Arnold Schoenberg
Operas Erwartung (1924) Die glückliche Hand (1924) Von heute auf morgen (1930) Moses und Aron (unfinished)
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Erwartung (translation: Expectation), Op.17 is a one-act opera by Arnold Schoenberg to a libretto by Marie Pappenheim. Composed in 1909, it was not premiered until June 6, 1924 in Prague conducted by Alexander Zemlinsky with Marie Gutheil-Schoder as the soprano. The work takes the unusual form of a monologue for solo soprano accompanied by a large orchestra. In performance, it lasts for about half an hour. It is sometimes paired with Béla Bartók's opera Duke Bluebeard's Castle (1911) as the two works were roughly contemporary and share similar psychological themes. Schoenberg's succinct description of Erwartung was as follows:

In Erwartung the aim is to represent in slow motion everything that occurs during a single second of maximum spiritual excitement, stretching it out to half an hour.^[1]

Philip Friedheim has described Erwartung as Schoenberg's "only lengthy work in an athematic style", where no musical material returns once stated over the course of 426 measures. In his analysis of the structure, one indication of the complexity of the music is that the first scene of over 30 bars contains 9 meter changes and 16 tempo changes.^[2] Herbert Buchanan has countered this description of the work as "athematic", and the general impression of it as "atonal", in his own analysis.^[3]

The musicologist Charles Rosen has said that Erwartung, along with Berg's Wozzeck and Stravinsky's Rite of Spring, is among the "impregnable" "great monuments of modernism."^[4]

Performance History[link]

Among the sopranos noted for their performances of this work are Karan Armstrong, Phyllis Bryn-Julson, Susan Davenny Wyner, Wendy Dixon, Dorothy Dorow, Dorothy Dow, Heather Harper, Dame Gwyneth Jones, Virginia Kerr, Magda László, Evelyn Lear, Alessandra Marc, Janis Martin, Éva Marton, Patricia Neway, Jessye Norman, Helga Pilarczyk, Renata Scotto, Nancy Shade, Rita Shane, Anja Silja and Dunja Vejzović.

Roles[link]

• The Woman (soprano)

Synopsis[link]

Time: Night

Place: A forest

A woman is in an apprehensive state as she searches for her lover. In the darkness, she comes across what she first thinks is a body, but then realises is a tree-trunk. She is frightened and becomes more anxious as she cannot find the man she is looking for. She then finds a dead body, and sees that it is her lover. She calls out for assistance, but there is no response. She tries to revive him, and addresses him as if he were still alive, angrily charging him with being unfaithful to her. She then asks herself what she is to do with her life, as her lover is now dead. Finally, she wanders off alone into the night.

Instrumentation[link]

Erwartung's score calls for:

Recordings[link]

• Columbia ML 4524 (original LP issue): Dorothy Dow; New York Philharmonic-Symphony Orchestra; Dimitri Mitropoulos, conductor^[5] (1951)
• CBS 79349: Janis Martin; BBC Symphony Orchestra; Pierre Boulez, conductor^[6] (1977)
• Orfeo: Magda László; Symphonieorchester des Bayerischen Rundfunks; Hermann Scherchen, conductor (1955)
• Decca: Anja Silja; Vienna Philharmonic; Christoph von Dohnányi, conductor (1979)
• Philips: Jessye Norman; Metropolitan Opera Orchestra; James Levine, conductor (1989)
• Teldec: Alessandra Marc; Sächsische Staatskapelle Dresden; Giuseppe Sinopoli, conductor (1996)
• KOCH International Classics: Anja Silja; Philharmonia Orchestra; Robert Craft, conductor (2000)
• EMI Classics: Phyllis Bryn-Julson; City of Birmingham Symphony Orchestra; Sir Simon Rattle, conductor (1993)

References[link]

Notes

External links[link]

• Erwartung at the Arnold Schoenberg Centre

Arnold Schoenberg, Los Angeles, 1948

 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.

Schoenberg was also a painter, an important music theorist, and an influential teacher of composition; his students included Alban Berg, Anton Webern, Hanns Eisler, Egon Wellesz, and later John Cage, Lou Harrison, Earl Kim, Leon Kirchner, and many other prominent musicians. Many of Schoenberg's practices, including the formalization of compositional method, and his habit of openly inviting audiences to think analytically, are echoed in avant-garde musical thought throughout the 20th century. His often polemical views of music history and aesthetics were crucial to many of the 20th century's significant musicologists and critics, including Theodor Adorno, Charles Rosen, and Carl Dahlhaus. His thought also had a considerable influence on the pianists Rudolf Serkin, Artur Schnabel, and Eduard Steuermann, and, later, Glenn Gould.

Schoenberg's archival legacy is collected at the Arnold Schönberg Center in Vienna.

Biography[link]

Arnold Schoenberg was born into a lower middle-class Jewish family in the Leopoldstadt district (in earlier times a Jewish ghetto) of Vienna, at "Obere Donaustraße 5". His father Samuel, a native of Bratislava, was a shopkeeper. Although his mother Pauline, a native of Prague, was a piano teacher, Arnold was largely self-taught. He took only counterpoint lessons with the composer Alexander von Zemlinsky, who was to become his first brother-in-law (Beaumont 2000, 87).

In his twenties, Schoenberg earned a living by orchestrating operettas, while composing his own works, such as the string sextet Verklärte Nacht ("Transfigured Night") (1899). He later made an orchestral version of this, which became one of his most popular pieces. Both Richard Strauss and Gustav Mahler recognized Schoenberg's significance as a composer; Strauss when he encountered Schoenberg's Gurre-Lieder, and Mahler after hearing several of Schoenberg's early works.

Strauss turned to a more conservative idiom in his own work after 1909 and at that point dismissed Schoenberg. Mahler adopted him as a protégé and continued to support him even after Schoenberg's style reached a point which Mahler could no longer understand; Mahler worried about who would look after him after his death. Schoenberg, who had initially despised and mocked Mahler's music, was converted by the "thunderbolt" of Mahler's Third Symphony, which he considered a work of genius. Afterward he "spoke of Mahler as a saint" (Stuckenschmidt 1977, 103; Schoenberg 1975, 136).

In 1898 Schoenberg converted to Christianity in the Lutheran church. In 1933 he entered a Jewish community of faith.^{[citation needed]}

In October 1901, he married Mathilde Zemlinsky, the sister of the conductor and composer Alexander Zemlinsky, with whom Schoenberg had been studying since about 1894. Mathilde bore him two children, Gertrud (1902–1947) and Georg (1906–1974). Gertrud would marry Schoenberg's pupil Felix Greissle in 1921 (Neighbour 2001). During the summer of 1908, his wife Mathilde left him for several months for a young Austrian painter, Richard Gerstl. This period marked a distinct change in Schoenberg's work. It was during the absence of his wife that he composed "You lean against a silver-willow" (German: Du lehnest wider eine Silberweide), the thirteenth song in the cycle Das Buch der Hängenden Gärten, Op. 15, based on the collection of the same name by the German mystical poet Stefan George. This was the first composition without any reference at all to a key (Stuckenschmidt 1977, 96). Also in this year, he completed one of his most revolutionary compositions, the String Quartet No. 2, whose first two movements, though chromatic in color, use traditional key signatures, yet whose final two movements, also settings of George, daringly weaken the links with traditional tonality. Both movements end on tonic chords, and the work is not fully non-tonal. Breaking with previous string-quartet practice, it incorporates a soprano vocal line.

During the summer of 1910, Schoenberg wrote his Harmonielehre (Theory of Harmony, Schoenberg 1922), which remains one of the most influential music-theory books. From about 1911, Schoenberg belonged to a circle of artists and intellectuals who included Lene Schneider-Kainer, Franz Werfel, Herwarth Walden and the latter's wife, Else Lasker-Schüler.

Another of his most important works from this atonal or pantonal period is the highly influential Pierrot Lunaire, Op. 21, of 1912, a novel cycle of expressionist songs set to a German translation of poems by the Belgian-French poet Albert Giraud. Utilizing the technique of Sprechstimme, or melodramatically spoken recitation, the work pairs a female vocalist with a small ensemble of five musicians. The ensemble, which is now commonly referred to as the Pierrot ensemble, consists of flute (doubling on piccolo), clarinet (doubling on bass clarinet), violin (doubling on viola), violoncello, speaker, and piano.

Wilhelm Bopp, director of the Vienna Conservatory from 1907, wanted a break from the stale environment personified for him by Robert Fuchs and Hermann Grädener. Having considered many candidates, he offered teaching positions to Schoenberg and Franz Schreker in 1912. At the time Schoenberg lived in Berlin. He was not completely cut off from the Vienna Conservatory, having taught a private theory course a year earlier. He seriously considered the offer, but he declined. Writing afterward to Alban Berg, he cited his "aversion to Vienna" as the main reason for his decision, while contemplating that it might have been the wrong one financially, but having made it he felt content. A couple of months later he wrote to Schreker suggesting that it might have been a bad idea for him as well to accept the teaching position (Hailey 1993, 55–57).

World War I brought a crisis in his development. Military service disrupted his life when at the age of 42 he was in the army. He was never able to work uninterrupted or over a period of time, and as a result he left many unfinished works and undeveloped "beginnings". On one occasion, a superior officer demanded to know if he was "this notorious Schoenberg, then"; Schoenberg replied: "Beg to report, sir, yes. Nobody wanted to be, someone had to be, so I let it be me" (Schoenberg 1975, 104) (according to Norman Lebrecht (2001), this is a reference to Schoenberg's apparent "destiny" as the "Emancipator of Dissonance").

Later, Schoenberg was to develop the most influential version of the dodecaphonic (also known as twelve-tone) method of composition, which in French and English was given the alternative name serialism by René Leibowitz and Humphrey Searle in 1947. This technique was taken up by many of his students, who constituted the so-called Second Viennese School. They included Anton Webern, Alban Berg and Hanns Eisler, all of whom were profoundly influenced by Schoenberg. He published a number of books, ranging from his famous Harmonielehre (Theory of Harmony) to Fundamentals of Musical Composition (Schoenberg 1967), many of which are still in print and used by musicians and developing composers.

Schoenberg's grave in the Zentralfriedhof, Vienna.

Schoenberg viewed his development as a natural progression, and he did not deprecate his earlier works when he ventured into serialism. In 1923 he wrote to the Swiss philanthropist Werner Reinhart: "For the present, it matters more to me if people understand my older works ... They are the natural forerunners of my later works, and only those who understand and comprehend these will be able to gain an understanding of the later works that goes beyond a fashionable bare minimum. I do not attach so much importance to being a musical bogey-man as to being a natural continuer of properly-understood good old tradition!" (Stein 1987, 100; quoted in Strimple 2005, 22)

His first wife died in October 1923, and in August of the next year Schoenberg married Gertrud Kolisch (1898–1967), sister of his pupil, the violinist Rudolf Kolisch (Neighbour 2001; Silverman 2010, 223). She wrote the libretto for Schoenberg's one-act opera Von heute auf morgen under the pseudonym Max Blonda. At her request Schoenberg's (ultimately unfinished) piece, Die Jakobsleiter was prepared for performance by Schoenberg's student Winfried Zillig. After her husband's death in 1951 she founded Belmont Music Publishers devoted to the publication of his works (Shoaf 1992, 64). Arnold used the notes G and E♭ (German: Es, i.e., "S") for "Gertrud Schoenberg", in the Suite, for septet, Op. 29 (1925) (MacDonald 2008, 216).

Following the 1924 death of composer Ferruccio Busoni, who had served as Director of a Master Class in Composition at the Prussian Academy of Arts in Berlin, Schoenberg was appointed to this post the next year, but because of health problems was unable to take up his post until 1926. Among his notable students during this period were the composers Roberto Gerhard, Nikos Skalkottas, and Josef Rufer.

Schoenberg continued in his post until the election of Adolf Hitler and the Nazis in 1933. While vacationing in France, he was warned that returning to Germany would be dangerous. Schoenberg formally reclaimed membership in the Jewish religion at a Paris synagogue, then traveled with his family to the United States (Friedrich 1986, 31). His first teaching position in the United States was at the Malkin Conservatory in Boston. He moved to Los Angeles, where he taught at the University of Southern California and the University of California, Los Angeles, both of which later named a music building on their respective campuses Schoenberg Hall (UCLA Department of Music [2008]; University of Southern California Thornton School of Music [2008]). He settled in Brentwood Park, where he befriended fellow composer (and tennis partner) George Gershwin and began teaching at UCLA. He lived there the rest of his life. Composers Leonard Rosenman and George Tremblay studied with Schoenberg at this time.

During this final period, he composed several notable works, including the difficult Violin Concerto, Op. 36 (1934/36), the Kol Nidre, Op. 39, for chorus and orchestra (1938), the Ode to Napoleon Buonaparte, Op. 41 (1942), the haunting Piano Concerto, Op. 42 (1942), and his memorial to the victims of the Holocaust, A Survivor from Warsaw, Op. 46 (1947). He was unable to complete his opera Moses und Aron (1932/33), which was one of the first works of its genre to be written completely using dodecaphonic composition. In 1941, he became a citizen of the United States. During this period, his notable students included John Cage, Lou Harrison, and H. Owen Reed.

Schoenberg experienced triskaidekaphobia (the fear of the number 13), which possibly began in 1908 with the composition of the thirteenth song of the song cycle Das Buch der Hängenden Gärten Op. 15 (Stuckenschmidt 1977, 96). Moses und Aron was originally spelled Moses und Aaron, but when he realised this contained 13 letters, he changed it. His superstitious nature may have triggered his death. According to friend Katia Mann, he feared he would die during a year that was a multiple of 13 (quoted in Lebrecht 1985, 294). He dreaded his sixty-fifth birthday in 1939 so much that a friend asked the composer and astrologer Dane Rudhyar to prepare Schoenberg's horoscope. Rudhyar did this and told Schoenberg that the year was dangerous, but not fatal.

But in 1950, on his seventy-sixth birthday, an astrologer wrote Schoenberg a note warning him that the year was a critical one: 7 + 6 = 13 (Nuria Schoenberg-Nono, quoted in Lebrecht 1985, 295). This stunned and depressed the composer, for up to that point he had only been wary of multiples of 13 and never considered adding the digits of his age. He died on Friday, 13 July 1951, shortly before midnight. Schoenberg stayed in bed — sick, anxious and depressed all day. In a letter to Schoenberg's sister Ottilie, dated 4 August 1951, his wife Gertrud reported, "About a quarter to twelve I looked at the clock and said to myself: another quarter of an hour and then the worst is over. Then the doctor called me. Arnold's throat rattled twice, his heart gave a powerful beat and that was the end" (Stuckenschmidt 1977, 521). Gertrud Schoenberg reported the next day in a telegram to her sister-in-law Ottilie that Arnold died at 11:45 pm (Stuckenschmidt 1977, 520).

Music[link]

Works and ideas[link]

Schoenberg's significant compositions in the repertory of modern art music extend over a period of more than 50 years. Traditionally they are divided into three periods though this division is arguably arbitrary as the music in each of these periods is considerably varied. The idea that his twelve-tone period "represents a stylistically unified body of works is simply not supported by the musical evidence" (Haimo 1990, 4), and important musical characteristics—especially those related to motivic development—transcend these boundaries completely. The first of these periods, 1894–1907, is identified in the legacy of the high-Romantic composers of the late nineteenth century, as well as with "expressionist" movements in poetry and art. The second, 1908–1922, is typified by the abandonment of key centers, a move often described (though not by Schoenberg) as "free atonality". The third, from 1923 onward, commences with Schoenberg's invention of dodecaphonic, or "twelve-tone" compositional method. Schoenberg's most well-known students Hans Eisler, Alban Berg, and Anton Webern, followed Schoenberg faithfully through each of these intellectual and aesthetic transitions, though not without considerable experimentation and variety of approach.

Beginning with songs and string quartets written around the turn of the century, Schoenberg's concerns as a composer positioned him uniquely among his peers, in that his procedures exhibited characteristics of both Brahms and Wagner, who for most contemporary listeners, were considered polar opposites, representing mutually exclusive directions in the legacy of German music. Schoenberg's Six Songs, Op. 3 (1899–1903), for example, exhibit a conservative clarity of tonal organization typical of Brahms and Mahler, reflecting an interest in balanced phrases and an undisturbed hierarchy of key relationships. However, the songs also explore unusually bold incidental chromaticism, and seem to aspire to a Wagnerian "representational" approach to motivic identity. The synthesis of these approaches reaches an apex in his Verklärte Nacht, Op. 4 (1899), a programmatic work for string sextet that develops several distinctive "leitmotif"-like themes, each one eclipsing and subordinating the last. The only motivic elements that persist throughout the work are those that are perpetually dissolved, varied, and re-combined, in a technique, identified primarily in Brahms's music, that Schoenberg called "developing variation". Schoenberg's procedures in the work are organized in two ways simultaneously; at once suggesting a Wagnerian narrative of motivic ideas, as well as a Brahmsian approach to motivic development and tonal cohesion.

Arnold Schoenberg second string quartet, fourth movement, played by the Carmel Quartet with soprano Rona Israel-Kolatt.

Schoenberg's music from 1908 onward experiments in a variety of ways with the absence of traditional keys or tonal centers. His first explicitly atonal piece was the second string quartet, Op. 10, with soprano. The last movement of this piece has no key signature, marking Schoenberg's formal divorce from diatonic harmonies. Other important works of the era include his song cycle Das Buch der Hängenden Gärten, Op. 15 (1908–1909), his Five Orchestral Pieces, Op. 16 (1909), the disturbing Pierrot Lunaire, Op. 21 (1912), as well as his dramatic Erwartung, Op. 17 (1909). The urgency of musical constructions lacking in tonal centers, or traditional dissonance-consonance relationships, however, can be traced as far back as his Kammersymphonie, Op. 9 (1906), a work remarkable for its tonal development of whole-tone and quartal harmony, and its initiation of dynamic and unusual ensemble relationships, involving dramatic interruption and unpredictable instrumental allegiances; many of these features would typify the timbre-oriented chamber music aesthetic of the coming century.

File:Schoenberg - Variations for Orchestra op. 31 tone row.png

In Schoenberg's Piano Piece op.31 tone row form P1's second half has the same notes, in a different order, as the first half of I10: "Thus it is possible to employ P1 and I10 simultaneously and in parallel motion without causing note doubling."(Leeuw 2005, 154–55)  Play (help·info)

File:Schoenberg - Variations for Orchestra op. 33 tone row.png

Featuring hexachordal combinatoriality between its primary forms, P1 and I6, Schoenberg's Piano Piece op.33a tone row  Play (help·info) contains three perfect fifths, which is the relation between P1 and I6, and a source of contrast between, "accumulations of 5ths," and, "generally more complex simultaneity" (Leeuw 2005, 155–57). For example group A consists of B♭-F-C-B♮ while the, "more blended," group B consists of A-F♯-C♯-D♯.

In the early 1920s he worked at evolving a means of order which would enable his musical texture to become simpler and clearer, and this resulted in the "method of composing with twelve tones which are related only with one another" (Schoenberg 1984, 218), in which the twelve pitches of the octave (unrealized compositionally) are regarded as equal, and no one note or tonality is given the emphasis it occupied in classical harmony. He regarded it as the equivalent in music of Albert Einstein's discoveries in physics. Schoenberg announced it characteristically, during a walk with his friend Josef Rufer, when he said, "I have made a discovery which will ensure the supremacy of German music for the next hundred years" (Stuckenschmidt 1977, 277). This period included the Variations for Orchestra, Op. 31 (1928); Piano Pieces, Opp. 33a & b (1931), and the Piano Concerto, Op. 42 (1942). Contrary to his reputation for strictness, Schoenberg's use of the technique varied widely according to the demands of each individual composition. Thus the structure of his unfinished opera Moses und Aron is unlike that of his Fantasy for Violin and Piano, Op. 47 (1949).

Ten features of Schoenberg's mature twelve-tone practice are characteristic, interdependent, and interactive (Haimo 1990, 41):

1. Hexachordal inversional combinatoriality
2. Aggregates
3. Linear set presentation
4. Partitioning
5. Isomorphic partitioning
6. Invariants
7. Hexachordal levels
8. Harmony, "consistent with and derived from the properties of the referential set"
9. Metre, established through "pitch-relational characteristics"
10. Multidimensional set presentations

Controversies and polemics[link]

Understanding of Schoenberg's twelve-tone work has been difficult to achieve owing in part to the "truly revolutionary nature" of his new system, misinformation disseminated by some early writers about the system's "rules" and "exceptions" which bear "little relation to the most significant features of Schoenberg's music", the composer's secretiveness, and the widespread unavailability of his sketches and manuscripts until the late 1970s. During his life, he was "subjected to a range of criticism and abuse that is shocking even in hindsight" (Haimo 1990, 2–3).

After some understandable early difficulties, Schoenberg began to win public acceptance, with works such as the tone poem Pelleas und Melisande at a Berlin performance in 1907. At the Vienna première of the Gurre-Lieder on 13 February 1913, he received an ovation that lasted a quarter of an hour and culminated with Schoenberg's being presented with a laurel crown (Rosen 1996, 4; Stuckenschmidt 1977, 184). Much of his work, however, was not well received. His Chamber Symphony No. 1 in E major Op. 9, premièred unremarkably in 1907; when it was played again, however, in a 31 March 1913 concert, which also included works by Alban Berg, Anton Webern and Alexander von Zemlinsky, thunderous applause contended with hisses and laughter during Webern's Six Pieces, Op. 6; though Zemlinsky's Four Maeterlinck Songs calmed the audience somewhat (according to a contemporary newspaper report), after Schoenberg's Op. 9 "one could hear the shrill sound of door keys among the violent clapping, and in the second gallery the first fight of the evening began." Later in the concert, during a performance of the Altenberg Lieder by Berg, fighting broke out after Schoenberg interrupted the performance to threaten removal by the police of any troublemakers (Stuckenschmidt 1977, 185). Mahler's Kindertotenlieder, which were to have concluded the concert, had to be canceled after a police officer was called in (Rosen 1996, 5). After this, Schoenberg's music made a break from tonality.

The deteriorating relation between contemporary composers and the public led him to found the Society for Private Musical Performances (Verein für musikalische Privataufführungen in German) in Vienna in 1918. He sought to provide a forum in which modern musical compositions could be carefully prepared and rehearsed, and properly performed under conditions protected from the dictates of fashion and pressures of commerce. From its inception through 1921, when it ended because of economic reasons, the Society presented 353 performances to paid members, sometimes at the rate of one per week. During the first year and a half, Schoenberg did not allow any of his own works to be performed (Rosen 1975, 65). Instead, audiences at the Society's concerts heard difficult contemporary compositions by Scriabin, Debussy, Mahler, Webern, Berg, Reger, and other leading figures of early 20th-century music (Rosen 1996, 66).

Schoenberg's serial technique of composition with twelve notes became one of the most central and polemical issues among American and European musicians during the mid- to late-twentieth century. Beginning in the 1940s and continuing to the present day, composers such as Pierre Boulez, Karlheinz Stockhausen, Luigi Nono and Milton Babbitt have extended Schoenberg's legacy in increasingly radical directions. The major cities of the United States (e.g., Los Angeles, New York, and Boston) have had historically significant performances of Schoenberg's music, with advocates such as Babbitt in New York and the Franco-American conductor-pianist Jacques-Louis Monod. Schoenberg's students have been influential teachers at major American universities: Leonard Stein at USC, UCLA and CalArts; Richard Hoffmann at Oberlin; Patricia Carpenter at Columbia; and Leon Kirchner and Earl Kim at Harvard). Musicians associated with Schoenberg have had a profound influence upon contemporary music performance practice in the USA (e.g., Louis Krasner, Eugene Lehner and Rudolf Kolisch at the New England Conservatory of Music; Eduard Steuermann and Felix Galimir at the Juilliard School). In Europe, the work of Hans Keller, Luigi Rognoni, and René Leibowitz has had a measurable influence in spreading Schoenberg's musical legacy outside of Germany and Austria.

Schoenberg was not fond of Igor Stravinsky. In 1926 he wrote a poem titled "Der neue Klassizismus" (in which he derogates Neoclassicism and obliquely refers to Stravinsky as "Der kleine Modernsky"), which he used as text for the third of his Drei Satiren, Op. 28 (H. C. Schonberg 1970, 503).

Extramusical interests[link]

Schoenberg was a painter of considerable ability, whose pictures were considered good enough to exhibit alongside those of Franz Marc and Wassily Kandinsky (Stuckenschmidt 1977, 142). He was interested in Hopalong Cassidy films, which Paul Buhle and David Wagner (2002, v–vii) attribute to the films' left-wing screenwriters—a rather odd claim in light of Schoenberg's statement that he was a "bourgeois" turned monarchist (Stuckenschmidt 1977, 551–52).

Writings[link]

• 1922. Harmonielehre, third edition. Vienna: Universal Edition. (Originally published 1911). Translation by Roy E. Carter, based on the third edition, as Theory of Harmony. Berkeley, Los Angeles: University of California Press, 1978. ISBN 0-520-04945-4.
• 1959. Structural Functions of Harmony. Translated by Leonard Stein. London: Williams and Norgate Revised edition, New York, London: W. W. Norton and Company 1969. ISBN 0-393-00478-3.
• 1964a. Arnold Schoenberg Letters, selected and edited by Erwin Stein, translated from the original German by Eithne Wilkins and Ernst Kaiser. London: Faber. Paperback reprint, Berkeley: University of California Press, 1987. ISBN 978-0-520-06009-8.
• 1964b. Preliminary Exercises in Counterpoint. Edited with a foreword by Leonard Stein. New York, St. Martin's Press. Reprinted, Los Angeles: Belmont Music Publishers 2003.
• 1967. Fundamentals of Musical Composition. Edited by Gerald Strang, with an introduction by Leonard Stein. New York: St. Martin's Press. Reprinted 1985, London: Faber and Faber. ISBN 0-571-09276-4
• 1975. Style and Idea: Selected Writings of Arnold Schoenberg. Edited by Leonard Stein, with translations by Leo Black. New York: St. Martins Press; London: Faber & Faber. ISBN 0-520-05294-3. Expanded from the 1950 Philosophical Library (New York) publication edited by Dika Newlin. The volume carries the note "Several of the essays...were originally written in German (translated by Dika Newlin)" in both editions.
• 1979. Die Grundlagen der musikalischen Komposition. Ins Deutsche übertragen von Rudolf Kolisch; hrsg. von Rudolf Stephan. Vienna: Universal Edition (German translation of Fundamentals of Musical Composition).
• 1984. Style and Idea: Selected Writings, translated by Leo Black. Berkeley: California University Press.

Works[link]

See: List of compositions by Arnold Schoenberg

Quotations[link]

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By Schoenberg[link]

• "My music is not lovely" (quoted by Theodor Adorno in his essay "Art and the Arts", 1966, reproduced in Clausen 2008, 387).
• "My music is not modern, it is merely badly played" (Genette 1997, 102).
• "My works are 12-tone compositions, not 12-tone compositions" (Stuckenschmidt 1977, 349).
• "I was never revolutionary. The only revolutionary in our time was Strauss!" (Schoenberg 1975, 137)
• "...if it is art, it is not for all, and if it is for all, it is not art." (Schoenberg 1984, 124)

By others[link]

• Richard Strauss on Schoenberg, written by Schoenberg himself: "Dear Sir, I regret that I am unable to accept your invitation to write something for Richard Strauss's fiftieth birthday. In a letter to Frau Mahler (in connection with Mahler Memorial Fund) Herr Strauss wrote about me as follows: "The only person who can help poor Schoenberg now is a psychiatrist ...". "I think he'd do better to shovel snow instead of scribbling on music-paper...". (Schoenberg, letter to an unknown correspondent, Berlin, 22 April 1914. Schoenberg 1964,^{[page needed]})
• "Non, ce n'est pas de la musique... c'est du laboratoire" ("That isn't music ... it's lab-work" – Maurice Ravel. Mahler 1960,^{[page needed]}).

See also[link]

Biography portal

• Arnold Schönberg Prize

References[link]

• Adorno, Theodor. 1967. Prisms, translated from the German by Samuel and Shierry Weber London: Spearman; Cambridge, MA: The MIT Press.
• Anon. 2002. "Arnold Schönberg and His God". Vienna: Arnold Schönberg Center.(Accessed 1 December 2008)
• Beaumont, Antony. 2000. Zemlinsky. London: Faber. ISBN 0-571-16983-X Ithaca: Cornell University Press. ISBN 978-0-8014-3803-5.
• Buhle, Pal, and David Wagner. 2002. Radical Hollywood: The Untold Story Behind America's Favorite Movies. New York: The New Press. ISBN 1-56584-819-5
• Clausen, Detlev (2008). Theodor W. Adorno: One Last Genius, translated by Rodney Livingstone. Cambridge: Harvard University Press. ISBN 978-0-674-02618-6.
• Friedrich, Otto. 1986. City of Nets: A Portrait of Hollywood in 1940's [sic]. New York: Harper & Row. ISBN 0-06-015626-0. Reprinted, Berkeley and Los Angeles: University of California Press. ISBN 0-520-20949-4.
• Genette, Gérard. 1997. Immanence and Transcendence, translated by G. M. Goshgarian. Ithaca: Cornell University Press. ISBN 0-8014-8272-0.
• Greissle-Schönberg, Arnold, and Nancy Bogen. [n.d.] Arnold Schönberg’s European Family (e-book). The Lark Ascending, Inc. (Accessed 2 May 2010)
• Foss, Hubert. 1951. "Schoenberg, 1874–1951" Musical Times 92, no. 1 (September): 401–403.
• Hailey, Christopher. 1993. Franz Schreker, 1878–1934: A Cultural Biography. Cambridge and New York: Cambridge University Press. ISBN 978-0-521-39255-6.
• Haimo, Ethan. 1990. Schoenberg's Serial Odyssey: The Evolution of his Twelve-Tone Method, 1914–1928. Oxford [England]: Clarendon Press; New York: Oxford University Press ISBN 0-19-315260-6.
• Lebrecht, Norman. 1985. The Book of Musical Anecdotes. New York: Simon and Schuster; London: Sphere Books. ISBN 0-02-918710-9
• Lebrecht, Norman. 2001. "Why We're Still Afraid of Schoenberg". The Lebrecht Weekly (8 July).
• Leeuw, Ton de. 2005. Music of the Twentieth Century: A Study of Its Elements and Structure, translated from the Dutch by Stephen Taylor. Amsterdam: Amsterdam University Press. ISBN 90-5356-765-8. Translation of Muziek van de twintigste eeuw: een onderzoek naar haar elementen en structuur. Utrecht: Oosthoek, 1964. Third impression, Utrecht: Bohn, Scheltema & Holkema, 1977. ISBN 90-313-0244-9.
• MacDonald, Malcolm. 2008. Schoenberg. The Master Musicians Series. Oxford and New York: Oxford University Press. ISBN 978-0-19-517201-0.
• Mahler, Alma. 1960. Mein Leben, with a foreword by Willy Haas. Frankfurt am Main: S. Fischer.
• Neighbour, O[liver] W. (2001), "Schoenberg [Schönberg], Arnold (Franz Walter)". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
• Rosen, Charles. 1975. Arnold Schoenberg. New York: Viking Press. ISBN 0-670-13316-7 (pbk) ISBN 0-670-01986-0 (cloth). Reprinted 1996, with a new preface. Chicago: University of Chicago Press. ISBN 0-226-72643-6
• Ross, Alex. 2007. And the Rest Is Noise: Listening to the Twentieth Century. New York: Farrar, Straus, and Giroux, ISBN 978-0-374-24939-7
• Schonberg, Harold C. 1970. The Lives of the Great Composers. New York: W. W. Norton. ISBN 0-393-02146-7 (Revised ed., New York: W. W. Norton, 1980. ISBN 0-393-01302-2 Third ed. New York: W.W. Norton, 1997. ISBN 0-393-03857-2)
• Schoenberg, Arnold. 1922. Harmonielehre, third edition. Vienna: Universal Edition. (Originally published 1911). Translation by Roy E. Carter, based on the third edition, as Theory of Harmony. Berkeley, Los Angeles: University of California Press, 1978. ISBN 0-520-04945-4.
• Schoenberg, Arnold. 1959. Structural Functions of Harmony. Translated by Leonard Stein. London: Williams and Norgate Revised edition, New York, London: W. W. Norton and Company 1969. ISBN 0-393-00478-3.
• Schoenberg, Arnold. 1964. Arnold Schoenberg Letters, selected and edited by Erwin Stein, translated from the original German by Eithne Wilkins and Ernst Kaiser. London: Faber. Paperback reprint, Berkeley: University of California Press, 1987. ISBN 978-0-520-06009-8.
• Schoenberg, Arnold. 1967. Fundamentals of Musical Composition. Edited by Gerald Strang, with an introduction by Leonard Stein. New York: St. Martin's Press. Reprinted 1985, London: Faber and Faber. ISBN 0-571-09276-4
• Schoenberg, Arnold. 1975. Style and Idea: Selected Writings of Arnold Schoenberg. Edited by Leonard Stein, with translations by Leo Black. New York: St. Martins Press; London: Faber & Faber. ISBN 0-520-05294-3. Expanded from the 1950 Philosophical Library (New York) publication edited by Dika Newlin. The volume carries the note "Several of the essays...were originally written in German (translated by Dika Newlin)" in both editions.
• Schoenberg, Arnold. 1984. Style and Idea: Selected Writings, translated by Leo Black. Berkeley: California University Press.
• Steinberg, Michael. 1995. The Symphony: A Listener's Guide. New York: Oxford University Press. ISBN 0-19-506177-2 (cloth) ISBN 0-19-512665-3 (pbk)
• Shoaf, R. Wayne. 1992. "Satellite Collections in the Archive of the Arnold Schoenberg Institute". Journal of the Arnold Schoenberg Institute 15, no. 1 (June): 9–110.
• Silverman, Kenneth. 2010. Begin Again: A Biography of John Cage. ISBN 978-1-4000-4437-5.^{[Full citation needed]}
• Strimple, Nick. 2005. Choral Music in the Twentieth Century. Portland, Oregon & Cambridge, UK: Amadeus. ISBN 1-57467-122-7
• Stuckenschmidt, Hans Heinz. 1977. Schoenberg: His Life, World and Work. Translated from the German by Humphrey Searle. New York: Schirmer Books.
• UCLA Department of Music. [2008]. "Facilities and Maintenance". (Accessed 1 December 2008)
• University of Southern California Thornton School of Music. [2008]. "Performance Halls and Studios". (Accessed 1 December 2008)
• Worldspace Radio. 2007. Maestro "Concert Hall Presentation". 13 July 2007; Featured piece.^{[citation needed]}

Further reading[link]

• Auner, Joseph. 1993. A Schoenberg Reader. New Haven: Yale University Press. ISBN 0-300-09540-6.
• Boulez, Pierre. 1991. "Schoenberg is Dead" (1952). In his Stocktakings from an Apprenticeship, collected and presented by Paule Thévenin, translated by Stephen Walsh, with an introduction by Robert Piencikowski, 209–14. Oxford: Clarendon Press; New York: Oxford University Press. ISBN 0-19-311210-8.
• Brand, Julianne, Christopher Hailey, and Donald Harris (editors). 1987. The Berg-Schoenberg Correspondence: Selected Letters. New York, London: W. W. Norton and Company. ISBN 0-393-01919-5.
• Byron, Avior. 2006. "The Test Pressings of Schoenberg Conducting Pierrot lunaire: Sprechstimme Reconsidered". Music Theory Online 12, no. 1 (February). http://www.societymusictheory.org/mto/issues/mto.06.12.1/mto.06.12.1.byron_frames.html
• Everdell, William R.. 1998 The First Moderns: Profiles in the Origins of Twentieth-Century Thought. Chicago: University of Chicago Press.
• Eybl, Martin. 2004. Die Befreiung des Augenblicks: Schönbergs Skandalkonzerte von 1907 und 1908: eine Dokumentation. Wiener Veröffentlichungen zur Musikgeschichte 4. Vienna, Cologne, Weimar: Böhlau. ISBN 3-205-77103-6.
• Gur, Golan. 2009. "Arnold Schoenberg and the Ideology of Progress in Twentieth-Century Musical Thinking". Search: Journal for New Music and Culture 5 (Summer). Online journal (Accessed 17 October 2011).
• Hyde, Martha M. 1982. Schoenberg's Twelve-Tone Harmony: The Suite Op. 29 and the Compositional Sketches. Studies in Musicology, series edited by George Buelow. Ann Arbor: UMI Research Press. ISBN 0-8357-1512-4.
• Kandinsky, Wassily. 2000. "Arnold Schönberg als Maler/Arnold Schönberg as Painter". Journal of the Arnold Schönberg Center, no. 1:131–76.
• Meyer, Esther da Costa. 2003. "Schoenberg's Echo: The Composer as Painter". In Schoenberg, Kandinsky, and the Blue Rider, edited by Fred Wasserman and Esther da Costa Meyer, foreword by Joan Rosenbaum, preface by Christian Meyer. London and New York: Scala. ISBN 1-85759-312-X
• Rollet, Philippe (ed.). 2010. Arnold Schönberg: Visions et regards, with a preface by Frédéric Chambert and Alain Mousseigne. Montreuil-sous-Bois: Liénart. ISBN 978-2-35906-028-7.
• Shawn, Allen. 2002. Arnold Schoenberg's Journey. New York: Farrar Straus and Giroux. ISBN 0-374-10590-1.
• Weiss, Adolph. 1932. "The Lyceum of Schonberg", Modern Music 9, no. 3 (March–April): 99–107.
• Wright, James K. 2007. Schoenberg, Wittgenstein, and the Vienna Circle. Bern: Verlag Peter Lang. ISBN 978-3-03911-287-6.
• Wright, James and Alan Gillmor (eds.). 2009. Schoenberg's Chamber Music, Schoenberg's World. New York: Pendragon Press. ISBN 978-1-57647-130-2.

Recordings by Schoenberg[link]

• recordings at archive.org
• Video and audio as part of musicology studies

This list is incomplete; you can help by expanding it.

External links[link]

Wikiquote has a collection of quotations related to: Arnold Schoenberg

• Arnold Schoenberg Center in Vienna
• Biographical Timeline at the Arnold Schoenberg Center
• (French) A biography of Arnold Schoenberg, from IRCAM's website.
• Complete Schoenberg Discography & List of Works

• Music in the Air : 6 Kleine Klavierstucke op.19
• The Lied, Art Song, and Choral Texts Archive Created and maintained by Emily Ezust Texts of the poems set in music by Schoenberg with translations in various languages.

Writings about Schoenberg

• Contemporary account on Schoenberg by James Huneker from his work Ivory Apes and Peacocks (1917)
• An Interview with Schoenberg's children (2008) by Avior Byron
• "How Arnold Schoenberg Became Lonely: Imagination versus Reality", Sabine Feisst, Berfrois (2011)

Sheetmusic

• Free scores by Arnold Schoenberg at the International Music Score Library Project

Sound-files

• Excerpts from sound archives of Schoenberg's works.

Arjen Robben

Personal information
Full name	Arjen Robben
Date of birth	(1984-01-23) 23 January 1984 (age 28)
Place of birth	Bedum, Netherlands
Height	1.81 m (5 ft 11 in)[1]
Playing position	Winger
Club information
Current club	Bayern Munich
Number	10
Youth career
0000–1996	vv Bedum
1996–2000	Groningen
Senior career*
Years	Team	Apps†	(Gls)†
2000–2002	Groningen	50	(8)
2002–2004	PSV	56	(17)
2004–2007	Chelsea	67	(15)
2007–2009	Real Madrid	50	(11)
2009–	Bayern Munich	62	(40)
National team‡
	Netherlands U–17	3	(1)
	Netherlands U–19	4	(1)
	Netherlands U–20	3	(0)
	Netherlands U–21	5	(0)
2003–	Netherlands	55	(17)
* Senior club appearances and goals counted for the domestic league only and correct as of 15:10, 5 May 2012 (UTC). † Appearances (Goals). ‡ National team caps and goals correct as of 27 May 2012

Arjen Robben (Dutch pronunciation: [ˈɑrjən ˈrɔbə(n)]; born 23 January 1984) is a Dutch footballer who plays for the German Bundesliga club Bayern Munich. Though often classified as a forward, he usually plays behind the forwards (inside position) as a winger, and he is also known for his dribbling skills, speed, crossing ability and his accurate long-range shot. He is also a part of the Netherlands national team and has appeared at Euro 2004, the 2006 World Cup, Euro 2008 and at the 2010 World Cup.

Robben first came to prominence with Groningen, for whom he was player of the year for the 2000–01 Eredivisie season. Two years later he signed for PSV, where he became the Netherlands' Young Player of the Year and won an Eredivisie title.^[2] The following season Robben's signature was pursued by leading English clubs, and after protracted transfer negotiations he joined Chelsea in the 2004 close season.

Robben's Chelsea debut was delayed through injury, but upon returning to fitness he helped Chelsea to consecutive Premier League titles, and was the FA Premier League Player of the Month in November 2005.^[3][4] After a third season in England which was punctuated by injury, Robben moved to Spanish club Real Madrid for €35 million. In August 2009, Robben transferred to Bayern Munich for a fee of around €25 million,^[5] scoring two goals on his debut. In his first season in Munich, Bayern won the league title, Robben's fifth league title in eight years, and got to the Champions League final. After his first season with the Bavarian club, the player was also named Footballer of the Year in Germany.^[6]

Early football life[link]

Robben was born in Bedum, a satellite town of Groningen in north-eastern Netherlands. He took to football from an early age, becoming an adherent of the Coerver Method.^[7] Robben's skill in ball control and technical footwork made him a valuable player, and he was quickly signed by regional club FC Groningen. Here, he developed his distinctive style of cutting inside from the right onto his left foot to score some quite spectacular goals.^[8]

Club career[link]

Groningen[link]

Groningen placed Robben in their first team for the 1999–2000 season. He scored 3 goals in league play. Manager Jan van Dijk added the winger to the first team before Groningen's November 2000 away game against Twente, but he did not play until 3 December 2000 against Waalwijk, as a substitute for the injured Leonardo dos Santos in the 79th minute. Over the winter, Robben managed to play himself into the starting lineup. In 18 starts for Groningen over the 2000–01 season, he scored two goals.^[9] Robben was named player of the year for his first season with the club, and with teammate Jordi Hoogstrate, he demonstrated the strength of the Groningen youth academy. Robben stayed with Groningen and improved steadily during the 2001–02 season, playing in 28 matches and scoring six goals.^[9] Robben transferred to PSV for €3.9 million before the 2002–03 season.^[2]

PSV[link]

During his first season for PSV, the 2002–03 season, Robben played 33 matches and scored 12 goals.^[9] He was named "PSV co-player of the year" along with striker Mateja Kežman, with whom he formed an attacking partnership still fondly referred to by PSV fans as "Batman and Robben".^[10] He helped lead PSV to their 17th Dutch title, and won the Talented Player of the Year award.^[11] After this good start, PSV could not keep up with rival Ajax and were forced into a fight for second place in the Eredivisie. Robben travelled to London and met with Manchester United coach Sir Alex Ferguson. Ferguson's offer came in much too low for PSV's and Robben's liking; PSV chairman Harry van Raaij told Manchester United the most that their €7 million offer would buy them was a shirt with Robben's autograph. Almost immediately, Chelsea owner Roman Abramovich offered €18 million (£12.1 million), and PSV accepted.^[12] The rest of his season with PSV was disappointing. He injured his hamstring twice and missed several games.^[13][14] By the end of the season, Robben scored five times in 23 Eredivisie matches.^[9]

Chelsea[link]

Robben celebrates winning the 2004–05 Premiership

Robben did not make his competitive debut for Chelsea until November 2004, as he was injured in a pre-season friendly match against Roma, breaking a metatarsal bone in his right foot in a challenge from Olivier Dacourt.^[3] During this time, he told club doctors that he had noticed an unfamiliar growth on one of his testicles. The medical team quickly did tests to check for testicular cancer, but he was subsequently given the all clear.^[15]

Robben proved to be a crucial player for the 2004–05 season; in November 2004, he was awarded the FA Premier League "Player of the Month" award.^[3][4] Robben ended the 2004–05 season with seven goals, his second highest professional total. He was shortlisted for the PFA Young Player of the Year, but was beaten by Wayne Rooney of Manchester United.^[16][17] Robben was badly injured in a league game away to Blackburn Rovers and forced to sit out Chelsea's title run-in and progress to the semi-finals of the UEFA Champions League.^[18] Back to fitness for 2005–06, Robben was an integral part of the Chelsea left wing. In 28 matches, Robben contributed six goals as Chelsea won a second consecutive Premier League championship, the first back-to-back titles for the west London club.^[9]

Robben with Chelsea

The 2005–06 season saw Robben involved in an unsporting incident with Liverpool goalkeeper Pepe Reina. Towards the end of a league game between Chelsea and Liverpool at Stamford Bridge, which Chelsea won 2–0, Reina shoved his hand in Robben's face after some provocative words from Robben. Robben fell theatrically to the turf, and Reina received a red card for "violent behaviour", as violent conduct is illegal. As a result of the incident Reina commented that Robben "did well enough to win an Oscar" for his theatrics. Liverpool manager Rafael Benitez later joked in a post-match interview that he "would soon be going to hospital to check on Robben's condition". Reina's red card was not rescinded.^[19] Robben was later named man of the match on 23 December 2006 against Wigan, a match where he got two assists and the winning goal.^[20]

Robben was inflicted with yet another injury in a match against Liverpool on 20 January 2007.^[21] Robben made his return in a 3–0 victory against Middlesbrough in February driving in a shot that took a deflection past Mark Schwarzer for an own goal by Abel Xavier.^[22] He came on as a substitute for Claude Makelele in the 2007 League Cup Final against Arsenal and set up the winning goal for Didier Drogba.^[23] Robben scored a goal in the second round of the UEFA Champions League against Porto, which led to Chelsea winning the tie 3–2 on aggregate. At the end of March 2007, Robben underwent a knee operation after sustaining a knee injury upon returning from international duty that was expected to rule him out for at least four weeks.^[24] He only made two further appearances for Chelsea, both of which were as a substitute^[25] and both of which would prove to be key games for the club. His first appearance since returning from injury was against Liverpool in the UEFA Champions League semi final second leg which went to penalties. Robben went on to have his penalty saved by Pepe Reina, and Chelsea ultimately lost.^[26] His final appearance for the club came against Manchester United in the 2007 FA Cup Final. Robben replaced Joe Cole at half time, but was then subsequently substituted himself for Ashley Cole in extra time as Chelsea emerged victorious.^[27] Spanish club Real Madrid were interested in two of Chelsea's players. Then manager Bernd Schuster is said to have demanded Michael Ballack, while Madrid's former president, Ramón Calderón, was known to favour Robben.^[28] Robben said to reporters of Spanish newspaper AS: "I do not know when a deal will be reached. I would like to send a message to the Madrid fans, but I can't until my future is sorted."^[29][30]

Real Madrid eventually secured Robben's services in August 2007.^[31] He told Chelsea's official club website: "It was difficult to leave because I had a great time in my three years at Chelsea and I made a lot of friends. There was no time to say goodbye because the deal was closed on the Wednesday at 10 o'clock in the evening and the following morning I had to fly. If I have one day off I would want to come back and say goodbye because to the fans I owe a big thank you because they were always good to me. In my three years I won all the prizes there are to win in England."^[32]

Real Madrid[link]

Robben playing for Real Madrid

Robben completed his move to Real Madrid on a five-year deal on 22 August 2007,^[33] with the transfer fee reported as £24 million^[34][35] (€35 million). He made his debut on 18 September as a substitute for Raúl during a Champions League match against Werder Bremen, which Real Madrid won 2–1.^[36] His league debut came on 23 September, this time as a substitute for Royston Drenthe in a 1–1 away draw against Valladolid.^[37] On 10 February 2008, Robben scored his first goal, this time at home in a 7–0 victory against Valladolid.^[38] Robben proved crucial for many Real Madrid matches, making his famous runs down the left wing, and quickly became a first choice for the left midfield position, making 28 appearances during his debut season and scoring five goals. Real Madrid won the league title with some games to spare, and were already the champions of Spain when they played their arch-rivals FC Barcelona on 7 May 2008. The Barcelona players formed a guard of honor as the Madrid team came onto the pitch at the Santiago Bernabéu, and Robben played an important part in Real Madrid's subsequent 4–1 victory, scoring the champions' second goal.^[39]

He retained his key role in the Real Madrid midfield during the 2008–09 season, playing 35 times and scoring eight goals. Although the Dutchman was one of the Spanish side's most important players in the pre-season games leading up to the 2009–10 season, having scored three goals and help set up another four, he was among the players whose place in the first team became threatened following the arrival of Florentino Pérez and the signings of Cristiano Ronaldo and Kaká. Real Madrid accepted a bid of around €25 million for Robben from Bayern Munich.^[40][41] Robben claimed he was "forced" to leave Real Madrid, saying that he "didn't want to go, but the club wanted to sell him".^[42]

Bayern Munich[link]

Robben training with Bayern Munich.

On 28 August 2009, Robben moved to Bayern Munich for around €25 million. He was given the number 10 shirt, last worn by his fellow Dutchman, Roy Makaay.^[43][44] His debut came the day after. He came on as a half-time substitute against Wolfsburg, scored two goals, and helped his team beat last season's champions in Bayern's first win of the season.^[45][46] On 9 March 2010, Robben scored the deciding goal in Bayern's 2–3 defeat (4–4 on aggregate over two legs) against Fiorentina, taking them through to the quarter finals of the 2009–10 UEFA Champions League on away goals.^[47]

On 7 April 2010, Robben sent Bayern Munich into the semi-finals of the UEFA Champions League with a stunning volley against Manchester United from the edge of the area into the corner of the net. The game ended 3–2 to United (4–4 on aggregate) with Bayern advancing again due to away goals.^[48]

On 17 April 2010, he scored his first hat-trick in the Bundesliga against Hannover 96 in the Allianz Arena. The game ended 7–0 to the Bavarians.^[49] On 8 May 2010, he won his first Bundesliga title with Bayern Munich after scoring two goals in their 3–1 victory over Hertha BSC Berlin, finishing as Bayern's top scorer in the process.^[50]

A week later, Bayern Munich played in the DFB-Pokal Final against the previous champions of the tournament, Werder Bremen, in Berlin's Olympiastadion. Bayern Munich won the game by 4–0; Arjen Robben scored the first of those four goals from a penalty kick. Robben thus helped the Bavarians achieve their fifteenth DFB Pokal title. On 25 May 2010, Robben was named Footballer of the Year in Germany for the year 2010.^[51] He won the election by attaining a record 72.1% of the vote and was the first Dutch person to win this election.

The 2010–11 season started badly for Robben, after medical tests confirmed that his hamstring had not properly healed and that he would be out for two months.^[52] Bayern chairman Karl-Heinz Rummenigge stated that "Of course, Bayern Munich are very angry" with the Dutch FA, and would be seeking compensation from them, continuing "Once again we must pay the bill as a club after a player is seriously injured playing for a national team."^[52] On 15 January 2011, he returned to first team action, coming on as a substitute in the 1–1 away draw with VfL Wolfsburg.

Robben was nominated for the "UEFA Champions League Best Midfielder", but this went to his international compatriot Wesley Sneijder. He has also been nominated for the prestigious Ballon d'Or award, and the FIFA Puskás Award, which goes to the best goal of the year, and he has also been nominated for FIFA’s "FIFPro World XI 2010" squad, thanks to his fantastic season with Bayern Munich.

On 3 May 2012 it was reported that Robben has signed a new contract with Bayern which will last till 2015.^[53]

In the second leg of the semi-finals of the Champions League, against his former team Real Madrid which was now managed by Jose Mourinho (who had been his manager at Chelsea), after Bayern initially fell behind 2–0, Robben converted a penalty to level the tie at 3–3. Bayern advanced to the final after winning the shootout.^[54] Robben had an extra-time penalty saved by former teammate Petr Cech in the 2012 UEFA Champions League Final at the Allianz Arena against Chelsea. Had the penalty gone in, Bayern Munich would have led Chelsea 2–1, however the match ending up went to a shootout which Chelsea won.^[55] That was the fourth major cup final that he had been on the losing side during the last two years (World Cup final, two Champions League finals and the DFB Pokal). Three days later in the same stadium while playing as a second half substitute for the Netherlands in a friendly against Bayern Munich, he was jeered by some disgruntled Bayern Munich fans every time he touched the ball (due to his penalty miss in the Champions League final, and as he did not play on Bayern's side during that match due to a decision by Netherlands coach Bert van Marwijk).^[56] The match had been organized to compensate Bayern, since Robben aggravated an injury playing for the Netherlands at the 2010 World Cup, and went on to miss several months of the 2010–11 season.^[57]

Style of play[link]

Robben is known for his speed with the ball. He usually plays right wing, but can also converge in the centre and shoot with his powerful left foot.

International career[link]

Euro 2004[link]

Robben has played in 52 games for the Netherlands, scoring 16 goals. The first international experience of Robben's career came in Euro 2004 when manager Dick Advocaat called up younger players, such as Wesley Sneijder and John Heitinga. During Euro 2004, Advocaat substituted Robben in the 66th minute to defend a 2–1 lead over the Czech Republic. However, the Czech team then scored two goals and won 3–2, which led to criticism about Advocaat's decision.^[58] In the same tournament, it was Robben, who scored the deciding penalty in the shootout between the Netherlands and Sweden, which ensured that at the fifth attempt, the Dutch finally won a penalty shootout.^[59]

2006 World Cup[link]

Robben played in his first 2006 World Cup qualifier in 2006. In six games for the Netherlands, Robben scored two goals.^[60] The Netherlands qualified for the World Cup in 2006 and in the Netherlands opening match against Serbia and Montenegro, Robben scored the winning goal in the 18th minute, and was named the Man of the match. In the match against Côte d'Ivoire, Robben received this award the second time, thus becoming one of the eight players in the tournament to have won the Man of the Match Award more than once.^[61]

Euro 2008[link]

Robben (left) with Robin van Persie.

Robben (left) with Wesley Sneijder training for the Netherlands.

Robben in 2009 prior to a match against Japan.

During the Euro 2008, manager Marco van Basten changed the formation to 4–2–3–1, preferring the midfield trio of Rafael van der Vaart, Wesley Sneijder and Dirk Kuyt. Robben was left to battle it out with Robin van Persie for a place on the wing. In the group match against France, which the Netherlands won 4–1, Robben was brought on at half-time. He dragged the ball out of reach of a defender near the half-way line and paced his way ahead of three defenders, then crossed straight to van Persie who powered a shot into the goal past Grégory Coupet, who did well enough to get a hand onto it. At 2–0, Thierry Henry scored a goal, making it 2–1, and almost directly after the restart, Robben was played through by Sneijder and he ran at the France goal and was forced into an acute angle, but despite the angle, he shot the ball into the net past Coupet.

2010 World Cup[link]

Robben was selected by the Netherlands manager Bert van Marwijk for the final squad of 23 for the World Cup.^[62][63] In the last friendly match against Hungary, just before the flight to South Africa on 4 June, Robben fell awkwardly towards the end of the match, and picked up a hamstring injury which caused concern over his fitness for the world cup.^[64] On 5 June, Van Marwijk announced that he'd "decided not to summon any substitute for Arjen. I want to give him every chance to still participate in the World Cup."^[65] On 12 June 2010, Arjen arrived in South Africa to join the team.^[66] He was an unused substitute for the opening game against Denmark as they coasted to a 2–0 victory, and again in the 1–0 victory against Japan. He came on in the 73rd minute against Cameroon in their 2–1 victory, hitting the post from which Klaas-Jan Huntelaar scored from the rebound.^[67] On 28 June 2010, he started his first match against Slovakia in which he went on to score the first goal in the second round as the Netherlands won 2–1. He also went on to pick up the man of the match award.^[68] Robben scored the third goal with a well-placed header in the semi-finals against Uruguay which the Netherlands won 3–2 to reach the final.^[69] Robben played for the full match in the final as the Netherlands lost 1–0 to Spain.^[70] Robben was also nominated for the 2010 World Cup Golden Ball, the tournament's best player, which was won by Diego Forlán.

Personal life[link]

Robben married his girlfriend Bernadien Eillert on 9 June 2007 in Groningen.^[71] The two met while in high school in the city, at the Kamerlingh Onnes,^[72] and have two sons, Luka born in 2008 and Kai born 2012 and a daughter, Lynn born in 2010.^[73][74] Robben's father, Hans, acts as his agent.^[75]

The circumstances of Arjen and Bernadien's first meeting have been reported by his former youth coach, Barend Beltman. 'Arjen was driven and determined at a young age. He was always on time, never late. But one Friday afternoon he showed up 15 minutes past the start of practice. I asked him what was going on. "We were at the market square, having fun", he said. There were some girls with him and his friends, so I asked, "Was she worth it?" "Yes, trainer, she was", he told me. I told him to get his gear and join the training session. At his wedding, I heard the woman he met that day was now his wife and mother of his children. Bernadien is her name.'^[76]

Robben speaks fluent Dutch, German, English and Spanish.

Career statistics[link]

Club statistics[link]

As of 19 May 2012

International[link]

International statistics[link]

Robben with Dutch teammate Dirk Kuyt.

^[77]

International goals[link]

Arjen Robben: International Goals

Goal	Date	Venue	Opponent	Score	Result	Competition
1.	11 October 2003	Philips Stadion, Eindhoven, Netherlands	Moldova	5–0	5–0	Euro 2004 qualifying
2.	18 February 2004	Amsterdam ArenA, Amsterdam, Netherlands	United States	1–0	1–0	Friendly
3.	17 November 2004	Mini Estadi, Barcelona, Spain	Andorra	0–2	0–3	2006 World Cup qualifiation
4.	4 June 2005	De Kuip, Rotterdam, Netherlands	Romania	1–0	2–0	2006 World Cup qualifiation
5.	17 August 2005	De Kuip, Rotterdam, Netherlands	Germany	1–0	2–2	Friendly
6.	17 August 2005	De Kuip, Rotterdam, Netherlands	Germany	2–0	2–2	Friendly
7.	11 June 2006	Zentralstadion, Leipzig, Germany	Serbia and Montenegro	0–1	0–1	2006 World Cup
8.	16 August 2006	Lansdowne Road, Dublin, Republic of Ireland	Republic of Ireland	0–2	0–4	Friendly
9.	1 June 2008	De Kuip, Rotterdam, Netherlands	Wales	2–0	2–0	Friendly
10.	13 June 2008	Stade de Suisse, Berne, Switzerland	France	3–1	4–1	Euro 2008
11.	10 June 2009	De Kuip, Rotterdam, Netherlands	Norway	2–0	2–0	2010 World Cup qualification
12.	5 June 2010	Amsterdam ArenA, Amsterdam, Netherlands	Hungary	3–1	6–1	Friendly
13.	5 June 2010	Amsterdam ArenA, Amsterdam, Netherlands	Hungary	6–1	6–1	Friendly
14.	28 June 2010	Moses Mabhida Stadium, Durban, South Africa	Slovakia	1–0	2–1	2010 World Cup
15.	6 July 2010	Cape Town Stadium, Cape Town, South Africa	Uruguay	3–1	3–2	2010 World Cup
16.	29 February 2012	Wembley Stadium, London, England	England	0–1	2–3	Friendly
17.	29 February 2012	Wembley Stadium, London, England	England	2–3	2–3	Friendly

Honours[link]

Club[link]

Robben and teammate Petr Čech celebrate their second Premier League title.

PSV

• Eredivisie (1): 2002–03
• Johan Cruijff Shield (1): 2003

Chelsea

• Premier League (2): 2004–05, 2005–06
• FA Cup (1): 2007
• League Cup (2): 2005, 2007
• FA Community Shield (1): 2005

Real Madrid

• La Liga (1): 2007–08
• Supercopa de España (1): 2008

Bayern Munich

• Bundesliga (1): 2009–10
• DFB-Pokal (1): 2010
• DFB-Supercup (1): 2010–11
• UEFA Champions League Runner-up: 2009–10, 2011–12

Netherlands[link]

Robben with Dirk Kuyt on a boat in Amsterdam following the 2010 World Cup.

• FIFA World Cup (Silver Medalist) (1): 2010

Individual[link]

• Netherlands' Young Player of the Year (1): 2003
• Premier League Player of the Month (1): November 2004
• PFA Team of the Year (1): 2005
• Premier League Goal of the Month (1): December 2005
• Bravo Award (1): 2005
• Goal of the Month in Germany (3): January 2010, March 2010, April 2010
• Der Kicker Player Of The Year (1): 2010^[78]
• Footballer of the Year (Germany) (1): 2010
• UEFA Team of the Year (1): 2010–11

References[link]

External links[link]

Wikimedia Commons has media related to: Arjen Robben

• Arjen Robben – FIFA competition record
• FC Bayern Munich profile
• Arjen Robben career stats at Soccerbase
• Profile at SoccerSurfer.com
• ABCGoal.com – Arjen Robben
• Wereld van oranje.nl Profile (Dutch)
• Arjen Robben on Playerhistory.com

Netherlands squads v t e Netherlands squad – UEFA Euro 2004 semi-finalists 1 Van der Sar 2 Reiziger 3 Stam 4 Bouma 5 Van Bronckhorst 6 Cocu 7 Van der Meyde 8 Davids 9 Kluivert 10 Van Nistelrooy 11 Van der Vaart 12 Makaay 13 Westerveld 14 Sneijder 15 De Boer (c) 16 Overmars 17 Van Hooijdonk 18 Heitinga 19 Robben 20 Seedorf 21 Bosvelt 22 Zenden 23 Waterreus Coach: Advocaat v t e Netherlands squad – 2006 FIFA World Cup 1 Van der Sar (c) 2 Jaliens 3 Boulahrouz 4 Mathijsen 5 Van Bronckhorst 6 Landzaat 7 Kuyt 8 Cocu 9 Van Nistelrooy 10 Van der Vaart 11 Robben 12 Kromkamp 13 Ooijer 14 Heitinga 15 De Cler 16 Maduro 17 Van Persie 18 Van Bommel 19 Vennegoor of Hesselink 20 Sneijder 21 Babel 22 Timmer 23 Stekelenburg Coach: Van Basten v t e Netherlands squad – UEFA Euro 2008 1 van der Sar (c) 2 Ooijer 3 Heitinga 4 Mathijsen 5 van Bronckhorst 6 de Zeeuw 7 van Persie 8 Engelaar 9 van Nistelrooy 10 Sneijder 11 Robben 12 Melchiot 13 Timmer 14 Bouma 15 de Cler 16 Stekelenburg 17 de Jong 18 Kuyt 19 Huntelaar 20 Afellay 21 Boulahrouz 22 Vennegoor of Hesselink 23 van der Vaart Coach: van Basten v t e Netherlands squad – 2010 FIFA World Cup Runners-Up 1 Stekelenburg 2 Van der Wiel 3 Heitinga 4 Mathijsen 5 Van Bronckhorst (c) 6 Van Bommel 7 Kuyt 8 De Jong 9 Van Persie 10 Sneijder 11 Robben 12 Boulahrouz 13 Ooijer 14 De Zeeuw 15 Braafheid 16 Vorm 17 Elia 18 Schaars 19 Babel 20 Afellay 21 Huntelaar 22 Boschker 23 Van der Vaart Coach: Van Marwijk v t e Netherlands squad – UEFA Euro 2012 1 Stekelenburg 2 Van der Wiel 3 Heitinga 4 Mathijsen 5 Bouma 6 Van Bommel (c) 7 Kuyt 8 N. de Jong 9 Huntelaar 10 Sneijder 11 Robben 12 Vorm 13 Vlaar 14 Schaars 15 Willems 16 Van Persie 17 Strootman 18 L. de Jong 19 Narsingh 20 Afellay 21 Boulahrouz 22 Krul 23 Van der Vaart Coach: Van Marwijk