The Begleitungsmusik zu einer Lichtspielscene (Drohende Gefahr, Angst, Katastrophe), Op. 34 (literally "Accompaniment Music for a Light Play Scene (Threatening Danger, Fear, Catastrophe)")—also known in English as Accompaniment to a Film Scene, Accompaniment to a Cinematographic Scene, Accompaniment to a Cinematic Scene, and Music to Accompany a Cinema Scene—is an orchestral work by Arnold Schoenberg composed in late 1929 and early 1930. Schoenberg had developed an interest in film as a medium for his own creative work in the years before composing the Begleitungsmusik zu einer Lichtspielscene, but his personal artistic beliefs also made him wary of it. He composed the Begleitungsmusik zu einer Lichtspielscene for Heinrichshofen Verlag in Magdeburg, which wanted to include it in a commemorative collection of scores they commissioned from German film composers. Schoenberg had no particular film or film scene in mind while composing the work, but he did later consider performing it along with an abstract film. His music was adapted for a short film by Straub–Huillet in 1972. The reception of the Begleitungsmusik zu einer Lichtspielscene was generally positive; it was encored at its British premiere. The United States premiere in Los Angeles was contentious and the Los Angeles Times refused to review it. Robert Craft and Allen Shawn considered it one of Schoenberg's most attractive works, while Igor Stravinsky called it "best piece of real film music ever written". Schoenberg had contradictory feelings about film and film music; he aspired to work on film projects, but abhorred the film industry. The artistic possibilities of film interested him, but its essentially collaborative creative process ultimately dissuaded him from exploring it as a vehicle for his own work. While composing Die glückliche Hand in 1910–1913, Schoenberg had the idea of directing a film that would have depicted the work's drama. He would have had total control over the scripts, acting, music, and any needed edits.
Katrin Beyer, Bastian Valentin Wilding, Michele Godio