Im nachfolgenden Beispiel ist das Schema ersichtlich, wie auch der Stimmtausch ab Takt 3: as geht zu b im Altus und b geht zu as im Tenor, anschließend findet das gleiche Spiel mit den Tönen a und h ...statt, man ist versucht, Initialen zu vermuten. Stellen wir uns einmal diesen Doppelterzklang d-fis-a-c-f in Takt 5 in zweierlei Art vor, eingeklammerte Töne sind Auslassungen: d-fis-a-c-eis oder d-f-a-c-(e)-ges Die ges-Variante will logischer erscheinen. Wir können uns aber auch den Tonvorrat nach der Quintensäule aufschlüsseln: c-(g)-d-a-(e)-(h)-fis-(cis)-(gis)-(dis)-(ais)-eis ges-(des)-(as)-(es)-(b)-f-c-(g)-d-a Auch in diesem Falle spricht mehr dafür, dass unser f zwar ein f, das fis aber ein ges ist, da wir zwei Auslassungen weniger haben. Bergs intensive motivische Arbeit findet sich auch hier: b-h im Tenor werden von der Singstimme auf Zählzeit-4 imitiert.
Alban Berg and His World is a collection of essays and source material that repositions Berg as the pivotal figure of Viennese musical modernism. His allegiance to the austere rigor of Arnold ...Schoenberg's musical revolution was balanced by a lifelong devotion to the warm sensuousness of Viennese musical tradition and a love of lyric utterance, the emotional intensity of opera, and the expressive nuance of late-Romantic tonal practice.
During the Great War both sides agreed on the special power of music to create a mythologized national community of destiny and to strengthen the fighting spirit of the masses. From the German ...perspective this war was one between western civilization characterized by capitalism and industrialization on the one hand and German high culture representing traditional values and the homo hierarchicus on the other. In the first part of this paper I outline this ideological and social background of musical life. In the second part I explore the attitudes of Arnold Schoenberg and Alban Berg toward the Great War and their participation in the clash of civilizations. Finally I suggest a prophetic reading of some compositions of the Second Viennese School, particularly of Gustav Mahler’s Symphony No. 6 and Alban Berg’s Three Pieces for Orchestra, Op. 6. Because of their deconstructive and subversive nature these pieces can be read as prophetic not only of the Great War, but also of the further historical catastrophes of the twentieth century.
This book contains new English translations of the complete writings of the Viennese composer Alban Berg (1885–1935) and extensive commentaries tracing the history of each piece of work and its ...connection to musical culture of the early twentieth century. Berg is now recognized as a classic composer of the modern period, best known for his operas Wozzeck and Lulu. Berg, Anton Webern, and their teacher Arnold Schoenberg constitute the “Second Viennese School” which played a major role in the transformation of serious music as it entered the modern period. Berg was an avid and skilled writer. His work includes analytic studies of compositions by Schoenberg, polemics on music and musicians of his day, and lectures and miscellaneous writings on a variety of topics. Throughout his considerable and diverse corpus of writings, Berg alternates between two perspectives: Pro Mundo-Pro Domo, meaning roughly “speaking for all-speaking for myself” commenting at one moment on the general state of culture and the world, and the next moment on his own works. In his early years he also tried his hand at fictional writing, using works by Ibsen and Strindberg as models. This new English edition contains forty-seven pieces of his work, many of which are little known and have not been previously available in English.
As a result of the new aesthetics and compositional techniques of musical modernism around and after 1900, the expectations of a concert and opera audience and the actual musical production of the ...musical avant-garde increasingly drifted apart. Scandal concerts multiplied and heated debates were carried out in the feuilleton. Musicians reacted to this discourse not only by establishing their own communities of interest and presentation platforms for new music. In addition, there was an increased interest among composers to communicate their music to an audience in such a way that it was understood. Introductory lectures, essays, interviews, program notes, and conversations increasingly accompanied performances or new releases of new music. These composers’ statements have been used by musicological research so far largely as sources of information about the respective works. Hardly has research reflected upon the fact that these utterances are (1) communicative acts that presuppose a real or imagined audience and are (2) embedded in a discursive framework to which they respond directly or indirectly.In the article, I discuss these two aspects using examples from the composer Alban Berg. The first is his Wozzeck lecture, which he held for the first time in 1929 on the occasion of the Oldenburg premiere of the work and repeated several times in the following years at other performance venues. In the lecture, Berg uses more than fifty sound examples on the piano to refer primarily to recurring chords and harmonies. Clearly discernible here is the performative strategy of conveying to the audience a specific sonority of non-tonally bound chordal combinations through concrete, sensual auditory impressions. Berg also emphasizes the compositional regularities in Wozzeck, which can be read as a reaction to the repeated reproach of the press that modern music does not follow any regularities. Similar considerations are present in the radio dialogue “What is atonal?” which was broadcast on Radio Wien on April 23, 1930, as a fictitious dialogue between Berg and the journalist Julius Bistron. A detailed analysis of the dialogue script shows that Bistron acted as a representative of various audience segments throughout the lecture. The last section of the article suggests how theories of communication, media, and performance can be used for the examination of such lectures and dialogues and how this deepens our understanding of these communicative acts within the highly controversial field of new music in the twentieth century.
From the composer's lifetime to the present day, Gustav Mahler's
music has provoked extreme responses from the public and from
experts. Poised between the Romantic tradition he radically renewed
and ...the austere modernism whose exponents he inspired, Mahler was a
consummate public persona and yet an impassioned artist who
withdrew to his lakeside hut where he composed his vast symphonies
and intimate song cycles. His advocates have produced countless
studies of the composer's life and work. But they have focused on
analysis internal to the compositions, along with their
programmatic contexts. In this volume, musicologists and historians
turn outward to examine the broader political, social, and literary
changes reflected in Mahler's music. Peter Franklin takes up
questions of gender, Talia Pecker Berio examines the composer's
Jewish identity, and Thomas Peattie, Charles S. Maier, and Karen
Painter consider, respectively, contemporary theories of memory,
the theatricality of Mahler's art and fin-de-siècle politics, and
the impinging confrontation with mass society. The private world of
Gustav Mahler, in his songs and late works, is explored by leading
Austrian musicologist Peter Revers and a German counterpart,
Camilla Bork, and by the American Mahler expert Stephen Hefling.
Mahler's symphonies challenged Europeans and Americans to
experience music in new ways. Before his decision to move to the
United States, the composer knew of the enthusiastic response from
America's urban musical audiences. Mahler and His World
reproduces reviews of these early performances for the first time,
edited by Zoë Lang. The Mahler controversy that polarized Austrians
and Germans also unfolds through a series of documents heretofore
unavailable in English, edited by Painter and Bettina Varwig, and
the terms of the debate are examined by Leon Botstein in the
context of the late-twentieth-century Mahler revival.
In Songs of the Second Viennese School: A Performer’s Guide to Selected Solo Vocal Works, scholar Loralee Songer outlines for singers and voice teachers critical information on selected solo vocal ...works by three major classical composers active during the first half of the twentieth century: Arnold Schoenberg, Alban Berg, and Anton Webern. For too long, the remarkable vocal works of these composers have received insufficient attention because too many have assumed their works to be “unsingable” atonal pieces, musically impossible (or unrewarding) for performers and entirely unsatisfying for listening audiences.
This study examines Arnold Schoenberg’s only published music for film,
Begleitungsmusik zu einer Lichtspielscene
Accompaniment to a Film Scene, op. 34 (1929–30). Although not composed for an existing ...film scene, evidence of
Begleitungsmusik
’s cinematic aspirations motivate this analysis, which approaches the composition as a cinematographic blueprint: a design (or program) for a scene that at the same time serves as its soundtrack. To examine this proposition, I collaborated with artist and filmmaker Stephen Sewell to create a film scene based on my analysis of the piece, which expresses the global narrative described in its program using rhythmic, textural, and structural strategies. While presenting analysis as film proves remarkably appropriate to this composition, in fact, analytical visualization can contribute to various interpretive approaches, allowing listeners to connect an analytical reading in real time to their experience.
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From the composer's lifetime to the present day, Gustav Mahler's music has provoked extreme responses from the public and from experts. Poised between the Romantic tradition he radically renewed and ...the austere modernism whose exponents he inspired, Mahler was a consummate public persona and yet an impassioned artist who withdrew to his lakeside hut where he composed his vast symphonies and intimate song cycles. His advocates have produced countless studies of the composer's life and work. But they have focused on analysis internal to the compositions, along with their programmatic contexts. In this volume, musicologists and historians turn outward to examine the broader political, social, and literary changes reflected in Mahler's music. Peter Franklin takes up questions of gender, Talia Pecker Berio examines the composer's Jewish identity, and Thomas Peattie, Charles S. Maier, and Karen Painter consider, respectively, contemporary theories of memory, the theatricality of Mahler's art and fin-de-siècle politics, and the impinging confrontation with mass society. The private world of Gustav Mahler, in his songs and late works, is explored by leading Austrian musicologist Peter Revers and a German counterpart, Camilla Bork, and by the American Mahler expert Stephen Hefling. Mahler's symphonies challenged Europeans and Americans to experience music in new ways. Before his decision to move to the United States, the composer knew of the enthusiastic response from America's urban musical audiences. Mahler and His World reproduces reviews of these early performances for the first time, edited by Zoë Lang. The Mahler controversy that polarized Austrians and Germans also unfolds through a series of documents heretofore unavailable in English, edited by Painter and Bettina Varwig, and the terms of the debate are examined by Leon Botstein in the context of the late-twentieth-century Mahler revival.
Michel Foucault described the present epoch as being one of space. Some of his notions of space are found in his theories on heterotopias—disturbing places of segregated otherness—which Foucault ...adapted to describe temporal paradigms within a social framework. This study analyzes the duality of opposing temporal planes that are presented as the empirical world and the metaphysical realm, as they inform the heterotopic space within Alban Berg’s opera Lulu. The objective is to expand on the ambiguous meaning of heterotopia and to view Berg’s opera through the seminal lens of Foucauldian theory.
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