Question: What one-act ballet's music was written by an Austrian composer and conductor?

full_context: Document 1: Second Viennese School: The Second Viennese School (German: Zweite Wiener Schule, Neue Wiener Schule ) is the group of composers that comprised Arnold Schoenberg and his pupils and close associates in early 20th century Vienna, where he lived and taught, sporadically, between 1903 and 1925. Their music was initially characterized by late-Romantic expanded tonality and later, following Schoenberg's own evolution, a totally chromatic expressionism without firm tonal centre, often referred to as atonality; and later still, Schoenberg's serial twelve-tone technique. Though this common development took place, it neither followed a common time-line nor a cooperative path. Likewise, it was not a direct result of Schoenberg's teaching—which, as his various published textbooks demonstrate, was highly traditional and conservative. Schoenberg's textbooks also reveal that the Second Viennese School spawned not from the development of his serial method, but rather from the influence of his creative example.
Document 2: The Rite of Spring (MacMillan): The Rite of Spring is a one-act ballet created by Kenneth MacMillan in 1962 for the Royal Ballet. The music is Igor Stravinsky's "The Rite of Spring" (1913). The conductor was Colin Davis; the designs were by Sidney Nolan.
Document 3: A Survivor from Warsaw: A Survivor from Warsaw, Op. 46, is a cantata by the Los Angeles-based Austrian composer Arnold Schoenberg, written in tribute to Holocaust victims. The main narration is unsung; “never should there be a pitch” to its solo vocal line, wrote the composer.
Document 4: Different Drummer: Different Drummer is a one-act ballet created by Kenneth MacMillan in 1984 for the Royal Ballet. The music is by Anton Webern (Passacaglia for Orchestra, Op. 1) and Arnold Schoenberg ("Verklärte Nacht"). The story is based on the play "Woyzeck" by Georg Büchner.
Document 5: New Venice School: The New Venice School is a movement in contemporary music in Venice from the 1970s to the present, made up of composers directly influenced from teachings at the Venice Conservatory (Conservatorio Benedetto Marcello) of the distinguished composer and pedagogue Baron Ernesto Rubin de Cervin (Albrizzi) (born 1936), who studied under Luigi Dallapiccola in Florence and Goffredo Petrassi in Rome. His many students include the composer and conductor Giuseppe Sinopoli (1946–2001); the composer and teacher Marino Baratello (born 1953); the composer Claudio Ambrosini (born 1948); and the Amsterdam-based, English composer Geoffrey King (born 1949). Although not directly influenced by the legacy of Rubin de Cervin and the above-listed lineage, other Venetian composers were influential in the development of new music in Venice, namely Bruno Maderna (1920–1973) and Luigi Nono(1924–1990).
Document 6: Carl Maria von Weber: Carl Maria Friedrich Ernst von Weber (18 or 19 November 1786 5 June 1826) was a German composer, conductor, pianist, guitarist and critic, and was one of the first significant composers of the Romantic school.
Document 7: Arnold Schoenberg: Arnold Franz Walter Schoenberg or Schönberg ( ; ] ; 13 September 187413 July 1951) was an Austrian composer, music theorist, and painter. He was associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. With the rise of the Nazi Party, Schoenberg's works were labelled degenerate music, because they were modernist, atonal and what even Paul Hindemith called "sonic orgies" and "decadent intellectual efforts". He emigrated to the United States of America in 1934.
Document 8: Die glückliche Hand: 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 in Vienna 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.
Document 9: Theodor W. Adorno: Theodor W. Adorno ( ; ] ; born Theodor Ludwig Wiesengrund; September 11, 1903 – August 6, 1969) was a German philosopher, sociologist, and composer known for his critical theory of society.
Document 10: Robert Schumann's Davidsbündlertänze: Robert Schumann’s “Davidsbündlertänze” is one of the last major works made by New York City Ballet's founding choreographer and balletmaster-in-chief George Balanchine. It is set to Robert Schumann's "Davidsbündlertänze" ("Dances of the League of David"), Op. 6 (1837). The idea for setting this piano work very likely came from a work created by Robert Joffrey for his own Joffrey Ballet Company, the premier of which took place at the City Center Theater in the late 1970s. Joffrey, in turn, received his inspiration from Jonathan Watts, a protege of Joffrey's and director of the Joffrey apprentice company, who, at the suggestion of pianist Neil Stannard (yours truly), created a ballet titled "Evening Dialogues" to this same score. This initial version of the Schumann cycle was featured on tour with the Joffrey second company in the mid 1970a.
Document 11: Arnold Schoenberg Choir: The Arnold Schoenberg Choir (German: "Arnold Schoenberg Chor" ) is a Viennese/Austrian choir which was founded 1972 by Erwin Ortner, who is still its artistic director. The choir has a high reputation both among conductors and among critics and the musical scene in general. All members of the choir have broad experience and expertise in vocal music; most of them have graduated from or are currently studying at the Vienna University of Music and Performing Arts. The choir is named after Viennese composer Arnold Schoenberg.
Document 12: Erwin Ratz: Erwin Ratz (22 December 1898, Graz – 12 December 1973, Vienna) was an Austrian musicologist and music theorist. He studied musicology with Guido Adler and composition with Arnold Schoenberg and was active in the Schoenberg circle. In 1921 and 1922, due to straightened financial circumstances, he worked at the Bauhaus in Weimar as a secretary. After World War II he was a professor of musical form and analysis in Vienna. He is best known for his work "Einführung in die musikalische Formenlehre" ("Introduction to Musical Form"), which is devoted primarily to the work of Bach and Beethoven, and for his role in editing Mahler's works as President of the 'International Gustav Mahler Gesellschaft' in Vienna. From 1960 Ratz fought against the efforts of Deryck Cooke and others to create performable editions of Mahler's unfinished Tenth Symphony, insisting in articles and interviews that no such attempt could be legitimate given the state of Mahler's draft.
Document 13: Tales from the Vienna Woods (play): Tales from the Vienna Woods (1931) is the most famous play by Austro-Hungarian writer Ödön von Horváth (1901–1938). It was premièred in Berlin in 1931 and has been filmed several times. Before the première, the German writer and playwright, Carl Zuckmayer nominated the play for the Kleist Prize, which it won, the most significant literary award of the Weimar Republic. The play's title is a reference to the waltz, Tales from the Vienna Woods by Johann Strauss II. Horvarth's play premièred at the Deutsches Theatre, Berlin. Written in the late 1920s during the period of catastrophic unemployment and the Great Depression, the play is a key work of modern drama, described by Erich Kaestner as "a Viennese folk play accompanied by Viennese folk songs". It is a bitter satire about the mendacity and brutality of the petite-bourgeoisie, named ironically after the forested highlands near the Austrian capital that are so idealised in the waltz. In the play, Viennese 'Gemütlichkeit' or 'coziness' becomes a hollow phrase; the tragic, brutal story of the sweet girl Marianne and the deeply conventional butcher Oskar reflects the hardships and anxieties of the late 1920s during the global economic crisis.
Document 14: Blond Eckbert: Blond Eckbert is an opera by Scottish composer Judith Weir. The composer wrote the English-language libretto herself, basing it on the cryptic supernatural short story "Der blonde Eckbert" by the German Romantic writer Ludwig Tieck. Weir completed the original two act version of the opera in 1993, making "Blond Eckbert" her third full-length work in the genre. Like its predecessors, it was received well by the critics. She later produced a one act "pocket" version of the work. This uses chamber forces rather than the full orchestra of the two act version and omits the chorus. The pocket version receives frequent performances, especially in Germany and Austria, while the full version is available in a recording featuring the original cast.
Document 15: Anton Webern: Anton Friedrich Wilhelm (von) Webern (] ; 3 December 188315 September 1945) was an Austrian composer and conductor. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was at the core among those within and more peripheral to the circle of the Second Viennese School, including Ernst Krenek and Theodor W. Adorno. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Křenek, and even Schoenberg himself. As a tutor, Webern guided and variously influenced Arnold Elston, Frederick Dorian (Friederich Deutsch), Matty Niël, Fré Focke, Karl Amadeus Hartmann, Philipp Herschkowitz, René Leibowitz, Humphrey Searle, Leopold Spinner, and Stefan Wolpe.
ground_truth: Different Drummer