This impressive volume brings together three major 20th-century chamber works: Berg's String Quartet No. 1, Op. 3; Stravinsky's Three Pieces for String Quartet; and Webern's Five Movements for String Quartet. Heavily influenced by the works of Arnold Schoenberg, Alban Berg’s String Quartet No. 1 brought its composer into the musical vanguard. Schoenberg declared himself astonished by the "fullness and unconstraint of its musical language, the strength and sureness of its presentation, its careful working and significant originality." Stravinsky recognized his Three Pieces for String Quartet as marking an important change in his art, and this turning point can be regarded as an experiment in new stylistic possibilities. The first piece features a mechanical repetition of a musical figure; the second is highly atonal; and the final piece introduces the austere style to which the composer later returned. Like Berg, Webern was a student of Schoenberg, and the Five Movements for String Quartet both reflects the master's teachings and extends beyond them. Departing from traditional thematic composition and form, these gemlike miniatures anticipate the development of the twelve-tone method.

Works for String Quartet (Dover Chamber Music Scores)

Arts & Photography

Berg, Alban

Stravinsky, Igor

Webern, Anton

Music

Dover Publications

Alban Berg: letters to his wife;

FABER

English National Opera Guides are ideal companions to the opera. They provide stimulating introductory articles together with the complete text of each opera in English and the original. In 1972 Elias Canetti said: 'with Wozzeckm Buchner achieved the most complete revolution in the whole of literature'. The same can be said of Berg's opera, as revolutionary in the history of music in our century as in opera in particular. Mark DeVoto and Theo Hirsbrunner discuss why this infinitely complex and formal score perfectly suits the confused and disordered nature of the play. In his famous essay about the opera (written in 1968, but given here for the first time in English) Theador Adorno shows how what seems fragmentory in the text is actually complete, and how the music responds to the words; Kenneth Segar offers a new interpretation of the play in the light of the most recent Buchner research. Also for the first time, the complete edition of the play as Berg knew it is set out with a translation so that readers can see not only what he kept for his liberetto but also what he omitted. This unique source material is complemented by a series of critical reactions to the first London production in 1952 illustrating the controversy which has surrounded the opera since its 1925 Berlin premiere, and the extent to which our aesthetics have changed over the last forty years.

Wozzeck: (English National Opera Guide 42) (English National Opera Guides)

Overture Publishing

Adorno was twenty-one years old when he traveled to Vienna in March 1925 to study musical composition with Alban Berg. Twenty years later, Adorno wrote: "how much of my writing will remain is beyond my knowledge or my control, but there is one claim I wish to stake: that I understand the language of birds," It was no less than the desire to learn to speak this language that drew him to Berg. Adorno already knew what he wanted to drew to compose before he went to Berg, and the aim of his stay in Vienna and the following years was to learn to put this knowledge of musical composition into practice. 
His correspondence with Berg, who was soon to be world famous, is partly defined by his engagement with the compositional problems posed for the musical avant-garde by Schoenberg’s discovery of the twelve-tone technique, for which Adorno was to become an advocate, not least in Vienna and through Berg. This correspondence documents how he wrote numerous essays on Berg, Webern and Schoenberg during this time, and tried in vain to establish a platform for the Second Viennese School against "moderated modernity" in the journal Anbruch, where he exerted considerable editorial influence. It also shows how much Adorno – continually admonished by Berg to focus only on his musical composition – strove to reconcile his academic duties and his literary and journalistic work with the constant which to do nothing more than compose.

Correspondence 1925-1935

Biographies & Memoirs

ADORNO, THEODOR W.

Arts & Literature

Polity

Écrits

BOURGOIS

Wozzeck (Rororo Opernbücher) (German Edition)

Reference

Foreign Language Study & Reference

Rowohlt

Alban Berg: Lulu

Universal Edition

Partition classique UNIVERSAL EDITION BERG ALBAN - WOZZECK - CHANT/PIANO Choeur et ensemble vocal

F?nf Orchesterlieder: nach Ansichtskartentexten von Peter Altenberg

Vollst ndiger, digital restaurierter Reprint (Faksimile) der Originalausgabe von 1925 (Eigentum des Komponisten) mit exzellenter Aufl sung und hervorragender Lesbarkeit. Klavierauszug von Fritz Heinrich Klein. Gedruckt in Farbe. Mit pers nlicher handgeschriebener Widmung und handgeschriebenem Zusatz "Alma Maria Mahler zugeeignet" von Alban Berg. "Wozzeck" ist eine Oper in drei Akten nach dem Dramenfragment "Woyzeck" von Georg B chner. Die Arbeit an der Oper beendete Alban Berg 1921. Eine Auff hrung von drei Ausschnitten im Jahr 1924 brachte ihm den ersten ffentlichen Erfolg. Lange Zeit fand sich kein Opernhaus, das die ganze Oper wegen der immensen Schwierigkeiten f r Orchester und S nger zur Auff hrung bringen wollte. Erich Kleiber erkannte die Genialit t der Partitur und brachte den "Wozzeck" nach legend r gewordenen 137 Proben am 14. Dezember 1925 in der Staatsoper Unter den Linden in Berlin zur Urauff hrung. Der "Wozzeck" gilt heute als Markstein in der Geschichte der Oper und als eines der bedeutendsten Werke des 20. Jahrhunderts. Die Drucklegung der Oper erfolgte 1925 mit finanzieller Unterst tzung von Alma Mahler-Werfel, der Witwe von Gustav Mahler. Alban Berg widmete ihr aus Dankbarkeit die Oper.

Georg Buechners Wozzeck: Oper in 3 Akten (15 Szenen), Op. 7 (Klavierauszug von Fritz Heinrich Klein) (German Edition)

Reprint Publishing

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