Relevant bibliographies by topics / Berg, Alban, Opera

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Berg, Alban, Opera'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Berg, Alban, Opera"

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Dos Santos, Silvio Joséé. "Ascription of Identity: The Bild Motif and the Character of Lulu." Journal of Musicology 21, no. 2 (2004): 267–308. http://dx.doi.org/10.1525/jm.2004.21.2.267.

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The most controversial aspect of Alban Berg's opera Lulu-and one that has generated considerable criticism-is the composer's conception of the protagonist's character. Judith Lochhead, for example, argues that it is impossible to trace "a single, continuous feature that defines Lulu's personality." However, Berg offsets the "typological" element in Lulu's characterization by assigning her complex levels of interaction with her portrait, which is continuously present and symbolizes her sense of self-identity and her perception by others. Thus he changed several aspects of Wedekind's plays and c
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Kater, Michael H. "Kurt Weill: The Threepenny Opera by Stephen Hinton, and: Alban Berg: Lulu by Douglas Jarman (review)." Modern Drama 35, no. 3 (1992): 483–84. http://dx.doi.org/10.1353/mdr.1992.0042.

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Walton, Chris. "Composer in Interview: Edward Rushton – an Englishman in Switzerland." Tempo, no. 218 (October 2001): 7–10. http://dx.doi.org/10.1017/s0040298200008639.

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A time there was when it was de rigueur for the self-respecting English composer to sample the life and art of our Germanic neighbours. A little time in the Land der Musik, it seemed, might help them make their own a little less ohne. Elgar supped at the springs in the Bavarian Highlands; Sullivan, Stanford and others in the Leipzig low-lands. It remains perplexing to the German mind that a reference to the ‘Frankfurt School’ in conversation with an Englishman can elicit praise for Percy Grainger, Roger Quilter and Co., but not a word about Adorno. Even Britten would have studied with Alban Be
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Hall, Patricia, and George Perle. "The Operas of Alban Berg, Volume 2/"Lulu"." Journal of Music Theory 31, no. 1 (1987): 140. http://dx.doi.org/10.2307/843550.

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DeVoto, Mark, and George Perle. "The Operas of Alban Berg. Vol. 2: Lulu." Notes 43, no. 4 (1987): 785. http://dx.doi.org/10.2307/898159.

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Ronsheim, John, and George Perle. "The Operas of Alban Berg: Volume Two/ Lulu." Antioch Review 43, no. 4 (1985): 496. http://dx.doi.org/10.2307/4611536.

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Jarman, Douglas, and George Perle. "The Operas of Alban Berg: Vol. 2, 'Lulu'." Music Analysis 4, no. 3 (1985): 289. http://dx.doi.org/10.2307/854100.

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8

REYNOLDS, CHRISTOPHER. "Porgy and Bess: “An AmericanWozzeck”." Journal of the Society for American Music 1, no. 1 (2007): 1–28. http://dx.doi.org/10.1017/s1752196307070010.

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George Gershwin greatly admired Alban Berg and his operaWozzeck. He visited Berg in Vienna; the score he owned ofWozzeckwas reputedly one of his prize possessions; and he traveled to Philadelphia in 1931 to attend the American premiere. This study argues that Gershwin'sPorgy and Bessis heavily indebted to Berg'sWozzeck. The debts primarily involve structural processes—understanding structure as patterns of discrete events shared by the two operas. Motives and chords play a small role in the discussion, taking their place alongside musical events that range from the large—a fugue or a lullaby—t
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Green, Douglass M. "Review: The Operas of Alban Berg, Volume Two: Lulu by George Perle." Journal of the American Musicological Society 40, no. 1 (1987): 122–29. http://dx.doi.org/10.2307/831588.

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10

Baragwanath, N. "Studien zu Alban Bergs Oper 'Lulu'. By Werner Konig." Music and Letters 91, no. 1 (2010): 122–23. http://dx.doi.org/10.1093/ml/gcp040.

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Dissertations / Theses on the topic "Berg, Alban, Opera"

1

Ng, Ka-lai Clara. "Oppositional forces as social commentary in Alban Berg's Wozzeck." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B37768141.

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Goldsmith, Melissa Ursula Dawn. "Alban berg's filmic music : intentions and extensions of the film music interlude in the opera Lulu /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb400396765.

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Rich, Morgan. "Lulu and the undoing of men unveiling patriarchal conventions imposed and overturned in Alban Berg's opera /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1225111576.

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Rich, Morgan Marie. "Lulu and the Undoing of Men: Unveiling Patriarchal Conventions Imposed and Overturned in Alban Berg's Opera." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1225111576.

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Stevens, Nicholas David. "Lulu's Daughters: Portraying the Anti-Heroine in Contemporary Opera, 1993-2013." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1497460068959016.

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Fuss, Hans-Ulrich. "Musikalisch-dramatische Prozesse in den Opern Alban Bergs /." Hamburg : K.D. Wagner, 1991. http://catalogue.bnf.fr/ark:/12148/cb35512829j.

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Müller, Ingo. "Lulu Literaturbearbeitung und Operndramaturgie ; eine vergleichende Analyse von Frank Wedekinds Lulu-Dramen und Alban Bergs Oper Lulu im Lichte gattungstheoretischer Reflexionen." Freiburg, Br. Berlin Wien Rombach, 2010. http://d-nb.info/1000807495/04.

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Winkler, Iris. "Die Faktur des Fatums. Der Prolog in Alban Bergs Oper «Lulu»." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37149.

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Barsova, Inna. "„Nirgends wurde mein Wozzeck besser verstanden als in Leningrad.“: Die Leningrader Premiere von Alban Bergs Oper im Jahr 1927." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2016. https://ul.qucosa.de/id/qucosa%3A16179.

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Hauptsächlich beschäftigte Wozzeck verständlicherweise die Kritiker in den 1920er Jahren: Boris Asaf’ev, der mit seinen Rezensionen das russische Publikum auf die neue Oper vorbereitete, sowie Ûlian Vajnkop, Abram Gozenpud, Sergej Mokulskij und post factum Sergej Levik.2 Doch können wir uns daraus kaum eine Vorstellung davon machen, was für eine Stimmung bei den Vorbereitunge
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Konrad, Ulrich. "Ochs, Donna Anna und Max im Wirtshausgarten. Zum dramatischen Kontext der ’Zitate’ in Bergs «Wozzeck» (ll, 4)." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37148.

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Books on the topic "Berg, Alban, Opera"

1

Hiss, Guido. Korrespondenzen: Zeichenzusammenhänge im Sprech- und Musiktheater : mit einer Analyse des "Wozzeck" von Alban Berg. M. Niemeyer, 1988.

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Kundry, Salome, Lulu: Femmes fatales im Musikdrama. P. Lang, 2000.

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3

Perle, George. The operas of Alban Berg. University of California Press, 1985.

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4

Attila, Csampai, and Holland Dietmar, eds. Alban Berg, Wozzeck: Texte, Materialien, Kommentare. Rowohlt, 1985.

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5

Fuss, Hans-Ulrich. Musikalisch-dramatische Prozesse in den Opern Alban Bergs. Verlag der Musikalienhandlung K.D. Wagner, 1991.

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6

A view of Berg's Lulu through the autograph sources. University of California Press, 1996.

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7

Gezähmte Lulu: Alban Bergs Wedekind-Vertonung im Spannungsfeld von literarischer Ambition, Opernkonvention und "absoluter Musik". Rombach Verlag, 2004.

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Lulu: Literaturbearbeitung und Operndramaturgie : eine vergleichende Analyse von Frank Wedekinds Lulu-Dramen und Alban Bergs Oper Lulu im Lichte gattungstheoretischer Reflexionen. Rombach, 2010.

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9

Abbott, Helen. Alban Berg. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0008.

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When Austrian composer Alban Berg was working on his opera Lulu, he wrote three Baudelaire songs as a Konzertaria entitled Der Wein. Premiered in 1930, Der Wein is a large-scale work for voice and orchestra. Berg uses a German translation by Stefan George, but the published score is in parallel texts, accommodating the French verse line. The chapter also considers a ‘hidden’ Baudelaire setting from Berg’s 1926 Lyric Suite for string quartet. The analysis covers: (a) the context of composition; (b) the connections established between selected poems; (c) the statistical data generated from the a
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Hall, Patricia. Alban Berg’s “Guilt” by Association. Edited by Patricia Hall. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.16.

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This chapter examines how Alban Berg plotted to survive as a composer during the Third Reich. Berg’s opera Wozzeck premiered in Berlin on December 14, 1925, and achieved undisputed success eight years later. When Adolf Hitler became the leader of Nazi Germany, the works of many atonal composers, whether Aryan or not, were banned from performance in the country. Drawing on Berg’s personal documents held in the Austrian National Library, including musical sketches and drafts of letters, this chapter considers how Berg repackaged Wozzeck and his other opera Lulu in order to survive as a composer
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Book chapters on the topic "Berg, Alban, Opera"

1

Schweikert, Uwe. "Alban Berg." In Oper im 20. Jahrhundert. J.B. Metzler, 2000. http://dx.doi.org/10.1007/978-3-476-03796-1_17.

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2

Bryan, Simms. "Helene Berg and the Management of Berg’s Legacy, 1936–76." In Berg. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190931445.003.0012.

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Following Berg’s death the most pressing problem was the completion of the opera Lulu. Universal Edition contracted with Arnold Schoenberg to complete the work but Schoenberg subsequently declined. The opera was premiered in a two-act version in Zurich in 1937. Helene Berg’s involvement with anthroposophy shaped her contention that Berg was still in communication with her and that Lulu’s third act should never be completed. Universal Edition commissioned the completion by Friedrich Cerha, and the premiere of the three-act version was held in Paris in 1979, after Helene Berg’s death. Helene Berg undertook a publication of her husband’s letters to herself, created the Alban Berg Foundation, and donated Berg’s manuscripts and papers to the Austrian National Library. Helene Berg died in 1976. Biographies of Berg were first written by his friends and students, including Willi Reich and Soma Morgernstern, later by those outside of his circle such as Hans F. Redlich.
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Bryan, Simms. "Epilogue." In Berg. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190931445.003.0013.

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HOW SHOULD WE ASSESS ALBAN BERG’S PLACE IN MUSIC OF THE modern era? In the present day—far more than in the past—the question defies any broadly acceptable answer. Serious music from Berg’s time to our own has undergone such radical and continuing changes that any ideology supporting its critical evaluation seems temporary and arbitrary. The riots that greeted the Altenberg Songs at the Musikverein in 1913 or the Chamber Concerto in Paris in 1928 are unthinkable at performances in the present day. Equally unimaginable at present is the chartering of a train to bring audiences from New York to Philadelphia to hear a new opera, as happened for the American premiere of ...
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