Emil Stumpp, Porträt des Musikers Alban Berg, Deutsches Historisches Museum (1927), above leftB. F. Dolbin, Alban Berg (1935), Modern Music, Vol. 8 No. 3 (March-April 1936): [31], above right

This week, we celebrate the influential Austrian composer, Alban Berg, born 9 February 1885. A longtime student of Arnold Schoenberg, Berg’s compositional style blended modernist twelve-tone and serial techniques—hallmark characteristics of the so-called Second Viennese School—with late 19th-century Romanticism. His first major success was the 1925 opera, Wozzeck, derived from an unfinished play by German dramatist Georg Büchner, which told the story of an impoverished soldier’s descent into madness and murder. To commemorate Berg's birth, we present several reflections on Wozzeck written by the composer himself—translated and published in an issue [Vol. 5 No. 1 (Nov. - Dec. 1927): 22-24.] of the journal Modern Music—accompanied by video excerpts of several memorable scenes from Act III of a 1987 production by the Vienna State Opera, the late Claudio Abbado conducting.

I wanted to compose good music; to develop musically the contents of Buechner's immortal drama; to translate his poetic language into music; but other than that, when I decided to write an opera, my only intention, as related to the technique of composition, was to give the theatre what belongs to the theatre.

Berg's commitment to writing music in service of the opera's action is reflected in the so-called "drowning music" of Act III Scene IV. Having returned to the pond where he killed his wife Marie, Wozzeck fears that his murder weapon will be discovered, and soon after, drowns. Though Wozzeck is no longer visible to the audience, Berg's use of overlapping ascending chromatic patterns of increasing duration signifies Wozzeck's continued subjective experience of rising water and gradual loss of consciousness.

Act III Scene IV (Invention on a Six-Note Chord)

I obeyed the necessity of giving each scene and each accompanying piece of entr'acte music, whether prelude, postlude, connecting link or interlude, an unmistakable aspect, a rounded off and finished character. It was therefore imperative to use everything warranted to create individualizing characteristics on the one hand, and coherence on the other; thus the much discussed utilization of old and new musical forms and their application in an absolute music.

Rather than adopting more traditional operatic forms in Wozzeck, Berg designed each scene and interlude using instrumental, or "absolute", forms (fantasia and fugue, suite, passacaglia, invention, etc.). While predominantly atonal, the interlude that follows Wozzeck's drowning is closely tied to D minor, a Romantic afterword to the tragic character's demise, and further evidence of Berg's desire to "use everything warranted" to create his opera.

Interlude (Invention on a Key [D minor])

No matter how cognizant any particular individual may be of the musical forms contained in the framework of this opera, of the precision and logic with which everything is worked out and the skill manifested in every detail, from the moment the curtain parts until it closes for the last time, there is no one in the audience who pays any attention to the various fugues, inventions, suites, sonata movements, variations and passacaglias... no one who heeds anything but the social problems of this opera which by far transcend the personal destiny of Wozzeck. This I believe to be my achievement.

Berg's unflinching depiction of poverty, militarism, and sadism in Wozzeck--no doubt inspired by the composer's own military service during World War I--is of paramount importance. Perhaps the most chilling scene is the opera's last; a group of children are told Marie's body has been discovered and hurry to the scene, while Marie and Wozzeck's little boy continues to play, before joining the others.

Act III Scene V (Invention on an Eighth-Note Moto Perpetuo)

RIPM search tip: To read more about Wozzeck in the musical press, search “Wozzeck” as a keyword in RIPM’s Retrospective Index and Preservation Series: European and North American Music Periodicals.

RIPM is an international non-profit organization preserving and providing access to music periodicals published in more than twenty countries between approximately 1760 and 1966, from Bach to Bernstein. Functioning under the auspices of the International Musicological Society, and the International Association of Music Libraries, Archives, and Documentation Centres, RIPM produces four electronic publications: Retrospective Index to Music Periodicals, Retrospective Index to Music Periodicals with Full Text, European and North American Music Periodicals (Preservation Series), and RIPM Jazz Periodicals (Preservation Series, forthcoming).WWW.RIPM.ORG

What do Hector Berlioz, Felix Mendelssohn, Giuseppe Verdi, Sir Arthur Sullivan, and Richard Wagner have in common? They all composed for the ophicleide! Patented in 1821 by French instrument maker Jean Hilaire Asté, the ophicleide was used in military bands and orchestras well into the 20^th-century, though it has now been largely superseded by the tuba. Moreover, author, composer, and organist Dr. Orlando Mansfield described this instrument as "ugly" and "curious" in a 1929 issue of The New Music Review and Church Music Review.

The New Music Review and Church Music Review, Vol. 28 No. 335 (October 1929): 407.

An early image of an ophicleide designed by instrument makers Griesling & Schott.Berliner allgemeine musikalische Zeitung, Vol. 6 No 2 (10 January 1829): [1S] 16/17.

Hector Berlioz wrote briefly about the ophicleide in his Grand traité d’instrumentation et d’orchestration modernes. This text was later translated and reprinted in Dwight’s Journal of Music.

Dwight's Journal of Music, Vol. 10 No 22 (28 February 1857): 170.

An illustration of an ophicleide with a fingering chart and compass.Cäcilia, No. 34 ([1828]): [1S] 128/29.

Berlioz selected this "monstrous" “bull” of an instrument to feature prominently in the fifth movement of his Symphonie fantastique. When paired with its bass wind instrument cousin, the serpent, the duo creates an ominous atmosphere when performing the Medieval Latin hymn, “Dies Irae”. Let's listen to it.

Nevertheless, the ophicleide’s "growl, grunt, or roar" led it to be the subject of humorous caricatures and some pointed comments in the press.

The Musical World, Vol. 9 No. 208 (23 December 1841): 404.

This caricature depicts, in a refreshing manner, the ophicleide as brazen and powerful.L’Illustration, Vol. LXXXII (28 July 1883): 61.

In fact, the effort required to produce a sound on the instrument even led some to speculate that it could cause health problems.

The Musical World, Vol. 9 No. 196 (30 September 1841): 215.

Caricatures also depicted the large size of the instrument itself.L’Illustration, Vol. XXV (4 February 1860): 77.

While the ophicleide may have developed a reputation for being unwieldy and odd, a small community of musicians continues to perform on this unusual instrument. Some, like the Sydney Ophicleide Quartet, achieve an admirable level of tonal beauty and virtuosity.

RIPM search tip: To read more anecdotes and reviews of the ophicleide, search “ophicleide” as a keyboard in RIPM’s Retrospective Index and e-Library of Music Periodicals.

Proposed By Marten Noorduin

Here are a few entertaining anecdotes from the musical press about Jenny Lind. As today is Friday, perhaps they will set the right tone for your weekend.

Strenna Teatrale Europea, Vol. 11 No. 1 (1848): [II pc]. In the 1850s American showman P.T. Barnum arranged a tour of the United States for the Swedish Nightingale, the celebrated soprano Jenny Lind. These three anecdotes and two illustrations reflect the immense success of the tour.

The sale of tickets for a Jenny Lind concert in AmericaL’Illustration, Vol. XVI (23 November 1850): 325.

Saroni's Musical Times, Vol. 1 No. 51 (14 September 1850): 601.

The Musical World, Vol. XXVI [XXIX] No. 38 (20 September 1851): 605.

The Message Bird, Vol. 2 No. 36 (15 January 1851): 590.

Punch; Or, London Charivari, Vol. 19 (1850): 146. Throughout her career, musical tributes for the Swedish Nightingale abounded. In fact, the collection of The National Museum of American History holds the sheet music of an 1846 piece written in honor of Jenny Lind composed by Anton Wallerstein and entitled, "Jenny Lind’s Favorite Polka". If one believes that the popularity of her name was limited to the 19th-century, here is a surprising 1956 example reflecting its presence in the 20th.

RIPM search tip: Searching “Jenny Lind” as a keyword in both RIPM’s Retrospective Index and e-Library of Music Periodicals generates a list of 4,554 results!

L’Illustration, Vol. L (5 October 1867): 212, published in Les Gravures Musicales dans L’Illustration, Vol. 1 (Quebec: Presses del’Université Laval, 1982): 603.

A portrait by Adolphe Mouilleron of Rossini, one year before his passing

On today's date in 1868, 149 years ago, Gioachino Rossini—composer of more than three dozen operas, including the ever-popular opera buffa, The Barber of Seville—died in Paris at the age of seventy-six. Though retiring from opera composition in 1829, nearly four decades before his passing, the success of Rossini’s prolific early years made him a widely renowned public figure. This popularity is reflected in the attention given to his death in the musical press, with many journals reporting the news on their front pages. Here are some examples.

L'Art musical, Vol. 8 No. 51 (19 November 1868): 401.

The Musical Standard, Vol. 9 No. 225 (21 November 1868): 197.

Gazzetta musicale di Milano, Vol. 23 No. 47 (22 November 1868): 377.

Neue Berliner Musikzeitung, Vol. 22 No. 47 (18 November 1868): 373.

As eulogies of the composer appeared in the press, the Parisian illustrated newsweekly, L’Illustration, visually documented Rossini’s funeral proceedings. As indicative of his widespread adoration, much of Paris attended.

L’Illustration, Vol. LII (28 November 1868): 340, published in Les Gravures Musicales dans L’Illustration, Vol. 1 (Quebec: Presses de l’Université Laval, 1982): 619.

The sprinkling of holy water in the Church of the Holy Trinity

L’Illustration, Vol. LII (28 November 1868): 341, published in Les Gravures Musicales dans L’Illustration, Vol. 1 (Quebec: Presses de l’Université Laval, 1982): 620.

The funeral procession leaving Church of the Holy Trinity

L’Illustration, Vol. LII (28 November 1868): 344, published in Les Gravures Musicales dans L’Illustration, Vol. 1 (Quebec: Presses de l’Université Laval, 1982): 620.

Lowering of the coffin into the vault of the city, in Père-Lachaise Cemetery

Rossini was sought out and courted, not merely on account of his fame as a composer, but for his wit, his humour, his amiability, and general goodness. With him has departed one of the most remarkable geniuses and one of the kindliest spirits of the nineteenth century.

The Musical World, Vol. 46 No. 47 (21 November 1868): 789.

RIPM search tip: For more on Rossini’s death, first, in both RIPM’s Retrospective Index and e-Library of Music Periodicals, set the span of years in the “Date” field from “1868 to 1869”. This limits one’s search to the year of his death and one year following. Then, search “Rossini” as a keyword.

Adolphe Sax—the Belgian musician, instrument maker, and inventor—was born on today's date in 1814. While known primarily for creating the saxophone, he also invented a large number of other instruments bearing his name, and developed a clever strategy for creating his brand.

La Revue et Gazette musicale de Paris, Vol. 39 No. 17 (28 April 1872): 136.

An advertisement featuring images of Adolphe Sax’s many instruments

In recognition of his birth, we highlight the manner in which the press reflected his successful business enterprise in 1840s Paris.

Jules Worm, “Adolphe Sax. —D'après une photographie de MM Mayer et Pierson,” L’Illustration, Vol. XLII (5 September 1863): 175, published in H. Robert Cohen, Les Gravures Musicales dans L’Illustration, Vol. 1 (Quebec: Presses de l'Université Laval, 1982): 518.

Soon after arriving in Paris in the spring of 1841, Sax received much attention in the press and the strong advocacy of critics, composers, and performers. For example, Hector Berlioz championed Sax, hailing him in the 12 June 1842 issue of the Journal des débats, as a leading figure in the development of woodwind and brass instruments.

Mr. Adolphe Sax of Brussels, whose work we have just examined, has without doubt made a powerful contribution to the revolution which is about to take place. He is a clever, far-sighted man, of penetrating and clear intelligence, self-willed with a persevering spirit able to withstand all trials, enormously skilled, always ready to replace even specialist workmen incapable of understanding and realizing his plans. At the same time, he is a shrewd man, an acoustician, and when necessary, a smelter, a turner and chiseler.

Hector Berlioz, “Instrumens de musique—M. Ad. Sax,” Journal des débats politiques et littéraires (12 June 1842): 3.

In his 1844 Grand traité d’instrumentation et d’orchestration modernes, Berlioz featured the saxophone in a section devoted to new instruments. This text was later translated and reprinted in the Musical Review and Musical World.

The Musical Review and Musical World, Vol. 11 No. 24 (24 November 1860): 339.

The well-known critic and conductor François-Joseph Fétis also wrote favorably of Sax’s instruments. In a translated review of Halévy’s opera, Le Juif errant, Fétis remarked on the dramatic effects of the newly-invented saxtuba, as well as the “sympathetic sonorousness” of the saxophone.

The Musical World, Vol. 30 No. 31 (31 July 1852): 490-91.

Internationally acclaimed performers were also advocates for his instruments. While in Paris in 1844, the Distins—a family quintet of British brass musicians—acquired the first saxhorns. Soon after, La Revue et Gazette musicale de Paris mentions in a brief concert report the relationship between Sax and the traveling performers.

The next morning Mr. Distin and his family, also from the United Kingdom of Great Britain, performed on Adolphe Sax’s excellent instruments, in the hall of Mr. Herz, and produced their accustomed effect. The pieces: “Robert, you whom I love," the finale of Lucia, and especially God Save the King, delighted the almost all English audience, who also had the pleasure of applauding an English pianist, Mr. Julien Adams, who performed a Weber piano concerto quite well.

La Revue et Gazette musicale de Paris, Vol. 11 No. 13 (31 March 1844): 116.

By 1843 Adolphe Sax had established his workshop, building an impressive range of both woodwind and brass instruments. But more than variety, it was the quality of production that underlay Sax’s manufacturing. As Horwood states, “he intended to produce each part of every instrument under his personal strict supervision so that any instrument bearing his name as an indication of its quality would have been wholly and completely made in the Sax workshop.”[1] By 1844, his workshop on rue Saint-Georges was, as these engravings indicate, already efficient, successful and bursting with activity.

The ground floor of Sax's workshop

Édouard Renard et Henri Valentin, "Fabrique d'instruments de musique de M. Sax," L’Illustration, Vol. X (5 February 1848): 357, published in H. Robert Cohen, Les Gravures Musicales dans L’Illustration, Vol. 1 (Quebec: Presses de l'Université Laval, 1982): 148.

The workshop's second floor

With the creation of his workshop and backing of the musical elite, Adolphe Sax began marketing his products to the masses. While touring musicians like the Distins promoted his instruments internationally, concerts at the Salle Sax, rue Saint-Georges, depicted below, allowed the public to experience the design and sound of Sax’s latest creations.

Jules Gaildrau, "Audition des instruments récemment inventés par M. Adolphe Sax," L’Illustration, Vol. XLIV (16 July 1864): 48, published in H. Robert Cohen, Les Gravures Musicales dans L’Illustration, Vol. 2 (Quebec: Presses de l'Université Laval, 1982): 535.

Sax also extensively promoted his creations with advertisements such as the first illustration above, and the following two.

La Revue et Gazette musicale de Paris, Vol. 31 No. 16 (17 April 1864): 128.

La Revue et Gazette musicale de Paris, Vol. 30 No. 31 (2 August 1863): 248.

In celebration of the bicentennial of his birth, saxophone professor and researcher José-Modesto Diago Ortega produced an interesting video that cleverly permits one to view the engravings of Sax’s workshop (depicted above) from within. It’s well worth viewing.

Lest we think that he has been forgotten, Google recently spotlighted Adolphe Sax both in a search engine “doodle” and in an excellent presentation of his instruments by the Google Cultural Institute, in collaboration with the National Music Museum at the University of South Dakota.

RIPM Search Tip: For more information on Adolphe Sax, search for “Sax” in the Retrospective Index and e-Library of Music Periodicals. For more focused results, select a specific language before searching!

[1] Wally Horwood, Adolphe Sax 1814-1894—His Life and Legacy (Hertfordshire, UK: Egon Publishers, 1983), 44.