Chronology of Schoenberg's life and works; 1. Introduction Jennifer Shaw and Joseph Auner; Part I. Schoenberg's Early Years: 2. Schoenberg's Lieder Walter Frisch; 3. Schoenberg and the tradition of chamber music for strings Michael Cherlin; 4. Two early Schoenberg songs: monotonality, multitonality and schwebende Tonalitat Robert P. Morgan; 5. Arnold Schoenberg and Richard Strauss Craig De Wilde; Part II. Schoenberg, Modernism, and Modernity: 6. Interpreting Erwartung: collaborative process and early reception Elizabeth Keathley; 7. The rise and fall of radical athematicism Ethan Haimo; 8. Schoenberg, modernism, and metaphysics Julian Johnson; 9. Pierrot lunaire: persona, voice, and the fabric of allusion Richard Kurth; Part III. Schoenberg Between the World Wars: 10. Schoenberg as teacher Joy H. Calico; 11. Schoenberg, satire, and the Zeitoper Peter Tregear; 12. Schoenberg's row tables: temporality and the idea Joseph Auner; 13. Immanence and transcendence in Moses und Aron Richard Kurth; 14. On Jewish history and identity: approaches to Schoenberg as Jew Steven J. Cahn; Part IV. Schoenberg's American Years: 15. Cadence after thirty-three years: Schoenberg's Second Chamber Symphony, Op. 38 Severine Neff; 16. Schoenberg's collaborations Jennifer Shaw; 17. Listening to Schoenberg's Piano Concerto Walter B. Bailey; 18. Schoenberg's reception in America, 1933-1951 Sabine Feisst; 19. Schoenberg: dead or alive? His reception amongst the post-war European avant-garde Richard Toop.
A reader-friendly, comprehensive, and innovative single volume introduction to Schoenberg's life, works, and ongoing legacy.
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.
'... 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