By Christopher Hailey
Alban Berg and His international is a set of essays and resource fabric that repositions Berg because the pivotal determine of Viennese musical modernism. His allegiance to the austere rigor of Arnold Schoenberg's musical revolution used to be balanced through a lifelong devotion to the nice and cozy sensuousness of Viennese musical culture and a love of lyric utterance, the emotional depth of opera, and the expressive nuance of late-Romantic tonal practice.
The essays during this assortment discover the categorical traits of Berg's model of musical modernism, and current newly translated letters and files that remove darkness from his dating to the politics and tradition of his period. Of specific value are the 1st translations of Berg's newly came across level paintings evening (Nocturne), Hermann Watznauer's intimate account of Berg's early years, and the recognized memorial factor of the track periodical 23. individuals give some thought to Berg's fascination with palindromes and replicate photos and their courting to notions of time and identification; the Viennese roots of his special orchestral type; his hyperlinks to such Viennese contemporaries as Alexander Zemlinsky, Franz Schreker, and Erich Wolfgang Korngold; and his makes an attempt to move during the perilous shoals of gender, race, and fascist politics.
The individuals are Antony Beaumont, Leon Botstein, Regina Busch, Nicholas Chadwick, Mark DeVoto, Douglas Jarman, Sherry Lee, and Margaret Notley.
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Extra info for Alban Berg and His World (The Bard Music Festival)
Adorno, Alban Berg, trans. Juliane Brand and Christopher Hailey (Cambridge: Cambridge University Press, 1991), 13. 5. Marstrand’s initial letter is dated 9 September 1929 (F21 Berg 1068/1). He explores parallels between Schoenberg and Juana in a letter of 6 December 1929 (F21 Berg 1068/6). In letters of 18 July 1930 and 1 August 1931 (F21 Berg 1068/7–8) Marstrand describes his proposed reincarnation opera. 6. Carl Marilaun, “Beim Komponisten des Wozzeck: Ein Gespräch mit Alban Berg,” Neues Wiener Journal, 20 January 1926.
It may be the case that the value of his friendship is to be sought therein. No one can know for certain. 1. Old Houses If one looks at the evolution of a city one will always find phases that show a conspicuous resemblance to the periods of development in young human beings—the years of puberty. Everything struggles to grow. Everything stretches out and expands. Much is new, a good deal is old, and everything is on the move. Vienna, the old imperial city on the Danube, was experiencing such a phase in the eighties and nineties of the last century.
16 Berg’s perspective, still heavily indebted to Wagnerian notions of musical drama propelled by a cohesive symphonic argument, reveals both the strengths and limits of his own setting. Gurlitt’s opera, with its lean, simplified textures and stylistic heterogeneity, is far less emotionally manipulative and much more in keeping with the aesthetic of the 1920s one hears in the music of such contemporaries as Hindemith or Kurt Weill. It better captures the fragmentary, dry-eyed objectivity of Büchner’s play and, with its choral interpolations, addresses the wider social context more directly.