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Santa Monica - Life Sized Coalition Chess on revitalized 3rd Street Promenade

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Santa Monica - Life Sized Coalition Chess on revitalized 3rd Street Promenade

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AN IDEA FOR SANTA MONICA

I am writing about a proposal for the renovation of Third Street Santa Monica Promenade.

My father invented a chess game – coalition chess.  There is the possibility of setting up an outdoor life-sized chessboard and producing the “pieces” through 3-D printing. All of the digital materials are available through the Arnold Schoenberg Center in Vienna – the pieces would need to be printed here.  There would be no cost to the City of Santa Monica for the digital materials.  In fact, as in other cities, there have been local chess clubs that have helped subsidize the installations.

I think that it would be an interesting and unique opportunity for the City of Santa Monica.

Please let me know if you are interested.  Or kindly forward this to the appropriate individual who might want to pursue this installation for Santa Monica.

Sincerely,

Larry Schoenberg

larry@schoenbergmusic.com

Our family has lived in Brentwood and Pacific Palisades since the 1930’s.  I went to high school in Santa Monica and I can even recall our family outings to Thrifty Drug Store for the 49ers! Probably no one know what that means.

My brother, Ronald was a champion tennis player and played in both the Santa Monica Open and Santa Monica Closed at which was then called Lincoln Park.

With respect to my father, Arnold Schoenberg, in the sign of our times, I used AI for the following:

Arnold Schoenberg (1874–1951) was a pivotal Austrian-born composer who spent his final, highly productive years (1936–1951) in the Los Angeles area, including Santa Monica, Pacific Palisades, and Brentwood, after fleeing Nazi Germany. He taught at UCLA and USC, famously calling his exile "paradise", and his legacy is heavily tied to the region, including the Schoenberg Hall at UCLA.

The Forward

·         Residence: Schoenberg lived at 116 N Rockingham Ave in Brentwood, near Santa Monica, which is recognized as a historic resource related to his career.

·         LA Life: He moved to California for the climate and lower cost of living, settling in the area in the mid-1930s. He met with Hollywood producer Irving Thalberg but did not ultimately write film scores.

·         Cultural Impact & Legacy: He became part of the German-speaking exile community in LA, influencing artists like Thomas Mann.

·         Recent Events: In 2025, it was reported that a large archive of his musical scores kept by his family in Pacific Palisades was lost in wildfires.

·         "Planet Schoenberg": Jacaranda Music in Santa Monica honored him with a "Planet Schoenberg" series at the First Presbyterian Church of Santa Monica during their final season.

The New Yorker

The opera Schoenberg in Hollywood, which chronicles this period, had its West Coast premiere at UCLA's Nimoy Theater in 2025.

Santa Monica Mirror

Relevant videos:

arnold schoenberg coalition chess - Google Search

Relevant articles;:

Arnold Schönberg - Chess and Music | ChessBase

schoenberg.at - Coalition Chess

Coalition Chess - Arnold Schönberg — Google Arts & Culture

Coalition Chess - Arnold Schönberg - Google Arts & Culture

Arnold Schönberg developed his Coalition Chess in the first half of the 1920s. The set of rules exist as a draf...

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Using AI one should be able to create an app that will translate a tennis match (just one game) into the Schoenberg scorecard and then vice versa !!!

Check out this link:

Arnold Schönberg: Symbols for Recording of Tennis Games

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How about using this Fanfare for the Holywood Bowl for the Los Angeles 2028 Olympics!

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Create an Art and Music Immersion for various venues.

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Arnold Schoenberg - 65 paintings (with captions) [HD]

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Conductor's Workshop at the Arnold Schoenberg Center

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Conductor's Workshop at the Arnold Schoenberg Center

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Every couple of years, engage a conductor to present a workshop for a specific Schoenberg composition selected by the conductor.

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Schoenberg Conducts Mahler's Symphony no. 2 (Remastered Audio)

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Ideas for the Arnold Schoenberg Center  -  A Vienna/Moedling Tour for your smartphone.

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Ideas for the Arnold Schoenberg Center  -  A Vienna/Moedling Tour for your smartphone.

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Pick up the link or a map at the Center that will allow you to trace important locations navigating through the City using Public Transportation

Also for other cities: Barcelona, Berlin. Los Angeles ...

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This is a absolutely terrific project that Randy is doing.

Engage in a simulated personal dialogue with a virtual Arnold Schönberg, who draws from his historical writings to answer as he would have.

Check out this link: arnold.jhn.ngo

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Arnold Schoenberg and That Ol' Atonal Music: A Conversation

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Arnold Schoenberg and That Ol' Atonal Music: A Conversation

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Enjoy and SMILE!

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Arnold Schoenberg and That Ol' Atonal Music: A Conversation

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Explore Arnold Schoenberg

Arnold Schoenberg in his own Words Composition With Twelve Tones

Arnold Schoenberg Center

Videos

Bricolage and Inventions

Art Works

Listen

Research Grants

Worldwide Links

Online Shops

Additional Information

© Copyright 2026 Arnold Schönberg Center & Belmont Music Publishers

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In my teaching I never sought merely ‘to tell people what I know’. Better to tell them what they did not know. Yet that was not my chief aim either, although it was reason enough for me to devise something new for each pupil. I labored rather to show them the nature of the matter from the ground up. Hence, I never imposed those fixed rules with which a pupil’s brain is so carefully tied up in knots. Everything was formulated as in instructions that were no more binding upon the pupil than upon the teacher. If the pupil can do something better without the instructions, then let him do so. But the teacher must have the courage to admit his own mistakes. He does not have to pose as infallible, as one who knows all and never errs; he must rather be tireless, constantly searching, perhaps sometimes finding. Why pose as a demigod? Why not be, rather, fully human?”

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Why not create a contest for a ballet schools to choreograph the Notturno???

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Check out this link:

https://www.youtube.com/watch?v=EjlwmE_ot-Q

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Time for an English Language adaption of one of Schoenberg's recorded stories for his children.

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Arnold Schönberg - Voice Recordings: Die Prinzessin (VR13)

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So you think that you know all about Arnold Schoenberg!

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So you think that you know all about Arnold Schoenberg!

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So you think that you know all about Arnold Schoenberg!

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1.      Which of these was his favorite dessert?

a.      Dobos torte

b.      Mozart Kugel

c.      Baked Apple

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2.      What did he name the family Angora rabbit?

a.      Kaiser

b.      Snowy

c.      Witz

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3.      Who of the following was NOT one of his doctors?

a.      Frederick Weitzfelder

b.      Orin Lloyd-Jones

c.      Milton Koblitz

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4.      Where did he keep his manuscripts?

a.      In a cabinet that he made

b.      In a rolling door cabinet

c.      In a safe

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5.      Who burnt a hole in his favorite chair?

a.      Hans Eisler

b.      Oscar Levant

c.      Erika Mann

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6.      Who was excluded from his work room?

a.      Larry

b.      His mother-in-law

c.      His sister-in-law

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7.      Part of which work did he transcribe for horn?

a.      Op. 10

b.      Op. 12

c.      A Cabaret Song

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8.      Who from the following was NOT in his class at UCLA?

a.      Jackie Robinson

b.      Dika Newlin

c.      Joe Lewis

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9.      His first television set had the same name as

a.      His secretary

b.      The Philadelphia Storage Battery Company

c.      DuMont Schauberg

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10.  Which of following devices did he NOT have?

a.      Polaroid Camera

b.      Ozalid Copy Machine

c.      Webster-Chicago Wire Recorder

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11.  Which pedal did he hold down the longest?

a.      The accelerator in his automobile

b.      The middle pedal in his workroom upright

c.      The middle pedal in his living room grand piano

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12.  An art work by which painter was hanging in the Schoenberg Rockingham dining room?

a.      Kokoschka

b.      Kandinsky

c.      Schoenberg

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You'll find the answers are somewhere on this Padlet!

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Hilary Hahn answers Arnold Schoenberg's concerto questions

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Arrangement of Schoenberg works by Schoenberg!

Op. 4 Verklaerte Nacht (arranged for String Orchestra)

Op. 9 Chamber Symphony (arranged for piano 4-hands)

Op. 9 Chamber Symphony (arranged for Orchestra)

Op. 10 Second String Quartet (arranged for Orchestra)

Op. 41 Ode to Napoleon (arranged for Orchestra)

Op. 43 Theme and Variations for Wind Band (arranged for full Orchestra)

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Schoenberg arrangements of works by other composers.

Johann Strauss Roses aus dem Sueden (Piano, Harmonium, String Quartet)

Johann Strauss Kaiser-Walzer (Flute, Clarinet, Strings, Piano)

Strauss Lagunenwalzer (Piano, Harmonium, String Quartet)

Matthias G. Monn Cello Concerto G-Moll (Strings, Cembolo)

Matthias G. Monn Concerto for Cello and Orchestra in G-Minor (for full Orchestra)

My Horses Ain't Hungry Appalachian Folksong (for a cappella chorus)

Johann Sebastian Bach: » Komm, Gott, Schöpfer, Heiliger Geist« (for full Orchestra)

Johann Sebastian Bach: »Schmücke Dich, o liebe Seele« (for full Orchestra)

Johann Sebastian Bach: Präludium und Fuge Es-Dur für Orgel (for full Orchestra)

Johannes Brahms: Piano quartet in g minor, op. 25 (for full Orchestra)

Carl Löwe: Der Nöck  (voice and Orchestra)

Max Reger: Eine romantische Suite, Op. 125 ) (Flute, Clarinet, Strings, Harmonium, Piano)

Georg Friedrich Händel Concerto grosso, op. 6 Nr. 7 in B-Dur  (for String Quartet and Orchestra)

Gustav Mahler  Das Lied von der Erde   (fl+picc, ob+eng hn, cl/Bb+Eb+b cl, bn, hn, 2perc, harmonium + celeste, piano, vl/l,ll, vla, vlc, db, alto, tenor. Percussion: Glockenspiel, Triangel, Becken, Tam Tam, Tamburin, Kleine Trommel, Grosse Trommel.)

Gustav Mahler: Lieder eines fahrenden Gesellen (arranged for fl, cl, piano, harmonium, triangle, glsp, vl/1,11, vla, vlc, db, low voice)

Luigi Denza Funiculi – Funicula  (Violin, Mandolin, Clarinet, Viola, Guitar, Cello)

Johann Sioly Weil I A Alter Drahrer Bin   (Violin, Mandolin, Clarinet, Viola, Guitar, Cello)

Franz Schubert Ständchen  (Clarinet, Bassoon, Mandoline, Guitar, Violin 2, Viola, Cello)

Franz Schubert Entr'acts und Ballets zum Drama "Rosamunde (Piano reduction 4 hands)

Gioachino Rossini Il Barbiere di Siviglia (Piano reduction 4 hands)

Gustav Albert Lortzing: Die Waffenschmied von Worms (Piano reduction 4 hands)

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One can LISTEN to any of these arrangements on the eas.schoenbergmusic.com website Go to LISTEN

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The perfect time for an English language edition.

Check out this link:

https://www.youtube.com/watch?v=EtPcS6sRZ30&t=583s

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Arrangements of Schoenberg's works by other composers.

Op. 4 Verklaerte Nacht (arranged by Michel Gaechter for Piano)

Op. 4 Verklaerte Nacht (arranged by Ted Cox for brass ensemble)

Op. 4 Verklaerte Nacht (arranged by Henk Guittart for Piano Trio)

Op. 8 Six Orchestral Songs (arranged by Hans Eisler, Erwin Stein for Chamber Ensemble)

Op. 9 Chamber Symphony (arranged by Eduard Steuermann for piano – 2-hands)

Op. 9 Chamber Symphony (arranged by Anton Webern for flute [or 2nd Violin], Clarinet in A [or Viola], Violin, Cello and Piano)

OP. 11  Three Pieces for Piano (arranged by Richard Duenser for Chamber Ensemble  fl, ob, cl (B), bn, hn (F), piano, strings 3-3-2-2-1)

Op. 11 #2 (Interpretation by Ferruccio Busoni)

Op. 13 Friede auf Erden (adapted for 4 Trumpets in C, 4 Horns in F, 2 Trombones, 1 Bass Trombone by Jeff Luke)

Op. 15 Book of the Hanging Gardens

Arranged by Richard Duenser  for Chamber Orchestra fl, ob, cl (B), bn, hn (F), percussion, harp, strings)

Op. 17 Erwartung (arranged by Faradsch Karaew for chamber version flute(also piccolo), oboe (also English Horn), 2 Clarinets, bassoon, 2 horns, trumpet, trombone, bass tuba, 3 percussion, harp, celesta, strings)

Op. 17 Erwartung (arranged by Michel Decoust and Paul Mefano for chamber ensemble 2 flute, oboe (also English Horn, 2 Clarinets, bassoon, 2 horns, trombone, percussion, harp, celesta, strings)

Op. 19 Six Pieces for Piano  (arranged by Siegfried Behrend for Guitar)

Op. 19 Six Pieces for Piano  (arranged by Bernhard Wulff for Chamber Orchestra)

Op. 19 Six Pieces for Piano (arranged by JeffMyers for full Orchestra)

Op. 19 Six Pieces for Piano (arranged by Jan van Vlijmen for large Orchestra)

Op. 26 Wind Quintet Sonata (arranged by Felix Greissle for VN or FL and PF)

Op. 26 Wind Quintet Sonata (arranged by Felix Greissle for CL and PF)

Op. 31 Variations for Orchestra  (transcribed by Charles Wuorinen for 2 pianos)

Op. 31 Variations for Orchestra  (arranged by Charles Wuorinen for piano)

Seven Cabaret Songs (arranged by Patrick Davin for Chamber Ensemble  Flute, Clarinet, Piano, Harmonium, Percussion, 2 Violins, Viola, Cello, Bass and Voice)

Four Cabaret Songs (arranged by Scott Dunn for Chamber Ensemble  Flute, Clarinet, Bassoon, Trumpet, Trombone, Percussion, Piano, strings 6-5-4-3-2 and Voice)

Notturno (arranged by Scott Dunn for String Quartet and Piano)

1896 Pieces for Piano  (arranged by Klaus Winkler  for Brass Ensemble)

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The University could offer a series of Online Courses on topics such as:

·         A Guide to the Harmonielehre

·         Fundamentals of Music Composition

·         Composition with 12-Tones

These courses would be taught by highly qualified Schoenberg scholars, using extensive materials from the archives of the Arnold Schoenberg Center in Vienna. The courses would be available on-line.

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The technology is evolving so that that there is, or there will soon be, the possibility to create videos simulating a filmed occurrence of an event or a lecture employing only still images and audio recordings, .  I can imagine that one will be able to present Schoenberg’s teaching lectures, essays and articles using this technique.  And in the near future, with voice sampling,  one will be able to create DEEPTRUTH videos directly from texts and photographs.

Pat Pataranutaporn a MIT Media Lab student has produced a DEEPTRUTH video based on Schoenberg’s 1937 radio eulogy for George Gershwin on the Mutual Broadcasting System.

NOTE: I posted this 3 or 4 years ago! Look where we are now!

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One of a series of suggestions for immersion rooms. The immersion rooms could be in a gallery, a museum or even virtual.  The graphics and projections would be selected by the designer.

This video includes the Schoenberg Cabaret Song Nachtwandler, the one Cabaret Song that he composed for Soprano, Piccolo, Trumpet, Snare Drum and Piano.

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One of a series of suggestions for immersion rooms. The immersion rooms could be in a gallery, a museum or even virtual.  The graphics and projections would be selected by the designer.

This video includes a recording of his last completed work and some of his drawings and paintings.

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One of a series of suggestions for immersion rooms. The immersion rooms could be in a gallery, a museum or even virtual.  The graphics and projections would be selected by the designer. This video includes Schoenberg's 4-hand piano arrangement of Rossini's Barber of Seville and a selection of Schoenberg's designs for playing cards.

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Schoenberg in Hollywood – Trailer | Volksoper Wien/Kasino am Schwarzenbergplatz

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This production of Tod Machover's opera is available for venues throughout the world.

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Schoenberg in Hollywood – Trailer | Volksoper Wien/Kasino am Schwarzenbergplatz

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criteria based on Schoenberg’s definition of innovation

awarded every 2-5 years

internationally sponsored

perpetuates the way Schoenberg approached and solved issues

jury is composed of innovative thinkers who are familiar with Schoenberg's approach to discovery and creation.

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A Schoenberg and Jazz Symposium- perhaps in conjunction with the University of Music and Performing Arts Vienna.

Anthony Davies: Simultaneously 1978

Chick Corea in Paris, 1970

Duke Ellington: Moon (Celesta), Daybreak Express

Billy S. Horne: 1956

George Rembly

Buddy Colette

Charles Mingus

Hale Smith

Erik Dolphy (einziges durchgängig atonales Jazzalbum 1963)

Ralph Rainger

Artie Shaw

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A Pierrot Tour through Southern California

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A Pierrot Tour through Southern California

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A “Pierrot Ensemble” could be formed that would perform Pierrot Lunaire together with the Strauss Emperor Waltz arrangement. They could perform this concert throughout Southern California and beyond. The Schoenberg Center in Vienna could produce informative panels that could be displayed at each venue.

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One of a series of suggestions for immersion rooms. The immersion rooms could be in a gallery, a museum or even virtual.  The graphics and projections would be selected by the designer.

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Gurrelieder Sunrise video for Immersions

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Johannes Fleischmann suggests to create a Gurrelieder performance in a size like never before. At the Musikfest 1922 in Duisburg, 1000 musicians under conductor Paul Scheinpflug performed Schoenberg’s masterpiece. To my knowledge the biggest performance ever of this piece. Musicians and singers from all over Germany came to join this concert.

The climax of the Schönberg festival with over 1000 performers will be a creation of the most impressive performance of Gurre Lieder. A collaboration between YOLA and other youth orchestras and choirs from all of California/USA will show the uniting power of music, especially Schoenberg’s music.

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A recreation of the 1937 performances at UCLA, ROYCE HALL.

January 4, 1937: Beethoven Op. 127, Schoenberg Op. 7

January 6, 1937: Schoenberg Op. 10, Beethoven Op. 130/133

January 7, 1837: Schoenberg Op. 30, Beethoven Op. 131

January 8, 1937: Schoenberg op. 37, Beethoven op. 132

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Schoenberg, String quartet no. 1 in D minor, op. 7 (Kolisch Quartet/1936)

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Your chances of getting all 12 questions correct, if you randomly pick answers is about 2 in a million!

You can E-Mail me at larry@schoenbergmusic.com if you need additional information or dispute some of the answers.

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A realization of Schoenberg’s 1940 proposal to the UCLA faculty for a “Forum of the Arts and Esthetics” where he hoped to promote cross-fertilization among the Art and Sciences.  He invited UCLA colleagues from the humanities and sciences to exchange ideas and to discuss the influences of technology and sociology on the arts, envisioning far-reaching conferences on esthetics. (See Sabine Feisst Schoenberg’s New World) and the ASC archives.

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A dramatic film based on the first performance of A Survivor from Warsaw From a Blog by Stephen Soderberg:

Ever since I first learned about the premiere performance of Schoenberg's A Survivor from Warsaw, I have been puzzled. I'm not talking about the piece itself (which has its own wonderful internal network of labyrinths which I happen to be working through right now), but about certain "externals." A Survivor from Warsaw was commissioned by Serge Koussevitzy, then conductor of the Boston Symphony. So one would naturally assume the Boston Symphony Orchestra would do the premiere. And, given Schoenberg's stature at the time, if not the BSO, then by any one of a number of other top-tier orchestras in the world. So who got the prize? On Thursday, November 4, 1948, the world premiere of A Survivor from Warsaw was given in the Carlisle Gymnasium, University of New Mexico Campus, Albuquerque, New Mexico. The conductor was Kurt Frederick, and the orchestra was the Albuquerque Civic Symphony Orchestra. Why would Schoenberg allow ~ encourage even ~ the premiere of this work by an amateur orchestra in a small city in the American Southwest? And what possessed Kurt Frederick to even try to present the work there ~ and with an amateur orchestra? And who was Kurt Frederick, anyway? What was the reaction of an audience in 1948 Albuquerque, New Mexico to six or seven minutes of unrelieved Schoenbergian "atonality"? Did they walkout? Was there an audience at all? Kurt Frederick, the conductor, was himself a refugee and, given that he played viola with the Kolisch Quartet for a few months in 1941, had contacts within the large and growing immigrant music community at the time. Apparently Schoenberg had enough faith in his abilities to entrust the performance to him~ and it may well be that, at any rate, Schoenberg did not place as much weight on a "premiere" as many do today. But the guessing game about what was in Schoenberg's (or Fredrick's) head is not nearly as interesting tome as the orchestra and audience on this occasion. According to the review in the Albuquerque Journal the next day and a letter from Frederick to Schoenberg a month later, the orchestra consisted of “lawyers, doctors, secretaries, high school and university students, railroad engineers, etc." The population of Albuquerque at the time was around 50 or 60 thousand but growing rapidly, probably due to the recent start-up of Sandia Base which was drawing scientists and engineers to settle in the region. A description of the male chorus makes this even more interesting. The chorus was made up from the Albuquerque Choral Association, the University’s chorus, and one other group.... A chorus from the town of Estancia (population at the time around 1,000 ~ today it's about 1,500) asked for the privilege to sing with the chorus. Looking back at this from our 2010 viewpoint, this starts to sound like someone made this up. The Estancia Men's Chorus consisted primarily of farmers who had to drive 120 miles to the rehearsals and performance. Now, realize that the famous Route 66, the first fully paved highway in the U.S. brought the first coast-to-coast (2-lane) traffic through the state barely 25years earlier (this also helped urbanize Albuquerque). For these guys to get to a rehearsal we are likely talking about 30s/40s-era pickups or sedans on mostly unpaved roads ~ not a quick hour-and-a-half in a comfortable SUV on adivided 4-lane. And then there's that 1948 audience hearing this piece for the first time. They numbered between twelve and fifteen hundred. Significantly, I know of no source that would indicate any of these people were "analytically prepared" in the way we think we have to prepare audiences today with pre-concert lectures, program notes, appreciation in the local paper, etc. that are all arguably predisposed to inducing pre-judgments, whether positive or negative. The closest to any preparation in 1948 that I know of was a brief paragraph in the program: This is a story depicting the great spirit of a people in the face of brutality and horror. It was told to Schoenberg by several eyewitnesses. The setting, written in 1947, for narrator, male chorus in unison, and orchestra, is made in the atonal technique originated by Schoenberg. The extreme dissonance, the disjunct linear style, the quasi Sprechtstimme style of narration, and the overall severity of the music are peculiarly fitted to the spirit of the text. (Program annotation by Dr. Hugh M. Miller, Head of the Department of Music at the University of New Mexico.) Furthermore, it was unlikely many of them, even if they had heard of Schoenberg before, had heard any of his music, except perhaps on the radio (and Schoenberg had other problems even getting his music aired, but that's another story). More likely what they were hearing on the radio or buying in a record store were the popular tunes of the day: Art Mooney ("I'm looking over a four-leaf clover"), Nat King Cole("Nature Boy"), Gene Autry or Dinah Shore ("Buttons 'n 'Bows"), and Kay Kyser ("The Woody Woodpecker song"). But in a crowded gym on this particular evening in 1948………………………………… The review the next day said the audience was left "a little breathless and bewildered." But they "loyally and loudly applauded" until Kurt Frederick returned to the podium and asked if they would like to hear it again, at which "the applause immediately doubled in volume and enthusiasm." The repeat performance was again met with "thundering applause." Given that a relatively unsophisticated audience in 1948, hearing a surely imperfect performance by a local civic orchestra of a complex work for which they had no predisposition to accept or reject, like or dislike, love or hate ~ how could they possibly freely[!] choose enthusiastic applause for a composer that today has become the bane of many younger composers and critics' favorite whipping boy? "Everyone" today "knows" that you are supposed to sneer at the name Arnold Schoenberg, composer of dry mathematical music, elitist par excellence.

A possible project for students in a University Film School.