Welcome to the Arnold Schönberg Center!
Please note the following rules for your visit:
1. GENERAL INFORMATION FOR YOUR VISIT
2. INFORMATION ON ATTENDING THE EVENTS
1. GENERAL INFORMATION FOR YOUR VISIT
FFP2-MASK: Wearing a FFP2-Mask is mandatory.
KEEPING DISTANCE: Keeping an appropriate distance to other people must be ensured in the foyer, in front of the cloakrooms and in bathrooms.
RESPIRATORY HYGIENE: Cough and sneeze into your elbow or use a tissue to cover your mouth.
WASHING OF HANDS: Wash your hands regularly for at least 20 seconds or use our disinfectant dispensers.
2. INFORMATION ON ATTENDING THE EVENTS
2.1. TICKET PURCHASE AND RESERVATION
Attendance at the concert is only possible with registration: Tel. +43 1 712 18 88 | schoenberg.at
The registration of your contact details (name and phone number) is required under careful consideration of data protection regulations.
A maximum of two tickets per performance can be purchased by one person in order to facilitate contact tracing for health authorities if necessary.
Please buy/reserve tickets only for yourself and one accompanying person. Ticket buyers agree to provide the names and contact details of their accompanying person if requested by the authorities.
A ticket should only be passed on if you are able to provide the health authorities with the contact details of the new ticket holder in case of contact tracing.
2.2. ATTENDING THE CONCERT
Concert attendance is only possible if tested, vaccinated or recovered. The validity periods set by the federal government apply:
tested: molecular biological test by an authorized body up to 72 hours after sample collection, antigen test up to 48 hours or self test with video verification up to 24 hours
recovered: up to 6 months after recovery, 3 months extension by antibody detection
vaccinated: from 22 days after the first vaccination
Visiting with children: Children over the age of 10 must present a negative test result.
Please note: On-site testing is not possible.
We are required to check that the name on your ticket corresponds with your name. Please keep your ID ready.
During the visit please note our general rules for concerts (wearing a mask, distance, respiratory hygiene, washing of hands).
Admission to the concert hall is 30 minutes before the start of the event.
You will be seated in accordance with the legal requirements. It is not possible to occupy adjacent seats.
2.3. AFTER THE CONCERT
In case that you are suspected or tested positive shortly after the event, please contact the health advice service 1450, which will decide on how to proceed.
We kindly ask you to refrain from attending the concert if you have any symptoms of illness.
We are looking forward to your visit!
Two songs for baritone and piano op. 1 (1898)
Four songs for voice and piano op. 2 (1899)
Six songs for medium voice and piano op. 3 (1899–1903)
String sextet "Transfigured night" op. 4 (1899)
Pelleas and Melisande, symphonic poem for orchestra op. 5 (1902–1903)
Eight songs for voice and piano op. 6 (1903–1905)
First string quartet in d minor op. 7 (1904–1905)
Six orchestral songs op. 8 (1903–1905)
Chamber symphony for fifteen solo instruments (orchestra) op. 9 & 9b (1906)
Second string quartet in f sharp minor op. 10 (1907–1908)
Three piano pieces op. 11 (1909)
Two ballads for voice and piano op. 12 (1907)
"Peace on Earth" for mixed chorus a cappella op. 13 (1907)
Two songs for voice and piano op. 14 (1907–1908)
Fifteen verses from "The book of the hanging gardens" by Stefan George for high voice and piano op. 15 (1908–1909)
Five orchestral pieces op. 16 (1909, revidiert 1922)
"Expectation", monodrama op. 17 (1909)
"The lucky hand" op. 18 (1910–1913)
Six little piano pieces op. 19 (1911)
"Foliage of the heart" for high soprano, harp, celesta and harmonium op. 20 (1911)
Pierrot lunaire for speaking voice, piano, flute (altern. w. piccolo), clarinet (altern. w. bass clar.), violin, (altern. w. viola) and cello. 21 melodramas after Albert Giraud, translated by O. E. Hartleben op. 21 (1912)
Four songs for voice and orchestra op. 22 (1913–1916)
Five piano pieces op. 23 (1920–1923)
Serenade for clarinet, bass clarinet, mandolin, guitar, violin, viola, cello and baritone voice (4th Movement: Sonnet of Petrarch) op. 24 (1920–1923)
Suite for piano op. 25 (1921–1923)
Quintet for flute, oboe, clarinet, bassoon and horn op. 26 (1923–1924)
Four pieces for mixed chorus op. 27 (1925)
Three satires for mixed chorus op. 28 (1925–1926)
Suite for piano, piccolo clarinet, clarinet, bass clarinet, violin, viola, and cello op. 29 (1925–1926)
Third string quartet op. 30 (1927)
Variations for orchestra op. 31 (1926–1928)
"From Today till Tomorrow", opera in one act (Text by 'Max Blonda', recte Gertrud Schönberg) op. 32 (1928–1929)
Piano Pieces op. 33a & b (1929 / 1931)
"Accompaniment to a Cinematographic Scene" op. 34 (1929–1930)
Six pieces for male chorus a cappella op. 35 (1929–1930)
Concerto for Violin and Orchestra op. 36 (1934–1936)
Fourth String Quartet op. 37 (1936)
Chamber symphony No. 2 op. 38 & 38b (1906–1939)
Kol Nidre for speaker, mixed chorus and orchestra op. 39 (1938)
Variations on a Recitative for Organ (in D) op. 40 (1941)
Ode to Napoleon Buonaparte (Lord Byron) for String Quartet, Piano and Reciter op. 41 (1942)
Concerto for Piano and Orchestra op. 42 (1942)
Theme and Variations for Full Band (Orchestra) op. 43a & b (1943)
Prelude for Mixed Chorus and Orchestra op. 44 (1945)
String Trio op. 45 (1946)
A Survivor from Warsaw for Narrator, Men's Chorus and Orchestra op. 46 (1947)
Phantasy for Violin with Piano Accompaniment op. 47 (1949)
Three Songs for low voice op. 48 (1933)
Three Folksongs for mixed chorus a cappella op. 49 (1948)
"Thrice a Thousand Years" for mixed chorus a cappella op. 50A (1949)
Psalm 130 for Mixed Chorus a cappella (six voices) op. 50B (1950)
Modern Psalm, for speaker, fourt-part mixed chorus and orchestra, unfinished op. 50C (1950)
Opera
Moses und Aron. Opera in Three Acts (1926–1932)
Choral works with accompaniment
Gurre-Lieder (Jens Peter Jacobsen) for soli, chorus and orchestra (1900–1911)
"Song of the Wood-Dove" Version for voice and chamber orchestra (1922)
"Jacob's Ladder" Oratorio for soli, mixed chorus and orchestra (1917–1922)
Choral works without accompaniment
Siehst Du am Weg ein Blümlein blüh´n (ca. 1896)
"Friedlicher Abend senkt sich aufs Gefilde..." Two-voiced canon (undated)
"Ei du Lütte" (1895/96)
"Der deutsche Michel": A Battle song (1915–1916)
Israel exists again (Fragment)
Canons before 1920
Canons after 1920
Songs with piano accompaniment
Early Songs until 1895
Early Songs after 1895
Brettl-Songs (1901)
Song "Am Strande" (1909)
Songs with instrumental accompaniment
Song "Es ist ein Flüstern..." (undated)
Piano and Organ works
Three pieces for piano (1894)
Six pieces for piano four hands (1895–1896)
Sonata for Organ (unfinished, 1941)
Chamber music
Presto for String Quartet (C Major) (undated)
Piece for Violin and Piano (d Minor) (1893/94?)
Scherzo for String Quartet (F Major) (1897)
String Quartet (D major) (1897)
Toter Winkel for string sextet (1899)
Ein Stelldichein for oboe, clarinet, violin, violoncello and piano (1905)
Three pieces for chamber orchestra (1910)
March "The Iron Brigade" (1916)
Christmas music for 2 violins, cello, piano and harmonium (1921)
Gerpa (Fragment) (1922)
Canons and other contrapunctical compositions
Orchestral works
Notturno for Strings and Harp known as well as "Adagio für Harfe und Streicher" (1896)
Serenade for small orchestra (Fragment)
Gavotte and Musette for string orchestra (in the old Style) (1897)
Waltz for string orchestra (Fragment)
Frühlingstod (Fragment)
Suite in the old Style for string orchestra (1934)
Fanfare for a Bowl Concert (Gurre-Lieder)
Arrangements for orchestra
Johann Sebastian Bach: Choralvorspiel: »Komm, Gott, Schöpfer, Heiliger Geist« (BWV 631) for large orchestra (1922)
Johann Sebastian Bach: Choralvorspiel: »Schmücke Dich, o liebe Seele« (BWV 654) for large orchestra (1922)
Johann Sebastian Bach: Präludium und Fuge in Es-Dur für Orgel (BWV 552) for orchestra (1928)
Johannes Brahms: Piano quartet g minor, op. 25 for large orchestra (1937)
Max Reger: Romantische Suite op. 125 (1919/20)
Instrumentations for small ensemble
Gustav Mahler: Lieder eines fahrenden Gesellen for small ensemble (1920)
Gustav Mahler: Lied von der Erde for small ensemble (Fragment, 1921)
Waltzes by Johann Strauß
Concerts and Sonatas
Konzert für Violoncello und Orchester (D-Dur) nach Matthias Georg Monn: Concerto per Clavicembalo (1932–1933)
Konzert für Streichquartett und Orchester (B-Dur) nach Georg Friedrich Händel: Concerto grosso, op. 6 Nr. 7 in B-Dur (1933)
Other arrangements
Song arrangements
Bogumil Zepler: Mädchenreigen op. 33
Three Folksongs
Four german Folksongs
Basso continuo and cadences
Piano reductions
Exhibition
14 March till 29 June 2018
Arnold Schönberg Center, Schwarzenbergplatz 6, Zaunergasse 1-3 (Eingang), A-1030 Wien
Fin-de-siècle Vienna was akin to an experimental laboratory for new constructions of identity: it stimulated the rapid growth of modernism in music as well as in painting, architecture, psychoanalysis, physics, physiology, and economic theory. The avant-garde movement known as Jung-Wien can be considered the collective nucleus of Viennese modernism, as the areas of the nerves, psyche, self, and dream were defined as their keywords.
Jung-Wien is an invention of the feuilleton, and was neither established officially nor shaped by a common program. When Hermann Bahr spoke of a “school of young, mostly Viennese literati”, this designation aimed more at a geographical anchoring rather than an ideological category. In the collective biography of Viennese modernism, Arnold Schönberg was “the most captivating, most difficult, most unsettling” person in an “environment that was, so to speak, supersaturated with electricity” (Richard Specht).
The exhibition of musical, literary, and artistic works in a setting of historical and biographical documents and furnishings traces the aura of one of the most important periods in Viennese cultural history from the perspective of Jung-Wiener musical composition. Starting from a Jung-Wiener gathering in the legendary Café Griensteidl, a cultural panorama will be sketched that crosses artistic boundaries and spans from the 1890s to the death of Gustav Mahler in May of 1911. Arnold Schönberg proved himself to be an actor in multiple fields: music, painting, literature, design, and engineering.
Curator: Therese Muxeneder
Architecture: Jochen Koppensteiner
Opening Hours:
Monday – Friday and on Sundays as follows: March 18, April 22, May 27, June 24
10 am to 5 pm
closed on legal holidays
The exhibition opens one hour before the event begins; admission is free for concertgoers.
Entrance fee:
Adults € 6; Discount: school children, apprentices, students, reserves, civil servants, senior citizens, visitors with special needs, groups, Vienna City Card, Club Ö1, mdw club, CLUB WIEN-Card.
Free admission on the above mentioned Sundays, children under 12, Kulturpass holders
Presse photos:
