By Christopher Hailey
Alban Berg and His international is a suite 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 by way of 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 characteristics 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 importance are the 1st translations of Berg's newly chanced on level paintings evening (Nocturne), Hermann Watznauer's intimate account of Berg's early years, and the well-known memorial factor of the tune periodical 23. participants examine Berg's fascination with palindromes and replicate pictures and their dating to notions of time and identification; the Viennese roots of his certain orchestral type; his hyperlinks to such Viennese contemporaries as Alexander Zemlinsky, Franz Schreker, and Erich Wolfgang Korngold; and his makes an attempt to move in the course of 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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Additional resources for Alban Berg and His World (The Bard Music Festival)
27 • BERG’S WORLDS Contradiction and paradox are central ingredients of Berg’s persona and of his music. He was a man of open amiability and of many secrets; a faithful friend and an eager consumer of malicious gossip; a composer of fierce modernism who courted popular appeal. The elusive qualities of his character make it easy to be sucked into a vortex of eternal regress and self-absorption. Berg, the man, we follow at our peril. Berg, the composer, however, transformed the spinning vortex of his unknowable self into extraordinary music that reaches beyond the self toward a common understanding of the human condition.
Soma Morgenstern, “Im Trauerhaus,“ 23: Eine Wiener Musikzeitschrift 24/25 (1 February 1936): 16. See Mark DeVoto’s translation, “In the House of Mourning,” part of “Alban Berg zum Gedenken,” in this volume. 3. Heinrich Jalowetz, “Abschied von Alban Berg,” 23: Eine Wiener Musikzeitschrift 24/25 (1 February 1936): 12–15, 14. Translated by Mark DeVoto in “Alban Berg zum Gedenken,” in this volume. 4. Theodor W. Adorno, Alban Berg, trans. Juliane Brand and Christopher Hailey (Cambridge: Cambridge University Press, 1991), 13.
And even reversible. Adorno made much of Berg as the composer of music forever in transition but whose changes were incremental and might be reduced to a single, insignificant link, be it a gesture or a note from which all else flows. One might take this link to be the core, but it was something that Berg sought in vain to find within himself. • 27 • BERG’S WORLDS Contradiction and paradox are central ingredients of Berg’s persona and of his music. He was a man of open amiability and of many secrets; a faithful friend and an eager consumer of malicious gossip; a composer of fierce modernism who courted popular appeal.