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.

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

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.

• 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

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

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

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!

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 2^nd 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)

Check out this link:

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

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

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

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

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

Arnold Schoenberg in his own Words Composition With Twelve Tones

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© Copyright 2026 Arnold Schönberg Center & Belmont Music Publishers

Check out this link:

Arnold Schönberg: Symbols for Recording of Tennis Games

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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

----------------------------

9.      His first television set had the same name as

a.      His secretary

b.      The Philadelphia Storage Battery Company

c.      DuMont Schauberg

----------------------------

10.  Which of following devices did he NOT have?

a.      Polaroid Camera

b.      Ozalid Copy Machine

c.      Webster-Chicago Wire Recorder

 ----------------------------

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

 ----------------------------

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!      

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

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...