Manon Gropius

...why is it important to know? I didn't even know it existed

Seems 1916-1935

Zedef wrote:

Seems 1916-1935

So Eighteen because he didn't have a 19-year-old task yet

Zanzibar wrote:

...because why is it important to know? I didn't even know it existed

Dlet's just say that one of the absolute masterpieces of 20th-century violin literature has been dedicated to it

... which begins with open strings, then has a dodecaphonic series that is almost tonal, and halfway through the second time even quotes a Bachian chorale

Zedef wrote:

... and halfway through the 2nd movement, he even quotes a Bach chorale

... it's a pity that no violinist actually knows how to perform it, oh dear Berg... even if you prescribe an alternative

Zedef wrote:

... which begins with some open strings, then has a dodecaphonic series that is almost tonal, and halfway through the 2nd movement even quotes a Bach-style chorale

Frank wrote:

... it's a pity that no violinist actually knows how to perform it, oh dear Berg... even if you prescribe an alternative

... please elaborate.

Ok, there are several things I'm missing. Which opera are we talking about? ... without being funny

Of Alban Berg's "Violin Concerto": http://en.wikipedia.org/wiki/Violin_Concerto_%28Berg%29

Frank wrote:

... it's a shame that no violinist actually knows how to perform it, oh dear Berg... even if you prescribe an alternative

Taking inspiration from this, do you think it is acceptable to nitpick great composers? I would never allow myself to do so...

Dilettante wrote:

do you find it appropriate to nitpick great composers?

Why not? No one is immune to criticism

in this case, who is?"}

Tiger wrote:

... detail, please.

I am referring to the Allegro und Adagio and to measures 78 through 95.

As the accompaniment fades, the soloist plays one of the various thematic fragments, proposing it in 4-part canon; each entry is at a perfect fifth interval, using the 4 strings for instrumentation.

Quoting Pople and attempting to support the cause:

Like a Bachian canon or fugue for solo violin, the 4 parts counterpoint as suggested by the richness of the chords constructed with the 3 and 4 notes of the theme. The realization in Berg's production in consultation with Krasner reflects the way of proceeding in Bach's fugues and canons and designs the 4 voices in a less clear manner than might have been desirable. Some violinists have reworked the canon in an attempt to clarify the contrapuntal structure for the listener; others have followed Berg's alternative suggestion, namely taking the two upper voices from the soloist and the two lower voices from the principal viola of the orchestra - resolving the technical problem of the canon, but losing the characteristic Bergian paradox between the free spirit of the cadence and the counterpoint.4

It cannot be seen from the image, but at 90, the canon voices reach the 4 open strings of the instrument, recalling the opening of the concerto

Dilettante wrote:

do you find it acceptable to nitpick great composers?

... because why not? Maximum respect, but one can certainly offer some criticism.

Thanks Frank

i mean... but is there anyone who knows how to execute a passage like that?

As for the rendering, I don't know, I wouldn't want it to feel like too many arpeggios ...

Tiger wrote:

...but is there anyone who knows how to perform a passage like that?

... it is usually divided

Destroyed wrote:

... is usually divided

Yes 2 strings per head ... Destroyed, the part is for solo violin...SOLOIST!

Browsing IMSLP, I found Alban Berg's Violin Concerto and listened to it while following the score, but I noticed some strange things. For example, in the score the sax has a low "A" ...but the sax is an alto.

I wonder, should the score be transposed or what? The link is this:http://imslp.org/wiki/Violin_Concerto_(Berg,_Alban)

By clicking on Complete Score you can download the score

Thanks in advance

Zanzibar, you must consider that Berg writes to royalty... practically, today, it is almost a rule