Schmid’s mission was to bring the car to his repair shop, examine it thoroughly, and then restore it with utmost care—a lengthy and complex restoration process. The car, now polished to a high gloss, is on display in the Technischen Museum Wien.
This according to “Fast ein Märchen” by Manfred Schmid, an essay included in Alban Berg und der blaue Vogel: Eine Auto-Biographie (Göttingen: Vandenhoeck & Ruprecht, 217, 142–52; RILM Abstracts of Music Literature, 2017-61270).
Above, the composer, his wife Helene, and the Model A in September 1930; below, the restored Ford at the Technisches Museum. Lovers of Berg’s music are advised to mute the video.
Most fans of George Gershwin’s music would be surprised to learn of his admiration for an early atonal masterpiece: Alban Berg’s Wozzeck. He visited Berg in Vienna, and the score he owned of Wozzeck was one of his most prized possessions; he traveled to Philadelphia in 1931 to attend the work’s American premiere.
Gershwin’s opera Porgy and Bess is heavily indebted to Wozzeck. These debts primarily involve structural processes, understanding structure as patterns of discrete events shared by the two operas. Motives and chords play a role in the discussion, alongside musical events that range from the large—a fugue or a lullaby—to the small—a pedal, an ostinato, or some detail of counterpoint.
Beyond the presence in both operas of a lullaby, a fugue, a mock sermon, and an upright piano, the greater relevance of these parallels and others is to be found in the ways in which Gershwin situated them in comparable musical contexts.
This according to “Porgy and Bess: An American Wozzeck” by Christopher A. Reynolds (Journal of the Society for American Music I/1 [February 2007] pp. 1–28).
Today is Gershwin’s 120th birthday! Below, the atonal fugue depicting the murder of Crown from Catfish Row, his suite from the opera.
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