorf on January 14, 1910, in Vienna.

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

Anton Webern (German: [ˈantoːn ˈveːbɐn] ; 3 December 1883 – 15 September 1945) was an Austrian composer, conductor, and musicologist whose modernist music was among the most radical of its milieu in its lyrical, poetic concision and use of then novel atonal and twelve-tone techniques. His approach was typically rigorous, inspired by his studies of the Franco-Flemish School under Guido Adler and by Arnold Schoenberg's emphasis on structure in teaching composition from the music of Johann Sebastian Bach, the First Viennese School, and Johannes Brahms. Webern, Schoenberg, and their colleague Alban Berg were at the core of what became known as the Second Viennese School. Webern was arguably the first and certainly the last of the three to write music in an aphoristic and expressionist style, reflecting his instincts and the idiosyncrasy of his compositional process. Working from personal experience, he treated themes of love, nature, mysticism, and nostalgia. Unhappily peripatetic and often assigned light music or operetta in his early conducting career, he aspired to conduct what was seen as more respectable, serious music at home in Vienna. Following Schoenberg's guidance, Webern tried writing music of greater length during and after their World War I service, relying on the structural support of texts in many Lieder. He rose as a choirmaster and conductor, championing Gustav Mahler's music in Red Vienna and abroad. With Schoenberg based in Berlin, Webern began writing music of increasing confidence, independence, and scale using twelve-tone technique. Marginalized as a "cultural Bolshevist" in Fascist Austria and Nazi Germany, he maintained "the path to the new music", enjoyed international recognition, and relied more on teaching for income. He opposed fascist cultural positions but always espoused pan-Germanism and was torn, like friends and family, among uncertainties. His hope for moderate, stable, and successful governance of Austria within Nazi Germany proved misplaced, and he helped Jewish friends emigrate and hide while repeatedly considering emigrating himself. A soldier accidentally killed Webern after World War II. In a phenomenon known as post-Webernism, his music was celebrated by composers, musicians, and scholars. René Leibowitz, Pierre Boulez, Robert Craft, and Hans and Rosaleen Moldenhauer established it as an important part of modernism through performance, study, and advocacy. Igor Stravinsky assimilated it. To many, it represented a path to serialism. Broader understanding of Webern's expressive agenda, performance practice, and complex sociocultural and political context lagged. A historical edition of his music is underway.

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

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