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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 was once balanced by means 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 records 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 degree paintings evening (Nocturne), Hermann Watznauer's intimate account of Berg's early years, and the recognized memorial factor of the song periodical 23. individuals think of Berg's fascination with palindromes and reflect pictures and their dating to notions of time and identification; the Viennese roots of his special orchestral variety; 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 participants 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)
Berg was keen in his indictment of society’s hypocrisy, which concerned him far more than its injustice, but the true object of his concern was himself. ”34 In approaching these subjects of depravity and decay, Berg never abandons the vantage point of bourgeois moral privilege. Through careful dramaturgy and lavish compositional detail he invites his audience to view this world through the prism of high art. His is an empathy that at its deepest level bespeaks self-love and satisfaction with its own moral righteousness.
But these were also places in which, freed from social constraints, in an atmosphere of significantly relaxed routine, and surrounded by a natural world that took human concerns into benevolent, if indifferent embrace, one unfettered one’s mind to dream and speculate. 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.
In a letter of 23 May 1934 he addressed the issue with remarkable frankness: You have no need to prove yourself a German composer to me. I have known you and your music for a long time and would have no qualms about accepting “Lulu” if it did not seem to me that this text, given the public sentiment in Germany at this particular moment, is completely impossible. 20 • 21 • BERG’S WORLDS Furtwängler’s letter was written a year and a half into Hitler’s regime, during which time events had moved with remarkable speed.
Alban Berg and His World (The Bard Music Festival) by Christopher Hailey