Music publications, scores & recorded works

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Browsing Music publications, scores & recorded works by Author "Auner, J."

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    Introduction
    (Cambridge University Press, 2010) Shaw, J.; Auner, J.; Shaw, J.; Auner, J.
    This Cambridge Companion provides an introduction to the central works, writings, and ideas of Arnold Schoenberg (1874–1951). Few would challenge the contention that Schoenberg is one of the most important figures in twentieth-century music, though whether his ultimate achievement or influence is for good or ill is still hotly debated. There are those champions who regard as essential his works, theories, and signature ideas such as “the emancipation of the dissonance,” and “composition with twelve tones related only to one another,” just as there are numerous critics who would cite precisely the same evidence to argue that Schoenberg is responsible for having led music astray. No doubt many readers will take up this volume with some measure of trepidation; for concertgoers, students, and musicians, the name Schoenberg can still carry a certain negative charge. And while the music of other early modernist twentieth-century composers who have preceded Schoenberg into the ranks of the Cambridge Companions – including Debussy, Bartók, Stravinsky, and even Schoenberg's pupil Alban Berg – could be regarded as having achieved something of a state of artistic normalcy, Schoenberg's music for many remains beyond the pale. It is not our purpose here to bring Schoenberg in from the cold or to make him more accessible by showing that the alleged difficulty, obscurity, fractiousness, and even unlovability of his music are mistaken. On the contrary, much of his music – indeed almost all of his creative output, be it theoretical, literary, or in the visual arts – could be characterized to some degree as oppositional, critical, and unafraid of provoking discomfort.
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    Schoenberg's collaborations
    (Cambridge University Press, 2010) Shaw, J.; Shaw, J.; Auner, J.
    Collaboration, according to current English-language dictionaries, can mean to work in conjunction with others on literary, artistic, or scientific works: in 1940, however, it also became the label for a treacherous collusion with an enemy and, in particular, with the Nazis. Over the next sixty years the boundaries between these dual meanings – at once laudable and reprehensible; creative and destructive – became tangled and fused. For instance, our governments collaborate in bringing international criminals to justice as well as in occupying other nations' sovereign territory: in other words, “collaboration” is not a pure term. Yet even before 1940 the reality of artistic collaborations had become tainted and untenable for many, especially in Germany and Austria. Within a year of coming to power in January 1933, the National Socialists passed civil service laws that banned membership of the Reich Chamber of Culture to those who “did not possess the necessary reliability (Zuverlässigkeit) and aptitude (Eignung) for the practice of [their] activity.” When racial laws were passed soon after, and it became clear that at least 75 percent Aryan ancestry was an essential criterion for “reliability,” many artists – Aryans and Jews alike – attempted to distance themselves from their artistic collaborators who were now, by law, considered racially and artistically “alien,” and who therefore were also deemed to be unreliable and inept. The effect, as Schoenberg explained in a speech that he gave in 1935, little more than a year after leaving Berlin via Paris for a new life in America, was that Jews, “deprived of their racial self-confidence, doubted a Jew's creative capacity more than the Aryans did.”
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    The cambridge companion to Schoenberg
    (Cambridge University Press, 2010) Auner, J.; Shaw, J.
    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.