Arnold Schoenberg: the composer as Jew
Despite his conversion to Protestantism in 1898, Schoenberg contemplated Jewish and biblical themes all his life. In this sympathetic and perceptive study, Ringer illuminates this religious aspect of the great composer's work, and shows how Schoenberg was both a religious artist and the product of an emancipated Central European Jewry.
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Composer and Jew i
and Kurt Weill
Faith and Symbol
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aesthetic Alban Berg anti-Semitic Arnold Schoenberg Arnold Schoenberg Letters artistic Aruns Austrian Beethoven Berlin Bible biblical biblische Weg boycott Brecht cabaret century chosen Christian composer's composing with twelve composition concept creative cultural devotion divine dramatic Dreigroschenoper early Egon Wellesz Ernest Bloch Erwin Stein Europe European expression faith force Franz Georg Alter German music Gustav Mahler harmony Herzl Hindemith historical human Ibid intellectual Jakob Klatzkin Jakobsleiter Jewish music Jewry Jews Josef Rufer Judaism Judentum Kurt Weill later Mahagonny matter melodic-rhythmic melody method of composing modern Moses und Aron musicians Musik Nazi never once opera Palestine party Pfitzner Pierrot Lunaire political Prague prophetic Quartet Rabbi racial Reich religious remain Rufer H Schoen Schoenbergian social socialist song spiritual Style and Idea theatre Theodor Herzl tradition Traunkirchen twelve tones ultimate unity Verein Vienna Viennese virtually Wagner Wagnerian Weimar words Zemlinsky Zionist