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

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

The relevant element of this ebook is the conclusion that the inventive paintings of Alban Berg, which lately has moved to the leading edge of scholarly curiosity, is essentially rooted in autobiography, in order that consequently you will achieve entry to the tune by means of learning the inner biography of its writer. hence, the 1st of the 3 components of this quantity outlines a personality portrait of this nice composer. half considers the stipulations appropriate to a deeper knowing of Berg and of the second one Viennese college normally. partly 3, then, Berg’s key works might be analyzed and semantically deciphered by way of his inner biography. The learn is predicated not just at the resources in print but additionally at the wealthy unpublished fabric. Alban Berg used to be incapable of composing and not using a application. He wanted an extra-musical stimulus. With him, own event was once the imperative of the artistic procedure: the autobiographic reference used to be all-important for composing

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

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But in Vienna, and elsewhere, too, these works did not get performed until late. The Erwartung was not premiered until 1924, fifteen years after its genesis (in Prague, under Alexander von Zemlinsky), `and for the Viennese premiere of the Glückliche Hand, completed in 1913, Schönberg had to wait for eleven years. Not that he was completely unsuccessful as a composer in Vienna. Some of his works were received favorably, such as the important chorus Friede auf Erden (Peace on Earth) and the piano pieces op.

His “conservative bent,” as he put it, might explain to a certain extent why, despite the boldness of his music, his relation to the tradition is closer, more ardent, than in Schönberg or Webern. He wrote new music without altogether abandoning the link to the tradition, without burning all the bridges behind him. In his analysis of the Seven Early Songs, Adorno tried to characterize Berg’s relation to the “subjective-romantic” tradition by means of the formula “Treue zum Schein,” fidelity to semblance or appearance111 – an attempt that is not wholly convincing.

He used the long months of the winter for the compositional elaboration. ” In his letters, Berg complains time and again about the many meaningless occupations that “rob” one of three-fourths of one’s time in “city-living” and that distracted him from composing. He felt worn out by his many obligations, thought he lacked all leisure. Periodically he was indeed heavily occupied with writing about music, which took much of his time. Especially 24 after Schönberg’s move to Berlin in 1925, he also had a great many pupils to teach.

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