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Described by Aaron Copland as 'among the finest creations in the modern repertoire', Alban Berg's Violin Concerto has become a twentieth-century classic. In this authoritative and highly readable guide to the work the reader is introduced not only to the concerto itself but to all that surrounded and determined its composition. This is a book about musical culture in the 1930s, about the Second Viennese School, about tonality, atonality and serialism, about Berg's own musical development, compositional method and the private significance the Violin Concerto held for him. The book describes the genesis of the work, its performance history and critical reception and, in two detailed musical chapters, provides a section-by-section account of the book and a closer analysis of the musical language and structure. Anthony Pople's ability to combine musical anecdote with scholarly discussion makes this guide compelling reading for the amateur and the specialist alike.
| ISBN | 0521399769 | | Volumes | 1 | | ISBN13 | 9780521399760
(What's this?) | | Weight (grammes) | 180 | | Publisher | Cambridge University Press | | Published in | Cambridge | | Imprint | Cambridge University Press | | Series editor | Rushton, Julian | | Format | Paperback | | Series title | Cambridge Music Handbooks | | Publication date | 24 Jun 1991 | | Previous ISBN | 9780521390668 | | Non-book description | ix, 121 p. ; | | Height (mm) | 216 | | Library of Congress | ML410.B47 P6 1991 | | Width (mm) | 138 | | DEWEY | 784.272 | | Spine width (mm) | 8 | | DEWEY edition | DC20 | | Academic level | Professional / Scholarly | | Pages | 132 | |
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| | | Acknowledgements | | | | 1 | | Musical ideologies: style and genre in the 1930s | | 1 | | | | Allusion: Stravinsky and others | | 2 | | | | Conservatism: social and financial motivations | | 4 | | | | Berg: synthesis or symbiosis? | | 6 | | | | The concerto as model | | 7 | | 2 | | Towards the Violin Concerto | | 9 | | | | From the Three Orchestral Pieces to the Lyric Suite | | 10 | | | | The impact of serial technique | | 13 | | | | The audible and the inaudible | | 17 | | | | A second opera | | 19 | | | | Composing Lulu | | 22 | | 3 | | Composition and performance history | | 25 | | | | An unexpected commission | | 26 | | | | "To the memory of..." | | 28 | | | | "I have never worked harder in my life" | | 34 | | | | A posthumous premiere | | 41 | | | | Later performances | | 44 | | 4 | | Form, materials and programme | | 47 | | | | Synopsis | | | | | | Movement Ia (Andante) | | 49 | | | | Movement Ib (Allegretto) | | 52 | | | | Movement IIa (Allegro) | | 55 | | | | Movement IIb (Adagio) | | 57 | | | | A "secret programme" | | 60 | | 5 | | Harmony, tonality and the series | | | | | | Tonal or atonal? | | 65 | | | | Extensions of tonality | | 69 | | | | "Rich resources must be at hand" | | 73 | | | | The series | | 76 | | | More... | | |
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