Alban Berg

Composer

Alban Berg was born in Vienna, Austria on February 9th, 1885 and is the Composer. At the age of 50, Alban Berg biography, profession, age, height, weight, eye color, hair color, build, measurements, education, career, dating/affair, family, news updates, and networth are available.

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Date of Birth
February 9, 1885
Nationality
Austria
Place of Birth
Vienna, Austria
Death Date
Dec 24, 1935 (age 50)
Zodiac Sign
Aquarius
Profession
Composer, Librettist, Musician, Pianist
Alban Berg Height, Weight, Eye Color and Hair Color

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Alban Berg Religion, Education, and Hobbies
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Alban Berg Life

Alban Maria Johannes Berg (born and raised in Vienna) was born in Vienna.

He began to compose at the age of fifteen.

He investigated counterpoint, music theory, and harmony from Arnold Schoenberg between 1904 and 1911, retaining his principles of development change and the twelve-tone method.

Wozzeck (1924) and Lulu (1935, finished posthumously), chamber works Lyric Suite and Chamber Concerto, as well as Violin Concerto are among Berg's major works.

He also wrote a number of songs (lieder).

He is said to have brought more "human values" to the twelve-tone system, with his work being more "emotional" than Schoenberg's. Berg died of sepsis in 1935.

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Alban Berg Career

Life and career

Berg was born in Vienna, third of Johanna and Konrad Berg's three children. His father ran a successful export company, and his family owned several estates in Vienna and the countryside. After Konrad Berg's death in 1900, the family's financial condition worsened, and young Berg, who had to repeat both his sixth and seventh grades in order to pass the exams, was particularly difficult. As an infant, Berg was more interested in literature than music, and he didn't begin to compose until he was fifteen, when he began to teach himself music. Albine, a maid in the family's Berghof estate in Carinthia, and fifteen years his senior, fathered a child.

Until he became a student of Arnold Schoenberg in October 1904, Berg had no formal music training before becoming a student. Schoenberg studied counterpoint, music theory, and harmony. He was studying music full-time by 1906; by 1907, he started composition lessons; by 1907, he had begun composition lessons. Five drafts for piano sonatas were included in his student compositions. He also wrote songs, including his Seven Early Songs (Sieben frühe Lieder), three of which were Berg's first public performance work in a Vienna concert that featured Schoenberg's students.

The early sketches came to a conclusion in Piano Sonata, Op. 1 (1907-1908), it is one of the most influential "first" works ever written. Berg worked with Schoenberg for six years before 1911. Schoenberg's teaching was the belief that the unity of a musical composition is based on a single basic idea; this belief was later known as evolving variation. Berg explained this to his students, one of whom, Theodor W. Adorno, said, "The key principle he conveyed was that of change": "All was supposed to develop out of something else and then be intrinsically different." The Piano Sonata is an example; the entire composition is derived from the work's opening quartal gesture and its opening word.

During the time of Vienna's cultural boom, Berg was a member of the heady fin de siècle period. Alexander von Zemlinsky and Franz Schreker, writer and satirist Gustav Klimt, writer and satirist Karl Kraus, architect Adolf Loos, and poet Peter Altenberg were among his circle members.

Helene Nahowski (1885–1976), the daughter of a wealthy family (who is said to be Emperor Franz Joseph I's illegitimate daughter from his relationship with Anna Nahowski), was on display in 1906. Despite her family's outward hostility, the two families married on May 3rd 1911.

In 1913, two of Berg's Altenberg Lieder (1912) were first performed in Vienna, conducted by Schoenberg in the famous Skandalkonzert. The songs are accompanied by a large orchestra in an aphoristic poetic utterance setting. The result sparked a stampede and had to be suspended, and it had to be suspended. Berg did not complete the job until 1952, and it wasn't until 1952 that it was not accessible. The complete score was not announced until 1966.

Berg served in the Austro-Hungarian Army from 1915 to 1918. Wozzeck, his first opera, began during a period of repose in 1917. He returned to Vienna, where he taught private pupils after the war was over. Schoenberg also assisted Schoenberg in the establishment of the Society for Private Musical Performances, which sought to foster the right environment for the discovery and appreciation of new music by means of open rehearsals, repeat performances, and the exclusion of professional critics.

Berg was particularly keen on the number 23, which was used to model many works. Several theories have been thrown as to the reason for this ferocious, including the assertion that he took it from Wilhelm Fliess' biorhythms theory, in which a 23-day cycle is considered significant, or because he was the victim of an asthma attack on the 23rd of the month.

In 1924, three excerpts from Wozzeck were performed, giving Berg his first public recognition. Erich Kleiber conducted the first performance in Berlin on December 14, 1925, when Berg first performed in 1922. Wozzeck is considered one of the century's most influential works today. Berg launched his second opera, the three-Act Lulu, in 1928, but he stopped work in 1929 for the concert aria Der Wein, which he finished that summer. In many ways, Der Wein prefigured Lulu, including vocal style, orchestration, style, and text.

The Lyric Suite (1926), which was later shown to use elaborate cyphers to reveal a mystery love affair; the post-Mahlerian Three Pieces for Orchestra (completed in 1915; but not performed until after Wozzeck); and the Chamber Concerto (Kammerkonzert, 1923–25) for violin, piano, and 13 wind instruments: this latter is one of Berg's most well-known works; and the Piano Suite (1926) for After speaking with American avant-garde composer Henry Cowell, with whom he'd eventually develop a lifelong friendship, he began to exhibit tone clusters in his works.

Both in Vienna and Germany, the rise of antisemitism and the rejection of modernity had made life for the musical world more difficult in the 1930s. Even if you had a relationship with someone who was Jewish, denunciation might have resulted in denunciation, and Berg's "crime" was to have studied with Israeli composer Arnold Schoenberg. Berg discovered that chances for his performing in Germany were becoming increasingly rare, and that eventually his music was banned and placed on the list of degenerate music.

Berg and his wife bought the Waldhaus on the southern shore of the Wörthersee, near Schiefling am See, where they were able to work in seclusion mainly on Lulu and the Violin Concerto. Berg became embroiled in the political intrigues surrounding the search for Clemens Krauss as the Vienna State Opera's director at the end of 1934.

As more of his performances in Germany were postponed by the Nazis, who took power in early 1933, he wanted to make sure the new director is a promoter of modernist music. Originally, the premier of Lulu had been planned for the Berlin State Opera, where Erich Kleiber had continued to promote his music and had appeared at the premiere of Wozzeck in 1925, but the Berlin authorities had turned down Lulu in 1934. Kleiber's creation of the Lulu symphonic suite in Berlin on November 30, 1934, was the occasion of his resignation in protest against the extent of misconflation of culture with politics. And in Vienna, the Vienna School of Musicians' chances were dwindling.

Berg had to postpone Lulu's orchestration due to an unexpected (and much-needed) compensation from Russian-American violinist Louis Krasner for a Violin Concerto (1935). This profoundly elegiac work, which was produced at a breakneck pace and then formally premiered, has become Berg's most popular and most coveted composition. It uses an idiosyncratic interpretation of Schoenberg's "decaphonic" or twelve-tone style, allowing the composer to create passages openly evoking tonality, such as a Bach chorale and a Carinthian folk song. Manon Gropius, the deceased daughter of architect Walter Gropius and Alma Mahler, was the Violin Concerto dedicated "to the memory of an Angel."

Berg died in Vienna, on Christmas Eve 1935, from blood poisoning allegedly caused by a furuncle's back, which was triggered by an insect sting that occurred in November. He was buried at Vienna's Hietzing Cemetery.

Berg had arranged only the first two acts of Lulu before he died. In 1937, the complete shows were first performed in Zürich. Helene Berg imposed a ban on any attempt to "complete" the act, which Berg had in fact completed in a short score, owing to personal reasons. An orchestration was therefore ordered in secrecy from Friedrich Cerha and premiered in Paris (under Pierre Boulez) only in 1979, just after Helene Berg's own death.

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