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| Arnold Schoenberg | 
| Author: Charles Rosen
Publisher: University Of Chicago Press
Category: Book
List Price: $15.00
Buy New: $12.87
You Save: $2.13 (14%)
New (5) from $12.87
Avg. Customer Rating:  6 reviews
Sales Rank: 738411
Media: Paperback
Number Of Items: 1
Pages: 128
Shipping Weight (lbs): 0.4
Dimensions (in): 7.8 x 5.2 x 0.4
ISBN: 0226726436
Dewey Decimal Number: 780.92
EAN: 9780226726434
ASIN: 0226726436
Publication Date: September 1, 1996
Availability: Usually ships in 1-2 business days
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Product Description
In this lucid, revealing book, award-winning pianist and scholar Charles Rosen sheds light on the elusive music of Arnold Schoenberg and his challenge to conventional musical forms. Rosen argues that Schoenberg's music, with its atonality and dissonance, possesses a rare balance of form and emotion, making it, according to Rosen, "the most expressive music ever written." Concise and accessible, this book will appeal to fans, non-fans, and scholars of Schoenberg, and to those who have yet to be introduced to the works of one of the greatest composers of the twentieth century.
"Arnold Schoenberg is one of the most brilliant monographs ever to be published on any composer, let alone the most difficult master of the present age. . . . Indispensable to anyone seeking to understand the crucial musical ideas of the first three decades."—Robert Craft, New York Review of Books
"What Mr. Rosen does far better than one could reasonably expect in so concise a book is not only elucidate Schoenberg's composing techniques and artistic philosophy but to place them in history."—Donal Henahan, New York Times Book Review
"For the novice and the knowledgeable, Mr. Rosen's book is very important reading, either as an introduction to the master or as a stimulus to rethinking our opinions of him. Mr. Rosen's accomplishment is enviable."—Joel Sachs, Musical Quarterly
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| Customer Reviews: Read 1 more reviews...
a useful hanbook to one of the milestones of 20th century music July 1, 2006
2 out of 2 found this review helpful
Sometimes it's the simplest of observations which make the most long lasting impression.I've always been struck by Rosen's assertion that in 'pierrot lunaire' (or any number of his pieces)it wouldn't make make a huge amount of difference if the instrumental parts were transposed in such a way that the vertical relationships would be altered.Rosen notes that it would be more detrimental if the dynamic markings were altered, affecting the delicate interplay of textures.
A short, satisfying read! March 24, 2006
2 out of 2 found this review helpful
Every book I've ever read by Charles Rosen and has deeply affected my view of the topic, and this little book is no exception. There isn't much biography in this book, it is strictly music criticism, focusing on the 'victory' of Schoenberg as well as his two students Webern and Berg.
This book went a long way in helping me to understand the aesthetics of serialism. I don't think a nonmusician would find much use in it, but I think anyone who is a musician at all and has experienced Schoenberg's music will be able to get a lot out of it.
excellent mix of bio and musicology October 4, 2005
8 out of 8 found this review helpful
seeing that this is such a small book (barely 100 pages of text), i was surprised at the depth of this book. as one reviewer wrote, it does not get into specifics about his life ('journeys' by allen shawn is good for that), but it gets into enough. i was especially pleased with the musical analysis of schoenberg's music that was presented here, which those who understand music can appreciate; such is left out of many musical biographies that i have read, and that is why i appreciate it here. it does lend a tremendous assistance in understanding his music, and his working philosophy. (that said, though, it might mean that this isnt the book for you if you dont want to get into theory; again, shawn's book is an excellent alternative then.)in fact, after reading this, i started to read schoenberg's writings on music theory, which ifound enlightening.
Best starting and ending point for Schoenberg August 14, 2000
11 out of 11 found this review helpful
Robert Craft was on the money in his description of this monograph as "one of the most brilliant ever to be published on any composer, let alone the most difficult master of the present age." Stripping away any unnecessary biographical details, Mr. Rosen gives a surprisingly deep and insightful chronicle (for so short a book) of both the music of Schoenberg and that of his contemporaries. Whatever path serialism was to follow after Schoenberg, his own personal reasons for creating it are elucidated here more clearly and with greater historical insight than anywhere else that I am aware of. It has been popular of late to denigrate Serialism, implicating Schoenberg in some of the excesses of his followers. This has always seemed to stem from some fundamental misunderstandings about just what it was Schoenberg was setting out to do when he created his twelve-tone system. This work should be mandatory reading for those revanchist musicians and neo-tonalists who practice a sort of musical revisionism in their assessments of Schoenberg's work--indeed, for anyone who is interested in gaining insight into a composer of unquestionable genius.
Best starting and ending point for Schoenberg August 14, 2000
20 out of 21 found this review helpful
Robert Craft was on the money in his description of this monograph as "one of the most brilliant ever to be published on any composer, let alone the most difficult master of the present age." Stripping away any unnecessary biographical details, Mr. Rosen gives a surprisingly deep and insightful chronicle (for so short a book) of both the music of Schoenberg and that of his contemporaries. Whatever path serialism was to follow after Schoenberg, his own personal reasons for creating it are elucidated here more clearly and with greater historical insight than anywhere else that I am aware of. It has been popular of late to denigrate Serialism, implicating Schoenberg in some of the excesses of his followers. This has always seemed to stem from some fundamental misunderstandings about just what it was Schoenberg was setting out to do when he created his twelve-tone system. This work should be mandatory reading for those revanchist musicians and neo-tonalists who practice a sort of musical revisionism in their assessments of Schoenberg's work--indeed, for anyone who is interested in gaining insight into a composer of unquestionable genius.
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