No. 281 of the ongoing ITYWLTMT series of audio montages, which can be found in our archives at https://archive.org/details/pcast281 |
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After a
series of Russian podcasts, the next few planned montages will explore “modern
times”, 0 in anticipation of later chapters of Project 366. This week’s share
features one of the prominent voices of the Second Viennese School, Austria’ Alban
Berg.
As in most
Viennese middle-class homes, music was regularly played in his parents’ house,
in keeping with the general musical atmosphere of the day. Encouraged by his
father and older brother, Alban Berg began to compose music without benefit of
formal instruction. During this period his output consisted of more than 100
songs and piano duets, most of which remain unpublished.
In
September 1904 he met Arnold Schoenberg, who was quick to recognize
Berg’s talent and accepted the young man as a nonpaying pupil. The musical
precepts and the human example provided by Schoenberg shaped Berg’s artistic
personality as they worked together for the next six years.
Berg wrote
atonal and 12-tone compositions that remained true to late 19th-century
Romanticism. In the circle of Schoenberg’s students, Berg presented his first
public performance in the fall of 1907: Piano Sonata (published 1908). This was
followed by Four Songs (1909) and String Quartet (1910), each strongly
influenced by the young composer’s musical gods, Gustav Mahler and Richard
Wagner.
Our opening
work, "Der Wein" (The Wine), is a concert aria for soprano and
orchestra, composed in 1929. The lyrics are from Stefan George's translation of
three poems from Charles Baudelaire's Les Fleurs du mal. The aria was
dedicated to Ružena Herlinger, its commissioner and first performed in
Königsberg on June 4, 1930 with Hermann Scherchen.
Berg wrote
two operas: Wozzeck (1925) and Lulu . The inspiration for Berg’s
Lulu can be found in two plays by the German dramatist Frank Wedekind
(1864–1918). From Erdgeist (1895; “Earth Spirit”) and Büchse der
Pandora (1904; “Pandora’s Box”), he extracted the central figure for his
opera. This work engaged him, with minor interruptions, for the span of
1929-34. By then, the rise of Nazism and Berg’s close association to Schoenberg
meant his work was proscribed and placed on the list of degenerate music. It
was at this point that he set aside the work on the opera to prepare a concert
suite, in case the opera could never be performed, and also considered
expanding it into a Lulu Symphony. The suite is featured in today’s montage.
Berg’s last
complete work, the Violin Concerto, originated under unusual circumstances.
In 1935 the American violinist Louis Krasner commissioned Berg to compose a
violin concerto for him. As usual, Berg procrastinated at first. But after the
death of Manon, the beautiful 18-year-old daughter of Alma Mahler (by then the
wife of the architect Walter Gropius), Berg was moved to compose the work as a
kind of requiem and to dedicate it to the “memory of an angel”—Manon.
By the time
the work was finally presented by Krasner in Barcelona in April 1936, it had
become a requiem not only for Manon Gropius but for Berg as well. One of the
major violin concerti of the 20th century, it is a work of highly personal,
emotional content achieved through the use of 12-tone and other
resources—symbolic as well as musical.
I think you will love this music too.
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