On December 21, 1908, several hundred men and women gathered at the Bösendorfer-Saal in Vienna, settled into their seats, and bore unexpected witness to one of the great revolutions in musical history. Heading the program that night was a new work for string quartet and soprano by a controversial young composer named Arnold Schoenberg, already known in Viennese music circles for his challenging style: tense, drawn-out Wagnerian harmonies, allowed only the briefest and rarest moments of respite. And indeed, as the first three movements of his piece unfolded — Schoenberg straight away twisting the four lines of the quartet, cat’s-cradle-like, into one splayed chord after another — the crowd could be heard growing increasingly restless. But none of this was, strictly speaking, out of the ordinary. Yet.
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