By Berg, Alban; Bernhardt-Kabisch, Ernest; Floros, Constantin
The vital aspect of this publication is the belief that the inventive paintings of Alban Berg, which in recent times has moved to the leading edge of scholarly curiosity, is basically rooted in autobiography, in order that hence possible achieve entry to the tune by way of learning the inner biography of its writer. therefore, the 1st of the 3 elements of this quantity outlines a personality portrait of this nice composer. half considers the stipulations appropriate to a deeper figuring out of Berg and of the second one Viennese tuition normally. partially 3, then, Berg’s key works could be analyzed and semantically deciphered when it comes to his inner biography. The examine relies not just at the resources in print but in addition at the wealthy unpublished fabric.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 adventure used to be the necessary of the artistic approach: 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
Frank Wedekind, Foreword to Die Büchse der Pandora, p. 8 (marked by Berg) “Have there ever been people who were made happy by love? ” Frank Wedekind, Die Büchse der Pandora, p. 92 (marked by Berg) To understand the work of any major composer of the 20th century, one needs to ask about his intellectual horizon. Berg was one of the most educated musicians of the century. The more one delves into his correspondence and surveys his library,113 the more one marvels at the breadth of his reading. He had a close relationship with both literature and pictorial art – before he started to compose, he wanted to be a poet – and associated with many wellknown artists.
The collection also included aperçus about happiness by Shakespeare and Nietzsche. ” 33 The bitter experiences Berg underwent during the war years and the collapse of many illusions seem to have altered his outlook on life: a pessimistic mood is implicit in many places in his letters. Defeatism and resignation, incidentally, also characterize the overall mood of many of Webern’s letters. On July 14, 1920, he wrote to Berg: “What I have learned above all during the last years: resignation, resignation.
Alban Berg seems to have adopted his 27 teacher’s ideas early on: late in July of 1907, he wrote to a female friend of his youth to America: For what with all the stuff that is being composed together now, and is also praised by both press and public, taste is only too easily corrupted. The really good attains recognition only late – and if it happens early it is usually only a matter of fashion. ”79 Until his 38th year, Berg achieved little recognition as a composer. Apart from student recitals at Schönberg’s, or the concerts of the Society for Private Musical Performances, his works were rarely played in public.