• Alban Berg
• Alma Mahler
• Altenberg Lieder
• Anton Webern
• Arnold Schoenberg
• Austria
• Austria–Hungary
• Berlin
• Blood poisoning
• Carbuncle
• Carinthia (state)
• Composer
• Conducting
• Counterpoint
• Der Wein
• Dika Newlin
• Erich Kleiber
• Erwartung
• Fin de siècle
• Four Songs, Op. 2
• Franz Schreker
• Friedrich Cerha
• George Perle
• Gurre-Lieder
• Gustav Klimt
• Gustav Mahler
• Harmony
• Kammerkonzert
• Karl Kraus
• Literature
• Lulu (opera)
• Lyric Suite
• Lyric Suite (Berg)
• Manon Gropius
• Music
• Music theory
• Musical composition
• New Grove
• Opera
• Opus number
• Peter Altenberg
• Piano
• Piano sonata
• Piano sonata (Berg)
• Pierre Boulez
• Romantic music
• Skandalkonzert
• Theodor Adorno
• Theodor W. Adorno
• Vienna
• Violin
• Walter Gropius
• Wikipedia Persondata
• Woodwind instrument
• World War I
• Wozzeck
• 
  

• 
  Austria
  Austria (ⁱ/ˈɒstriə/ or /ˈɔːstriə/; German: Österreich [ˈøːstɐˌʁaɪç] ( listen)), officially the Republic of Austria (German:  Republik Österreich (help·info)), is a landlocked country of roughly 8.47 million people in Central Europe. It is bordered by the Czech Republic and Germany to the north, Hungary and Slovakia to the east, Slovenia and Italy to the south, and Switzerland and Liechtenstein to the west. The territory of Austria covers 83,855 square kilometres (32,377 sq mi) and has a temperate and alpine climate. Austria's terrain is highly mountainous due to the presence of the Alps; only 32% of the country is below 500 metres (1,640 ft), and its highest point is 3,798 metres (12,461 ft). The majority of the population speak local Austro-Bavarian dialects of German as their native language, and German in its standard form is the country's official language. Other local official languages are Burgenland Croatian, Hungarian and Slovene.
  The origins of modern-day Austria date back to the time of the Habsburg dynasty when the vast majority of the country was a part of the Holy Roman Empire of the German Nation. During the 17th and 18th centuries, Austria became one of the great powers of Europe and, in response to the coronation of Napoleon I as the Emperor of the French, the Austrian Empire was officially proclaimed in 1804. In 1867, the Austrian Empire was reformed into Austria-Hungary.
  
  wn.com/Austria
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  Berlin
  Berlin ( /bɜrˈlɪn/; German pronunciation: [bɛɐ̯ˈliːn] ( listen)) is the capital city of Germany and one of the 16 states of Germany. With a population of 3.5 million people, Berlin is Germany's largest city and is the second most populous city proper and the eighth most populous urban area in the European Union. Located in northeastern Germany, it is the center of the Berlin-Brandenburg Metropolitan Region, which has 5.9 million residents from over 190 nations. Located in the European Plains, Berlin is influenced by a temperate seasonal climate. Around one third of the city's area is composed of forests, parks, gardens, rivers and lakes.
  First documented in the 13th century, Berlin was the capital of the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933) and the Third Reich (1933–1945).Berlin in the 1920s was the third largest municipality in the world. After World War II, the city became divided into East Berlin—the capital of East Germany—and West Berlin, a West German exclave surrounded by the Berlin Wall (1961–1989). Following German reunification in 1990, the city regained its status as the capital of Germany, hosting 147 foreign embassies.
  
  wn.com/Berlin
• 
  Vienna
  Vienna ( /viːˈɛnə/; German:  Wien (help·info) [viːn]) is the capital and largest city of Austria and one of the nine states of Austria. Vienna is Austria's primary city, with a population of about 1.723 million (2.4 million within the metropolitan area, more than 25% of Austria's population), and is by far the largest city in Austria, as well as its cultural, economic, and political centre. It is the 9th-largest city by population in the European Union. Until the beginning of the 20th century it was the largest German speaking city in the world, and before the first world war and the splitting of the Austro-Hungarian empire the city had 2 million inhabitants. Vienna is host to many major international organizations, including the United Nations and OPEC. The city lies in the east of Austria and is close to the borders of the Czech Republic, Slovakia, and Hungary. These regions work together in a European Centrope border region. Along with nearby Bratislava, Vienna forms a metropolitan region with 3 million inhabitants. In 2001, the city centre was designated a UNESCO World Heritage Site.
  
  wn.com/Vienna

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  Adolf Loos
  Adolf Franz Karl Viktor Maria Loos (10 December 1870 – 23 August 1933) was an Austro-Hungarian architect. He was influential in European Modern architecture, and in his essay Ornament and Crime he repudiated the florid style of the Vienna Secession, the Austrian version of Art Nouveau. In this and many other essays he contributed to the elaboration of a body of theory and criticism of Modernism in architecture.
  Born in 1870 in Brünn (Brno) to an ethnically German family, Loos was nine when his father, a stonemason, died. He completed technical school in Liberec, Czech Republic, which is now Technical University Liberec (a plaque located in front of Pavilion H commemorates this) and later studied at Dresden Technical University before moving to Vienna.
  Loos stayed in America for three years, where he had an uncle living in Philadelphia. He visited the 1893 Columbian Exposition in Chicago, and appreciated the work of Louis Sullivan. He visited St. Louis and did odd jobs in New York. Loos returned to Vienna in 1896 a man of taste and intellectual refinement, immediately entering the Viennese intelligentsia. His friends subsequently included Ludwig Wittgenstein, Arnold Schönberg, Peter Altenberg and Karl Kraus. He quickly established himself as the preferred architect of Vienna’s cultured bourgeoisie. Searching for marble in 1904 he first visited the island of Skyros and was confrontated with the cubic architecture of the Greek islands.
  
  wn.com/Adolf_Loos
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  Alban Berg
  Alban Maria Johannes Berg (February 9, 1885 – December 24, 1935) was an Austrian composer. He was a member of the Second Viennese School with Arnold Schoenberg and Anton Webern, and produced compositions that combined Mahlerian Romanticism with a personal adaptation of Schoenberg's twelve-tone technique.
  Berg was born in Vienna, the third of four children of Johanna and Conrad Berg. His family lived comfortably until the death of his father in 1900.
  He was more interested in literature than music as a child and did not begin to compose until he was fifteen, when he started to teach himself music. In late February or early March 1902 he fathered a child with Marie Scheuchl, a servant girl in the Berg family household. His daughter, Albine, was born on December 4, 1902.
  Berg had little formal music education before he became a student of Arnold Schoenberg in October 1904. With Schoenberg he studied counterpoint, music theory, and harmony. By 1906, he was studying music full-time; by 1907, he began composition lessons. His student compositions included five drafts for piano sonatas. He also wrote songs, including his Seven Early Songs (Sieben Frühe Lieder), three of which were Berg's first publicly performed work in a concert that featured the music of Schoenberg's pupils in Vienna that year. The early sonata sketches eventually culminated in Berg's Piano Sonata, Op. 1 (1907–1908); it is one of the most formidable "first" works ever written.
  
  wn.com/Alban_Berg
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  Alma Mahler
  Alma Maria Mahler Gropius Werfel (born Alma Maria Schindler; 31 August 1879 – 11 December 1964) was a Viennese-born socialite well known in her youth for her beauty and vivacity. She became the wife, successively, of composer Gustav Mahler, architect Walter Gropius, and novelist Franz Werfel, as well as the consort of several other prominent men. Musically active in her teens, she was the composer of at least seventeen songs. In later years her salon became an important feature of the artistic scene, first in Vienna, then in Los Angeles.
  Alma Schindler was born in Vienna, Austria (then Austria-Hungary), to the prominent landscape painter Emil Jakob Schindler and his wife Anna von Bergen, in 1879. Although Alma later claimed to have grown up in a privileged environment, the family was only moderately successful. After her father's death (1892), her mother married her late husband's former pupil Carl Moll, who was a co-founder of the Vienna Secession.
  Alma's lively social interactions in her youth included friendships with the artists of the Vienna Secession, among them Gustav Klimt. As a young woman she had a series of flirtations, including Klimt, theater director Max Burckhard and composer Alexander von Zemlinsky.
  
  wn.com/Alma_Mahler
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  Anton Webern
   Anton Webern (help·info) (3 December 1883 – 15 September 1945) was an Austrian composer and conductor. He was a member of the Second Viennese School. As a student and significant follower of Arnold Schoenberg, he became one of the best-known exponents of the twelve-tone technique; in addition, his innovations regarding schematic organization of pitch, rhythm and dynamics were formative in the musical technique later known as total serialism.
  Webern was born in Vienna, Austria, as Anton Friedrich Wilhelm von Webern. He was the only surviving son of Carl von Webern, a civil servant, and Amelie (née Geer) who was a competent pianist and accomplished singer — the only obvious source of the future composer's talent. He never used his middle names and dropped the von in 1918 as directed by the Austrian government's reforms after World War I. After spending much of his youth in Graz and Klagenfurt, Webern attended Vienna University from 1902. There he studied musicology with Guido Adler, writing his thesis on the Choralis Constantinus of Heinrich Isaac. This interest in early music would greatly influence his compositional technique in later years by employing palindromic form on both the micro- and macro-scale and the economical use of musical materials.
  
  wn.com/Anton_Webern
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  Arnold Schoenberg
   Arnold Schoenberg (help·info) (pronounced [ˈaːɐ̯nɔlt ˈʃøːnbɛɐ̯k]; 13 September 1874 – 13 July 1951) was an Austrian composer and painter, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. He used the spelling Schönberg until after his move to the United States in 1934 (Steinberg 1995, 463), whereupon he altered it to Schoenberg "in deference to American practice" (Foss 1951, 401), though one writer claims he made the change a year earlier (Ross 2007, 45).
  Schoenberg's approach, both in terms of harmony and development, is among the major landmarks of 20th-century musical thought; at least three generations of composers in the European and American traditions have consciously extended his thinking or, in some cases, passionately reacted against it. During the rise of the Nazi Party in Austria, his music was labeled, alongside jazz, as degenerate art^{[citation needed]}.
  Schoenberg was widely known early in his career for his success in simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner. Later, his name would come to personify pioneering innovations in atonality (although Schoenberg himself detested the term "atonality" as inaccurate in describing his intentions) that would become the most polemical feature of 20th-century art music. In the 1920s, Schoenberg developed the twelve-tone technique, a widely influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. He also coined the term developing variation, and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a centralized melodic idea.
  
  wn.com/Arnold_Schoenberg
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  Austria
  Austria (ⁱ/ˈɒstriə/ or /ˈɔːstriə/; German: Österreich [ˈøːstɐˌʁaɪç] ( listen)), officially the Republic of Austria (German:  Republik Österreich (help·info)), is a landlocked country of roughly 8.47 million people in Central Europe. It is bordered by the Czech Republic and Germany to the north, Hungary and Slovakia to the east, Slovenia and Italy to the south, and Switzerland and Liechtenstein to the west. The territory of Austria covers 83,855 square kilometres (32,377 sq mi) and has a temperate and alpine climate. Austria's terrain is highly mountainous due to the presence of the Alps; only 32% of the country is below 500 metres (1,640 ft), and its highest point is 3,798 metres (12,461 ft). The majority of the population speak local Austro-Bavarian dialects of German as their native language, and German in its standard form is the country's official language. Other local official languages are Burgenland Croatian, Hungarian and Slovene.
  The origins of modern-day Austria date back to the time of the Habsburg dynasty when the vast majority of the country was a part of the Holy Roman Empire of the German Nation. During the 17th and 18th centuries, Austria became one of the great powers of Europe and, in response to the coronation of Napoleon I as the Emperor of the French, the Austrian Empire was officially proclaimed in 1804. In 1867, the Austrian Empire was reformed into Austria-Hungary.
  
  wn.com/Austria
• Dika Newlin
  Dika Newlin (November 22, 1923 – July 22, 2006) was a pianist, professor, musicologist, composer and punk rock singer. She received a Ph.D from Columbia University at the age of 22. She was one of the last living students of Arnold Schoenberg, a Schoenberg scholar and a professor at Virginia Commonwealth University in Richmond from 1978 to 2004. She performed as an Elvis impersonator and played punk rock while in her 70's in Richmond, Virginia.
  She was featured in the documentary Dika: Murder City.
  Dika Newlin was born in Portland, Oregon. Her name was chosen by her mother and refers to an Amazon in one of Sappho's poems.
  Newlin was able to read the dictionary by age 3. She could play the piano by age 6 and began composing music at age 7. When she was 11 she wrote a symphonic piece, Cradle Song, that was performed three years later by the Cincinnati Symphony Orchestra.
  She entered elementary school at age 5 and finished it at age 8. She graduated from high school when she was 12 and was admitted to the freshman class at Michigan State University, where her parents taught.
  
  wn.com/Dika_Newlin
• 
  Erich Kleiber
  Erich Kleiber (5 August, 1890, Alsergrund, Vienna – 27 January, 1956, Zurich) was an Austrian conductor.
  Born in Vienna, Kleiber studied in Prague. In 1923, after conducting a stirring performance of Beethoven's Fidelio at the Berlin State Opera, he became that institution's music director.
  He was known for his interpretations of the standard symphonic and operatic repertoire, as well as for championing new works. In 1925 he conducted the première of Alban Berg's opera, Wozzeck. When Berg's second opera Lulu was branded Entartete Musik (degenerate music) by the Nazi Party, Kleiber, who was not Jewish and therefore could have continued his career under the Nazi regime, resigned from his post at the Berlin Opera in protest. Kleiber also repudiated his contract with La Scala in Milan in April 1939, shortly after the fascist Mussolini regime enacted its own anti-semitic legislation, saying: "...[since] la Scala is denied for Jews...both as a Christian and an artist, I can no longer co-operate."
  
  wn.com/Erich_Kleiber
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  Franz Schreker
  Franz Schreker (originally Schrecker, March 23, 1878 – March 21, 1934) was an Austrian composer, conductor, teacher and administrator. Primarily a composer of operas, his style is characterized by aesthetic plurality (a mixture of Romanticism, Naturalism, Symbolism, Impressionism, Expressionism and Neue Sachlichkeit), timbral experimentation, strategies of extended tonality and conception of total music theatre into the narrative of 20th-century music.
  Schreker was born in Monaco, the eldest son of the Bohemian Jewish court photographer Ignaz Schrecker and his wife Eleonore von Clossmann, who was a member of the Catholic aristocracy of Styria. He grew up during travels across half of Europe and, after the early death of his father, the family moved from Linz to Vienna (1888) where in 1892, with the help of a scholarship, Schreker entered the Vienna Conservatory. Starting with violin studies, with Sigismund Bachrich and Arnold Rosé, he moved into the composition class of Robert Fuchs, graduating as a composer in 1900. His first success was with the Intermezzo for strings, Op. 8, which won an important prize sponsored by the Neue musikalische Presse in 1901. After graduating from the conservatory he spent several years taking various bread-and-butter jobs. His first opera, Flammen, was completed in 1902 but failed to receive a staged production.
  
  wn.com/Franz_Schreker
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  Friedrich Cerha
  Friedrich Cerha (born 17 February 1926) is an Austrian composer and conductor.
  Cerha was born in Vienna.
  He received his education at the Viennese Music Academy (violin, composition, musician drawing) and at the University of Vienna (music sciences, German culture and language, philosophy). In 1958 he, together with Kurt Schwertsik, created the ensemble "die reihe", which was an important instrument for the spreading of contemporary music in Austria. Apart from his compositions, Cerha widely earned a reputation as an interpreter of the works of Alban Berg, Arnold Schoenberg and Anton Webern; his affinity for the works of the second Viennese school culminated in the completion of Alban Berg's opera Lulu by finishing the instrumentation of the 3rd act and filling the gaps in the score (premiered by Pierre Boulez in Paris, 1979).
  In April 2006, Friedrich Cerha joined the Joseph Marx Society. With a group of contemporaries such as Kurt Schwertsik and Peter Vujica, he was also involved in the establishment of this society. This special commitment for Joseph Marx, who has represented the tonal music of Austria as an influential composer, teacher and critic, underscores Cerha's renown as an undogmatic artist who supports every kind of significant musical rediscovery regardless of its reference to tonality or modernism.
  
  wn.com/Friedrich_Cerha
• George Perle
  George Perle (May 6, 1915 – January 23, 2009) was a composer and music theorist.
  
  
  Perle was born in Bayonne, New Jersey. He graduated from DePaul University, where he studied with Wesley LaViolette and received private lessons from Ernst Krenek.
  Perle composed with a technique of his own devising called "twelve-tone tonality". This technique was different from, but related to, the twelve-tone technique of the Second Viennese School, of which he was an "early admirer" and whose techniques he used aspects of but never fully adopted. Perle's former student Paul Lansky described Perle's twelve-tone tonality thus:
  In 1968, Perle cofounded the Alban Berg Society with Igor Stravinsky and Hans F. Redlich, who had the idea (according to Perle in his letter to Glen Flax of 4/1/89^{[citation needed]}). Perle's important work on Berg includes documenting that the third act of Lulu, rather than being an unfinished sketch, was actually three-fifths complete and that the Lyric Suite contains a secret program dedicated to Berg's love-affair.
  
  wn.com/George_Perle
• 
  Gustav Klimt
  Gustav Klimt (July 14, 1862– February 6, 1918) was an Austrian Symbolist painter and one of the most prominent members of the Vienna Secession movement. His major works include paintings, murals, sketches, and other art objects. Klimt's primary subject was the female body, and his works are marked by a frank eroticism—nowhere is this more apparent than in his numerous drawings in pencil (see Mulher sentada, below).
  Gustav Klimt was born in Baumgarten, near Vienna in Austria-Hungary, the second of seven children—three boys and four girls. All three sons displayed artistic talent early on. Klimt's younger brothers were Ernst Klimt and Georg Klimt. His father, Ernst Klimt the Elder, formerly from Bohemia, was a gold engraver. Ernst married Anna Klimt (née Finster), whose unrealized ambition was to be a musical performer. Klimt lived in poverty for most of his childhood, as work was scarce and economic advancement was difficult for immigrants.
  In 1876, Klimt was awarded a scholarship to the Vienna School of Arts and Crafts (Kunstgewerbeschule), where he studied until 1883, and received training as an architectural painter. He revered the foremost history painter of the time, Hans Makart. Klimt readily accepted the principles of a conservative training; his early work may be classified as academic. In 1877 his brother Ernst, who, like his father, would become an engraver, also enrolled in the school. The two brothers and their friend Franz Matsch began working together; by 1880 they had received numerous commissions as a team they called the "Company of Artists", and helped their teacher in painting murals in the Kunsthistorisches Museum in Vienna. Klimt began his professional career painting interior murals and ceilings in large public buildings on the Ringstraße including a successful series of "Allegories and Emblems".
  
  wn.com/Gustav_Klimt
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  Gustav Mahler
  Gustav Mahler (German pronunciation: [ˈɡʊstaf ˈmaːlɐ]; 7 July 1860 – 18 May 1911) was a late-Romantic Austrian composer and one of the leading conductors of his generation. He was born in the village of Kalischt, Bohemia, in what was then the Austrian Empire, now Kaliště in the Czech Republic. Then his family moved to nearby Iglau (now Jihlava) where Mahler grew up.
  As a composer, he acted as a bridge between the 19th century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect which included a ban on its performance in much of Europe during the Nazi era. After 1945 the music was discovered and championed by a new generation of listeners; Mahler then became one of the most frequently performed and recorded of all composers, a position he has sustained into the 21st century.
  Born in humble circumstances, Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera (Hofoper). During his ten years in Vienna, Mahler—who had converted to Catholicism from Judaism to secure the post—experienced regular opposition and hostility from the anti-Semitic press. Nevertheless, his innovative productions and insistence on the highest performance standards ensured his reputation as one of the greatest of opera conductors, particularly as an interpreter of the stage works of Wagner and Mozart. Late in his life he was briefly director of New York's Metropolitan Opera and the New York Philharmonic.
  
  wn.com/Gustav_Mahler
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  Karl Kraus
  Karl Kraus (April 28, 1874 – June 12, 1936) was an Austrian writer and journalist, known as a satirist, essayist, aphorist, playwright and poet. He is regarded as one of the foremost German-language satirists of the 20th century, especially for his witty criticism of the press, German culture, and German and Austrian politics.
  Kraus was born into a wealthy Jewish family of Jacob Kraus, a papermaker, and his wife Ernestine, née Kantor, in Jičín, Bohemia (now the Czech Republic). The family moved to Vienna in 1877. His mother died in 1891.
  Kraus enrolled as a law student at the University of Vienna in 1892. Beginning in April of the same year he began contributing to the paper Wiener Literaturzeitung, starting with a critique of Gerhart Hauptmann's Die Weber. Around that time, he unsuccessfully tried to perform as an actor in a small theater. In 1894 he changed his field of studies to philosophy and German literature. He discontinued his studies in 1896. His friendship with Peter Altenberg began about this time.
  
  wn.com/Karl_Kraus
• Manon Gropius
  Alma Manon Gropius (October 6, 1916 – April 22, 1935) was the daughter of the architect Walter Gropius and the composer and diarist Alma Mahler and the stepdaughter of the novelist and poet Franz Werfel. She is a Randfigur (e.g., a peripheral person), whose importance lies in her key relationships to major figures and a muse who inspired the composer Alban Berg as well as Werfel and the Nobel Prize-winning writer Elias Canetti. Manon Gropius is most often cited as the "angel" and dedicatee of Berg's Violin Concerto (1935).
  Manon Gropius was born in Vienna during the height of World War I, on October 6, 1916, the third child of Alma Mahler, the widow of the composer and conductor Gustav Mahler, and wife of the architect and Bauhaus founder Walter Gropius. Her parents separated soon after Gropius discovered Alma’s affair with the writer Franz Werfel in the summer of 1918 and the true paternity of her fourth child, Martin Johannes Gropius.
  Like other children of her background and parentage, Manon, called “Mutzi” by family and friends, was raised by her nanny, a former Austro-Hungarian Army nurse, Ida Gebauer (whom Manon called “Schulli”). Her early life was spent traveling with her mother between Alma’s three homes in Vienna, Breitenstein am Semmering, and Venice, as well as at Weimar, the site of the first Bauhaus school. Her travels also included many German cities, including Leipzig, where Franz Werfel’s play Spiegelmensch (Mirror Man) premiered in 1921. There, the precocious five-year-old saw the rehearsals and began to “perform” the roles of the heroine as well as declaim lines. From that time on, her mother, Werfel, and others in their milieu cultivated the girl’s interest in the theater.
  
  wn.com/Manon_Gropius
• Peter Altenberg
  Peter Altenberg (9 March 1859, Vienna – 8 January 1919, Vienna) was a writer and poet from Vienna, Austria. He was key to the genesis of early modernism in the city.
  He was born Richard Engländer on 9 March 1859. The nom de plume, "Altenberg", came from a small town on the Danube River. Allegedly, he chose the "Peter" to honor a young girl whom he remembered as an unrequited love (it had been her nickname). Although he grew up in a middle class Jewish family, Altenberg eventually separated himself from his family of origin by dropping out of both law and medical school, and embracing Bohemianism as a permanent lifestyle choice. He cultivated a feminine appearance and feminine handwriting, wore a cape, sandals and a broad-brimmed hat, and despised 'macho' masculinity.
  At the fin de siècle, when Vienna was a major crucible and center for modern arts and culture, Altenberg was a very influential part of a literary and artistic movement known as Jung Wien or "Young Vienna". Altenberg was a contemporary of Karl Kraus, Gustav Mahler, Arthur Schnitzler, Gustav Klimt, and Adolf Loos, with whom he had a very close relationship. He was somewhat older, in his early 30s, than the others. In addition to being a poet and prolific letter writer, he was an accomplished short story writer, prose writer, and essayist.
  
  wn.com/Peter_Altenberg
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  Pierre Boulez
  Pierre Boulez (French pronunciation: [pjɛʁ bu.lɛːz]) (born 26 March 1925) is a French composer of contemporary classical music, a pianist, and a conductor.
  Boulez was born in Montbrison, Loire, France. As a child he began piano lessons and demonstrated aptitude in both music and mathematics. He pursued the latter at Lyon before pursuing music at the Paris Conservatoire under Olivier Messiaen and the wife of Arthur Honegger, Andrée Vaurabourg.
  Through Messiaen, Boulez discovered twelve-tone technique — which he would later study privately with René Leibowitz — and went on to write atonal music in a post-Webernian serial style. Boulez was initially part of a cadre of early supporters of Leibowitz, but due to an altercation with Leibowitz, their relations turned divisive, as Boulez spent much of his career promoting the music of Messiaen instead.
  The first fruits of this were his cantatas Le visage nuptial and Le soleil des eaux for female voices and orchestra, both composed in the late 1940s and revised several times since, as well as the Second Piano Sonata of 1948, a well-received 32-minute work that Boulez composed at the age of 23. Thereafter, Boulez was influenced by Messiaen's research to extend twelve-tone technique beyond the realm of pitch organization, serialising durations, dynamics, mode of attack, and so on. This technique became known as integral serialism.
  
  wn.com/Pierre_Boulez
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  Walter Gropius
  Walter Adolph Georg Gropius (May 18, 1883 – July 5, 1969) was a German architect and founder of the Bauhaus School who, along with Ludwig Mies van der Rohe, Le Corbusier and Oscar Niemeyer, is widely regarded as one of the pioneering masters of modern architecture.
  Born in Berlin, Walter Gropius was the third child of Walter Adolph Gropius and Manon Auguste Pauline Scharnweber. Gropius married Alma Mahler (1879–1964), widow of Gustav Mahler. Walter and Alma's daughter, named Manon after Walter's mother, was born in 1916. When Manon died of polio at age 18, composer Alban Berg wrote his Violin Concerto in memory of her (it is inscribed "to the memory of an angel"). Gropius and Alma divorced in 1920. (Alma had by that time established a relationship with Franz Werfel, whom she later married.) In 1923, Gropius married Ise (Ilse) Frank (d. 1983), and they remained together until his death. They adopted Beate Gropius, also known as Ati.
  Walter Gropius, like his father and his great-uncle Martin Gropius before him, became an architect. Gropius could not draw, and was dependent on collaborators and partner-interpreters throughout his career. In school he hired an assistant to complete his homework for him. In 1908 Gropius found employment with the firm of Peter Behrens, one of the first members of the utilitarian school. His fellow employees at this time included Ludwig Mies van der Rohe, Le Corbusier, and Dietrich Marcks.
  
  wn.com/Walter_Gropius
• Wikipedia Persondata
  wn.com/Wikipedia_Persondata
• 
  World War I
  World War I (WWI), which was predominantly called the World War or the Great War from its occurrence until 1939 (World War II), and the First World War or World War I thereafter, was a major war centred in Europe that began on 28 July 1914 and lasted until 11 November 1918. It involved all the world's great powers, which were assembled in two opposing alliances: the Allies (based on the Triple Entente of the United Kingdom, France and Russia) and the Central Powers (originally centred around the Triple Alliance of Germany, Austria-Hungary and Italy; but, as Austria–Hungary had taken the offensive against the agreement, Italy did not enter into the war). These alliances both reorganised (Italy fought for the Allies), and expanded as more nations entered the war. Ultimately more than 70 million military personnel, including 60 million Europeans, were mobilised in one of the largest wars in history. More than 9 million combatants were killed, largely because of enormous increases in lethality of weapons, thanks to new technology, without corresponding improvements in protection or mobility. It was the sixth-deadliest conflict in world history, subsequently paving the way for various political changes such as revolutions in the nations involved.
  
  wn.com/World_War_I

• To the Memory of an Angel: I. Andante - Allegretto
• To the Memory of an Angel: II. Allegro - Adagio
• Violin Concerto in D major, Op. 61: I. Allegro ma non troppo - Adagio
• Violin Concerto in D major, Op. 61: II. Larghetto
• Violin Concerto in D major, Op. 61: III. Rondo allegro

• Violinkonzert: I. Andante - Allegretto
• Violinkonzert: II. Allegro - Adagio
• Drei Orchesterstücke, Op. 6: I. Präludium
• Drei Orchesterstücke, Op. 6: II. Reigen
• Drei Orchesterstücke, Op.6: III. Marsch

• Act 2: Scene 1. Was die Steine glänzen?
• Act 2: Scene 2. Wohin so eilig, geehrtester Herr Sargnagei?
• Act 2: Scene 3. Guten Tag, Franz
• Act 2: Scene 4. Ich hab'ein Hemdlein an, das ist nicht mein
• Act 2: Scene 5. Andres! Andres! Ich kann nicht schlafen
• Act 3: Scene 1. Und ist kein Betrug in seinem Munce erfunden worden
• Act 3: Scene 2. Dort links geht's in die Stadt
• Act 3: Scene 3. Tanzt Alle; tanzt nur zu, springt, schwitzt un stinkt
• Act 3: Scene 4. Das Messer? Wo ist das Messer?
• Orchester-Epilog - Act 3: Scene 5. Ringel, Ringel, Rozenkranz, Ringelreih'n

• Serenade in B flat major for 13 wind instruments "Grand Partita", K 361: I. Largo - Allegro molto
• Serenade in B flat major for 13 wind instruments "Grand Partita", K 361: II. Menuetto (Allegretto) - Trio I-II
• Serenade in B flat major for 13 wind instruments "Grand Partita", K 361: III. Adagio
• Serenade in B flat major for 13 wind instruments "Grand Partita", K 361: IV. Menuetto (Allegretto) - Trio I-II
• Serenade in B flat major for 13 wind instruments "Grand Partita", K 361: V. Romanze: Adagio - Allegretto
• Serenade in B flat major for 13 wind instruments "Grand Partita", K 361: VI. Tema con Variazioni: Andante
• Serenade in B flat major for 13 wind instruments "Grand Partita", K 361: VII. Rondo: Allegro molto
• Chamber concerto for piano, violin and 13 wind instruments: I. Thema scherzoso con variazioni
• Chamber concerto for piano, violin and 13 wind instruments: II. Adagio
• Chamber concerto for piano, violin and 13 wind instruments: III. Rondo ritmico con introduzione

• String Quartet, Op. 3: I. Langsam
• String Quartet, Op. 3: II. Mäßige Viertel
• Hier ist Friede, Op. 4, No. 5
• Four Pieces, Op. 5 for Clarinet and Piano: I. Mäßig
• Four Pieces, Op. 5 for Clarinet and Piano: II. Sehr langsam
• Four Pieces, Op. 5 for Clarinet and Piano: III. Sehr rasch
• Four Pieces, Op. 5 for Clarinet and Piano: IV. Langsam
• Adagio from Chamber Concerto
• Lyric Suite for String Quartet: I. Allegretto giovale
• Lyric Suite for String Quartet: II. Andante amoroso
• Lyric Suite for String Quartet: III. Allegro misterioso - Trio estatico
• Lyric Suite for String Quartet: IV. Adagio appassionato
• Lyric Suite for String Quartet: V. Presto delirando - Tenebroso
• Lyric Suite for String Quartet: VI. Largo desolato

• Primer Acto: "Langsam, Wozzeck, langsam!"
• Primer Acto: "Du, der Platz ist verflucht!"
• Primer Acto: "Tschin Bum...! Hörst, Bub? Da kommen sie!"
• Primer Acto: "Was erleb' ich, Wozzeck?"
• Primer Acto: "Geh' einmal vor Dich hin!"

• Symphony No. 4 in G major: I. Bedächtig. Nicht eilen
• Symphony No. 4 in G major: II. In gemächlicher Bewegung. Ohne Hast
• Symphony No. 4 in G major: III. Ruhevoll (Poco adagio)
• Symphony No. 4 in G major: IV. Sehr behaglich "Wir genießen die himmlischen Freuden"
• Sieben frühe Lieder: I. Nacht
• Sieben frühe Lieder: II. Schilflied
• Sieben frühe Lieder: III. Die Nachtigall
• Sieben frühe Lieder: IV. Traumgekrönt
• Sieben frühe Lieder: V. Im Zimmer
• Sieben frühe Lieder: VI. Liebesode
• Sieben frühe Lieder: VII. Sommertage
• Applause

• Violin Concerto: I Andante - Allegretto
• Violin Concerto: II Allegro - Adagio
• Violin Concerto in D Minor Op.15: I Moderato Con Moto
• Violin Concerto in D Minor Op.15: II Vivace - Animando - Largamente - Cadenza
• Violin Concerto in D Minor Op.15: III Passacaglia

• Wozzeck, Op. 7 (sung in English): Act I Scene 1: Slowly, Wozzeck, slowly! (Captain, Wozzeck)
• Wozzeck, Op. 7 (sung in English): Act I Scene 1: Wozzeck, you are a decent man, and yet ? (Captain, Wozzeck)
• Wozzeck, Op. 7 (sung in English): Act I Scene 2: Andres! This place is accursed! (Wozzeck, Andres)
• Wozzeck, Op. 7 (sung in English): Act I Scene 2: Listen. There's something moving there below us! (Wozzeck, Andres)
• Wozzeck, Op. 7 (sung in English): Act I Scene 3: Military music off-stage - Tschin, Bum, Tschin, Bum, Bum, Bum, Bum! (Marie, Margret)
• Wozzeck, Op. 7 (sung in English): Act I Scene 3: What will you do now, poor lamb? ? (Marie)
• Wozzeck, Op. 7 (sung in English): Act I Scene 3: Marie sunk in thought - Knocking at the window - Who's there? (Marie, Wozzeck)
• Wozzeck, Op. 7 (sung in English): Act I Scene 4: This is monstrous, Wozzeck! (Doctor, Wozzeck)
• Wozzeck, Op. 7 (sung in English): Act I Scene 4: Wozzeck - Just like a lunatic! (Doctor, Wozzeck)
• Wozzeck, Op. 7 (sung in English): Act I Scene 5: Show me how you parade! (Marie, Drum Major)

• Three Pieces for Orchestra, Op. 6: I. Präludium. Langsam
• Three Pieces for Orchestra, Op. 6: II. Reigen. Anfangs etwas zögernd - Leicht beschwingt
• Three Pieces for Orchestra, Op. 6: III. Marsch. Mäßiges Marschtempo
• Three Pieces from the "Lyric Suite": I. Andante amoroso
• Three Pieces from the "Lyric Suite": II. Allegro misterioso
• Three Pieces from the "Lyric Suite": III. Adagio appassionato
• Violin Concerto "To the Memory of An Angel": I. Andante - Allegretto
• Violin Concerto "To the Memory of An Angel": II. Allegro - Adagio

• Lyric Suite: I. Allegretto gioviale
• Lyric Suite: II. Andante amoroso
• Lyric Suite: III. Allegro misterioso
• Lyric Suite: IV. Adagio appassionato
• Lyric Suite: V. Presto delirando
• Lyric Suite: VI. Largo desolato

• 5 Orchesterstücke op. 16, I. Vorgefühle, sehr rasch
• 5 Orchesterstücke op. 16, II. Vergangenes, mässige Viertel
• 5 Orchesterstücke op. 16, III. Farben, mäßige Viertel
• 5 Orchesterstücke op.16, IV. Peripetie, sehr rasch
• 5 Orchesterstücke op. 16, V. Das obligate Rezitativ, bewegte Achtel
• 6 Orchesterstücke op. 6, I. Langsam
• 6 Orchesterstücke op. 6, II. Bewegt
• 6 Orchesterstücke op. 6, III. Mäßig
• 6 Orchesterstücke op. 6, IV. Sehr mäßig
• 6 Orchesterstücke op. 6, V. Sehr langsam
• 6 Orchesterstücke op. 6, VI. Langsam
• Lulu-Suite: I. Rondo, Andante und Hymne
• Lulu-Suite: II. Ostinato, Allegro
• Lulu-Suite: III. Lied der Lulu, Comodo
• Lulu-Suite: IV. Variationen, Moderato
• Lulu-Suite: V. Adagio

• Violin Concerto: I. Andante - Allegretto (feat. conductor: Andrew Davis, violin: Leonidas Kavakos)
• Violin Concerto: II. Allegro - Adagio - (Coda) (feat. conductor: Andrew Davis, violin: Leonidas Kavakos)
• Verklärte Nacht: I. Grave (feat. conductor: Donald Runnicles)
• Verklärte Nacht: II. A tempo (Grave) (feat. conductor: Donald Runnicles)
• Verklärte Nacht: III. Molto rallentando (feat. conductor: Donald Runnicles)
• Verklärte Nacht: IV. Grave (feat. conductor: Donald Runnicles)
• Verklärte Nacht: V. Adagio (feat. conductor: Donald Runnicles)
• Verklärte Nacht: VI. (Adagio) (feat. conductor: Donald Runnicles)
• Verklärte Nacht: VII. Adagio (feat. conductor: Donald Runnicles)

• Piano Concerto, Op. 42: I. Andante
• Piano Concerto, Op. 42: II. Molto allegro
• Piano Concerto, Op. 42: III. Adagio
• Piano Concerto, Op. 42: IV. Giocoso
• Variations, Op. 27: I. Sehr mäßige
• Variations, Op. 27: II. Sehr schnell
• Variations, Op. 27: III. Ruhig fließend
• Drei Klavierstücke, Op. 11: I. Mäßig
• Drei Klavierstücke, Op. 11: II. Mäßig
• Drei Klavierstücke, Op. 11: III. Bewegt
• Sechs Kleine Klavierstücke, Op. 19: I. Leicht, Zart
• Sechs Kleine Klavierstücke, Op. 19: II. Langsam
• Sechs Kleine Klavierstücke, Op. 19: III. Sehr langsam
• Sechs Kleine Klavierstücke, Op. 19: IV. Rasch, aber leicht
• Sechs Kleine Klavierstücke, Op. 19: V. Etwas rasch
• Sechs Kleine Klavierstücke, Op. 19: VI. Sehr langsam
• Piano Sonata, Op. 1

• Streichquartett, Op 3: I
• Streichquartett, Op 3: II
• Lyrische Suite: Allegretto giovale
• Lyrische Suite: Andante amoroso
• Lyrische Suite: Allegro misterioso
• Lyrische Suite: Adagio appassionata
• Lyrische Suite: Presto delirando
• Lyrische Suite: Largo desolato

• Wesendonk Lieder, WWV 91 No. 1: Der Engel "In der Kinkheit frühen Tagen"
• Wesendonk Lieder, WWV 91 No. 2: Stehe still! "Sausendes, brausendes Rad der Zeit"
• Wesendonk Lieder, WWV 91 No. 3: Im Treibhaus "Hochgewölbe Blätterkronen"
• Wesendonk Lieder, WWV 91 No. 4: Schmerzen "Sonne, weinest jeden Abend..."
• Wesendonk Lieder, WWV 91 No. 5: Träume "Sag, welch wunderbare Träume"
• Seven Early Songs, No. 1: Nacht
• Seven Early Songs, No. 2: Schilflied
• Seven Early Songs, No. 3: Die Nachtigall
• Seven Early Songs, No. 4: Traumgekrönt
• Seven Early Songs, No. 5: Im Zimmer
• Seven Early Songs, No. 6: Liebesode
• Seven Early Songs, No. 7: Sommertage
• Vier letzte Lieder, Op. 150 No. 1: Frühling
• Vier letzte Lieder, Op. 150 No. 2: September
• Vier letzte Lieder, Op. 150 No. 3: Beim Schlafengehen
• Vier letzte Lieder, Op. 150 No. 4: Im Abendrot

• Lulu: Prolog. "Hereinspaziert in die Menagerie"
• Lulu: Akt I, Szene I. "Darf ich eintreten?" - "Mein Sohn!"
• Lulu: Akt I, Szene I. "Machen Sie auf!"
• Lulu: Akt I, Szene II. "Eva!" - "Befehlen?"
• Lulu: Akt I, Szene II. "Den hab' ich mir auch ganz anders vorgestellt"
• Lulu: Akt I, Szene II. "Was tut denn Ihr Vater da?"
• Lulu: Akt I, Szene II. "Nun?" - "Du hast eine halbe Million geheiratet"
• Lulu: Akt I, Szene II. "Ich darf mich jetzt hier nicht sehen lassen"
• Lulu: Akt I, Szene II. Verwandlungsmusik
• Lulu: Akt I, Szene III. "Seit ich für die Bühne arbeite"
• Lulu: Akt I, Szene III. "Über die ließe sich freilich eine interessante Oper schreiben"
• Lulu: Akt I, Szene III. "Wie kannst du die Szene gegen mich ausspielen?"

• String Quartet in G minor, Op. 10: I. Animé et très décidé
• String Quartet in G minor, Op. 10: II. Assez vif et bien rythmé
• String Quartet in G minor, Op. 10: III. Andantino, doucement expressif
• String Quartet in G minor, Op. 10: IV. Très modéré - Très mouvementé et avec passion
• String Quartet in F major: I. Allegro moderato
• String Quartet in F major: II. Assez vif - Trés rythmé
• String Quartet in F major: III. Très lent
• String Quartet in F major: IV. Vif et agité
• String Quartet, Op. 3: I. Langsam
• String Quartet, Op. 3: II. Mässige Viertel

• 3. Akt, 1. Szene - »Und ist kein Betrug in seinem Munde erfunden worden ...« (Marie)
• 3. Akt, 2. Szene - Dort links geht’s in die Stadt (Marie, Wozzeck)
• 3. Akt, 3. Szene - Tanzt Alle, tanzt nur zu ...!
• 3. Akt, 4. Szene - Das Messer? Wo ist das Messer? (Wozzeck, Hauptmann, Docktor)
• 3. Akt - Orchester-Epilog. Adagio
• 3. Akt, 5. Szene - Ringel, Ringel, Rosenkranz, Ringelreih’n! (Kinder, Mariens Knabe)

• 1. Akt, 1. Szene - Langsam, Wozzeck, langsam! (Hauptmann Wozzeck)
• 1. Akt, 2. Szene - Du, der platz ist verflucht! (Wozzeck, Andres)
• 1. Akt, 3. Szene - Tschin Bum ...! Hörst Bub? Da kommen sie! (Marie, Margret, Wozzeck)
• 1. Akt, 4. Szene - Was erleb’ ich, Wozzeck? (Doktor, Wozzeck)
• 1. Akt, 5. Szene - Geh einmal vor Dich hin ... (Marie, Tambourmajor)
• 2. Akt, 1. Szene - Was die Steine glänzen! (Marie, Wozzeck)
• 2. Akt, 2. Szene - Wohn so ellig, geehrtester Herr Sargnagel? (Hauptmann, Doktor, Wozzeck)
• 2. Akt, 3. Szene - Guten Tag, Franz (Marie, Wozzeck)
• 2. Akt, 4. Szene - Ich hab’ ein Hemdlein an, das ist nicht mein ... (1. & 2. Handwerksbursche, Wozzeck, Marie, Tambourmajor, Chor, Andres, der Narr)
• 2. Akt, 5. Szene - Oh! Oh! Andres! Ich kann nicht schlafen (Chor, Wozzeck, Andres, Tambourmajor, Soldat)

• Symphony No. 4 in G major: I. Bedächtig. Nicht eilen
• Symphony No. 4 in G major: II. In gemächlicher Bewegung. Ohne Hast
• Symphony No. 4 in G major: III. Ruhevoll
• Symphony No. 4 in G major: IV. Sehr behaglich: Das himmlische Leben
• Seven Early Songs: I. Nacht
• Seven Early Songs: II. Schilflied
• Seven Early Songs: III. Die Nachtigall
• Seven Early Songs: IV. Traumgekrönt
• Seven Early Songs: V. Im Zimmer
• Seven Early Songs: VI. Liebesode
• Seven Early Songs: VII. Sommertage

• Violin Concerto: I. Andante - Allegretto (violin: Henryk Szeryng)
• Violin Concerto: II. Allegro, ma sempre rubato, frei wie eine Kadenz - Adagio (violin: Henryk Szeryng)
• Piano Concerto, Op. 42: I. Andante (piano: Alfred Brendel)
• Piano Concerto, Op. 42: II. Molto allegro (piano: Alfred Brendel)
• Piano Concerto, Op. 42: III. Adagio (piano: Alfred Brendel)
• Piano Concerto, Op. 42: IV. Giocoso (Moderato) (piano: Alfred Brendel)
• Violin Concerto, Op. 36: I. Poco allegro (violin: Zvi Zeitlin)
• Violin Concerto, Op. 36: II. Andante grazioso (violin: Zvi Zeitlin)
• Violin Concerto, Op. 36: III. Allegro (violin: Zvi Zeitlin)

• Wozzeck: Act I, Scene 1. The Captain's room
• Wozzeck: Act I, Scene 2. An open field outside the town
• Wozzeck: Act I, Scene 3. Marie's room
• Wozzeck: Act I, Scene 4. The Doctor's study
• Wozzeck: Act I, Scene 5. Street before Marie's door

• Drei Bruchstücke aus "Wozzeck": I. (I. Akt, 2. und 3. Szene) Langsam
• Drei Bruchstücke aus "Wozzeck": II. (III. Akt, 1. Szene) Thema. Grave - Variationen 1-7 - Fuge
• Drei Bruchstücke aus "Wozzeck": III. (III. Akt, 4. und 5. Szene) Langsam
• Drei Orchesterstücke, Op. 6: I. Präludium. Langsam
• Drei Orchesterstücke, Op. 6: II. Reigen. Anfangs etwas zögernd, leicht beschwingt
• Drei Orchesterstücke, Op. 6: III. Marsch. Mäßiges Marschtempo
• Lulu-Suite: Rondo. Andante (Introduzione) - Hymne. Sostenuto
• Lulu-Suite: Ostinato. Allegro
• Lulu-Suite: Lied der Lulu. Comodo
• Lulu-Suite: Variationen. Moderato (Grandioso - Grazioso - Funebre - Affettuoso - Thema)
• Lulu-Suite: Adagio. Sostenuto - Lento - Grave

• Violinkonzert "Dem Andenken eines Engels": I. Andante - Allegretto
• Violinkonzert "Dem Andenken eines Engels": II. Allegro - Adagio - (Coda)
• Violin Concerto in D: I. Toccata
• Violin Concerto in D: II. Aria I
• Violin Concerto in D: III. Aria II
• Violin Concerto in D: IV. Capriccio
• Tzigane (Rapsodie de concert pour violon et orchestre)

• String Quartet No. 1 "Kreutzer Sonata", JW 7 No. 8: I. Adagio
• String Quartet No. 1 "Kreutzer Sonata", JW 7 No. 8: II. Con moto
• String Quartet No. 1 "Kreutzer Sonata", JW 7 No. 8: III. Con moto - Vivace - Andante - Tempo I
• String Quartet No. 1 "Kreutzer Sonata", JW 7 No. 8: IV. Con moto - Adagio - Maestoso. Tempo I
• String Quartet No. 2 "Intimate Letters", JW 7 No. 13: I. Andante
• String Quartet No. 2 "Intimate Letters", JW 7 No. 13: II. Adagio
• String Quartet No. 2 "Intimate Letters", JW 7 No. 13: III. Moderato
• String Quartet No. 2 "Intimate Letters", JW 7 No. 13: IV. Allegro
• Lyric Suite: I. Allegretto gioviale
• Lyric Suite: II. Andante amoroso
• Lyric Suite: III. Allegro misterioso - Trio estatico
• Lyric Suite: IV. Adiagio appassionato
• Lyric Suite: V. Presto delirando - Tenebroso
• Lyric Suite: VI. Largo desolato

• Chamber Concerto for Piano and Violin With 13 Wind Instruments: I. Thema scherzoso con variazioni
• Chamber Concerto for Piano and Violin With 13 Wind Instruments: II. Adagio
• Chamber Concerto for Piano and Violin With 13 Wind Instruments: III. Rondo ritmico con introduzione
• Concerto in E-flat major for Chamber Orchestra: I. Tempo giusto
• Concerto in E-flat major for Chamber Orchestra: II. Allegretto
• Concerto in E-flat major for Chamber Orchestra: III. Con moto
• 8 Instrumental Miniatures for Fifteen Players: I. Andantino / II. Vivace / III. Lento / IV. Allegretto / V. Moderato / VI. Tempo di marcia / VII. Larghetto / VIII. Tempo di tango
• Ebony Concerto: Allegro moderato - Andante - Moderato - Con moto - Moderato - Vivo

• Streichquartett Op. 3 (1910): I. Langsam
• Streichquartett Op. 3 (1910): II. Mäßige Viertel
• Lyrische Suite für Streichquartett (1925/6): I. Allegretto gioviale
• Lyrische Suite für Streichquartett (1925/6): II. Andante amoroso
• Lyrische Suite für Streichquartett (1925/6): III. Allegro misterioso
• Lyrische Suite für Streichquartett (1925/6): IV. Adagio appassionato
• Lyrische Suite für Streichquartett (1925/6): V. Presto delirando
• Lyrische Suite für Streichquartett (1925/6): VI. Largo desolato

• Violinkonzert: I. Andante - Allegretto
• Violinkonzert: II. Allegro - Adagio
• "Gesungene Zeit": [Anfang]
• "Gesungene Zeit": [Takt 179]

• Jugendlieder: Ferne Lieder
• Jugendlieder: Mignon
• Jugendlieder: Erster Verlust
• Jugendlieder: Über den Bergen
• Jugendlieder: Im Morgengrauen
• Jugendlieder: Grabschrift
• Jugendlieder: Am Abend
• Jugendlieder: Fraue, de Süße
• Jugendlieder: Ich will die Fluren meiden
• Sieben frühe Lieder: Nacht
• Sieben frühe Lieder: Schiflied
• Sieben frühe Lieder: Die Nachtigall
• Sieben frühe Lieder: Traumgekrönt
• Sieben frühe Lieder: Im Zimmer
• Sieben frühe Lieder: Liebesode
• Sieben frühe Lieder: Sommertage
• Vier Lieder, Op. 2: Schlafen, schlafen
• Vier Lieder, Op. 2: Schlaffend trägt man mich
• Vier Lieder, Op. 2: Nun ich der Riesen Stärksten
• Vier Lieder, Op. 2: Warm die Lüfte
• Schliesse mir die Augen beide (1907)
• Leukon
• Die Näherin
• Regen
• Er klaft, daß der Frühling so kortz blüht
• Sternenfall
• Herbstgefühl
• Sehnsucht I
• Spaziergang
• Schliesse mir die Augen beide (1925)

• Lyric Suite: I. Allegro gioviale
• Lyric Suite: II. Andante amoroso
• Lyric Suite: III. Allegro misterioso - Trio estatico
• Lyric Suite: IV. Adagio appassionato
• Lyric Suite: V. Presto delirando
• Lyric Suite: VI. Largo desolato
• String Quartet in E minor: I. Allegro
• String Quartet in E minor: II. Andantino
• String Quartet in E minor: III. Prestissimo
• String Quartet in E minor: IV. Scherzo - Fuga

• Violinkonzert "Dem Andenken Eines Engels": I. Andante - Allegro
• Violinkonzert "Dem Andenken Eines Engels": II. Allegro - Adagio
• Violinkonzert in D: I. Toccata
• Violinkonzert in D: II. Aria 1
• Violinkonzert in D: III. Aria 2
• Violinkonzert in D: IV. Capriccioso
• Tzigane - Rapsodie en Concert pour Violon et Orchestre

• Erwartung, Op. 2 No. 1
• Schenk mir deinen goldenen Kamm, Op. 2 No. 2
• Wie Georg von Frundsberg von sich selber sang, Op. 3 No. 1
• Die Aufgeregten, Op. 3 No. 2
• Warnung, Op. 3 No. 3
• Geübtes Herz, Op. 3 No. 5
• Deinem Blick mich zu bequemen
• Traumleben, Op. 6 No. 1
• Verlassen, Op. 6 No. 4
• Der Wanderer, Op. 6 No. 8
• Der verlorene Haufen, Op. 12 No. 2
• Ich darf nicht dankend..., Op. 14 No. 1
• Am Strande
• Sommermüd, Op. 48 No. 1
• Tot, Op. 48 No. 2
• Vielgeliebte schöne Frau, Op. 5 No. 1
• Geliebte Schöne, Op. 9 No. 2
• Schattenleben, Op. 9 No. 3
• Schlummerlose Nächte, Op. 11 No. 3
• Es wandelt, was wir schauen, Op. 12 No. 2
• Im Morgengrauen, Op. 13 No. 2
• Grabschrift, Op. 13 No. 3
• Erster Verlust, Op. 15 No. 2
• Er klaft, daß der Frühling so kortz blüht
• Über den Bergen
• Am Strande
• Sehnsucht II, Op. 5 No. 2
• Sehnsucht III, Op. 6 No. 1
• Ich liebe Dich, Op. 6 No. 2
• Ferne Leider, Op. 6 No. 3
• Regen
• Winter
• Traurigkeit
• Spaziergang

• Passacaglia for Orchestra, Op. 1
• Five Movements, Op. 5: I. Heftig bewegt
• Five Movements, Op. 5: II. Sehr langsam
• Five Movements, Op. 5: III. Sehr lebhaft
• Five Movements, Op. 5: IV. Sehr langsam
• Five Movements, Op. 5: V. In zarter Bewegung
• Six Pieces for Orchestra, Op. 6: I. Langsam
• Six Pieces for Orchestra, Op. 6: II. Bewegt
• Six Pieces for Orchestra, Op. 6: III. Mäßig
• Six Pieces for Orchestra, Op. 6: IV. Sehr mäßig
• Six Pieces for Orchestra, Op. 6: V. Sehr langsam
• Six Pieces for Orchestra, Op. 6: VI. Langsam
• Symphony, Op. 21: I. Ruhig schreitend
• Symphony, Op. 21: II. Variationen. Sehr ruhig

• Lulu Suite: I. Rondo: Andante (Introduzione) - Hymne: Sostenuto
• Lulu Suite: II. Ostinato: Allegro
• Lulu Suite: III. Lied der Lulu: Comodo
• Lulu Suite: IV. Variationen: Moderato (Grandioso - Grazioso - Funèbre - Affettuoso) - Thema: Subito tempo moderato
• Lulu Suite: V. Adagio: Sostenuto - Lento - Grave
• Piece for Orchestra, Op. 6 No. 1: Präludium: Langsam
• Piece for Orchestra, Op. 6 No. 2 Reigen: Anfangs etwas zögernd - Leicht beschwingt
• Piece for Orchestra, Op. 6 No. 3 Marsch: Mässiges Marschtempo
• Altenberg Lieder, Op. 4 No. 1: Seele, wie bist du schöner
• Altenberg Lieder, Op. 4 No. 2: Sahst du nach dem Gewitterregen den Wald
• Altenberg Lieder, Op. 4 No. 3: Über die Grenzen des All
• Altenberg Lieder, Op. 4 No. 4: Nichts ist gekommen
• Altenberg Lieder, Op. 4 No. 5: Hier ist Friede

• Wozzeck: I. Akt, 1. Szene. "Langsam, Wozzeck: langsam!"
• Wozzeck: I. Akt, 2. Szene. "Du, der Platz ist verflucht!"
• Wozzeck: I. Akt, 3. Szene. "Tschin Bum..! Hörst Bub? Da kommen sie!"
• Wozzeck: I. Akt, 4. Szene. "Was erleb' ich, Wozzeck?"
• Wozzeck: I. Akt, 5. Szene. "Geh einmal vor Dich hin..."

• Violin Concerto "To the Memory of an Angel": I. Andante - Allegro
• Violin Concerto "To the Memory of an Angel": II. Allegro - Adagio
• Violin Concerto in D major: I. Toccata
• Violin Concerto in D major: II. Aria I
• Violin Concerto in D major: III. Aria II
• Violin Concerto in D major: IV. Capriccio

• Wozzeck: Act 1, Scene 1, Langsam, Wozzeck, langsam!
• Wozzeck: Act 1, Scene 1, Wir arme Leut! Sehn Sie, Herr Hauptmann, Geld, Geld!
• Wozzeck: Act 1, Scene 2; 'Du, der Platz ist verflucht!'
• Wozzeck: Act 1, Scene 3, Tschin Bum, Tschin Bum, Bum, Bum, Bum!
• Wozzeck: Act 1, Scene 3, Wer da?
• Wozzeck: Act 1, Scene 4, Was erleb' ich, Wozzeck?
• Wozzeck: Act 1, Scene 5, Geh' einmal vor Dich hin!
• Wozzeck: Act 2, Scene 1, Was die Steine glänzen?
• Wozzeck: Act 2, Scene 1, Was hast da¿
• Wozzeck: Act 2, Scene 2, Wohin so eilig, geehrtester Herr Sargnagel?
• Wozzeck: Act 2, Scene 2, He Wozzeck! Was hetzt Er sich so uns vorbei?
• Wozzeck: Act 2, Scene 3, Guten Tag, Franz
• Wozzeck: Act 2, Scene 4, Ich hab' ein Hemdlein an, das is nicht mein..
• Wozzeck: Act 2, Scene 4, Er! Sie! Teufel!
• Wozzeck: Act 2, Scene 4, Jedoch, wenn ein Wanderer, der gelehnt steht an dem Strom der Zeit
• Wozzeck: Act 2, Scene 5, Andres! Andres! Ich kann nicht schlafen

• Concerto for Violin and Orchestra "To the Memory of an Angel": I. Andante - Allegro
• Concerto for Violin and Orchestra "To the Memory of an Angel": II. Allegro - Adagio
• Concerto for Violin and Orchestra in D: I. Toccata
• Concerto for Violin and Orchestra in D: II. Aria I
• Concerto for Violin and Orchestra in D: III. Aria II
• Concerto for Violin and Orchestra in D: IV. Capriccio

• Kammerkonzert : I. Thema Scherzoso Con Variazioni
• Kammerkonzert : II. Adagio
• Kammerkonzert : III. Rondo Ritmico Con Introduzione ('Kadenz')
• Kammersymphonie Op. 9 für 15 solo instruments

• Divertimento SZ 113: I. Allegro non troppo
• Divertimento SZ 113: II. Molto Adagio
• Divertimento SZ 113: III. Allegro Assai
• Lyric Suite: I. Andante amoroso
• Lyric Suite: II. Allegro misterioso
• Lyric Suite: III. Adagio
• Apollon Musagète: I. Premier tableau: Naissance d'Appolon
• Apollon Musagète: II. Variation
• Apollon Musagète: III. Pas d'action
• Apollon Musagète: IV. Variation
• Apollon Musagète: V. Variation
• Apollon Musagète: VI. Variation
• Apollon Musagète: VII. Variation
• Apollon Musagète: VII. Pas de deux
• Apollon Musagète: IX. Coda
• Apollon Musagète: X. Apothéose

• Kammerkonzert für Klavier und Violine mit 13 Bläsern - Motto
• Kammerkonzert für Klavier und Violine mit 13 Bläsern - Thema Scherzoso
• Kammerkonzert für Klavier und Violine mit 13 Bläsern - Var. 1
• Kammerkonzert für Klavier und Violine mit 13 Bläsern - Var. 2 (langsames Walzertempo)
• Kammerkonzert für Klavier und Violine mit 13 Bläsern - Var. 3 (kräftig bewegt)
• Kammerkonzert für Klavier und Violine mit 13 Bläsern - Var. 4 (sehr rash)
• Kammerkonzert für Klavier und Violine mit 13 Bläsern - Var. 5 (tempo primo)
• Kammerkonzert für Klavier und Violine mit 13 Bläsern - Adagio
• Kammerkonzert für Klavier und Violine mit 13 Bläsern - Cadenza - Introduzione
• Kammerkonzert für Klavier und Violine mit 13 Bläsern - Cadenza - Rondo Ritmico
• Kammerkonzert für Klavier und Violine mit 13 Bläsern - Cadenza - Coda
• Drei Orchesterstücke, op.6 - Präludium
• Drei Orchesterstücke, op.6 - Reigen
• Drei Orchesterstücke, op.6 - Marsh
• Dem Andenken eines Engels - Andante - Allegretto
• Dem Andenken eines Engels - Allegro - Adagio

• Lulu Suite - Rondo. Andante (Introduction) - Hymne. Sostenuto
• Lulu Suite - Ostinato: Allegro
• Lulu Suite - Lied der Lulu: Comodo
• Lulu Suite - Variationen: Andante
• Lulu Suite - Adagio: Sostenuto - Lento - Grave
• Der Wein - Introduction
• Der Wein - Die Seele des Weines
• Der Wein - Der Wein der Liebenden
• Der Wein - Der Wein des Einsamen
• Lyrischen Suite - Andante amoroso (Original second movement)
• Lyrischen Suite - Allegro misterioso (Original third movement)
• Lyrischen Suite - Adagio appassionato (Original fourth movement)

• Three Orchestral Pieces, Op. 6: I. Präludium. Langsam
• Three Orchestral Pieces, Op. 6: II.Reigen. Anfangs etwas zögernd - Leicht beschwingt
• Three Orchestral Pieces, Op. 6: III.Marsch. Mässiges Marschtempo
• Six Pieces for Orchestra, Op. 6: I. Etwas bewegte Achtel
• Six Pieces for Orchestra, Op. 6: II. Bewegt
• Six Pieces for Orchestra, Op. 6: III. Zart bewegt
• Six Pieces for Orchestra, Op. 6: IV. Langsam
• Six Pieces for Orchestra, Op. 6: V. Sehr langsam
• Six Pieces for Orchestra, Op. 6: VI. Zart bewegt
• Five Orchestral Pieces, Op. 16: I. Vorgefühle. Sehr rasch
• Five Orchestral Pieces, Op. 16: II. Vergangenes. Mässige Viertel
• Five Orchestral Pieces, Op. 16: III. Farben. Mässige Viertel
• Five Orchestral Pieces, Op. 16: IV. Peripetie. Sehr rasch
• Five Orchestral Pieces, Op. 16: V. Das obligate Rezitativ. Bewegte Achtel

• Three Pieces from the Lyric Suite for string orchestra - I.Andante amoroso
• Three Pieces from the Lyric Suite for string orchestra - II. Allegro misterioso - Trio estatico
• Three Pieces from the Lyric Suite for string orchestra - III. Adagio appassionato
• Three fragments for voice and orchestra from the opera Wozzeck - I. (Akt I, Szene 2 & 3)
• Three fragments for voice and orchestra from the opera Wozzeck - II. (Akt III, Szene 1)
• Three fragments for voice and orchestra from the opera Wozzeck - III. (Akt III, Szene 4 & 5)
• Lulu-Suite - Symphonic pieces from the opera Lulu - I. Rondo: Andante
• Lulu-Suite - Symphonic pieces from the opera Lulu - Tempo I
• Lulu-Suite - Symphonic pieces from the opera Lulu - Hymne - Sostenuto
• Lulu-Suite - Symphonic pieces from the opera Lulu - II. Ostinato - Allegro
• Lulu-Suite - Symphonic pieces from the opera Lulu - III. Lied der Lulu - Comodo
• Lulu-Suite - Symphonic pieces from the opera Lulu - IV. Variationen - Moderato - Grandioso - Grazioso - Funèbre - Affettuoso - Thema
• Lulu-Suite - Symphonic pieces from the opera Lulu - V. Adagio - Sostenuto - Lento - Grave

• Fünf Stücke für Streichorchester, Op. 5: I. Kräftig bewegt
• Fünf Stücke für Streichorchester, Op. 5: II. Sehr langsam
• Fünf Stücke für Streichorchester, Op. 5: III. Sehr bewegt
• Fünf Stücke für Streichorchester, Op. 5: IV. Sehr langsam
• Fünf Stücke für Streichorchester, Op. 5: V. In zarter Bewegung
• Drei Stücke aus der Lyrischen Suite für Streichorchester: Allegretto gioviale. Allegretto gioviale
• Drei Stücke aus der Lyrischen Suite für Streichorchester: Presto delirando (Tenebroso)
• Drei Stücke aus der Lyrischen Suite für Streichorchester: Largo desolato
• 2. Streichquartett Fis-moll, Op. 10: I. Mäßig
• 2. Streichquartett Fis-moll, Op. 10: II. Sehr rasch
• 2. Streichquartett Fis-moll, Op. 10: III. Litanei
• 2. Streichquartett Fis-moll, Op. 10: IV. Entrückung

• Lulu Suite (Nurenberg Symphoniker & Maga)
• Chamber Symphony 2: Adagio (Philharmonia Slavonica & Adolphe)
• Chamber Symphony 2: Con Fuoco (Philharmonia Slavonica & Adolphe)
• Sonata for Violin & Piano in E: Ruhig Bewegt (Zwicker & Goldmann)
• Sonata for Violin & Piano in E: Langsam-Schnell (Zwicker & Goldmann)

• Act 1, Sc.1, Langsam, Wozzeck, Langsam!
• Scene change. Orchestral postlude
• Sc. 2, Du, der Platz ist verflucht!
• Scene change. Orchestral postlude and the military band starting up behind the scenes
• Sc. 3, Tschin Bum...! Horst Bub? Da kommen sie!
• Scene change. Orchestral transition
• Sc. 4, Was erleb' ich, Wozzeck?
• Scene change. Orchestral introduction
• Sc. 5, Geh einmal vor Dich hin...
• Act 2, Orchester, Sc. 1, Was die Steine glanzen!
• Scene change. Orchestral postlude
• Sc. 2, Wohin so eilig, geehrtester Herr Sargnagel?
• Scene change. Transitional passage followed by introduction for chamber orchestra, Sc. 3, Guten Tag, Franz / Ich seh' nichts
• Scene change. Transitional passage and orchestral prelude
• Sc. 4, Ich hab' ein Hemdlein an, das ist nicht mein...
• Scene change. Orchestral postlude (waltz)
• Sc. 5, Oh! oh! Andres! Ich kann nicht schlafen
• Act 3, Sc. 1, Und ist kein Betrug in seinem Munde erfunden worden
• Scene change. Orchestral postlude
• Sc. 2, Dort links geht's in die Stadt

• 3 Pieces for Orchestra: I. Praludium. Langsam
• 3 Pieces for Orchestra: II. Reigen. Anfangs Etwas Zogernd - Le
• 3 Pieces for Orchestra: III. Marsch. Mabiges Marschtempo
• Concerto for Violin and Orchestra: I. Andante - Allegretto
• Concerto for Violin and Orchestra: II. Allegro - Adagio
• Lyric Suite (Excerpt): II. Andante Amoroso
• Lyric Suite (Excerpt): III. Allegro Misterioso
• Lyric Suite (Excerpt): IV. Adagio Appassionato

• Five Pieces for Orchestra: I. Vorgefuhle
• Five Pieces for Orchestra: II. Vergangenes
• Five Pieces for Orchestra: III. Sommermorgen an einem See
• Five Pieces for Orchestra: IV. Peripetie
• Five Pieces for Orchestra: V. Das obligate Rezitativ
• Five Pieces for Orchestra, Op. 10
• Three Pieces for Orchestra: I. Praeludium
• Three Pieces for Orchestra: II. Reigen
• Three Pieces for Orchestra: III. Marsch
• "Lulu" Suite: I. Rondo
• "Lulu" Suite: II. Ostinato
• "Lulu" Suite: III. Lulu's Song
• "Lulu" Suite: IV. Variations
• "Lulu" Suite: V. Adagio

Born: 1885-02-09

Died: 1935-12-24