Answer the question at the end by quoting:

Howard was born in Atlanta, to Dwight Sr. and Sheryl Howard, and into a family with strong athletic connections. His father is a Georgia State Trooper and serves as Athletic Director of Southwest Atlanta Christian Academy, a private academy with one of the best high school basketball programs in the country, while his mother played on the inaugural women's basketball team at Morris Brown College. Howard's mother had seven miscarriages before he was born. A devout Christian since his youth, Howard became serious about basketball around the age of nine; when in the eighth grade, he resolved to be selected as the number one pick in the NBA Draft one day.
In the 2010-11 regular season, Howard posted career-highs in points and shooting percentages, but the Magic were unable to win their division for the fourth straight year. Although the Miami Heat won the division, the Magic won 52 games, and finished as the fourth seed in the Eastern Conference playoffs. However, the Magic lost to the Atlanta Hawks in the first-round of the playoffs. Howard led the NBA in technical fouls with 18 in the regular season, and received one-game suspensions after his 16th and 18th technicals.  Due to a lockout, the 2011-12 regular season was shortened to 66 games. Not long after the lockout ended, Howard, who was eligible to become a free agent at the end of the season, demanded a trade to the New Jersey Nets, Los Angeles Lakers or Dallas Mavericks. Howard stated that although his preference was to remain in Orlando, he did not feel the Magic organization was doing enough to build a championship contender. He would later meet with Magic officials and agree to back off his trade demands, but stated that he also felt the team needed to make changes to the roster if they wanted to contend for a championship.  On January 12, 2012, Howard attempted an NBA regular season record 39 free throws against the Golden State Warriors. Howard entered the game making 42 percent of his free throws for the season and just below 60 percent for his career. The Warriors hacked Howard intentionally throughout the game, and he broke Wilt Chamberlain's regular season record of 34 set in 1962. (Shaquille O'Neal attempted 39 free throws in Game 2 of the 2000 NBA Finals.) Howard made 21 of the 39 attempts, and he finished with 45 points and 23 rebounds in the Magic's 117-109 victory. On January 24, 2012, Howard became the Magic's all-time scoring leader, surpassing Nick Anderson's 10,650 points.  On March 15, 2012, on the day of the trading deadline for the 2011-12 NBA season, Howard signed an amendment to his contract, waiving his right to opt out at the end of the season and committing to stay with the Magic through the 2012-13 season. He had previously asked to be traded to the New Jersey Nets, and the Magic were prepared to trade him had Howard not signed the amendment, to avoid losing him as a free agent. On April 5, Van Gundy said that he was informed by management that Howard wanted him fired. During the interview, the center walked up and hugged his coach, unaware that Van Gundy had confirmed a report that Howard denied.  On April 19, 2012, Howard's agent said that Howard would undergo surgery to repair a herniated disk in his back, and would miss the rest of the 2011-12 season, as well as the 2012 Summer Olympics in London. During the offseason, Howard again requested the Magic trade him to the Nets, who had relocated to Brooklyn. He intended to become a free agent at the end of the 2012-13 season if he was not traded to Brooklyn.

Why?

Magic lost to the Atlanta Hawks in the first-round of the playoffs. Howard led the NBA in technical fouls



Answer the question at the end by quoting:

Anton Friedrich Wilhelm (von) Webern (German: ['anton 've:ban] ( listen); 3 December 1883 - 15 September 1945) was an Austrian composer and conductor. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was in the core of those in the circle of the Second Viennese School, including Ernst Krenek and Theodor W. Adorno. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Krenek, and even Schoenberg himself.
Webern published little of his early work in particular; like Brahms, though perhaps for not entirely the same reasons, Webern was characteristically meticulous and revised extensively. Many juvenilia remained unknown until the work and findings of the Moldenhauers in the 1960s, effectively obscuring and undermining formative facets of Webern's musical identity, highly significant even more so in the case of an innovator whose music was crucially marked by rapid stylistic shifts. Thus when Boulez first oversaw a project to record "all" of Webern's music, not including the juvenilia, the results fit on three rather than six CDs.  Webern's earliest works consist primarily of lieder, the genre that most belies his roots in Romanticism, specifically German Romanticism; one in which the music yields brief but explicit, potent, and spoken meaning manifested only latently or programmatically in purely instrumental genres; one marked by significant intimacy and lyricism; and one which often associates nature, especially landscapes, with themes of homesickness, solace, wistful yearning, distance, utopia, and belonging. Robert Schumann's "Mondnacht" is an iconic example; Eichendorff, whose lyric poetry inspired it, is not far removed from the poets (e.g., Richard Dehmel, Gustav Falke, Theodor Storm) whose work inspired Webern and his contemporaries Alban Berg, Max Reger, Arnold Schoenberg, Richard Strauss, Hugo Wolf, and Alexander Zemlinsky. Wolf's Morike-Lieder were especially influential on Webern's efforts from this period. But well beyond these lieder alone, all of Webern's music may be said to possess such concerns and qualities, as is evident from his sketches, albeit in an increasingly symbolic, abstract, spare, introverted, and idealized manner.  Other works include the orchestral tone poem Im Sommerwind (1904) and the Langsamer Satz (1905) for string quartet.  Webern's first piece after completing his studies with Schoenberg was the Passacaglia for orchestra (1908). Harmonically, it is a step forward into a more advanced language, and the orchestration is somewhat more distinctive than his earlier orchestral work. However, it bears little relation to the fully mature works he is best known for today. One element that is typical is the form itself: the passacaglia is a form which dates back to the 17th century, and a distinguishing feature of Webern's later work was to be the use of traditional compositional techniques (especially canons) and forms (the Symphony, the Concerto, the String Trio, and String Quartet, and the piano and orchestral Variations) in a modern harmonic and melodic language.

were his juvenilia recorded?
Boulez first oversaw a project to record "all" of Webern's music, not including the juvenilia, the results fit on three rather than six CDs.