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Arnold Schoenberg - composer, theorist, teacher, painter, and one of the most important and controversial figures in twentieth-century music. This Companion presents engaging essays by leading scholars on Schoenberg's central works, writings, and ideas over his long life in Vienna, Berlin, and Los Angeles. Challenging monolithic views of the composer as an isolated elitist, the volume demonstrates that what has kept Schoenberg and his music interesting and provocative was his profound engagement with the musical traditions he inherited and transformed, with the broad range of musical and artistic developments during his lifetime he critiqued and incorporated, and with the fundamental cultural, social, and political disruptions through which he lived. The book provides introductions to Schoenberg's most important works, and to his groundbreaking innovations including his twelve-tone compositions. Chapters also examine Schoenberg's lasting influence on other composers and writers over the last century.
- Sales Rank: #2565297 in Books
- Brand: Brand: Cambridge University Press
- Published on: 2010-06-14
- Original language: English
- Number of items: 1
- Dimensions: 9.72" h x .59" w x 6.85" l, 1.45 pounds
- Binding: Paperback
- 346 pages
- Used Book in Good Condition
Review
'... there are ... two core chapters, both by Richard Kurth, which fruitfully align (with no attempt at spurious integration) the central aesthetic theme of modernism with fundamental technical topics.' Musical Times
'[This] volume is expertly edited, the chronology, bibliography, footnotes, and index are exemplary, the music examples and tables are irreproachable, and the nineteen individual contributions develop into a coherent book in content, style, and technical presentation. The authors and editors of [this] Schoenberg volume maintain the high standards of the Cambridge Companion series.' Music and Letters
About the Author
Jennifer Shaw is Professor and Head of the School of Arts at the University of New England, Australia.
Joseph Auner is Chair and Professor of Music at Tufts University.
Most helpful customer reviews
6 of 6 people found the following review helpful.
A Compendium of Current Schönbergian Scholarship...
By A Customer
A Compendium of Current Schönbergian Scholarship--no apologies necessary...
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It seems scholars are yet burdened with the onus of attempting to rehabilitate Schönberg's reputation--which is an absurd endeavour since now we have virtually his entire oeuvre in fine performances on compact disc.
In other words, the music speaks for itself and auditors may take it or leave it according to their own subjective tastes, there being no objective question of Schönberg's absolute cultural significance nor of the essential quality of his art works.
In English, the four finest books on Schönberg remain those by Malcolm MacDonald, Hans Heinz Stuckenschmidt, Carl Dahlhaus, and Willi Reich; still, this new set of recently collected essays in the Cambridge Companion series is a worthy effort featuring historical criticisms along with deep musical analyses--though curiously apologetic in tone.
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Schoenberg (Master Musicians Series)
Arnold Schoenberg: His Life, World and Work
Schoenberg: A Critical Biography (Da Capo Press music reprint series)
Schoenberg and the New Music: Essays by Carl Dahlhaus
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Suggested Schönberg CDs:
Third and Fourth String Quartets String Quartets Nos 3&4
Wind Quintet and Chamber Symphony No.2 Wind Quintet & Chamber Symphony
Lieder Songs for Voice and Piano
Serenade and Chamber Symphony No.1 Serenade & Chamber Symphony
Variations for Orchestra and Verklärte Nacht Variations & Verklärte
Pierrot, Herzgewäsche, and Ode Pierrot, etc.
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2 of 2 people found the following review helpful.
An enjoyable read for Schoenberg fans
By Christopher Culver
The "Cambridge Companion to..." series, in spite of its name, does not cover all aspects of an artist's life and career. Instead, these volumes contain a series of papers by a range of scholars examining selected pieces or biographical periods. THE CAMBRIDGE COMPANION TO SCHOENBERG, edited by Jennifer Shaw and Joseph Auner, holds 19 articles on the titan of 20th century modernism. Inevitably, not everything here will interest all readers. I'm just a fan, though with some knowledge of music theory. Papers like those by Richard Kurth (on "Pierrot lunaire") and Elizabeth L. Keathley (on "Erwartung") deal with more abstract critical theory. I don't care much for Schoenberg's first decade or so as a composer, so I skipped the material on his early years.
Ethan Haimo's "The Rise and Fall of Radical Athematicism" shows how from Op. 11 No. 3 to Op. 20 Schoenberg briefly flirted with abandoning motives and writing remarkably concise works. The paper charts Schoenberg's squabbles with his student Webern about who developed this perspective first. Joseph Auner's "Schonberg's row tables" discuss Schoenberg's methods of sketching twelve-tone works and contrast them with the more rigid formulations of later serialists like Babbit. "Schoenberg, the Viennese-Jewish experience and its aftermath" by Steven J. Cahn gives up an idea of Schoenberg's status as an outsider in Austria and his reasons for converting away from Judaism and back again.
Walter Bailey's "Listening to Schoenberg's Piano Concerto" chooses this mighty piece to demonstrate how, his reputation as an abstract brainiac apart, Schoenberg wanted the listener to hear with his heart as well as his head. Sabine Feist contributes "Schoenberg reception in America", a paper which overturns the myth that Schoenberg was neglected by charting the remarkable amount of performances he received in his new home. Richard Toop's "Schoenberg: dead or alive? His reception among the postwar European avant-garde" looks at what the Darmstadt generation though of Schoenberg, though I suspect most lovers of mid-century modernism will already know this trivia. Severine Neff's "Cadence after thirty-three years" charts the progress of the Second Chamber Symphony, Op. 38, a tonal work long abandoned by completed long after Schoenberg gained a reputation as an atonal composer.
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