In February 1935 a milestone birthday was celebrated in Vienna. Schönberg's student Alban Berg celebrated his 50th birthday on 9 February of this year. An occasion for special gifts!

On 26 September 1933 -–five weeks before Arnold Schönberg's arrival in the USA – the New York Times published a statement by one of the most popular American composers.

With the transcription and indexing of Schönberg’s calendars from the years 1935 and 1936, which can now be viewed via the image archive, we receive multifaceted insights into Schönberg’s daily and weekly routines at his temporary residence in Hollywood.

In cooperation with Österreichische Mediathek, the digitization of Arnold Schönberg's record collection, comprising some 400 sound carriers, began in April 2019. On May 14, 7:30 p.m., Schönberg’s String Quartet No. 3, op. 30, which was recorded on five discs by the Kolisch Quartet in 1936, will be heard for the first time from the copies in the composer's estate.

The digitization of more than 60 diaries owned by Arnold Schönberg in the years 1900 and 1910 to 1951 has been completed. The entries for the years 1920-1932 could already be viewed online in the image archive. The years 1933 and 1934 have now been NEWLY added as well.

Follow us and accompany us into nature with Arnold Schönberg!

We are sharing with you in digital space our exhibition “Into Nature with Schönberg.” Every day one of a total of 100 representative objects will be presented with explanations in German and English.

This course, provided by Stanford School of Humanities through Thomas Schultz, will introduce you to the solo piano works of Arnold Schönberg

The digitization of more than 60 diaries owned by Arnold Schönberg in the years 1900 and 1910 to 1951 has been completed. The entries for the years 1924–1932 have been accessible online in the image archive since October. The years 1920 to 1923 have now been NEWLY added as well.

The Journal of the Arnold Schoenberg Center presents selected papers of the symposium held at the Arnold Schönberg Center in Vienna in October 2018 which was open to thematically unrelated submissions on Arnold Schönberg and topics related to him.

Jack Boss returns with the “prequel” to Schoenberg’s Twelve-Tone Music (Cambridge, 2014) demonstrating that the term “atonal” is meaningful in describing Schoenberg’s music from 1908 to 1921. This book shows how Schoenberg’s atonal music can be understood in terms of successions of pitch and rhythmic motives and pitch-class sets that flesh out the large frameworks of “musical idea” and “basic image”.

The digitization of more than 60 diaries owned by Arnold Schönberg in the years 1900 and 1910 to 1951 has now been completed. The entries for the years 1926–1932 can be accessed via the image archive at schoenberg.at. Newly added are the years 1924 and 1925.

We recently received archive material from a private collection (in Sun Valley, California) belonging to the late violinist Helen Swaby Rice, who died in February 2019.

The digitization of more than 60 diaries owned by Arnold Schönberg in the years 1900 and 1910 to 1951 has now been completed. The entries for the years 1926–1932 can be accessed via the image archive.

In June/July 1921 Arnold Schönberg was the victim of anti-Semitic persecution in the Salzburg holiday resort Mattsee, where the district authorities had issued local landlords with an notice “containing the request to keep Mattsee ‘free of Jews’ this year, as in the previous year” (Salzburger Chronik, July 5, 1921).

Arnold Schönberg’s manuscripts for “Moses und Aron” and also his studies and figures for stage works are featuring in the exhibition “Opera as the World. The quest for a total work of art” at the Centre Pompidou-Metz.

An exhibit about Schönberg’s symphonic tone poem Pelleas und Melisande, curated by the Arnold Schönberg Center is on display at the Oldenburg State Theater until July 4, 2019.

The monograph “Arnold Schönberg & Jung-Wien”, written by Therese Muxeneder and published by the Arnold Schönberg Center, has been selected as an award-winner in the competition “The Best Austrian Book Design 2018”.

In April 1948, Winfried Zillig, Schönberg’s master student in Berlin, performed the symphonic poem Pelleas and Melisande op. 5 with the Frankfurt Radio Symphony Orchestra. A live recording of the concert was copied onto records from audio tape and sent to Rockingham Avenue 116 as a greeting with sound from the Old World. Schönberg was impressed by the quality of the interpretation and shared his enthusiasm with others, including the US record company Capitol. One year after the Frankfurt performance, plans to publish Zillig’s live recording on this label became more concrete. Schönberg drafted an introductory text for the record jacket and even insisted on broadcasting an address in which he announced the record’s release on February 23, 1950. This address was pressed by Capitol on a non-commercial record and sent together with the Pelleas records as promotion material to various radio stations in the US.

Following two previous successful composition workshops which showed the great compositional potential of young people, the Arnold Schönberg Center, in collaboration with Helmut Schmidinger (composer and visiting professor for composition at the University of Music and Performing Arts Graz), again invites six young composers between the age of 12 and 18 years old to come to Vienna. The third Composition Workshop (2019/2020) will be dedicated to the classical string quartet setting.

Arnold Schönberg’s aesthetic positions at the epoch threshold between finite romanticism and emancipation of dissonance are thematized in a section of the “Vienna 1900. Birth of Modernism” exhibit at the Leopold Museum (starting March 16, 2019). Schönberg’s paintings are on view in Vienna on a larger scale for the first time in 14 years as part of this exceptional show.