By Berg, Alban; Bernhardt-Kabisch, Ernest; Floros, Constantin
The important aspect of this booklet is the belief that the inventive paintings of Alban Berg, which in recent times has moved to the vanguard of scholarly curiosity, is basically rooted in autobiography, in order that for that reason you may achieve entry to the track via learning the inner biography of its writer. for this reason, the 1st of the 3 elements of this quantity outlines a personality portrait of this nice composer. half considers the stipulations suitable to a deeper figuring out of Berg and of the second one Viennese university normally. partly 3, then, Berg’s key works could be analyzed and semantically deciphered by way of his inner biography. The research is predicated not just at the assets in print but additionally at the wealthy unpublished fabric.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 adventure was once the fundamental situation of the artistic approach: the autobiographic reference used to be all-important for composing
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Additional info for Alban Berg: Music as Autobiography. Translated by Ernest Bernhardt-Kabisch
And perish of the distemper if I sin against fidelity). 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!!
He had repeatedly discussed this situation with Webern, who in this respect was different, that is to say, more disciplined, and Webern advised him, on October 26, 1928, to arrange his winters in such a way that he would have time to compose – apparently without success. Most of Berg’s works were to all appearances conceived and sketched during the summer sojourns in the country. 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.
1, the Four Songs op. 2, the String Quartet op. 3, the Four Pieces for Clarinet op. 5 and the Reigen (Round Dance) – the second of the Pieces for Orchestra op. 62 It is especially noteworthy in this connection that after the fracas of 1913, Berg’s works were not performed for a long time in public concerts in Vienna. The Chamber Concert was inaugurated, on March 11, 1927, in Berlin under Hermann Scherchen, and, as is well known, the premiere of Wozzeck likewise took place in Berlin (on December 14, 1925).