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By Christopher Hailey

Alban Berg and His international is a suite of essays and resource fabric that repositions Berg because the pivotal determine of Viennese musical modernism. His allegiance to the austere rigor of Arnold Schoenberg's musical revolution used to be balanced through a lifelong devotion to the nice and cozy sensuousness of Viennese musical culture and a love of lyric utterance, the emotional depth of opera, and the expressive nuance of late-Romantic tonal practice.

The essays during this assortment discover the explicit features of Berg's model of musical modernism, and current newly translated letters and records that remove darkness from his courting to the politics and tradition of his period. Of specific value are the 1st translations of Berg's newly chanced on degree paintings evening (Nocturne), Hermann Watznauer's intimate account of Berg's early years, and the recognized memorial factor of the track periodical 23. individuals think of Berg's fascination with palindromes and replicate photos and their courting to notions of time and id; the Viennese roots of his distinct orchestral type; his hyperlinks to such Viennese contemporaries as Alexander Zemlinsky, Franz Schreker, and Erich Wolfgang Korngold; and his makes an attempt to move during the perilous shoals of gender, race, and fascist politics.

The members are Antony Beaumont, Leon Botstein, Regina Busch, Nicholas Chadwick, Mark DeVoto, Douglas Jarman, Sherry Lee, and Margaret Notley.

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6 Variants in that edition have been mentioned in the notes where appropriate. For the texts of the quotations from Berg’s own letters, I have followed Watznauer’s versions, which on the whole are faithful to the originals, which are now housed in the Mary Flagler Cary Collection in the Morgan Library, New York. Where differences from the originals affect the translation, they have been noted. Omissions indicated in Watznauer’s text are shown thus “. ”; those not indicated are shown thus “[. 8 This is presumably the copy that Watznauer sent to Berg with his letter of 18 April 1929, in which he summarizes his activities between 1914 and 1928.

3. Heinrich Jalowetz, “Abschied von Alban Berg,” 23: Eine Wiener Musikzeitschrift 24/25 (1 February 1936): 12–15, 14. Translated by Mark DeVoto in “Alban Berg zum Gedenken,” in this volume. 4. Theodor W. Adorno, Alban Berg, trans. Juliane Brand and Christopher Hailey (Cambridge: Cambridge University Press, 1991), 13. 5. Marstrand’s initial letter is dated 9 September 1929 (F21 Berg 1068/1). He explores parallels between Schoenberg and Juana in a letter of 6 December 1929 (F21 Berg 1068/6). In letters of 18 July 1930 and 1 August 1931 (F21 Berg 1068/7–8) Marstrand describes his proposed reincarnation opera.

His first choice was Gerhart Hauptmann’s Glashüttenmärchen (Glassworks fairy tale) of 1906, Und Pippa tanzt! 18 Still, it is a beguiling work with many enticing musical allusions. Berg’s decision to move on to Wedekind’s Earth Spirit tragedies, which had more to do with questions of royalties than real preference, was, if anything, a step back toward fin-de-siècle obsessions with the femme fatale/femme fragile dichotomy. To be sure, Wedekind would provide material for G. W. Pabst’s masterful Lulu film featuring the inimitable Louise Brooks (Pandora’s Box, 1931), though an updated setting and Brooks’ bobbed flapper look do much to disguise the passé plot.

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