The way the first song begins, first with a hummed note, then a vocalized one, before the text is sung, is like the music is being given birth to. Extraordinary. And the end of that same song was very forward-looking. Such a pity the audience rioted at the premiere of (only 2 of) the Songs and the next performance was only in 1952, 17 years after Berg's death.
The premiere of these lieder was a scandal for three reasons: atonality; mobilizing a large orchestra for small poems, and the erotic allusion of one of them. Now, we can hear them with a calm mood and we discover all the findings that Berg put in the orchestral "accompaniment". Almost each second brings a wonderful detail.
The premier of this work in 1913 caused such a riot that it was never performed again until almost 30 years after Berg's death. Its kind of weird listening to it today, it sounds much more elegant than the works of Schoenberg and Webern at the time.
When I was an undergraduate, a LONG time ago, I was taught to call this atonal. Now I reject the negativity of that term. To me it is a kaleidoscope of tonalities, coruscating with lights and colours. I find this music extraordinarily beautiful, Fleming's voice AND commitment not the least part of that.
You aren't the only one. Here are comments from people who understand this music a whole lot better than I do. (I especially recommend Mark DeVoto's web pages about this music.) "The Altenberg Lieder reveal amazing, sensuously expressive vocal and instrumental sound; even today, possibly because they are so seldom heard, they still can dazzle the listener." -- Mark DeVoto, in "Centenary of a Lesser-known Scandal" "The Altenberg, or Ansichtskarten Lieder, though still relatively unknown, is one of the perfect works composed in this century. . . What exquisite pieces they are, especially the Passacaglia [No. 5]." -- Igor Stravinsky, in "Memories and Commentaries" "It is scarcely conceivable that in his first orchestral work - in other words, in the absence of everything that goes by the fatal compliment of routine - a composer could achieve such perfection and balance of sensuous phenomena; extravagances once considered notorious were even then integrated effortlessly into the surface. . . In the Altenberg Songs the most delicate discretion is tantamount to audacity." -- Theodor W. Adorno, in "Alban Berg - Master of the Smallest Link"
In an earlier age, all the leading composers would have created operas especially for Fleming. Instead, we get only these glimpses of what she can do in modern works in concert.
Spooky, creepy emotions, text and orchestration. Where would film music be w/out sconberg,Berg and Webern and the next 40 or so years. To have the kind of ear to hear these unimaginable textures & harmonies ...reproducing them as conductor must be challenging from just looking at da score which I cant make heads or tails out of . Magic ,delirious fascinates even more than Der Wein !
I was at one of Heather Harper’s last performances which was this work. She had the part in her hand but rarely looked at it. I know this is expensive to put on, but it deserves more frequent performances. As for this being atonal. It may not have a key centre, but it’s not really that outlandish. Certainly not for 21 st century ears.
Update: In a comment that was posted and removed, someone said he didn't understand this piece. He ought not to feel alone -- many people have trouble with this kind of music. You can find out more about this music by visiting my web page, aw3rd.us, clicking on "Music" and then clicking on "Lost Music, Rediscovered"
Though I don't doubt that that would help, listening to Mahler's 7th symphony over and over, until every note sounds inevitable, would prepare the ear --- and heart! --- to make room for this music.
El misterio radica en la transparencia más que en la opacidad, ni el texto, ni el timbre interfieren en su esencia. Solo lo que remane en nuestra conciencia hace del canto un enjambre cifrado que se nos revela con la escucha. Tarea paciente, pues no por horadar se penetra el trasfondo. La espiral trasluce en las ondas más ocultas.
I can't begin to address the psychology of fin-de-siecle Vienna -- there must be hundreds of books and essays about that. As for the feeling of dread, I think it's real -- it shows up in artists' increasing preoccupation with negative emotions, in painting and poetry as well as music. (e.g., Munch's "The Scream") If the Altenberg songs seem too dreadful, maybe you should back up a ways and start with, for example, Mahler's Wayfarer songs or Schoenberg's Verklärte Nacht. (I first came to the Altenberg songs from Schoenberg's Five Pieces for Orchestra.) As for formlessness, well, the songs _are_ compact, but not without form; I think you just have to listen harder. Mark DeVoto's analysis of the Altenberg songs -- www.jstor.org/stable/832387 -- discusses their forms at length, and concludes that "even such few of Berg's constructive powers as have been illuminated in recent years* caused Stravinsky to suggest that Berg is 'the most gifted constructor in form of the composers of this century.''" *(That was written in 1966.)
The way the first song begins, first with a hummed note, then a vocalized one, before the text is sung, is like the music is being given birth to. Extraordinary. And the end of that same song was very forward-looking. Such a pity the audience rioted at the premiere of (only 2 of) the Songs and the next performance was only in 1952, 17 years after Berg's death.
This is probably my favorite work of Berg.
In my case, not even "probably" - fer sure! 8^)
The premiere of these lieder was a scandal for three reasons: atonality; mobilizing a large orchestra for small poems, and the erotic allusion of one of them. Now, we can hear them with a calm mood and we discover all the findings that Berg put in the orchestral "accompaniment". Almost each second brings a wonderful detail.
The premier of this work in 1913 caused such a riot that it was never performed again until almost 30 years after Berg's death. Its kind of weird listening to it today, it sounds much more elegant than the works of Schoenberg and Webern at the time.
When I was an undergraduate, a LONG time ago, I was taught to call this atonal. Now I reject the negativity of that term. To me it is a kaleidoscope of tonalities, coruscating with lights and colours. I find this music extraordinarily beautiful, Fleming's voice AND commitment not the least part of that.
You aren't the only one. Here are comments from people who understand this music a whole lot better than I do. (I especially recommend Mark DeVoto's web pages about this music.)
"The Altenberg Lieder reveal amazing, sensuously expressive vocal and instrumental sound; even today, possibly because they are so seldom heard, they still can dazzle the listener."
-- Mark DeVoto, in "Centenary of a Lesser-known Scandal"
"The Altenberg, or Ansichtskarten Lieder, though still relatively unknown, is one of the perfect works composed in this century. . . What exquisite pieces they are, especially the Passacaglia [No. 5]."
-- Igor Stravinsky, in "Memories and Commentaries"
"It is scarcely conceivable that in his first orchestral work - in other words, in the absence of everything that goes by the fatal compliment of routine - a composer could achieve such perfection and balance of sensuous phenomena; extravagances once considered notorious were even then integrated effortlessly into the surface. . . In the Altenberg Songs the most delicate discretion is tantamount to audacity."
-- Theodor W. Adorno, in "Alban Berg - Master of the Smallest Link"
@@m3lomane Thank you very much.
@@m3lomane bravo for finding these!
Just beautiful! Sublime. So glad I found this ...some of my favorite Lieder performed so elegantly.
In an earlier age, all the leading composers would have created operas especially for Fleming. Instead, we get only these glimpses of what she can do in modern works in concert.
Spooky, creepy emotions, text and orchestration. Where would film music be w/out sconberg,Berg and Webern and the next 40 or so years. To have the kind of ear to hear these unimaginable textures & harmonies ...reproducing them as conductor must be challenging from just looking at da score which I cant make heads or tails out of . Magic ,delirious fascinates even more than Der Wein !
Une voix exceptionnelle!un moment d'émotion intense
Thank you very much
Spectacular about covers it! Thank you for posting this!
I was at one of Heather Harper’s last performances which was this work. She had the part in her hand but rarely looked at it. I know this is expensive to put on, but it deserves more frequent performances. As for this being atonal. It may not have a key centre, but it’s not really that outlandish. Certainly not for 21 st century ears.
Update: In a comment that was posted and removed, someone said he didn't understand this piece. He ought not to feel alone -- many people have trouble with this kind of music. You can find out more about this music by visiting my web page, aw3rd.us, clicking on "Music" and then clicking on "Lost Music, Rediscovered"
Though I don't doubt that that would help, listening to Mahler's 7th symphony over and over, until every note sounds inevitable, would prepare the ear --- and heart! --- to make room for this music.
Spectacular! RF should do an all-20th century album. I could see this paired with the Messiaen Poems Pour Mi.
El misterio radica en la transparencia más que en la opacidad, ni el texto, ni el timbre interfieren en su esencia. Solo lo que remane en nuestra conciencia hace del canto un enjambre cifrado que se nos revela con la escucha. Tarea paciente, pues no por horadar se penetra el trasfondo. La espiral trasluce en las ondas más ocultas.
+pedro a. cantero
¡Gracias! That was well said.
+m3lomane Gracias a ti.
this feeling of dread and formlessness emanating from Vienna ..... what was it about?
I can't begin to address the psychology of fin-de-siecle Vienna -- there must be hundreds of books and essays about that. As for the feeling of dread, I think it's real -- it shows up in artists' increasing preoccupation with negative emotions, in painting and poetry as well as music. (e.g., Munch's "The Scream") If the Altenberg songs seem too dreadful, maybe you should back up a ways and start with, for example, Mahler's Wayfarer songs or Schoenberg's Verklärte Nacht. (I first came to the Altenberg songs from Schoenberg's Five Pieces for Orchestra.)
As for formlessness, well, the songs _are_ compact, but not without form; I think you just have to listen harder. Mark DeVoto's analysis of the Altenberg songs -- www.jstor.org/stable/832387 -- discusses their forms at length, and concludes that "even such few of Berg's constructive powers as have been illuminated in recent years* caused Stravinsky to suggest that Berg is 'the most gifted constructor in form of the composers of this century.''" *(That was written in 1966.)