In the early 1930s, at the height of the atonal and twelve tone movement in music, the American violinist Louis Krasner commissioned a concerto from the Viennese Composer Alban Berg. Berg declined at first, saying that his idiom was not appropriate to a concerto and that he did not belong in the world of Wienawski and Vieuxtemps, two relatively obscure composers nowadays who wrote virtuoso showpieces for the violin that are very exciting but not particularly deep on a musical level. Krasner countered with the Beethoven and Brahms’ violin concertos, which, frankly, is a pretty great argument! Krasner was convinced that Berg was the vessel through which 12 tone/serial music could reach, as the great writer Michael Sternberg called it, “it’s expressive potential.” The 12 tone/serial technique of writing music was still controversial at the time(and it remains that way now), with many composers and performers embracing atonal music, with others, especially audiences, turning away. Berg finally accepted the commission, and despite his normal slow pace of composing, wrote the concerto in just a few months. The piece fulfilled Krasner’s expectations, and more, and it has become almost a standard repertoire piece for violinists. It is in the twelve tone style, but it is also in many ways a fundamentally tonal piece, and the way that Berg passes through atonality to tonality and back again makes this concerto accessible in a way that many other atonal works are not at first hearing. Today on this Patreon and Fundraiser inspired show, we’re going to go through this concerto, first by starting with a crash course in 12 tone music. Then we’ll walk our way through this concerto, talking about tone rows, tonality within tone rows, Carinthian folk songs, life and death, Manon Gropius, Alma Mahler, Bach, and the memory of angels. All of this is contained inside of this remarkable piece, and we’ll talk all about it, and more. Join us!
