Question: The composer of A Survivor from Warsaw emigrated to the United States in what year?

full_context: Document 1: Franz Schreker: Franz Schreker (originally "Schrecker"; 23 March 1878, Monaco – 21 March 1934, Berlin) was an Austrian composer, conductor, teacher and administrator. Primarily a composer of operas, Schreker developed a style characterized by aesthetic plurality (a mixture of Romanticism, Naturalism, Symbolism, Impressionism, Expressionism and Neue Sachlichkeit), timbral experimentation, strategies of extended tonality and conception of total music theatre into the narrative of 20th-century music.
Document 2: Moses und Aron: Moses und Aron (English: "Moses and Aaron") is a three-act opera by Arnold Schoenberg with the third act unfinished. The German libretto is by the composer after the Book of Exodus. Hungarian composer Zoltán Kocsis completed the last act, with Schoenberg's heirs' permission, in 2010, but as of 2014 "Moses und Aron" was almost always performed as Schoenberg left it in 1932, with only two of the planned three acts completed.
Document 3: 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 4: 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 5: 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 6: Style and Idea (Schoenberg): Style and Idea: Selected Writings of Arnold Schoenberg (in German: "Stil und Gedanke") is the name for a published collection of essays, articles and sketches by Arnold Schoenberg, that has appeared in various forms.
Document 7: Schoenberg hexachord: 6-Z44 (012569), known as the Schoenberg hexachord, is Arnold Schoenberg's signature hexachord, as one transposition contains the pitches [A], Es, C, H, B, E, G (A. Schoenberg), E♭ , B, and B♭ being Es, H, and B in German.
Document 8: 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 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: Degenerate Art Exhibition: The Degenerate Art Exhibition (German: "Die Ausstellung "Entartete Kunst"" ) was an art exhibition organized by Adolf Ziegler and the Nazi Party in Munich from 19 July to 30 November 1937. The exhibition presented 650 works of art, confiscated from German museums, and was staged in counterpoint to the concurrent Great German Art Exhibition. The day before the exhibition started, Hitler delivered a speech declaring "merciless war" on cultural disintegration, attacking "chatterboxes, dilettantes and art swindlers". Degenerate art was defined as works that "insult German feeling, or destroy or confuse natural form or simply reveal an absence of adequate manual and artistic skill". One million people attended the exhibition in its first six weeks. A U.S. critic commented "there are probably plenty of people—art lovers—in Boston, who will side with Hitler in this particular purge".
Document 11: 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 12: String Quartets (Schoenberg): The Austrian composer Arnold Schoenberg published four string quartets, distributed over his lifetime. These were the String Quartet No. 1 in D minor, Op. 7 (1905), String Quartet No. 2 in F sharp minor, Op. 10 (1908), String Quartet No. 3, Op. 30 (1927), and the String Quartet No. 4, Op. 37 (1936).
Document 13: 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.
Document 14: The Pianist (memoir): The Pianist is a memoir by the Polish-Jewish pianist and composer Władysław Szpilman in which he describes his life in Warsaw in occupied Poland during World War II. After being forced with his family to live in the Warsaw ghetto, Szpilman manages to avoid deportation to the Treblinka extermination camp, and from his hiding places around the city witnesses the Warsaw ghetto uprising in 1943 and the Warsaw uprising (the rebellion by the Polish resistance) the following year. He survives in the ruined city with the help of friends and strangers, including Wilm Hosenfeld, a German army captain who admires his piano playing.
Document 15: Die Jakobsleiter: Die Jakobsleiter ("Jacob's Ladder") is an oratorio by Arnold Schoenberg that marks his transition from a contextual or free atonality to the twelve-tone technique anticipated in the oratorio's use of hexachords. Though ultimately unfinished by Schoenberg the piece was prepared for performance by Schoenberg student Winfried Zillig at the request of Gertrude Schoenberg.
ground_truth: 1934