Schoenberg and Words: The Modernist Years

Schoenberg and Wordsdisentangles significant aspects of the composer's complex relationship to fin-de-siecle modernism, especially in its Viennese variety. The eleven new essays examine the texts and contexts of works Schoenberg composed from the mid-1890s through 1916 and his writings on theoretical, aesthetic, and ethical issues.

Series Editor's Foreword

vii

Daniel Albright

Editors' Introduction

xv

Charlotte M. Cross

Russell A. Berman

Part One: Schoenberg's Textual Choices: 1890s-1916

Schoenberg and German Poetry

1

(30)

Robert Vilain

Gurrelieder and the Fall of the Gods: Schoenberg's Struggle with the Legacy of Wagner

31

(34)

Brian G. Campbell

Schoenberg Sets Petrarch: Schopenhauer, Mahler, and the Poetics of Resignation

65

(38)

Robert R. Holzer

``The Ear of the Other'': Style and Identity in Schoenberg's Eight Songs, op. 6

103

(36)

Alan Street

``Die Frauenfrage'' in Erwartung: Schoenberg's Collaboration with Marie Pappenheim

139

(40)

Elizabeth L. Keathley

Physical Motif and Aural Salience: Sounds and Symbols in Die gluckliche Hand, op. 18

179

(24)

Edward D. Latham

Pierrot's Cave: Representation, Reverberation, Radiance

203

(40)

Richard Kurth

The Artist as Modern Prophet: A Study of Historical Consciousness and Its Expression in Schoenberg's ``Vorgefuhl,'' op. 22, no. 4

243

(32)

Steven J. Cahn

Part Two: Theoretical, Aesthetic, and Ethical Issues

Reinventing the Organic Artwork: Schoenberg's Changing Images of Tonal Form

275

(34)

Severine Neff

Schoenberg's ``Poetics of Music,'' the Twelve-Tone Method, and the Musical Idea

309

(38)

John Covach

Modernism and Words: Schoenberg, Adorno, Moses

347

(20)

Murray Dineen

Contributors

367

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Schoenberg and Words: The Modernist Years

Summary

Table of Contents

Supplemental Materials