5:40
Alban Berg - Wozzeck
Alban Berg - Wozzeck
Frankfurter Museumsorchester, director: Sylvain Cambreling, Wozzeck: Dale Duesing, Marie: Kristine Ciesinski
5:18
Alban Berg Sonata op. 1 played by Alfred Brendel (1)
Alban Berg Sonata op. 1 played by Alfred Brendel (1)
The great Alfred Brendel, who have recently retired from the concert platform, plays the Berg's Piano Sonata. Live recording of 1982
10:28
Alban Berg violin concerto 1. Mvt. - Andante; Nina Liepe
Alban Berg violin concerto 1. Mvt. - Andante; Nina Liepe
Gala concert at Orford Festival 2009 Nina Liepe and Francis Perron play the first movement of the Alban Berg violin concerto
4:46
Alban Berg - Three Orchestral Pieces, I
Alban Berg - Three Orchestral Pieces, I
Three Orchestral Pieces, Op. 6 (1913-1929) I. "Präludium" (Prelude) II. "Reigen" (Round Dances) III. "Marsch" (March) Vienna Philharmonic Orchestra Claudio Abbado In mid-1913 Berg was deeply depressed by the disastrous premiere of some of his Altenberg Lieder as well as by scorching criticism from his mentor Arnold Schoenberg, of the aphoristic nature of his recent music. Berg resolved to write a large-form orchestral work, his first, and initially tried to compose a one-movement symphony more or less in the manner of Schoenberg's first Chamber Symphony. Progress soon stalled, but Berg transferred some of this material into a new project that he called "a suite of character pieces for orchestra." The resulting Pieces (3) for orchestra came to be regarded as one of Berg's most ambitious works, excepting the operas and the Violin Concerto. The opening "Präludium" (Prelude) stands apart from the movements that follow in that it is not based on a traditional form. It does, however, introduce a number of small motivic figures and some larger ideas that recur throughout the work. It rises uncertainly from the depths of the orchestra, experiences a brief eruption, then builds more patiently and yearningly to a huge climax before sinking back into the nebulous material with which it began (with the opening chord sequence now played in retrograde, underlining the movement's arch construction). "Reigen" (Round Dances) features overlapping dance rhythms contrasting with unsettled <b>...</b>
2:16
Alban Berg - Die Nachtigall
Alban Berg - Die Nachtigall
Early Songs (7), for voice & piano (or orchestra) (1905-1908; revised and orchestrated 1928) - Nacht (Night) - Schilflied (Song amid the Reeds) - Die Nachtigall (The Nightingale) - Traumgekrönt (Crowned in Dreams) - Im Zimmer (Indoors) - Liebesode (Ode to Love) - Sommertage (Summer Days) Anne Sofie von Otter Wiener Philarmoniker Claudio Abbado Songs for voice and piano constitute the greater part of Alban Berg's earliest efforts at composition. Though completed 1905 - 08, the composer's Seven Early Songs were not published until 1928. (Berg also made orchestrations of the accompaniments at this time.) These songs, the product of the early years of Berg's apprenticeship to his most important mentor, Arnold Schoenberg, present an apparent simplicity. Upon closer examination, though, they reveal a subtlety and imagination beyond what might be expected of a composer of such relative inexperience. Musicologist Mark DeVoto notes that Berg's earliest songs are technically and creatively superior to those of fellow pupil Anton Webern, who became particularly known for his lieder, and who worked in this genre more prolifically than in any other. The Seven Early Songs have a strong motivic structure; some are built upon a single motivic cell, extensively manipulated and layered. Harmonically, the songs exist in the world of late-Romantic expanded tonality, with a certain ambiguity between major and minor modes, suspension, delayed and sometimes avoided resolutions, and occasionally <b>...</b>
3:27
Alban Berg: Wozzeck "Interlude"
Alban Berg: Wozzeck "Interlude"
Wozzeck is the first opera by the Austrian composer Alban Berg. It was composed between 1914 and 1922 and first performed in 1925. Since then it has established a solid place for itself in the mainstream operatic tradition, and modern productions are consistently sold out. Though its musical style is challenging, the quality of Berg's work (in particular, the characterization of the situation through clearly defined musical techniques) amply repays repeated listenings. Although a typical performance takes only slightly over an hour and a half, it is nevertheless an intense experience. The subject matter the inevitability of hardship and exploitation for the poor is brutal and uncompromisingly presented. Though Berg's musical style is not as violent as some other composers might have written for this story, the style suits the subject matter.
10:37
Renee Fleming -Altenberg lieder- Alban Berg
Renee Fleming -Altenberg lieder- Alban Berg
Claudio abbado conductor. Luzerne Festival
3:26
Alban Berg: "Wozzeck" : Act 1, Sc. 3 ( Wiegenlied) - Hildegard Behrens
Alban Berg: "Wozzeck" : Act 1, Sc. 3 ( Wiegenlied) - Hildegard Behrens
Hildegard Behrens sings the Wiegenlied (Lullaby) from Act 1 of Berg's Wozzeck Conductor: Claudio Abbado Stage director: Adolf Dresen Wiener Staatsoper, 1987
7:38
Alban Berg - Chamber Concerto 1/4
Alban Berg - Chamber Concerto 1/4
Chamber Concerto for Piano and Violin with 13 Wind Instruments (1923-25) I. Thema scherzoso con variazioni II. Adagio III. Rondo ritmico con introduzione Daniel Barenboim, piano Pinchas Zukerman, violin Ensemble InterContemporain Pierre Boulez Alban Berg's Chamber Concerto (1923-1925) followed on the heels of the composer's greatly successful opera Wozzeck (1917-1922). Dedicated to Berg's teacher, mentor, and friend Arnold Schoenberg, the Chamber Concerto is a transitional work, marking the near-end of the composer's freely atonal period and approaching Schoenberg's twelve-tone technique. The concerto, in fact, actually features a number of 12-note rows, though they are not yet used in a thoroughly systematic fashion. In the year following the concerto's completion, Berg finished the well-known Lyric Suite (1925-1926), his first extended work in the twelve-tone idiom. The Chamber Concerto is remarkable for the thoroughness of its organization; that is, it was composed with rigorous attention to minute details, and its structure is derived from a series of complex mathematical relationships. This is evident, for example, in the number of measures in each of the work's three movements. The first movement consists of variations that appear in alternating sets of 30 and 60 measures, totalling 240 measures; the second movement is exactly 240 measures long; and the number of measures in the final movement is equal to the sum of the measures in the first two (480). The work is <b>...</b>
10:28
Alban Berg, Lulu Act 3 (Finale; Torso)
Alban Berg, Lulu Act 3 (Finale; Torso)
A partly film, partly stage rendition of the 3rd Act Torso of Alban Berg's "Lulu". Laura Aikin (Lulu), Cornelia Kallisch (Geschwitz). Conductor: Franz Welser-Möst. Film director: Thomas Grimm
4:42
Schubert - Death and the Maiden (part 1)
Schubert - Death and the Maiden (part 1)
First part of 1st movement. The Alban Berg Quartet. Once again, please forgive me for the way I've had to split this. This is one of my favourite works!
10:57
Dissonanzen-Quartett 1.Adagio-Allegro (Alban Berg Quartet)
Dissonanzen-Quartett 1.Adagio-Allegro (Alban Berg Quartet)
The first movement of the String Quartet No. 19 in C Major, KV. 465 by Wolfgang Amadè Mozart, completed on January 14, 1785 and performed by the great Alban Berg Quartet. It is the last in the set of six quartets composed between 1782 and 1785 that he dedicated to Joseph Haydn.
0:59
Nosferatu Alban Berg
Nosferatu Alban Berg
Elias Merhige sequence from "shadow of the vampire" with Alban Berg music.
2:41
ALBAN BERG (1885-1935): LULU (Royal Opera House 2009)
ALBAN BERG (1885-1935): LULU (Royal Opera House 2009)
ALBAN BERG (1885-1935) Lulu Lulu?Agneta Eichenholz Dr Schön/Jack the Ripper?Michael Volle Alwa?Klaus Florian Vogt Countess Geschwitz?Jennifer Larmore ORCHESTRA OF THE ROYAL OPERA HOUSE Conductor: Antonio Pappano Director: Christof Loy Recorded live at the Royal Opera House, Covent Garden, London, in June 2009 Picture format: 1080i High Definition / 16:9 Video codec: AVC/MPEG-4 Sound format: 2.0 LPCM & 5.1 DTS-HD Master Audio Menu language: EN Subtitles: EN/FR/DE/ES Running time: 205 mins Region code: 0 BONUS Cast gallery Interview with Antonio Pappano Interview with Agneta Eichenholz FSK: 0 OPUS ARTE ▪ OABD7070D ▪ 1 Blu-ray „Das Konzept ist konsequent durchdacht und in der Darstellerführung bis ins kleinste Detail penibel verwirklicht... Dem Dirigenten gelingt die Quadratur des Kreises, nämlich Bergs Detailfetischismus stets im Auge zu haben, ohne ihm zu erliegen, die Strukturen des Werks nachvollziehbar und im gleichen Moment sinnlich üppig erlebbar zu machen, den verhangenen Leidenston zu treffen, ohne in Sentimentalität zu verfallen." (kultiversum.de) Alban Bergs unvollendete Oper Lulu beschreibt den sozialen Aufstieg und Fall einer jungen, verführerischen, destruktiven, aber verletzlichen Frau, die schließlich als Prostituierte ein Opfer von Jack the Ripper wird. Christof Loys strenge und minimalistische Inszenierung gibt der Komplexität des Dramas Raum und unterstreicht die Schönheit von Bergs Musik. Agneta Eichenholz und Michael Volle führen ein herausragende <b>...</b>
10:04
Alban Berg - Violin Concerto (1/3)
Alban Berg - Violin Concerto (1/3)
Violin Concerto (1935) I: Andante Allegretto Liberamente Poco a poco sempre più II: Allegro Pesante, ma quasi a tempo Adagio Coda Yehudi Menuhin, violin BBC Symphony Orchestra Pierre Boulez When Berg received a commission for a concerto from the violinist Louis Krasner in January 1935, he was busy working on Lulu and set the commission aside. On April 22 of that year, the beloved daughter of his friend Alma Mahler, Manon Gropius, died at the age of 18, and Berg ceased work on the opera to compose his Violin Concerto as a memorial. Working at an unusually fast pace, Berg completed the score by August 11, though did not live to hear its premiere in April 1936. Some commentators have lamented the fact that work on the Violin Concerto prevented Berg from completing Lulu, which many view as his most important work. Yet the Violin Concerto has become Berg's single most popular and regularly programmed work. Beyond the firmly tonal works of his youth, the Violin Concerto is also Berg's most accessible score in its compelling combination of both tonal and atonal idioms. As with many of Berg's pieces, the concerto follows a program governed by a strict formal design. The four movements are may be grouped into two parts of two movements each, with only a short break between movements two and three. The first two movements are structured like a Classical sonata-allegro and dance movement, respectively, and together form a musical portrait of the girl. The second part reverses the <b>...</b>
8:25
Lasalle Quartet plays: Alban Berg, Lyrische Suite (Part 2)
Lasalle Quartet plays: Alban Berg, Lyrische Suite (Part 2)
Written in 1925/26 allegro misterioso - Trio estatico adagio appassionato
8:37
Lasalle Quartet plays: Alban Berg, Lyrische Suite
Lasalle Quartet plays: Alban Berg, Lyrische Suite
Written in 1925/26 Allegretto giovale Andante amoroso
9:23
Beethoven String Quartet Op. 18 No.1 1st mvt.
Beethoven String Quartet Op. 18 No.1 1st mvt.
Exqusite playing by the Alban Berg Quartet in the Konzerthaus in Vienna. I'm soon to upload the last two movements and then Op. 18 No. 6 which Alban Berg plays even better than this quartet.
7:45
Dissonanzen-Quartett 2.Andante cantabile (Alban Berg Quartet)
Dissonanzen-Quartett 2.Andante cantabile (Alban Berg Quartet)
The second movement of the String Quartet No. 19 in C Major, KV. 465 by Wolfgang Amadè Mozart, completed on January 14, 1785 and performed by the great Alban Berg Quartet. It is the last in the set of six quartets composed between 1782-1785 that he dedicated to Joseph Haydn.
129:55
Alban Berg: Lulu (1928/1935)
Alban Berg: Lulu (1928/1935)
Alban Berg (1885-1935): Lulu, Opera in 3 Atti (incompiuta) su libretto proprio tratto dalla fusione dei racconti l'Erdgeist (Lo spirito della terra) e da Die Büchse der Pandora (Il vaso di Pandora) di Frank Wedekind (1928/1935). Lulu: Laura Aikin Countess Geschwitz: Cornelia Kallisch...
4:57
Dissonanzen-Quartett 3.Menuetto[Allegro] (Alban Berg Quartet)
Dissonanzen-Quartett 3.Menuetto[Allegro] (Alban Berg Quartet)
The third movement of the String Quartet No. 19 in C Major, KV. 465 by Wolfgang Amadè Mozart, completed on January 14, 1785 and performed by the great Alban Berg Quartet. It is the last in the set of six quartets composed between 1782 and 1785 that he dedicated to Joseph Haydn.
