V.12 Alban Berg

这张唱片上录制的作品在其完整性和范围上代表了一个独特的音乐旅程。贝尔格（1885-1935）与勋伯格，韦伯恩相比，是三个人中与过去的艺术联系最紧密的人，他愿意在对立的思想流派之间进行必要的整合，愿意不失去以前的东西的同时寻求极端趋势的相遇中可能诞生的东西。

因此，他的出发点是19世纪伟大的交响乐传统，在《三首管弦乐作品》（op.6 1914年）中，他试图在老路上继续连贯地更新形式和内容。然而，试图通过更新来保留一种不再符合他最亲密的期望和他对音乐的构想的形式，已经太晚了。因此，一个伟大的声音综合体诞生了，人们认为它可以从马勒（Gustav Mahler）那里获得 "起源和精神"，但交响乐的客观性和维也纳学派出现的碎片化之间的重要区别导致了一个不断自我再生的作品，它在个别部分而不是在交响乐的整体中找到了价值。

创作《Wozzeck》的组曲是一种假象。这部歌剧只有在它的 "完整性 "中才有意义，作为一个世界的戏剧，它不再有能力把人带到生命价值的顶峰，在那里，弱者被迫在暴力中找到力量来反抗那些希望如此维护他们的人。

然而，交响乐组曲的理由是提供一种替代歌剧演出的困难，以及找到一种传播的方式，即使是在音乐厅，也能将贝尔格的完整信息，包括他本人和艺术家，融入当代世界。

这一切都不适用于《Lulu》。在十二音阶基础上的创作，以及声音和声音的高度紧张，都见证了一个持续了一生的旅程，由于作曲家的过早去世而从未完成。仔细聆听交响组曲中的作品，特别是《露露之歌》，其中人声真正达到了作品的表现力和声乐的顶点，人们发现完成这样一部歌剧是不可能的，就像勋伯格完成《摩西与亚伦》一样不可能，不是因为缺乏时间，而是因为缺乏对生存问题的答案。

马代尔纳用贝尔格的音乐再次证明了一种可能无法超越的解释能力，以传递他的艺术的真正信息：在这个世界上应该有一个所有人的位置，就像在艺术中，有一个所有风格和思想模式的位置。《Lulu》是20世纪歌剧的杰作，也是马代尔纳作为指挥家的最大成就。

The compositions recorded on this disc represent a musical journey unique in its ' completeness and range . Berg ( 1 8 8 5 - 1 9 3 5 ) , in comparison with Schoenberg and Webern , is the most tied of the three to the past and to the artistic willingness for a necessary integration between opposing schools of thought , a willingness to lose nothing of what has gone before and what could yet be born from the meeting of extreme trends .

His starting point , therefore , is the great symphonic tradition of the 1 9 th century and in " Three Orchestral Pieces " Op . 6 ( 1 9 1 4 ) he tries to continue on the old road coherently renewing form and content . It is , however , too late to try to preserve , by renewal , a form that no longer responds to his most intimate expectations and to the way in which he conceives music . Thus was born a great complex of sound that could , one thinks , have drawn its ' origin and spirit from Mahler , but the important difference between the objectivity of the symphony and the fragmentation emerging from the School of Vienna leads to a composition that continuously regenerates itself finding its 'value more in the individual parts than in the symphonic whole .

The creation of the Suite from Wozzeck is an artifice . The opera has meaning only in its ' completeness , as drama in a world that is no longer capable of carrying Man to the summit of life ' s values , where the weak are forced to find in violence the strength to rebell against those who wish to so maintain them .

However , the raison d ' etre for a symphonic suite is that of providing an alternative to the difficulties of staging the opera , and of finding a way of transmitting , even in the concert hall , the complete message of Berg , both the man and the artist , integrated into the contemporary world .

None of this applies to Lulu . The composition on a dodecafonic base and the highlevel tension of the sounds and the voices all bear witness to a journey that lasted a lifetime , never completed due to the premature death of the composer . Listening carefully to the pieces from the symphonic suite , in particular the Song of Lulu where the human voice truly reaches the expressive and sonoric apex of the composition , one discerns the impossibility of completing such an opera , as impossible as it was for Schoenberg to complete Moses and Aaron , not for lack of time , but for lack of an answer to the problem of existence .

Maderna demonstrates once again , with the music of Berg , a possibly unsurpassed interpretative capacity to transmit the real message of his art : there should be a place in this world for all as within Art there is a place for all styles and modes of thought . Lulu is the masterpiece of 2 0 th century opera and the greatest achievement of Maderna as conductor .