By Christopher Hailey
Alban Berg and His global 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 explicit 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 found degree paintings evening (Nocturne), Hermann Watznauer's intimate account of Berg's early years, and the recognized memorial factor of the song periodical 23. members contemplate Berg's fascination with palindromes and reflect photographs and their courting to notions of time and id; the Viennese roots of his distinct orchestral type; his hyperlinks to such Viennese contemporaries as Alexander Zemlinsky, Franz Schreker, and Erich Wolfgang Korngold; and his makes an attempt to move throughout 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 resources for Alban Berg and His World (The Bard Music Festival)
One could have no conception of the enchanting beauty of this young person. 16 Hermann Berg had little interest in art, more in sport. He had turned completely into an American. Nevertheless his artistic sensibility was manifested in one respect: he was a master of amateur photography. 6. 17 His name appeared this way even on his visiting cards. He was an amiable young man, good in company, of pleasing appearance, and full of rapturous enthusiasm for music and literature. As a boy he was possessed of an unusually beautiful, smooth alto voice.
Here innocence could flirt with terror, nostalgia with the great unknown, and the purity of a snowy landscape suggest blackest tragedy. In the midst of the First World War, writing from the wintry solitude of Carinthia, where he had gone to tend to family business, he wrote to Schoenberg of the horrors of the battles raging to the east: I heard of a “successful”—I don’t know whether it was German or Austrian—military ruse: in order to entice the Russians out of their trenches, a large bell, which on the previous night had been fastened to a tree close to the Russian trenches, was rung by a rope.
Berg’s own success placed him at the crossfire of music and politics, and by the end of his life that crossfire had followed him back to Austria. Throughout this period of heady success and political, economic, and ideological turbulence Berg maintained his allegiance to the settled temporalities of city, suburb, and countryside that continued to nourish his work. He always returned to his womblike shelter, an artist at once fully contemporary and yet strangely out of time. Berg himself, like his protagonist Lulu, was an enigma to those who knew him, or, rather, he was all things to all people.
Alban Berg and His World (The Bard Music Festival) by Christopher Hailey