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Based on real events and playwright Georg Buchners starkly vehement text, Alban Bergs tragic opera Wozzeck is an epoch-making work, in stark contrast to the previous high romantic ideals of the genre, that led Schoenberg to exclaim now thats what I call an opera! Immensely powerful and heartbreakingly moving as a drama, Wozzeck explores the victimisation, despair and madness of a central character who has no place in society, its deeply humane message and sublimely innovative score firmly

Alban Berg Collection / Varrious Various Artists - CD 028947465720

Adorno's study of Austrian composer Alban Berg (1885-1935) is a sui generis document. In addition to Adorno's personal account of of the life and musical works of his mentor, friend, and composition teacher, the book explores the historical and cultural significance of Berg's music, its relationship to that of other nineteenth- and twentieth-century composers, and to the larger issues of contemporary life.

EA, 405 S., OLwd. m. OU., gut erhalten Aufgrund der EPR-Regelung kann in folgende Länder KEIN Versand mehr erfolgen: Bulgarien, Finnland, Frankreich, Griechenland, Luxemburg, Österreich, Polen, Rumänien, Schweden, Slowakei, Spanien.

EA, 454 S., OPbd. m. OU., gut erhalten Aufgrund der EPR-Regelung kann in folgende Länder KEIN Versand mehr erfolgen: Bulgarien, Finnland, Frankreich, Griechenland, Luxemburg, Österreich, Polen, Rumänien, Schweden, Slowakei, Spanien.

Neuware - A look through the correspondence of two befriended pupils and their teacher: Schönberg, Berg, WebernThis book examines the relationship of three very different men who are usually seen as the most important composers of the so-called Second Viennese School - Arnold Schönberg, Alban Berg and Anton Webern - in the years 1906 to 1921 through a close examination of their correspondence with each other. To date only one of these correspondences, that of Schönberg and Berg, has been published, so the other two sets of letters are not yet widely known. The largely differing personalities of these three mencome out clearly in their letters to each other: Schönberg, the master who demands a great many things from his two pupils (long after they have ceased to be that); Berg, from whom he demands the most; and Webern, his pious devotee. The book covers the period linking the first correspondence between master and pupils in 1906 and the dissolution of the Verein für musikalische Privataufführungen in 1921, the period when these men were most closely bound together.

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. The essays in this collection explore the specific qualities of Berg's brand of musical modernism, and present newly translated letters and documents that illuminate his relationship to the politics and culture of his era. Of particular significance are the first translations of Berg's newly discovered stage work Night (Nocturne), Hermann Watznauer's intimate account of Berg's early years, and the famous memorial issue of the music periodical 23. Contributors consider Berg's fascination with palindromes and mirror images and their relationship to notions of time and identity; the Viennese roots of his distinctive orchestral style; his links to such Viennese contemporaries as Alexander Zemlinsky, Franz Schreker, and Erich Wolfgang Korngold; and his attempts to maneuver through the perilous shoals of gender, race, and fascist politics. The contributors are Antony Beaumont, Leon Botstein, Regina Busch, Nicholas Chadwick, Mark DeVoto, Douglas Jarman, Sherry Lee, and Margaret Notley. Bard Music Festival: ? Berg and His WorldBard CollegeAnnandale-on-Hudson, New YorkAugust 13-15, 2010 and August 20-22, 2010

Analysis of the work of a famous composer of the Second Viennese School from the first half of the twentieth century. Includes sections of his sheet music in this analysis.

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. The essays in this collection explore the specific qualities of Berg's brand of musical modernism, and present newly translated letters and documents that illuminate his relationship to the politics and culture of his era. Of particular significance are the first translations of Berg's newly discovered stage work Night (Nocturne), Hermann Watznauer's intimate account of Berg's early years, and the famous memorial issue of the music periodical 23. Contributors consider Berg's fascination with palindromes and mirror images and their relationship to notions of time and identity; the Viennese roots of his distinctive orchestral style; his links to such Viennese contemporaries as Alexander Zemlinsky, Franz Schreker, and Erich Wolfgang Korngold; and his attempts to maneuver through the perilous shoals of gender, race, and fascist politics. The contributors are Antony Beaumont, Leon Botstein, Regina Busch, Nicholas Chadwick, Mark DeVoto, Douglas Jarman, Sherry Lee, and Margaret Notley. Bard Music Festival: ? Berg and His WorldBard CollegeAnnandale-on-Hudson, New YorkAugust 13-15, 2010 and August 20-22, 2010

George Perle is a distinguished composer and Professor Emeritus of Music at the City University of New York. His books include Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern (Sixth Edition, California, 1991); The Operas of Alban Berg, Volume 1, Wozzeck (California, 1980) and Volume 2, Lulu (California, 1985); and The Listening Composer (California, 1990). He has been a recipient of the Pulitzer Prize and a MacArthur Foundation Fellowship.

Unread book in perfect condition.

1983 W.W. Norton trade paperback, Oliver Neighbour, Paul Griffiths, George Perle. Arnold Schoenberg, Anton Webern, and Alban Berg comprise what is known as the 'Second Viennese School.' Their early 20th-century atonal and 12-tone composition marked the abolition of the traditional tonal functions and heralded an entirely new treatment of dissonance. These three biographies by Paul Griffiths (Webern), Oliver Neighbour (Schoenberg), and George Perle (Berg) provide insight into these developments and offer succinct and illuminating discussions of the composers' lives and works. - Amazon

Alban Berg's achievement is based on an extraordinarily small musical output, but it includes towering masterpieces such as the operas Wozzeck and Lulu, and his last work, the Violin Concerto. These and all Berg's other substantial works are discussed in this wide-ranging Companion, which contains essays written from a variety of historical and critical perspectives, outlining the place of the music in the cultural history of its time and within the broader interplay of twentieth-century fashions, aesthetics and ideas.

The violin concerto from 1935 is probably the best-known and most frequently performed instrumental work by Alban Berg. Written on behalf of the vi...

Composer: Alban Berg String Quartet Op. 3 Parts Publisher: G. Henle Verlag Category: Band/Orchestra/Ensemble Series: Henle Music Folios Format...

Composer: Alban Berg Concerto for Violin and Orchestra Violin and Piano Reduction With Marked and Unmarked Violin Parts Score and Parts Publisher...

Composer: Alban Berg Four Pieces, Op. 5 for Clarinet and Piano Publisher: Henle Urtext Edition Category: Solo Instrumental Series: Henle Music...

Preface. PART 1: VIENNA: 1885-1915. 1. The German Romantic Legacy. 2. Schoenberg to 1909: Extending Traditions. 3. Webern: Opus 1 to Opus 12. 4. Alban Berg Before Wozzeck. PART TWO: PARIS: 1885-1915. 5. Debussy: Impressionism and Symbolism. 6. Maurice Ravel to the Mallarme Songs (1913). 7. Exoticism: Importations from Abroad. 8. Symbolist Reverberations Abroad (I): Decadent Symbolism. 9. Symbolist Reverberations Abroad (II): Synesthetic Symbolism. PART THREE: EMEBLEMS OF CRISIS: 1909-1914. 10. Expressionism: The Path to Pierrot. 11. Primitivism: The Road to the Rite. 12. Futurism: Manifestos and Machines. 13. The New Simplicities: France. 14. The New Simplicities: Germany. 15. Toward Neoclassicism. 16. Zemlinsky's Lyric Symphony: Against the Tide. 17. Berg: Wozzeck and the Violin Concerto. 18. Weberns Path to the New Music. PART FIVE: EMERGING NATIONAL ASPIRATIONS: 1910-1945. 19. Hungary: Bela Bartok. 20. Russians Abroad and At Home. 21. The Twentieth-Century Spanish and English Renaissance. 22. An "American" Music for America. PART SIX: BEYOND NATIONALISM: 1920-1950. 23. Rituals, Liturgies, and Voices of War. PART SEVEN: POSTWAR SERIALISM AND THE RISE OF AN INTERNATIONAL AVANT-GARDE. 24. Europe: In Search of a Common Practice. 25. The United States of America. 26. Serialism and the European Old Guard. 27. The International Avant-Garde: Choice and Chance. PART EIGHT: THE QUEST FOR NEW SOUNDS. 28. Electronics and Explorations of Duration, Timbre, and Space. 29. The New Virtuosity. PART NINE: PAST IMPERFECT-FUTURE SUBJUNCTIVE. 30. Users of the Past: A Synthesis. 31. Users of the Past: The Generic Revivals. 32. Envoi. Notes. Index.

Luigi Dallapiccola was one of twentieth century's most accomplished and admired composers. His music incorporated many of the twelve-tone techniques developed by Arnold Schoenberg, Alban Berg, and Anton von Webern, but blended their expressionistic impulses with an Italianate sense of lyricism. Brian Alegant's The Twelve-Tone Music of Luigi Dallapiccola traces the evolution of Dallapiccola's compositional technique over a thirty-year period (1942-74). Using both historical and music-analytical lenses, this book documents the influences of Webern and Schoenberg, highlights Dallapiccola's innovative handling of harmony, form, and text setting, and sheds light on several works that have been virtually ignored. Alegant's book will be a crucial source of insights for scholars and other readers interested in twentieth-century music. Brian Alegant is Professor of Music Theory at the Oberlin College Conservatory.

Luigi Dallapiccola was one of twentieth century's most accomplished and admired composers. His music incorporated many of the twelve-tone techniques developed by Arnold Schoenberg, Alban Berg, and Anton von Webern, but blended their expressionistic impulses with an Italianate sense of lyricism. Brian Alegant's The Twelve-Tone Music of Luigi Dallapiccola traces the evolution of Dallapiccola's compositional technique over a thirty-year period (1942-74). Using both historical and music-analytical lenses, this book documents the influences of Webern and Schoenberg, highlights Dallapiccola's innovative handling of harmony, form, and text setting, and sheds light on several works that have been virtually ignored. Alegant's book will be a crucial source of insights for scholars and other readers interested in twentieth-century music. Brian Alegant is Professor of Music Theory at the Oberlin College Conservatory.