Schönberg is the head of a school of younger Viennese musical impressionists and independents, including Karl Horwitz, Heinrich Jalowetz, Alban Berg, Anton von Webern, Egon Wellesz, who have abandoned the more romantic and classic tenets of Bruckner and Hugo Wolf to follow this ultra-modern leader. One of the very few modern composers the performance of whose works has, on occasion, aroused the active hostility of his audiences, he has written symphonic music (the suite _Pelléas et Mélisande_), chamber music, songs, piano pieces, and a highly original and interesting text-book on harmony. This composer, ‘whose every chord is the outcome of an emotion’ and who, to quote James Huneker, ‘has the courage of his chromatics,’ has made various contributions to choral music, first among which is _Gurrelieder_, for solos, chorus and orchestra, composed to a text by the Danish poet Jens Peter Jacobsen, translated into German by Robert Franz Arnold. This choral cycle, written somewhere between 1901 and 1908, belongs in the second stage of the composer’s development and not in the third period (from 1908 on), during which Schönberg ‘throws over almost everything hitherto accepted, i. e., consonance, tonality, thematic use, form, even program; and retains only rhythm and color, boldly calling this music a mere emanation of himself, which has no relation to the receptivities of his hearers.’[85] The _Gurrelieder_ were heard in part, with piano accompaniment, in London, in 1910. In 1913 a complete performance with the enormous orchestra called for by the score (including 8 flutes, 5 oboes, 7 clarinets, 10 horns, 5 trumpets, 7 trombones, 6 kettle-drums, a number of other instruments of percussion, 4 harps, celesta and strings with as many individual players as possible) took place in Vienna. Opinion is still largely divided as to the ultimate value of Schönberg’s work. It is worthy of note, however, that Ernest Newman, in ‘The Musical Times,’ January, 1914, speaks warmly of the _Gurrelieder_, which he calls ‘the finest musical love-poem since "Tristan and Isolde."’ In addition to the _Gurrelieder_ we have from Schönberg’s pen the sextet, opus 4, ‘Transfigured Night’ (First Period), which, although not a choral work, is conceived chorally for the strings, and is a work of exceeding beauty and original tonal combination worked out along normal lines--an entire contrast to the _Pierrot lunaire_, a series of melodramas of the most cataclysmic futurity, consisting of ‘three times seven poems’ by Albert Giraud, with titles such as ‘The Red Mass,’ ‘The Sick Moon,’ ‘A Beheading,’ ‘Gallows Song,’ ‘The Dandy,’ set for a narrator, piano, flute (also piccolo), clarinet (also bass clarinet), violin (also viola), and ‘cello. III