Alban Berg Violin Concerto
“Little Girl in Blue“ (c.1934-c.1935)
________
though Apollo had offered the two
complimentary symphony tickets
he’d scored to my sister and my
mom, my mom bowed out and
suggested I, an adept, should
instead go along, though I needed
to know more about the content,
who and what would be on, no
one knew
meanwhile my sister, preferring not
to leave her husband alone, opted
to cede her ticket to Apollo so he
could accompany me
after some research, when I gushed
that Akiko Suwanai would be playing
Beethoven’s Violin Concerto in D
minor – his only one, I cried – Apollo
reconsidered, would, he said, come
along, my enthusiasm having struck
apparently a reverberant chord, a key,
maybe his D minor
once at the concert, to our surprise
and delight, my sister and her
husband, under the spell also of that
maybe bewitching key, had got rush
tickets for essentially, as it were,
a song, so that serendipitously we
all attended the superb performance
together
Dad does concert tickets too, my
sister exulted
Suwanai was transcendent, lifted me
from my seat at the very first touch of
her exquisite bow, I floated, though it
might’ve been also the magic chocolate
I’d bought at the corner, this is Vancouver
after all, known also, not inappropriately,
as Vansterdam
you’ve heard rapturous versions of
Beethoven’s Violin Concerto on at
least one of my earlier blogs,
Anne-Sophie Mutter’s there, Joshua
Bell’s, but I couldn’t get any of Akiko
Suwanai’s renditions on the Internet
found instead for you this wonderful
Berg, also his only violin concerto
Berg is of the Second Viennese
School, along with Schoenberg and
Webern, this is no longer Beethoven,
the advent of the First World War in
the Western world had fundamentally
altered everything, the arts were
reflecting this transformation, idioms
were abandoned in every creative field,
as well as in borders and forms of
government, rudiments were being
questioned, tested, see what Soutine
does, for instance, to traditional
representation above, to perspective,
colour, proportions
you’ll note that Berg’s Concerto
doesn’t stipulate a key, part of the
disintegration musical theory was
undergoing, twelve-tone music,
rather than the traditional eight,
was eliminating the subordination
of sharps and flats within scales,
atonality became dominant,
sounding a lot like the cacophony,
I think, of Twentieth-Century traffic
you won’t mistake however the
utterly Romantic sensibility beating
through Berg’s composition, midst
all the discord and the dissonance
you can’t miss his pulsing and
ardent heart, his wistful, dare I say,
heartstrings
there are two movements to the
concerto, the first representing life,
the second death and transfiguration,
Berg had written this, his last work,
for Alma Mahler’s daughter, Manon,
after she died of polio at the age of
18, Alma Mahler had been Gustav
Mahler’s wife, a musical giant, Berg
dedicated the piece, he wrote,
“to the memory of an angel”
Berg died later that same year,
Christmas Eve, 1935, he was 50
Richard
psst: the first part of the programme
had been a bust except for a
lovely piece for violin and koto
what’s a koto, I asked Apollo
it’s what you wear when you’re
coldo, he replied
a koto is a bit like a xylophone,
but with strings instead of
wooden bars, the performer
had dressed in traditional
Japanese garb for the special
Japanese occasion
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