Alban Berg and His World by Hailey Christopher;
Author:Hailey, Christopher; [Hailey, Christopher]
Language: eng
Format: epub
ISBN: 565415
Publisher: Princeton University Press
Published: 2010-04-07T04:00:00+00:00
More than once Adorno pointed out similarities between Berg’s music and that of Schreker; in one instance he claimed that this comparison had been shown him by Berg himself.60 Almost invariably the resemblance has to do with timbral and sonorous-textural qualities.61 Where such characteristics in Schreker always seemed to point toward the privileging of space over the temporal dimension of structural development, Adorno also discovered a spatial perception within Berg’s structural and formal musical processes. He recognized a sense of space, and of the visual, in both conception and realization, as he reminisced on Berg’s compositional procedures and their results:
He laid out plans, which became ever more complicated, according to quasi-spatial symmetrical relationships. His propensity, too, for mirror and retrograde formation may, apart from the twelve-tone technique, be related to the visual dimension of his responses; musical retrograde patterns are anti-temporal, they organize music as if it were an intrinsic simultaneity. It is probably incorrect to attribute those technical procedures solely to the twelve-tone technique; they are derived not only from the microstructure of the rows, but also from the overall plan, as if from a basic outline, and as such they contain an element of indifference toward succession, something like a disposition toward musical saturation of space. … Much as Berg belonged to the tradition of thematic work and developing variation, that is, to a thoroughly dynamic kind of composition, his musical manner nevertheless had something peculiarly static about it, hesitantly marking time.62
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