Title: Erwartung
Content:  Erwartung (Expectation), Op. 17, is a one-act monodrama in four scenes by Arnold Schoenberg to a libretto by. Composed in 1909, it was not premiered until 6 June 1924 in Prague conducted by Alexander Zemlinsky with Marie Gutheil-Schoder as the soprano. The opera 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 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 
Title: Erwartung
Content:  spiritual excitement, stretching it out to half an hour." 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. Herbert Buchanan has countered this description of the work as "athematic", and the general impression of it as "atonal", in his own analysis. The musicologist Charles Rosen has said that Erwartung, along with Berg's Wozzeck and Stravinsky's The Rite of Spring, is among the "impregnable" "great monuments of modernism."
Title: Expressionist music
Content:  in which each of the four movements gets progressively less tonal. The third movement is arguably atonal and the introduction to the final movement is very chromatic, arguably has no tonal centre, and features a soprano singing "Ich fühle Luft von anderem Planeten" ("I feel the air of another planet"), taken from a poem by Stefan George. This may be representative of Schoenberg entering the "new world" of atonality. In 1909, Schoenberg composed the one-act 'monodrama' Erwartung (Expectation). This is a thirty-minute, highly expressionist work in which atonal music accompanies a musical drama centered around a nameless woman. Having stumbled through 
Title: Die glückliche Hand
Content:  Die glückliche Hand (The Hand of Fate), Op. 18, is a Drama mit Musik ("drama with music") by Arnold Schoenberg in four scenes. It was composed between 1910 and 1913. Like Erwartung, composed a year earlier, it was heavily influenced by Otto Weininger's book Sex and Character. Unlike Erwartung, Schoenberg wrote the libretto for Die glückliche Hand himself. The first performance took place at the Vienna Volksoper on 24 October 1924. The underlying message of the piece is the idea that man continues to repeatedly make the same mistakes, and the plot is developed from events in Schoenberg's personal life.
Title: Man with a Movie Camera
Content: 1983 – A new composition was performed by Un Drame Musical Instantané, based on Vertov's writings, among which was his Ear Laboratory. Electronic sounds, ambiences, voices were mixed to the 15-piece orchestra. An LP was issued in 1984 on Grrr Records. ; 1995 – A new composition was performed by the Alloy Orchestra of Cambridge, Massachusetts, based on notes left by Vertov. It incorporates sound effects such as sirens, babies crying, crowd noise, etc.  Readily available on several different DVD versions. ; 1996 – Norwegian composer Geir Jenssen (aka Biosphere) was commissioned by the Tromsø International Film Festival to write a new soundtrack for the movie, using the director's written instructions 
Title: Ignatz Waghalter
Content:  United States, he succeeded Joseph Stransky as musical director of the New York State Symphony, which he held during the 1925 season. Deeply attached to the cultural life of Berlin, Waghalter turned down an offer to remain at the State Symphony and returned to Germany. He assumed the position of Generalmusikmeister of UFA, the country's largest film production company in Germany. For UFA, Waghalter composed the original musical score for one of the most extraordinary German films of the Weimar era, Hanns Walter Kornblum's Wunder der Schöpfung. The pathbreaking film, which premiered in Berlin in September 1925, attempted to present in 
Title: Botho Sigwart zu Eulenburg
Content:  however, Sigwart had been thinking about composing an opera. Having been alerted to the texts of Euripides by his early music teacher, Count Sporck, Sigwart withdrew for a period in 1912 and 1913 to his family residence Hertefeld Castle by the Rhine to work on it in solitude. The Songs of Euripides, as it was called, was accepted as a work in the spring of 1913 by the Staatstheater Stuttgart. After a labour of one and a half years, it was to be the only opera he composed, its completion coinciding with the birth of his only son Friedrich Max Donatus Sigwart on 19 February 1914.
Title: Werner Egk
Content:  His major career began after the war. In Germany, Egk has been dubbed "Komponist des Wiederaufbaus" ("composer of the reconstruction", which followed World War II). Besides being a conductor and composer, he was head of the Berlin Musikhochschule (1950–1952) and important figure of the GEMA since 1950; he was also the first German president of the Confédération Internationale des Sociétés d'Auteurs et Compositeurs (CISAC). In 1954 he became conductor of the Bavarian State Opera with a 20-year contract. His later years saw a constant string of premieres at major European festivals, beginning with Irische Legende in 1955, conducted by George Szell and featuring Dietrich Fischer-Dieskau. His opera Die Verlobung in San Domingo opened the National Theatre Munich in 1963 and features a libretto by Heinrich von Kleist, pleading for racial tolerance. His late works, however, were almost exclusively instrumental. Exceptional among them are works for winds, including the Divertissement for Ten Wind Instruments (1974) and the Five Pieces for Wind Quintet (1975). Egk died on 10 July 1983 in Inning am Ammersee.
Title: Wunschkonzert
Content:  The former Reich Film Superintendent Fritz Hippler characterised the film – after 1945 – not only as a state-commissioned film, but as: "Goebbels' pet child. He had worked on the screenplay, written dialogue, and specified particular singers and music to be presented in the great set pieces. Since he prized Ilse Werner above all as the 'sympathetic model of a modern woman', he was completely besotted with that piece of casting." The director Eduard von Borsody, who otherwise mostly specialised in adventure films, had recommended himself to the Nazi regime by his work on the films Morgenrot (1933, pre-dating the Nazi seizure of control), Flüchtlinge (1933), and Kautschuk (1938). Shooting began on 16 July 1940. 
Title: Eventyr (Once Upon a Time)
Content:  Eventyr (Once Upon a Time) is a tone poem for orchestra composed by Frederick Delius in 1917. It was given its premiere in London on 11 January 1919, under the direction of Henry Wood. "Eventyr" means "adventure", and the inspiration for the piece was a fairy tale from Norway. After a twenty-bar introduction, a fantastic theme is played first by the bassoons and then by the other woodwinds. The second subject is presented by the strings and gains in intensity with the addition of another subject in counterpoint. Several climactic moments follow before the creation of a fairy world, dominated by a descending chromatic theme for strings, celesta, and harp. The piece is concluded with the return of earlier material, followed by a quiet closing section.

Question: Who was the composer of Erwartung?
Answer: Arnold Schoenberg.
Arnold Schönberg.
A. Schenberg.
Arnold Franz Walter Schoenberg.
Arnold Schonberg.
Arnolʹd Shenberg.
A. Shenberg.
Arnold Franz Walter Schönberg.