Delves into Theodor W. Adorno’s lesser-known musical career and successful music criticism.

Theodor W. Adorno is recognized as one of the twentieth century’s most prominent social theorists. Though best known for his association with the Frankfurt School of critical theory, Adorno began his career as a composer and successful music critic.
 
Comprehensive and illuminating, Orpheus in the Underworld centers on Adorno’s concrete and immediate engagement with musical compositions and their interpretation in the concert hall and elsewhere. Here, Adorno registers his initial encounters with the compositions of the Second Viennese School, when he had yet to integrate them into a broad aesthetics of music. Complementarily essays on Bela Bartók, Jean Sibelius, and Kurt Weill afford insight into his understanding of composers who did not fit neatly into the dialectical schema propounded in the Philosophy of New Music. Additionally, essays on recording and broadcasting show Adorno engaging with these media in a spirit that is no less productive than polemical and focused as sharply on their potentialities as on their shortcomings.
 
Orpheus in the Underworld offers a captivating exploration of Adorno’s musical compositions, shedding new light on his understanding of influential composers and his critical perspectives on recording and broadcasting.

A collection of previously untranslated stories from a master of twentieth-century Austrian literature, Thomas Bernhard.

“The cold increases with the clarity,” said Thomas Bernhard while accepting a major literary prize in 1965. That clarity was the postwar realization that the West’s last remaining cultural reference points were being swept away by the ever-greater commodification of humankind. Collecting five stylistically transitional tales by Bernhard, all of which take place in sites of extreme cold, this volume extends that bleak vision of the master Austrian storyteller.
 
In “Ungenach,” the reluctant heir of an enormous estate chooses to give away his legacy to an assortment of oddballs as he discovers the past of his older brother, who was murdered during a career in futile colonialist philanthropy. In “The Weatherproof Cape,” a lawyer tries to maintain a sense of familial solidarity with a now-dead client with the help of an unremarkable piece of clothing. “Midland in Stilfs” casts a jaundiced eye on the laughable efforts of a cosmopolitan foreigner to attain local authenticity on a moribund Alpine farmstead. In “At the Ortler,” two middle-aged brothers—one a scientist, the other an acrobat—meditate on their unusual career paths while they climb a mountain to reclaim a long-abandoned family property. And in “At the Timberline,” the unexpected arrival of a young couple in a mountain village leads to the discovery of a scandalous crime that casts a shadow on the personal life of the policeman investigating it.
 

A collection of six Bernhard plays, all in English for the first time.

Save Yourself if You Can is a collection of six plays that span the entirety of Thomas Bernhard’s career as a dramatist. The plays collected in this long-awaited addition to Bernhard’s oeuvre in English—The Ignoramus and the Madman, The Celebrities, Immanuel Kant, The Goal Attained, Simply Complicated, and Elizabeth II—traverse somber lyricism and misanthropy to biting satire and glorious slapstick. They explore themes that will be familiar to longtime readers of Bernhardt, but here they are presented in a subtly different register, attuned to the needs of the stage.