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- Berg’s lecture on Wozzeck (1929), trans. in Hans Ferdinand Redlich, Alban Berg: the Man and his Music (London: John Calder, 1957), pp. 280–81;Google Scholar
- I have amended the translation where necessary. Berg also refers to the murder scene in his article ‘The Preparation and Staging of Wozzeck’, trans. as Appendix I of George Perle, The Operas of Alban Berg, vol. 1: Wozzeck (Berkeley and Los Angeles: University of California Press, 1980), p. 206.Google Scholar
- Perle, op. cit., pp. 139–40. See also Douglas Jarman, The Music of Alban Berg (London: Faber and Faber, 1979), pp. 48–9.Google Scholar
- Janet Schmalfeldt, Berg’s ‘Wozzeck’: Harmonic Language and Dramatic Design (New Haven: Yale University Press, 1983), p. 220.Google Scholar
- Other writers who have commented on the passage are Gerd Ploebsch, Alban Bergs ‘Wozzeck’: Dramaturgie und musikalischer Aufbau (Baden-Baden: P. H. Heitz Verlag, 1968), p. 82,Google Scholar
- and Josef-Horst Lederer, ‘Zu Alban Bergs Invention über den Ton H’, 50 Jahre Wozzeck von Alban Berg, ed. Otto Kolleritsch (Graz: Universal Edition, 1978), pp. 57–67.Google Scholar
- Carl Dahlhaus, Esthetics of Music, trans. William Austin (Cambridge: Cambridge University Press, 1982), p. 64.Google Scholar
- Berg’s article is translated in Willi Reich, Alban Berg, trans. Cornelius Cardew (London: Thames and Hudson, 1965), pp. 63–6.Google Scholar
- See Douglas Jarman, ‘Weill and Berg: Lulu as Epic Opera’, The New Orpheus: Essays on Kurt Weill, ed. Kim H. Kowalke (New Haven: Yale University Press, 1986), pp. 147–56.Google Scholar
- On Berg’s initial enthusiasm for Salome, see Mosco Carner, Alban Berg: The Man and The Work (London:Duckworth, 1975), p. 6. Lederer (op. cit., p. 66, n. 17) writes as if Berg retained his enthusiasm, but Schmalfeldt (op. cit., p. 262, n. 10) says he became critical: neither author gives a source. See also Reich, op. cit., p. 38. For Berg’s 1918 reaction to Elektra see Alban Berg: Letters to his Wife, ed., trans., and annot. Bernard Grun (London: Faber and Faber, 1971), p. 243.Google Scholar
- Carl Dahlhaus, ‘Schreker and Modernism: On the Dramaturgy of Der ferne Klang’, Schoenberg and the New Music, trans. Derrick Puffett and Alfred Clayton (Cambridge: Cambridge University Press, 1987), p. 198.Google Scholar
- See the letter to Webern cited in Karen Monson, Alban Berg: a Biography (London: Macdonald and Jane’s, 1980), p. 52.Google Scholar
- Berg always had the highest regard for Zemlinsky. He attended as many performances of his music as possible and, around 1920, planned to write a book about him: see Carner, op. cit., p. 59, n. 1, and Rosemary Hilmar, Alban Berg: Leben und Wirken in Wien bis zu seinen ersten Erfolgen als Komponist (Vienna: Verlag Hermann Böhlaus Nachf., 1978), p. 154.Google Scholar
- After Berg’s death, Zemlinsky was one of the composers who were considered for the task of completing Lulu: see Perle, The Operas of Alban Berg, vol. 2: Lulu (Berkeley and Los Angeles: University of California Press, 1985), pp. 262ff.Google Scholar
- See Ernst Hilmar, Wozzeck von Alban Berg: Entstehung-erste Folge-Repressionen (Vienna: Universal Edition, 1975), p. 21 and note.Google Scholar
- Robin Holloway, Debussy and Wagner (London: Eulenburg Edition, 1979), p. 78.Google Scholar
- See for example Egon Wellesz, The Origins of Schönberg’s Twelve-tone System (Washington: Library of Congress, 1958), pp. 4–5,Google Scholar
- cited in Jim Samson, Music in Transition (London: J.M. Dent and Sons, 1977), p. 226; Rudolf Stephan, ‘Aspekte der Wozzeck-Musik’, 50 Jahre Wozzeck von Alban Berg, p. 18. See also n. 30 below.Google Scholar
- Hans Keller, ‘The Eclecticism of Wozzeck’, Music Review, vol. 12 (1951), p. 312.Google Scholar
- See Rudolf Stephan, ‘Zu Franz Schrekers Vorspiel zu einem Drama’, Franz Schreker: am Beginn der neuen Musik, ed. Otto Kolleritsch (Graz: Universal Edition, 1978), pp. 120–21. Schreker’s analysis of Act II of Der ferne Klang occurs in ‘Entstehungsfragen der Oper’, Die Böttcherstrasse, vol. 2, no. 2 (1930), pp. 15–17, which I have been unable to consult: it is cited in Stephan, ‘Aspekte der Wozzeck-Musik’, p. 20, n. 20.Google Scholar
- Nicholas Chadwick, ‘Franz Schreker’s Orchestral Style and its Influence on Alban Berg’, Music Review, vol. 35 (1974), pp. 29–46. It is difficult to obtain a clear view of Berg’s relations with Schreker. Reich maintains that they enjoyed a lifelong friendship (Reich, op. cit., p. 35), but Carner paints a less rosy picture (Carner, op. cit., pp. 29–31, especially 31n.). In 1925 Berg heard Der ferne Klang and described it as ‘awful’ (Alban Berg: Letters to his Wife, p. 345).Google Scholar
- Joseph Kerman, Opera as Drama (New York: Vintage Books, 1952), pp. 230–32.Google Scholar
- Synopsis from Peter Franklin, The Idea of Music: Schoenberg and Others (London: Macmillan, 1985), pp. 146–7.Google Scholar
- Alma Mahler, Mein Leben (Frankfurt: Fischer, 1960), p. 24.Google Scholar
- Haidy Schreker-Bures, H. H. Stuckenschmidt, and Werner Oehlmann, Franz Schreker (Vienna: Verlag Elisabeth Lafite, 1970), p. 72.Google Scholar
- See Kim H. Kowalke, Kurt Weill in Europe (Ann Arbor: University Microfilms International, 1979), p. 32.Google Scholar
- See Peter Heyworth, Otto Klemperer: his Life and Times, vol. 1 (Cambridge: Cambridge University Press, 1983), Chaps 12–16.Google Scholar
- See Derrick Puffett, ‘Schoecks Opern: Ein Beitrag zur Frage der Gattung’, Musiktheater, ed. Dorothea Baumann (Bonstetten: Theaterkultur Verlag, 1984), pp. 55–6.Google Scholar
- See Werner Vogel, Othmar Schoeck in Gespräch (Zurich: Atlantis Verlag, 1965), p. 76. Berg probably heard a 1934 Vienna performance organized by Krenek (information supplied by Christopher Walton).Google Scholar
- Quoted and trans. in Norman Del Mar, Richard Strauss: a Critical Commentary on his Life and Works, vol. 2 (London: Barrie and Jenkins, 1978), p. 261.Google Scholar
- Jarman, ‘Weill and Berg’, p. 156. Clive Bennett argues that Berg was also influenced by Max Brand: ‘Maschinist Hopkins: A Father for Lulu?’, Musical Times, vol. 127 (1986), p. 484.Google Scholar
- Kurt Weill, ‘Alban Berg: Wozzeck’, Kurt Weill: Ausgewählte Schriften, ed. David Drew (Frankfurt: Suhrkamp, 1975), pp. 153–4.Google Scholar
- Pierre Boulez, ‘Lulu: the Second Opera’, Orientations (London: Faber and Faber, 1986), pp. 393–4.Google Scholar
- David Ewen, A Journey to Greatness: the Life and Music of George Gershwin (London: Allen, 1956), p. 120.Google Scholar