Scholz

(shélts), (1) F., Gernstadt, 1787—Moscow, 1830; in latter city after 1815 as opera cond.; c. ballets, etc. (2) Bd. E., Mayence, March 30, 1835—Munich, Dec. 26, 1916; pupil of Ernst Pauer, Mayence, and of Dehn, Berlin; 1856 teacher R. Sch. of Mus., Munich; 1859-65, ct.-conductor Hanover Th.; 1871-78, cond. Breslau Orch. Soc.; 18831908, dir. of the Hoch Cons., Frankfort (vice Raff); Dr. Phil. 4. c. (Breslau Univ.), “Royal Profe or,”’ etc.; pub. e ays “Wohin treiben wir?” (Frankfort, 1897); prod. 9 operas incl. succ. “Ingo” (Frankfort, 1898). C. “Das Sieges fest” and “Das Lied von der Glocke’’ for soli, chorus and orch.; symph. poem “Mal in conia”’; symph. “Tphigenia” and “Im Freien,’’ etc. Schénberg (shan’-bérkh), Arnold, b. Vienna, Sept. 13, 1874; eminent composer and theoretician; has exercised profound effect on other composers of his period by his pathbreaking system of free harmonic writing; the “father” of atonality, and in his later works the exponent of the theory that any of the tones of the chromatic scale may be combined with equal effectivene ; the form of his works is, however, in the cla ical tradition. He began quite early to compose chamber music, and studied vin. and ’cello; in theory he evolved his own method, except for a brief period of study in 1894 brother-in-law, Alexander Zemlinsky. He made a of latter’s opera, “Sarema’”’; an early string quartet from this period has been lost; some songs were heard in Vienna about 1900. From the previous year dates his popular string sextet, “ Verkldarte Nacht,” in a romantic, somewhat idiom, which has had wide currency in its arrangement for string orch. In 1901, following his marriage to Mathilde Zemlinsky, S. took up res. in Berlin; there he produced his symph. poem, “ Pelleas und Melisande.”’ In 1903 he returned to Vienna and began his important labors as a theory teacher; in the next 4 years he continued his early post-Wagner i an period with his 6 orch. songs, his string quartet, 8 songs (op. 6), 2 ballades (op. 12), his much-played “ Kammersinfonie,” and the second string quartet with voice; also from 1o1o-11 dates his “Gurrelieder” for soloists, chorus, orch. Later his music began to reveal an abstract, anti-romantic quality; his 3rd and most important (which has been called “expre ionistic’” and said to have parallels with the painting of such a figure as Kokoschka) is heralded by his songs to lyrics of Stefan George, op. 15. The compositions of this period include 3 piano pieces (op. 11), the radical “Five Orchestral Pieces” (op. 16), which created a sensational effect when rst played in Europe and U. S.; the monodrama, “‘Rrwartung,” for one woman singer orch., anguish in the mind of one waiting for her lover (one of S’s. most original works, 1st staged at Prague in 1924); “Die Glickliche Hand” (The Hand of Fate), a form of opera to the composer’s own text. symbolically narrates the struggle of a man to preserve the joy and dignity of life against the malign effects of an evil incubus, the mysterious menace of the world about him, and the snares of a rich dandy (prod. Vienna Volksop., 1924; also in N. Y. by Phila. Orch. under Stokowski in stage version, 1930). 1911 marked S’s. 2nd removal to Berlin, and the production of his highly original “ Pierrot Lunaire’”’ (op. 21), settings of a cycle of 21 poems by Albert Giraud, which describe the somewhat decadent and haunted longings of a moonstricken Pierrot for his native Bergamo; this work is called a “melodrama” and introduced to the world of music, in its score for a woman reciter-singer and chamber ensemble, S’s. famous device of the “Sprechstimme,”’ or voice that half speaks, half sings. 1915-17, worked on an oratorio, ‘“‘Jacob’s Ladder,’’ writing both text and music (not completed); and the following year founded in Vienna a Society for Private Perfs. of Music, which introd. the scores of his immediate circle to a small group of those interested; 1920-21, he lectured on comp. in Amsterdam; 1923, after return to Vienna, he i ued some piano pieces, a quintet, and Serenade for barytone and chamber orch, Beginning 1923 he was Busoni’s succe or as teacher of master cla in comp. at Berlin Hochschule, for about a decade; then came to America 1933 and taught comp. in Boston and N. Y.; 1935 faculty mem. of Univ. of Cal. at Los Angeles, occupying chair of comp. from his compositions, his influence has been preéminent in the field of theory, which he may be said to have revolutionised with his publication of a ‘‘ Harmonienlehre’’; also c. (operas) “Von Heute auf Morgen” (1-act attempt at work in more pop. style, not highly succe ful); ‘‘Moses and Aaron’; (orch.) theme and variations; suite for strings (in old time style); ’cello concerto after an early work by Monn; and a reworking for string quartet and orch. of a Handel concerto gro o; in 1936 the ath of his string quartets was to have its prem iére in a fest. given at Los Angeles under the patronage of Mrs. F. S. Coolidge. Studies of his music have been published by Wellesz, Erwin Stein and others, besides an e ay by Huneker, etc. (See article, page 518.) Schénberger (shan’-bérkh-ér), Benno, b. Vienna, Sept. 12, 1863; pianist; pupil of Vienna Cons., studied also with Liszt; toured; 1885 teacher, Vienna; later in Sweden (1886), then London; 1894 toured America; c. pf.-sonatas, rhapsodies, etc. Schorr (shér), Fried rich, b. Nagyvarad, Hungary, Sept. 2, 1888; barytone; studied with Robinson in Vienna; sang at Graz, r1g11-16; Prague, 1916-18; Cologne, 1918-23; then Berlin; came to U.S. with Wagner i an Op. Co., 1923; mem. Met. Op. Co. after 1924; has sung widely in Europe and S. America, and at Covent Garden, esp. in Wagner i an réles.