Enhanced descriptions from Syndetics:

Between 1908 and 1923, Arnold Schoenberg began writing music that went against many of the accepted concepts and practices of this art. Largely following his intuition during these years, he composed some of the masterpieces of the modern repertoire--including Pierrot lunaire and Erwartung--works that have since provoked a large, though fragmented, body of critical and analytical writing. In this book, Bryan Simms combines a historical study with a close analytical reading of the music to give us a new and richer understanding of Schoenberg's seminal work during this period.

Table of contents provided by Syndetics

• Preface (p. v)
• Abbreviations (p. ix)
• 1 Atonality and the Critical Imagination (p. 3)
• 2 Schoenberg's Evolution Toward Atonality (p. 7)
• 3 Settings of the Poetry of Stefan George Opp. 10, 14, and 15 (p. 29)
• 4 Small Instrumental Works Opp. 11, 16, and 19 and Three Pieces for Chamber Orchestra (p. 59)
• 5 The Operas Erwartung and Die Gückliche Hand (p. 89)
• 6 New Uses of the Voice (p. 113)
• 7 On the Road from Earth to Heaven Symphony and Die Jakobsleiter (p. 151)
• 8 Composing with Tones (p. 179)
• Glossary (p. 221)
• Notes (p. 223)
• Bibliography (p. 247)
• Index (p. 259)

Reviews provided by Syndetics

CHOICE Review

Although a great deal has been written relating to the tumultuous events in Schoenberg's life and voluminous articles have been dedicated to detailed analysis of his works, this title exhibits the rarest insight that only an author with intimate understanding and sympathy toward both Schoenberg's life and work could bring together. Simms (USC) tackles the most difficult part of the composer's life, examining how his character, the political and cultural climate, and his personal affairs contributed to the atmosphere that made the pieces from this period possible. Arguably the most influential composer of the 20th century, Schoenberg has remained largely misunderstood. Now, thanks to its revelatory nature, this study assesses Schoenberg's creative impulse and makes it understandable for perhaps the first time. Simms's seamless blend of an awareness of the composer's life with concise abstractions of his theories, supported by brief examples, makes this book a true achievement, one worthy of not only the scholar and student, but the lover of modern music as well. This reviewer's only misgiving is the title itself, since it scarcely reveals the depth of the Simms's investigation. Highly recommended. J. Rubin University of Minnesota--Duluth

Author notes provided by Syndetics

Bryan R. Simms is at University of Southern California.