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Alban Berg's achievement is based on an extraordinarily small musical output, but it includes towering masterpieces such as the operas Wozzeck and Lulu, and his last work, the Violin Concerto. These and all Berg's other substantial works are discussed in this wide-ranging Companion, which contains essays written from a variety of historical and critical perspectives, outlining the place of the music in the cultural history of its time and within the broader interplay of twentieth-century fashions, aesthetics and ideas.
- Sales Rank: #368384 in Books
- Brand: Brand: Cambridge University Press
- Published on: 1997-04-28
- Original language: English
- Number of items: 1
- Dimensions: 9.72" h x .67" w x 6.85" l, 1.10 pounds
- Binding: Paperback
- 324 pages
- Used Book in Good Condition
Amazon.com Review
In this addition to the Cambridge Companion series, 13 essays by 11 authors provide a useful and interesting introduction to the music and personality of Alban Berg. The volume is divided into three main sections and a postscript: "Culture and Environment," "From Song to Opera," and "After Wozzeck." The essays deal with everything from "cultural politics" to Berg's compositional techniques, and the postscript tries to establish Berg's place in and influence on the history of 20th-century composition. The book suffers in places from an overly academic approach to its subject (not to mention an overly academic vocabulary), but the reasonably informed lay reader with an interest in Berg will still find it informative and helpful in understanding his music and its context.
Review
"In addition to being a readable and informative general study, The Cambridge Companion to Berg provides evidence that a new spirit now exists in the study of Berg and his music." Bryan R. Simms, Notes
From the Back Cover
All of Berg's substantial works are discussed in this Companion, including early songs and piano music that have only recently seen the light of day. The volume brings together a team of experts who write from a variety of historical and critical perspectives and while the book naturally gives centre stage to the music itself, it also outlines its immediate cultural context and places it in the broader twentieth-century interplay of fashions, aesthetics and ideas.
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