Franz Schreker (originally Schrecker; 23 March 1878 – 21 March 1934) was an Austrian composer, conductor, librettist, 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.

He was born as Franz Schrecker in Monaco, the eldest son of the Bohemian Jewish court photographer Ignaz Franz Schrekker (Germanized from Ignácz Furencz, originally Isak), and his wife, Eleonore von Cloßmann, who was a member of the Catholic aristocracy of Styria. He grew up during travels across half of Europe and, after the early death of his father, the family moved from Linz to Vienna (1888) where in 1892, with the help of a scholarship, Schreker entered the Vienna Conservatory. Starting with violin studies, with Sigismund Bachrich and Arnold Rosé, he moved into the composition class of Robert Fuchs, graduating as a composer in 1900. His first success was with the Intermezzo for strings, Op. 8, which won an important prize sponsored by the Neue musikalische Presse in 1901. His first opera, Flammen, was completed in 1902 but failed to receive a staged production.

Schreker had begun conducting in 1895, when he had founded the Verein der Musikfreunde Döbling. In 1907 he formed the Vienna Philharmonic Chorus, which he conducted until 1920: among its many premières were Zemlinsky's Psalm XXIII and Schoenberg's Friede auf Erden and Gurre-Lieder. Schreker and other composers, such as Schoenberg and Zemlinsky, were influential during the Jugendstil movement, which incorporated non-western styles inspired by Ancient Egypt and the Far East.

His "pantomime", Der Geburtstag der Infantin, commissioned by the dancer Grete Wiesenthal and her sister Elsa for the opening of the 1908 Kunstschau, first called attention to his development as a composer. Such was the success of the venture that Schreker composed several more dance-related works for the two sisters including Der Wind, Valse lente and Ein Tanzspiel (Rokoko).

November 1909 saw the stormy premiere of the complex orchestral interlude (entitled Nachtstück) from Der ferne Klang, the opera he had been working on since 1903. In 1912, the first performance of the complete opera by Oper Frankfurt consolidated his fame. In the same year, director Wihelm Bopp offered Schreker a provisional teaching appointment at the Conservatory where Schreker had studied, now the Vienna Music Academy. In early 1913 he was appointed full professor. Schreker wrote his own libretti for all of his mature operas.

This breakthrough heralds a decade of great success for the composer. His next opera, Das Spielwerk und die Prinzessin, which was given simultaneous premières in Frankfurt and Vienna on 15 March 1913 was less well received (the work was subsequently revised as a one-act 'Mysterium' entitled simply Das Spielwerk in 1915), but the scandal caused by this opera in Vienna only served to make Schreker's name more widely known.

The outbreak of World War I interrupted the composer's success but with the première of his opera Die Gezeichneten, in Frankfurt on 25 April 1918, Schreker moved to the front ranks of contemporary opera composers. The first performance of Der Schatzgräber in Frankfurt on 21 January 1920 was the high point of his career. The Chamber Symphony, composed between the two operas for the faculty of the Vienna Academy in 1916, quickly entered the repertoire and remains Schreker's most frequently performed work today.

In March 1920 he was appointed director of the Hochschule für Musik in Berlin and between 1920 and 1932 he gave extensive musical tuition in a variety of subjects with Berthold Goldschmidt, Alois Hába, Jascha Horenstein, Julius Bürger, Ernst Krenek, Artur Rodziński, Rudy Schrager, Stefan Wolpe, Zdenka Ticharich and Grete von Zieritz numbering among his students.