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AboutFurther ReadingFavourites,Ludwig van Beethoven - Orchestral & Choral Works
James attempts the Herculean task of choosing his favourite recordings of orchestral and choral works by Ludwig van Beethoven.
Favourites,Alban Berg
James sifts through the music of Alban Berg and offers his recommended recordings.
âMy first collaboration with Claudio Abbado â with the Mahler Chamber Orchestra in 2008 â opened my eyes to a new way of understanding and experiencing the Beethoven Violin Concerto. He then expressed the wish to perform Alban Bergâs Violin Concerto, this time with the Orchestra Mozart. It seemed to him to be an obvious and natural continuation of the project to record these two works in further rehearsals and in concert and to produce a CD of them.
To place these two masterpieces in such close proximity was something quite new for me. The rehearsals in Bologna in 2010 involved working on the two pieces directly after each other: the result was an intense journey through sorrow and suffering in Alban Berg, by way of the cathartic Bach chorale, to Beethoven at his most radiant, apparently leaving all earthly cares far behind him, which utterly enchanted every one of us.
To make music with Claudio Abbado is an infinite joy, a genuine key to the magic of music. I would like to express here my sincerest thanks for his confidence and my boundless admiration for his artistry.â Isabelle Faust
Sketch of Alban Berg by Emil Stumpp
Alban Maria Johannes Berg (/ËÉËlbÉËnËbÉÉrÉ¡/;[1]German: [ËbÉÉ̯k]; February 9, 1885 â December 24, 1935) was an Austriancomposer of the Second Viennese School. His compositional style combined Romantic lyricism with twelve-tone technique.[2]
Biography[edit]Early life[edit]
Berg was born in Vienna, the third of four children of Johanna and Konrad Berg. His family lived comfortably until the death of his father in 1900.[citation needed]
Berg was more interested in literature than music as a child and did not begin to compose until he was fifteen, when he started to teach himself music. With Marie Scheuchl, a maid fifteen years his senior in the Berg family household, he fathered a daughter, Albine, born December 4, 1902.[3]
Portrait of Alban Berg, 1909
Berg had little formal music education before he became a student of Arnold Schoenberg in October 1904. With Schoenberg, he studied counterpoint, music theory, and harmony.[4] By 1906 he was studying music full-time; by 1907 he began composition lessons. His student compositions included five drafts for piano sonatas. He also wrote songs, including his Seven Early Songs (Sieben Frühe Lieder), three of which were Berg's first publicly performed work in a concert that featured the music of Schoenberg's pupils in Vienna that year.[citation needed]
The early sonata sketches eventually culminated in Berg's Piano Sonata, Op. 1 (1907â1908); it is one of the most formidable 'first' works ever written.[5] Berg studied with Schoenberg for six years until 1911. Among Schoenberg's teaching was the idea that the unity of a musical composition depends upon all its aspects being derived from a single basic idea; this idea was later known as developing variation. Berg passed this on to his students, one of whom, Theodor W. Adorno, stated: 'The main principle he conveyed was that of variation: everything was supposed to develop out of something else and yet be intrinsically different'.[6] The Piano Sonata is an exampleâthe whole composition is derived from the work's opening quartal gesture and its opening phrase.[7]
Innovation[edit]
Berg was a part of Vienna's cultural elite during the heady fin de siècle period. His circle included the musicians Alexander von Zemlinsky and Franz Schreker, the painter Gustav Klimt, the writer and satirist Karl Kraus, the architect Adolf Loos, and the poet Peter Altenberg.
In 1906 Berg met the singer Helene Nahowski, daughter of a wealthy family (said by some to be in fact the illegitimate daughter of Emperor Franz Joseph I of Austria from his liaison with Anna Nahowski).[8] Despite the outward hostility of her family, the two were married on May 3, 1911.
Watschenkonzert, caricature in Die Zeit, April 6, 1913
In 1913 two of Berg's Altenberg Lieder (1912) were premièred in Vienna, conducted by Schoenberg in the infamous Skandalkonzert. Settings of aphoristic poetic utterances, the songs are accompanied by a very large orchestra. The performance caused a riot, and had to be halted. He effectively withdrew the work, and it was not performed in full until 1952. The full score remained unpublished until 1966.[9]
From 1915â18,Berg served in the Austro-Hungarian Army and during a period of leave in 1917, he accelerated work on his first opera, Wozzeck. After the end of World War I, he settled again in Vienna, where he taught private pupils. He also helped Schoenberg run his Society for Private Musical Performances, which sought to create the ideal environment for the exploration and appreciation of unfamiliar new music by means of open rehearsals, repeat performances, and the exclusion of professional critics.[citation needed]
Berg had a particular interest in the number 23, using it to structure several works. Various suggestions have been made as to the reason for this interest: that he took it from the biorhythms theory of Wilhelm Fliess, in which a 23-day cycle is considered significant,[10] or because he first suffered an asthma attack on the 23rd of the month.[11]
Success of Wozzeck and inception of Lulu (1924â29)[edit]
In 1924 three excerpts from Wozzeck were performed, which brought Berg his first public success. The opera, which Berg completed in 1922, was first performed on December 14, 1925, when Erich Kleiber conducted the first performance in Berlin. Today, Wozzeck is seen as one of the century's most important works. Berg made a start on his second opera, the three-act Lulu, in 1928 but interrupted the work in 1929 for the concert aria Der Wein which he completed that summer. Der Wein presaged Lulu in a number of ways, including vocal style, orchestration, design and text.[12]
Other well-known Berg compositions include the Lyric Suite (1926), which was later shown to employ elaborate cyphers to document a secret love affair; the post-Mahlerian Three Pieces for Orchestra (completed in 1915 but not performed until after Wozzeck); and the Chamber Concerto (Kammerkonzert, 1923â25) for violin, piano, and 13 wind instruments: this latter is written so conscientiously that Pierre Boulez has called it 'Berg's strictest composition' and it, too, is permeated by cyphers and posthumously disclosed hidden programs.[13]
Final years (1930â35)[edit]
Life for the musical world was becoming increasingly difficult in the 1930s both in Vienna and Germany due to the rising tide of antisemitism and the Nazi cultural ideology that denounced modernity. Even to have an association with someone who was Jewish could lead to denunciation, and Berg's 'crime' was to have studied with the Jewish composer Arnold Schoenberg. Berg found that opportunities for his work to be performed in Germany were becoming rare, and eventually his music was proscribed and placed on the list of degenerate music.[14]
In 1932 Berg and his wife acquired an isolated lodge, the Waldhaus on the southern shore of the Wörthersee, near Schiefling am See in Carinthia, where he was able to work in seclusion, mainly on Lulu and the Violin Concerto.[15] At the end of 1934, Berg became involved in the political intrigues around finding a replacement for Clemens Krauss as director of the Vienna State Opera.
As more of the performances of his work in Germany were cancelled by the Nazis, who had come to power in early 1933, he needed to ensure the new director would be an advocate for modernist music. Originally, the premiere of Lulu had been planned for the Berlin State Opera, where Erich Kleiber continued to champion his music and had conducted the premiere of Wozzeck in 1925, but now this was looking increasingly uncertain, and Lulu was rejected by the Berlin authorities in the spring of 1934. Kleiber's production of the Lulu symphonic suite on 30 November 1934 in Berlin was also the occasion of his resignation in protest at the extent of conflation of culture with politics. Even in Vienna, the opportunities for the Vienna School of musicians was dwindling.[14]
Berg had interrupted the orchestration of Lulu because of an unexpected (and financially much-needed) commission from the Russian-American violinist Louis Krasner for a Violin Concerto (1935). This profoundly elegiac work, composed at unaccustomed speed and posthumously premièred, has become Berg's best-known and most-beloved composition.[citation needed] Like much of his mature work, it employs an idiosyncratic adaptation of Schoenberg's 'dodecaphonic' or twelve-tone technique, that enables the composer to produce passages openly evoking tonality, including quotations from historical tonal music, such as a Bach chorale and a Carinthian folk song. The Violin Concerto was dedicated 'to the memory of an Angel', Manon Gropius, the deceased daughter of architect Walter Gropius and Alma Mahler.[16]
Death[edit]
Berg died aged 50 in Vienna, on Christmas Eve 1935, from blood poisoning apparently caused by a furuncle on his back, induced by an insect sting that occurred in November.[17][not in citation given]
Before he died, Berg had completed the orchestration of only the first two of the three acts of Lulu. The completed acts were successfully premièred in Zürich in 1937. For personal reasons Helene Berg subsequently imposed a ban on any attempt to 'complete' the final act, which Berg had in fact completed in short score.[18] An orchestration was therefore commissioned in secret from Friedrich Cerha and premièred in Paris (under Pierre Boulez) only in 1979, soon after Helene Berg's own death. The complete opera has rapidly entered the repertoire as one of the landmarks of contemporary music and, like Wozzeck, remains a consistent audience draw.[citation needed]
Legacy[edit]
Bust of Alban Berg at Schiefling on the lake, Klagenfurt-Land District, Carinthia, Austria
Berg is remembered as one of the most important composers of the 20th century and the most widely performed opera composer among the Second Viennese School.[19] He is said to have brought more 'human values' to the twelve-tone system, his works seen as more 'emotional' than Schoenberg's.[20] Critically, he is seen as having preserved the Viennese tradition in his music.[21][verification needed]
Berg scholar Douglas Jarman writes in the New Grove Dictionary of Music and Musicians that '[as] the 20th century closed, the 'backward-looking' Berg suddenly came as [George] Perle remarked, to look like its most forward-looking composer.'[19]
The asteroid 4528 Berg is named after him (1983).[22]
Major compositions[edit]
Piano
Alban Berg Violinconcerto Partitur Video
Chamber
Orchestral
Vocal
Operas
References[edit]
Bibliography[edit]
Analytical writings[edit]Douglas Jarman[edit]
Other[edit]
Biographical writings[edit]
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Alban_Berg&oldid=892715332'
(Redirected from Alban Berg Quartet)
The Alban Berg Quartett was a string quartet founded in Vienna, Austria in 1970, named after Alban Berg.
Members[edit]
Beginnings[edit]
The Berg Quartet was founded in 1970 by four young professors of the Vienna Academy of Music, and made its debut in the Vienna Konzerthaus in autumn 1971. The widow of the composer Alban Berg, Helene, attended an early private concert after which she gave her consent for the quartet to use her husband's name.
Career[edit]
The Quartet's repertoire was centered on the Viennese classics, but with a serious emphasis on the 20th century. It was the stated goal of the quartet to include at least one modern work in each performance. Their repertoire spanned from Early Classicism, Romanticism, to the Second Viennese School (Berg, Schoenberg, Webern), Bartók and embraced many contemporary composers.[1] This took expression not the least in personal statements by composers like Witold LutosÅawski and Luciano Berio, of whom the former said: 'Personally I am indebted to the Alban Berg Quartet for an unforgettable event. Last year in Vienna, they played my quartet in a way such as will never be likely equaled.' [2][3]
Following an invitation of Walter Levin (LaSalle Quartet) the ABQ studied intensively for the better part of a year in the USA. The focus of their activities in Europe became annual concert cycles at the Wiener Konzerthaus, at London's Queen Elizabeth Hall, the Frankfurt (Alte Oper), the Théâtre des Champs Elysées in Paris, the Philharmonic Hall in Cologne, the Zurich Opera, as well as regular concerts at most major halls and venues around the world (among them La Scala, Concertgebow Amsterdam, Berliner Philharmonie, Carnegie Hall, Teatro Colón, Suntory Hall, etc.) and all the major music festivals such as the Berliner Festwochen, the Edinburgh Festival, IRCAM in the Pompidou Centre, the Maggio Musicale Fiorentino, and the Salzburg Festival. The ABQ is an Honorary Member of the Wiener Konzerthaus and Associate Artist of the Royal Festival Hall London.
Recording[edit]
Recordings were an important part of the work of the Alban Berg Quartet. Among the most famous recordings projects are the complete string quartets by Beethoven (EMI, which has sold more than a million copies), Brahms (Teldec and EMI), the late Mozart Quartets (Teldec and EMI) and late Schubert, but their repertoire on disc stretched further to Schumann, Janácek, Stravinsky, Berg, Webern, Bartók, von Einem, LutosÅawski, Rihm, Berio, Haubenstock-Ramati to Schnittke and beyond. Many of the latter, contemporary, composers wrote works specially dedicated to the ABQ. After EMI released a live recording of their 1985 Carnegie Hall debut, the quartet preferred making live recordings for the last 20 years of its existence. Among them was â following their original studio Beethoven cycle from the late 70s and early 80s â a new Beethoven String Quartet cycle recorded live at the Konzerthaus during the Vienna Festival in 1989 and released on CD, video, and DVD.[4] The Alban Berg Quartet recorded chamber music with some of the finest soloists of their time, including the piano quintets of Robert Schumann (with Philippe Entremont), Schubert and Brahms (with Elisabeth Leonskaja) and Dvorà k (with Rudolf Buchbinder), the Schubert string quintet (with Heinrich Schiff), the Brahms clarinet quintet (with Sabine Meyer), and the Mozart piano quartets and the piano quintet KV 414 (with Alfred Brendel). For their recordings, the ABQ received more than 30 international awards, among them the Grand Prix du Disque, the Deutscher Schallplattenpreis, the Japanese Grand Prix, the Edison Award, and the Gramophone Award. Beyond recording, the ABQ collaborated regularly with the likes of Maurizio Pollini, András Schiff, and Tabea Zimmermann.
World premieres[edit]
The composers that wrote string quartets for the Alban Berg Quartet include, in chronological order, Fritz Leitermeyer, Erich Urbanner (Quartets No. 1 and 4), Roman Haubenstock-Ramati (Quartets Nos.1 and 2), Gottfried von Einem (Quartet No.1), Wolfgang Rihm (Quartet No.4 and 'Requiem for Thomas'), Alfred Schnittke (Quartet No.4), Zbigniew Bargielski ('Les temps ardente'), Luciano Berio ('Notturno'), and Kurt Schwertsik ('Adieu Satie').
Teaching[edit]
From 1993 until 2012 the members of the Alban Berg Quartet were lecturing at the Cologne Conservatory in succession of the Amadeus Quartet. Quartets who studied with the Alban Berg Quartet include the Cuarteto Casals, the Schumann Quartett, the Amber Quartet(China), the Fauré Quartet, the Aviv Quartet, the aron quartet,[5] the Amaryllis Quartet, and in particular the Belcea Quartet, and the Artemis Quartet.,[6]
Retirement[edit]
In 2005, Thomas Kakuska died of cancer. In accordance with his wish, the ABQ continued performing with Isabel Charisius, a student of his. But as cellist Valentin Erben said, 'There was a big rupture in our hearts'[7] and the quartet retired in 2008. The concert in memoriam Thomas Kakuska in the Wiener Konzerthaus' GroÃer Saal featured a who's-who of classical music, including an orchestra of friends and students of the quartet. Among them were Angelika Kirchschlager, Elisabeth Leonskaja, Erwin Arditti, Magdalena Kozena, Thomas Quasthoff, Helmut Deutsch, Alois Posch, Heinrich Schiff, and Sir Simon Rattle; the orchestra was conducted by Claudio Abbado. After a worldwide farewell tour in July 2008, the ABQ ended its career.[8][9][10]
The Last Remnant. Some Game Trainers are sometimes reported to be a Virus or Trojan, the most common is a keylogger called HotKeysHook or the file has been packed/protected with VMProtect or Themida and is recognized as Win32/Packed.VMProtect or Win32/Packed.Themida. The last remnant pc trainer. Mar 24, 2009 More The Last Remnant Trainers. Outlaws The Last Remnant (+7 Trainer) The Last Remnant (+10 Trainer) The Last Remnant (+3 Trainer) The Last Remnant (+5 Trainer) The Last Remnant (+7 Trainer) The Last Remnant v1.0.515 (+5 Trainer) MrAntiFun. Jul 28, 2013 Greetings all! I'm leaving you guys, by far, the best The Last Remnant trainer I've ever used. Do note, before reading, there are some things you should know: 1) This is an old trainer (released around September 2009), and I have noticed some inconsistencies while using it, but still things work as they should. 2) I am not the creator of this, I am simply re-uploading it because I dont find it.
Literature and films[edit]
References[edit]
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Alban_Berg_Quartett&oldid=888809799'
InformationComposer: Alban Berg; Wolfgang Rihm
Anne-Sophie Mutter, violin Chicago Symphony Orchestra James Levine, conductor Date: 1992 Label: Deutsche Grammophon http://www.deutschegrammophon.com/en/cat/4370932
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Mutterâs expressive, impassioned account of this concerto, recorded in 1992, is one of her greatest achievements on disc, a triumph both technically and interpretively. The concentration she brings to the task, the telling way she characterizes the kaleidoscopic moods through which the concerto passes, is something to marvel atâshe grasps this extraordinary, complex piece whole, at the same time revealing its most minute details with unprecedented clarity. Levine and the Chicago Symphony rise to the occasion with playing of immense power and brilliance, and the recording is first-rate.
-- Ted Libbey------------------------------------
Berg's Violin Concerto (1935) is considered by many the most accessible and emotionally engaging piece of music in the atonal idiom. His last completed work, the concerto was written as a memorial 'to an angel' upon the premature death of Alma Mahler's daughter Manon Gropius. But as with all of Berg's oeuvre, an autobiography of the composer's inner life is also thoroughly woven into the score. From the deeply reflective nuances of its quiet opening, Anne-Sophie Mutter takes the listener into the heart of Berg's ambiguous lyricism. There's a keen grasp, both by soloist and conductor James Levine, of the work's intricate structure and progression, but never at the price of a coldly disengaged intellectualism. Mutter summons a marvellous array of shadings and colours, effecting a truly haunting impression as tonality makes its ghostlike apparition, first in the guise of a folk song and, in the final part--following a violent cataclysm rendered with fiery power--in the variations on a quote from a chorale by Bach. Throughout, Mutter's intuitive realisation of the psychic journey traced by Berg reveals the work's significance as closer in spirit to a requiem of farewell than a traditional concerto. Mutter's command of an animated tone that pulsates with expressive purpose inspired the contemporary German composer Wolfgang Rihm to write the other work on this disc, Gesungene Zeit ('Time Chant'). It's a mesmerising neo-expressionist poem of shimmering, elongated string lines--later punctuated with dire eruptions from full orchestra--that seem to form an ether over which the soloist floats. Any sense of time measured in bars becomes negated as Mutter intones Siren-like threads of sound in the highest register. As with the Penderecki Violin Concerto No. 2 and other contemporary works she champions, Mutter plays with a gripping immediacy that indeed makes Rihm's imaginative novelty seem tailor-made for her.
-- Thomas May
More info & reviews: http://www.gramophone.co.uk/review/bergrihm-works-for-violin-and-orchestra http://www.classical-music.com/review/bergrihm http://www.amazon.co.uk/Berg-Violin-Concerto-Anne-Sophie-Mutter/dp/B000001GH9
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Alban Berg (February 9, 1885 â December 24, 1935) was an Austrian composer. He was a member of the Second Viennese School with Arnold Schoenberg and Anton Webern, and produced compositions that combined Mahlerian Romanticism with a personal adaptation of Schoenberg's twelve-tone technique
http://en.wikipedia.org/wiki/Alban_Berg
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Anne-Sophie Mutter (born 29 June 1963) is a German violinist. Supported early in her career by Herbert von Karajan, she has built a strong reputation for championing contemporary music with several works being composed specially for her. She owns two Stradivarius violins (The Emiliani of 1703, and the Lord Dunn-Raven Stradivarius of 1710), a Finnigan-Klaembt dated 1999 and a Regazzi, dated 2005.
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Links in comment
Alban Bergâs Violin Concerto was given its world premiere on 19 April 1936 in Barcelona's opulent Palau de la Musica Catalana.
Berg had been reluctant to compose a concerto, but was persuaded by the violinist Louis Krasner, who was to give the premiere. In the end, Berg only accepted because he needed the money to complete his opera, Lulu. But he never completed Lulu - and the Violin Concerto was his last finished work. Berg died a few months before the premiere from blood poisoning, the result of an insect bite. (The date was 23 December 1935; Berg, a numerologist, had always believed that 23 was his 'special' number.)
The violin concerto proved to be Berg's greatest popular success, although its premiere was nearly a disaster. The Casals Orchestra was to be conducted by Bergâs close friend, Anton Webern, who was, naturally, grief-stricken and wanted to pull out. Krasner persuaded him not to, and the pair travelled to Spain via Nazi Germany - a risky business, given that Krasner was Jewish. The orchestra had only three rehearsals, and Webern had real difficulty communicating with the players: his heavily accented Viennese German was unintelligible to the Catalans, and he was so nervous about getting the new concerto right that he barely got through a few pages of the score, blaming the orchestra for not understanding the music.
Eventually, Webern declared that the performance must be cancelled, went back to his hotel and locked himself in his room with the score. The organisers couldnât persuade him to unlock the door and it was only the pleading of Helene Berg, the composerâs widow, that persuaded the exhausted Webern to relinquish the score so that the performance could go ahead under a replacement conductor.
The concerto was dedicated to the memory of an angel - Manon Gropius, the daughter of Alma Mahler and Walter Gropius, who had died two years earlier at the age of 18. It ended up being Bergâs own requiem for himself.
This is one of 100 significant musical moments explored by BBC Radio 3âs Essential Classics as part of Our Classical Century, a BBC season celebrating a momentous 100 years in music from 1918 to 2018. Visit bbc.co.uk/ourclassicalcentury to watch and listen to all programmes in the season.
This archive recording features violinist Alina Pogostkina with the BBC Symphony Orchestra and conductor Sakari Oramo.
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