Alban Berg: Music as Autobiography. Translated by Ernest by Berg, Alban; Bernhardt-Kabisch, Ernest; Floros, Constantin PDF

By Berg, Alban; Bernhardt-Kabisch, Ernest; Floros, Constantin

ISBN-10: 1306931843

ISBN-13: 9781306931847

ISBN-10: 363164597X

ISBN-13: 9783631645970

ISBN-10: 365304684X

ISBN-13: 9783653046847

The principal element of this booklet is the belief that the inventive paintings of Alban Berg, which lately has moved to the vanguard of scholarly curiosity, is basically rooted in autobiography, in order that for that reason one could achieve entry to the song through learning the inner biography of its author. therefore, the 1st of the 3 components of this quantity outlines a personality portrait of this nice composer. half considers the stipulations correct to a deeper knowing of Berg and of the second one Viennese institution as a rule. partly 3, then, Berg’s key works may be analyzed and semantically deciphered by way of his inner biography. The examine is predicated not just at the assets in print but in addition at the wealthy unpublished fabric. Alban Berg used to be incapable of composing with no application. He wanted an extra-musical stimulus. With him, own event was once the vital situation of the artistic technique: the autobiographic reference was once all-important for composing

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Extra resources for Alban Berg: Music as Autobiography. Translated by Ernest Bernhardt-Kabisch

Sample text

Fidelity not only to you, but to myself, to Schönberg (who really does not make it easy for a person) – and to Trahütten, too. And as to the latter: now, while outside the green-brown landscapes fly past, I have twinges of conscience that in these days of artistic battle, of ambition, of hunger for fame, of chasing after money, I am nearly forgetting the sacred Trahütten. ) So: with such a conservative bent, how could I not but be, and forever remain, all the more faithful to you, my precious darling!!

The reception of the work was mixed. 64 Berg himself, to be sure, was not satisfied with the reception of the work by the public or by the critics. In a letter to Clemens Krauss, probably from the year 1932, he complained about the prospect of the opera’s being dropped from the repertory and ascribed it to the special constellation in Vienna’s musical life, the power of the Church and the power of the press. Vienna’s musical life, he thought, was subject to dictatorial influences, “which emanate, on the one hand, from Archbishop Piffl and, on the other, from Dr.

182). 70 The aperçu may seem captious, but it contains a kernel of truth. From the Berlin premiere of Wozzeck on, at the latest, interest in Berg’s music began to spread abroad. Numerous of his works were performed in the United States and in many European countries. But his music encountered little resonance in Austria, which embittered him greatly and frequently prompted sarcastic remarks. Undoubtedly he had numerous resentments against Vienna. Thus he wrote to Helene on March 9, 1934, that he would permit a concert performance of Lulu in Vienna only after the planned premiere in Berlin.

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Alban Berg: Music as Autobiography. Translated by Ernest Bernhardt-Kabisch by Berg, Alban; Bernhardt-Kabisch, Ernest; Floros, Constantin


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