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.

Die glückliche Hand (The Lucky Hand, 1909–1913), Op. 18, is a four-scene opera or "Drama with Music in One Act" by Arnold Schoenberg to his own libretto. Like Erwartung (Expectation, 1909), it drew on Otto Weininger's book Sex and Character and reflected Schoenberg's own life, perhaps including his sense of artistic mission, audience reception, wife's affair, or some combination. It conveys the idea that man repeats his mistakes. The Vienna Volksoper premiered it on 24 October 1924.

The following is a complete list of compositions by Austrian composer Alexander von Zemlinsky.

The following is a complete list of compositions by Austrian composer Alexander von Zemlinsky.

The following is a complete list of compositions by Austrian composer Alexander von Zemlinsky.

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 complete list of compositions by Austrian composer Alexander von Zemlinsky.

Das Lied von der Erde (The song of the Earth) is an orchestral work for two voices and orchestra written by Gustav Mahler between 1908 and 1909. Described as a symphony when published, it comprises six movements for a large orchestra and two singers as the soloist alternating in the movements. Mahler specified that the two singers should be a tenor and an alto, or else a tenor and a baritone if an alto is not available. Mahler composed this work following the most painful period in his life, and the songs address themes such as those of living, parting and salvation. On the centenary of Mahler's birth, the composer and prominent Mahler conductor Leonard Bernstein described Das Lied von der Erde as Mahler's "greatest symphony". As with his later Symphony No. 9, Mahler did not live to hear Das Lied von der Erde performed.

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.

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.

Psalm 23 is the 23rd psalm of the Book of Psalms, beginning in English in the King James Version: "The Lord is my shepherd". In Latin, it is known by the incipit, "Dominus regit me". The Book of Psalms is part of the third section of the Hebrew Bible, and a book of the Christian Old Testament. In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 22. Like many psalms, Psalm 23 is used in both Jewish and Christian liturgies. It has often been set to music.

Psalm 23 is the 23rd psalm of the Book of Psalms, beginning in English in the King James Version: "The Lord is my shepherd". In Latin, it is known by the incipit, "Dominus regit me". The Book of Psalms is part of the third section of the Hebrew Bible, and a book of the Christian Old Testament. In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 22. Like many psalms, Psalm 23 is used in both Jewish and Christian liturgies. It has often been set to music.

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.

This is a list of some notable composers who wrote symphonic poems.

Alexander Zemlinsky or Alexander von Zemlinsky (14 October 1871 – 15 March 1942) was an Austrian composer, conductor, and teacher.

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 complete list of compositions by Austrian composer Alexander von Zemlinsky.

The following is a complete list of compositions by Austrian composer Alexander von Zemlinsky.