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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 via 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 courting 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 tune periodical 23. individuals ponder Berg's fascination with palindromes and replicate photos and their courting to notions of time and id; the Viennese roots of his detailed 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 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)

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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.

Theodor W. Adorno, Alban Berg, trans. Juliane Brand and Christopher Hailey (Cambridge: Cambridge University Press, 1991), 13. 5. Marstrand’s initial letter is dated 9 September 1929 (F21 Berg 1068/1). He explores parallels between Schoenberg and Juana in a letter of 6 December 1929 (F21 Berg 1068/6). In letters of 18 July 1930 and 1 August 1931 (F21 Berg 1068/7–8) Marstrand describes his proposed reincarnation opera. 6. Carl Marilaun, “Beim Komponisten des Wozzeck: Ein Gespräch mit Alban Berg,” Neues Wiener Journal, 20 January 1926.

Under the influence of such thinkers as Weininger, Kraus, and Strindberg, Berg’s reading of the play was not so much societal as characterological. A curious page, preserved in the Berg Nachlass, bears on this subject. It is the plan for a trilogy, in which Wozzeck was to have been the first of three operas—Wozzeck, Vincent, Wolfgang—representing three ascending degrees of the male persona: Servant (Knecht), Friend (Freund), Master (Herr). 17 Little more is known of this project, which does not appear to have progressed beyond this initial sketch.

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