Schoenberg An Atonal Listening Journal

Here is Schoenberg’s Piece for Piano Opus 33a:

This piece is classified as atonal, meaning that it does not fall into a certain key but moves freely throughout all keys. In its atonality it maintains the dynamic contrast and development of ideas that had been used by composers such as Chopin in the later Romantic era. For example, there are sections later in the piece that feature an increase in dynamics, tempo, and the density of notes played.
At time mark 1:14, in a note punctuated by an accented tri-tone in the bass of the piano, the piece seems to pick up the pace and form a more complex rhythm than the shorter, straight rhythm of notes played up to that point. Also, at 1:40, the same occurs again in the bass and treble, with accented notes and patterns, that lead to a swift increase in velocity. This is followed by a completely staccato section, and then moves to a contrasting legato section afterwards.
Finally, in the last 30 seconds or so of the piece, Schoenberg creates phrases that are suddenly cut off by a sudden release of the sustain pedal. Schoenberg ends the piece in a tone cluster. The notes that form said tone cluster can be related to a cadence, even though the piece cannot cadence due to its atonality.
This piece is clearly an example of Schoenberg’s atonal phase. There are no harmonic patterns or rhythms and the piece does not have a “home tone”. This is also present in the seeming randomness that doesn’t follow a predictable direction with its nonexistent melody as well.