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 was once 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 traits of Berg's model of musical modernism, and current newly translated letters and files that light up his courting 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. participants think about Berg's fascination with palindromes and reflect pictures and their dating to notions of time and id; the Viennese roots of his distinct orchestral sort; 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 members 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)
Your music isn’t ‘Aryan,’ and it’s not going to seem any less ‘degenerate’ to Dr. ’” [. ”25 • 22 • Christopher Hailey Morgenstern may well have imagined this anecdote a devastating indictment of Helene, but it is in reality more revealing of Berg, whose duplicity was only compounded by his willingness to shunt the blame upon his wife. 27 In a detailed letter of protest of 20 December 1933 Berg not only included his family tree up to the generation of his great-great grandparents, but ridiculed the “absurd idea” of his Jewishness by stating that “everyone knows [.
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. The Ringstrasse had been completed, the ramparts dismantled, the Stadtbahn built and the old-fashioned horse-drawn tramway reconstructed as a modern electric system with a network extending far out into the country districts. The amount of building work was huge. Commerce, trade, and industry were enjoying a golden age.
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. Morgenstern’s defense of his friend echoes the almost universal affection Berg enjoyed in the reminiscences of his contemporaries, as the memorial issue of the journal 23, translated by Mark DeVoto in this volume, attests. And, as in the Morgenstern letter quoted above and in much postwar scholarship, it is often as not Helene Berg whose reputation had to suffer in order to protect Berg’s own, even when it was she who was betrayed.