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About the Author
George Perle is a distinguished composer and Professor Emeritus of Music at the City University of New York. His books include Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern (Sixth Edition, California, 1991); The Operas of Alban Berg, Volume 1, Wozzeck (California, 1980) and Volume 2, Lulu (California, 1985); and The Listening Composer (California, 1990). He has been a recipient of the Pulitzer Prize and a MacArthur Foundation Fellowship.
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
Detailed analysis of Berg's first opera.,
This review is from: The Operas of Alban Berg, Volume I: Wozzeck (Paperback)
The author has written perhaps the definitive analysis of Berg's Wozzeck. Mandatory backgound reading for true students of Berg's idoms.
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First Sentence:
characteristic aspects of Mahler's style which play such an important role in the Three Pieces persistently reappear in Berg's work to the end of his life: in both Lulu and the Violin Concerto, his last compositions, there are episodes that still stand close to the Three Pieces. If the Three Pieces is, in a sense, retrogressive, coming as it does after Schoenberg's Five Pieces for Orchestra, Erwartung, and Pierrot lunaire, and after Berg's own Altenberg Lieder and the clarinet and piano pieces, it was nevertheless essential preparation for the composition of Wozzeck. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
tonic functionality, referential chord, canonic episode, semitonal scale, eins nach dem andern, einer nach dem andern, thematic rhythm, harmonic cell, basic dyad, tavern garden, symphonic interlude, durational unit, curtain music, final interlude, first reprise, original pitch level, thematic procedures, quick curtain, twelve pitch classes, durational values, tone center, melodic cell, concluding bars, cadential chord, subordinate section Key Phrases - Capitalized Phrases (CAPs): (learn more)
Three Pieces, Cradle Song, Altenberg Lieder, Closing Section, Alban Berg, Principal Section, Danton's Death, Karl Emil Franzos, Herr Hauptmann, Ninth Symphony, The Hessian Courier, Universal Edition, Leitmotive Nos, Piano Sonata, Bertolt Brecht, Die Musik, Erich Kleiber, Frank Wedekind, Georg Biichner, Margret's Song, Minna Jaegle, Paul Landau, Pietro Aretino, Willi Reich, Fritz Mahler New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
characteristic aspects of Mahler's style which play such an important role in the Three Pieces persistently reappear in Berg's work to the end of his life: in both Lulu and the Violin Concerto, his last compositions, there are episodes that still stand close to the Three Pieces. If the Three Pieces is, in a sense, retrogressive, coming as it does after Schoenberg's Five Pieces for Orchestra, Erwartung, and Pierrot lunaire, and after Berg's own Altenberg Lieder and the clarinet and piano pieces, it was nevertheless essential preparation for the composition of Wozzeck. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
tonic functionality, referential chord, canonic episode, semitonal scale, eins nach dem andern, einer nach dem andern, thematic rhythm, harmonic cell, basic dyad, tavern garden, symphonic interlude, durational unit, curtain music, final interlude, first reprise, original pitch level, thematic procedures, quick curtain, twelve pitch classes, durational values, tone center, melodic cell, concluding bars, cadential chord, subordinate section Key Phrases - Capitalized Phrases (CAPs): (learn more)
Three Pieces, Cradle Song, Altenberg Lieder, Closing Section, Alban Berg, Principal Section, Danton's Death, Karl Emil Franzos, Herr Hauptmann, Ninth Symphony, The Hessian Courier, Universal Edition, Leitmotive Nos, Piano Sonata, Bertolt Brecht, Die Musik, Erich Kleiber, Frank Wedekind, Georg Biichner, Margret's Song, Minna Jaegle, Paul Landau, Pietro Aretino, Willi Reich, Fritz Mahler New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 13
books:
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28
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cite this book:
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- Perspectives on Schoenberg and Stravinsky by Benjamin Boreto in Back Matter
- Alban Berg by Theodor W. (Theodor Wiesengrund) Adorno in Back Matter
- Three Pieces for Violin and Piano (Score & Part) by Frank Bridge on page 58
- The Modern Theatre by Eric Russell Bentley in Back Matter
- A Musical Offering by Ruth M. Buenting in Back Matter
See all 13 books this book cites
- Encrypted Messages in Alban Berg's Music (Border Crossings) by Siglind Bruhn on 6 pages
- The Listening Composer (Ernest Bloch Lectures) by George Perle on page 21, Index, and Back Cover
- Proof through the Night: Music and the Great War (Includes CD) by Glenn Watkins in Back Matter (1), Back Matter (2), and Back Matter (3)
- Adorno's Aesthetics of Music by Max Paddison in Back Matter (1), Back Matter (2), and Back Matter (3)
- The Essential Canon of Classical Music by David Dubal in Back Matter (1), and Back Matter (2)
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