Alban Berg - Lulu Suite [With score]
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- Опубліковано 11 лип 2024
- -Composer: Alban Berg (9 February 1885 - 24 December 1935)
-Orchestra: City of Birmingham Symphony Orchestra
-Conductor: Sir Simon Rattle
-Soprano: Arleen Auger
Lulu-Suite, 5 symphonic pieces from the opera for soprano & orchestra, written in 1934
00:00 - I. Rondo (Andante & hymn)
14:50 - II. Ostinato (Allegro)
18:39 - III. Lied der Lulu [Lulu's song] (Comodo)
21:39 - IV. Variationen [Variations] (Moderato)
25:06 - V. Adagio (Sostenuto, lento, grave)
Alban Berg assembled his Lulu Suite for orchestra and soprano in 1934. This suite involves music from his opera Lulu, which was still incomplete when the composer died prematurely at the age of fifty in the following year. The opera's short score was already finished, and the first two acts were completely orchestrated. It was from these first two movements that the music for the concert suite was drawn. It is in five movements and is slightly more than a half hour in duration. Earlier in his career, Berg had created a similar assemblage from his first opera, entitled Three Fragments from Wozzeck, but the Lulu Suite is better known and more frequently recorded. This is perhaps because the latter work is more diverse. The Wozzeck pieces concentrate exclusively on the music surrounding the protagonist's wife Marie. In the Lulu Suite, listeners hear music concerning a broad range of characters. The opening setting concerns Alwa, one of Lulu's many lovers. His father is Doctor Schoen, to whom the main character delivers her Lied der Lulu in Act II of the opera and in the third movement of the concert suite. In the fifth movement, the soprano also performs a brief excerpt from the role of Countess Geschwitz, another fatality to Lulu's charms. The orchestral interludes include music set in Paris and the East Side of London, where Jack the Ripper murders Lulu. The concert suite also features different musical forms, including a rondo and a set of variations. There is a lot to hear in this suite, making it something more than a contracted showcase intended to get an audience to the actual opera. It is an outstanding work in its own right.
The text is by Wedekind, an elder peer of the composer who originally conceived of the opera as a play in which he also sometimes performed. In fact, when Berg was a young man, still a teen in 1903, he saw a play production of Lulu featuring Wedekind as Jack the Ripper. The playwright's wife recorded in her diary seeing the young and handsome composer in the audience. The play had an enormous effect on Berg, as his enthusiastic praises of the work in his letters demonstrate. Though he had a stately bearing matched with an outward, bourgeois respectability, the Austrian was no angel. Unlike Webern, his friend and fellow student of Schoenberg at the time, Berg did not shy away from the seamier side of life. He regarded sensuality as an enormous energy deserving of the same respect as other human traits. This may have been used as an excuse for his extramarital affairs, though it was not a part of his life that he shared with his more pious friends. Berg did not go to shocking excesses in order to live out his worldview, but he did attempt to woo married women and did similar sorts of unlovely things. To the benefit of music, his overt sensuality carried over into his art perfectly. His depictions of the darker side of human nature are often more mysterious and ambiguous than a one-dimensional evocation of evil. Though Lulu killed people and Jack the Ripper did the same, the opera unfolds with a musical setting that depicts a raw and unknowable element in the human psyche that civilization grasps blindly at in order to tame it. This setting is transferred from the opera to the Lulu Suite with uncanny perfection, revealing a talented genius that regarded some weaknesses and a misunderstood power.
[allmusic.com]
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00:00 - I. Rondo (Andante & hymn)
14:50 - II. Ostinato (Allegro)
18:39 - III. Lied der Lulu [Lulu's song] (Comodo)
21:39 - IV. Variationen [Variations] (Moderato)
25:06 - V. Adagio (Sostenuto, lento, grave)
Lulu Lala
Berg was a genius!! The best of the Viennese School by far, in my opinion. No one wrote such gut-wrenching, passionate and soaring lines of music in that era. I'm 73 yo and have been listening and studying the entire opera score since I was 15. Simply incredible music.
I have to disagree. In my opinion Webern's music is even more gut-wrenching and passionate than Berg's music, pieces such as the Konzert or the string quartet always make feel different than anything else
That chord at 5:00 is incredible. So bone chilling!!!! Berg is my personal maestro from the second viennese school. This piece proves it. His music is all about letting the (tonal) music before him be an influence and combining it with the 12-tone techniques. When the expression demands it, tonality like chords and melodies are a valid option. It does not stop at counting notes and form. Super marvelous!
Saw ‘Lulu’ in Paris some years ago. It was the hit of the season. So lucky to see it.
The alto sax and vibraphone give it a nice '30s mood.
I don't know what 'sound' came first ... Berg or the movies but after his premature death you can tell many composers picked up on Berg's late style. Berg was also fond of movies. Who knows, had he lived longer what could have been.
🤣✌️
@@TdF_101 Imagine Berg writing 50s Hollywood scores
That chord at 31:16 is simply outstanding.
C'est murder!
twelve tone chords are magnificent
Berg is the greatest atonal composer.
After listening once again to Alban Berg's marvelous use of twelve tone we can ask ourselves why today this very style of Schoenberg's student seemed to be completely avoided after the 2nd WW. Why? He is refreshingly warm and consonant with amazing harmonies and many composers of twelve tone music missed the boat as was Arnold also very harmonic. I have suffered through 4 decades of Donaueschingen and Darmstadt and their supposed new music with a boundless intolerance for other directions. Berg is an example of truly wonderfully passionate music with deeply profound sentiments. This is musicological reality and in no fashion conservative as well as highly innovative. I have shown this piece exactly to my students for a better understanding how dodecaphonic music truly can resonante and travel under the skin instead of just tickling the brain.
Yes, Berg is wonderful! How I wish he had lived longer, and created more!
Couldn't agree more. Chamber Concerto for 13 instruments I also find intriguingly entertaining. And the Violin Concerto is among the most beautiful pieces of the 20th C. I've seen both Wozzeck and Lulu at NYMet. Wozzeck riveting, Lulu a little stodgy; though the DVD with Patricia Petibon makes one's skin crawl.
All great music is basically a result of balance between intellect and raw emotion. Berg was the best at that
@@scriabinismydog2439 By the way I have studied deeply Scriabin's Harmony and understand how to construct this amazing style. Are you aware of the Russian Avante Garde. Here is a link to a book about it. This is what occurred after Scriabin's untimely early death.
@@paulamrod537 I'm extremely fascinated by post-Scriabin avantgarde! Roslavets, Feinberg Lyathoshinsky, Protopopov etc... I'd love to see your studies/analysis on Scriabin's harmonic language
Quelle richesse, quelle vie... Comment Berg peut-il être aussi complet ? Comment peut-il avoir des talents aussi évidents en mélodie, en harmonie, en orchestration ? Ils ont écrit ça à plusieurs, ou quoi ?
Cette profusion sonore autorise la question
Quelle beauté Quel sens de la tragédie !
Schoenberg était l'un des meilleurs professeurs de composition.
ending is soooo good. Could listen to that on repeat for hours.
Écoutons attentivement et la magie opère. Ainsi que la tragédie du monde moderne qui a sabré
Psychedelic vibe
This opera is VERY SPECIAL to me. I absolutely LOVE this performance . I would have preferred Rene Fleming, Alessandra Marc or a Spinto Soprano with more heft. LULU and MARIE require vocal heft Auger sings as if Countess Geschwitz, a less demanding role. Berg was a GENIUS- Lulu is one of the 20th century's greatest modern theme operas
Berg, Lulu Suite
1a. Andante - 00:05
1b. Hymne - 10:43
2. Ostinato - 14:50
3. Lied der Lulu - 18:39
4. Variationen - 21:39
5. Adagio - 25:06
24:37 sounds like Berg was making fun of Stravinsky's Petrushka.
Both Stravinsky and Berg used fragments of street music for different effects. Here it is grotesque and menacing, and fleeting.
Next do Berg’s Wozzeck
any chance you could do Wojciech Kilar's Orawa ? i've been dying to read the score but i cant find it anywhere sadly :(
Could you possibly upload Ernest Bloch's Nocturnes? They're fantastic pieces that deserve much more exposure.
Tristan Wilson If you send me the score, yes. I can’t find it anywhere...
Hovhaness music always reminds flute sound expose in orchestra.
30:51
알반 산의 곡을 잘 들어보겠소
How did Berg arrive at the source, or basic, row in Lulu?
Kunda slid into this unawares via autoplay. Very nice.
Based
un po' troppo convinto e oserei dire ottuso per i suoi tempi
보체크
Pièce Concertante (...) 맨들어달라는 말씀이신가요 선생님..?
Damon J.H.K. 훌륭합니다
Pieno 900
Такую музыку разбивать рекламами - нужно ох-еть!
В каком смысле?
Twelve-tone tonality.
ua-cam.com/video/w_fjFPhrKjw/v-deo.html
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