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 was once 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 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 value 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 recognized memorial factor of the song periodical 23. members think about Berg's fascination with palindromes and reflect photos and their dating to notions of time and id; the Viennese roots of his detailed 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 members 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)
And yet he resisted physical proximity to Schoenberg, be it in Schoenberg’s suggestions of a shared vacation or Schreker’s repeated offers of an appointment at • 17 • BERG’S WORLDS the Berlin Musikhochschule. Berg remained steadfast in his devotion to the environments that had nurtured him. 12 The apparent ease with which he dealt with fellow jurors of all aesthetic stripes, including Alfredo Casella, Désiré Defauw, Gregor Fiteberg, Hans Gál, Joseph Haas, Philipp Jarnach, Emil Nikolaus von Reznicek, Ernst Toch, and the same Hugo Holle who once dismissed his piano sonata, attests both to his diplomatic skills and his commitment to the task at hand.
Schreker’s music eschews the comforts of “high art” and keeps its bourgeois audience off balance in a manner that oddly adumbrates the distancing effects of Brecht and Weill. Berg wrote music to be savored, music that serves up dramatic experience that is conscious of its place within a darkened auditorium. 35 Berg, as a card-carrying modernist, • 25 • BERG’S WORLDS may well have fretted about appearances—the implications of success for the quality of his music, but only in the eyes of his fellow modernists; he himself would have adored his newfound operatic public because it was a public from his world.
One particular manifestation of this sense of temporal urgency lay in the rise of the international new music festival, for which the Amsterdam Mahler Festival of 1920 served as a kind of spiritual progenitor. In Germany the annual festivals of the Allgemeine Deutsche Musikverein (ADMV), founded in 1859, had long served as a sounding board for composers associated with the New German School of Wagner and Liszt, but in the 1920s the organization came to embrace a much broader and all-inclusive agenda.