荀白克(1874～1951年)

Schoenberg, Arnold (Franz Walter)

奥地利籍美国作曲家。由犹太父母培养成天主教徒，在八岁时开始学习小提琴，後来自学大提琴。策姆林斯基（Alexander Zemlinsky, 1871～1942）成为他唯一的作曲教师，後来当了他的姐夫。他的第一部弦乐四重奏（1898）受到好评，他在斯特劳斯的帮助下在柏林谋得一份音乐教职工作，但在作出Gurrelieder（1901, 1913年改为管弦乐）後很快返回了维也纳。从1904年起贝尔格（A. Berg）和魏本（A. von Webern）同他一起学习，并对他们後来的艺术生涯产生了很大影响。在1906年左右，荀白克开始相信应该抛弃音调。他在「自由音调」（1907～1916）时期创作出了独脚戏《成长》（1909）、《五首管弦乐曲》（1909）和着名的《月光小丑》（1912）。1916～1923年几乎没有任何作品，将时间花在教书和指挥上，但仍在寻求组织无音调的途径。他的思想最终在他划时代的12音调方法中确定下来（参阅serialism）。他在1930年开始对单一音调的三幕剧进行研究。《摩西和亚伦》直到他去世也没有完成。纳粹主义的兴起使他重新认清自己的犹太人身分，并被迫逃到了美国，1936～1944年在UCLA任教。虽然他的音乐没有受到大众的广泛欢迎，但他对20世纪的音乐仍产生了比其他任何音乐家都深远的影响。

English version：

1874～1951年

Schoenberg, Arnold (Franz Walter)

Austrian-U.S. composer. Raised Catholic by his Jewish-born parents, he began studying violin at 8 and later taught himself cello. Alexander Zemlinsky (1871-1942) became his only composition teacher, and later his brother-in-law. His first string quartet (1898) was acclaimed, and with R. Strauss's help he obtained a teaching post in Berlin, but soon returned to Vienna, having composed his huge Gurrelieder (1901, orchestrated 1913). In 1904 A. Berg and A. Webern began their studies with him, which would profoundly shape their later artistic careers. Around 1906 Schoenberg came to believe that tonality had to be abandoned. His period of “free atonality” (1907-16) saw such remarkable works as the monodrama Erwartung, the Five Orchestral Pieces (both 1909), and the notorious Pierrot lunaire (1912). From 1916 to 1923 he issued almost nothing, being occupied with teaching and conducting but also seeking a way to organize atonality; his thought eventuated in his epochal development of the twelve-tone method (see serialism). In 1930 he began work on a three-act opera based on a single tone row; Moses und Aron remained unfinished at his death. The rise of Nazism moved him to reassert his Jewishness and forced him to flee to the U.S., where he remained, teaching at UCLA 1936-44. Though never embraced by a broad public, he may have exercised a greater influence on 20th-century music than any other composer.