ALBAN BERG AND THE BBC

NICHOLAS CHADWICK

EDWARD CLARK (1888-1962), who was a programme planner with the BBC from 1927to 1936, had been introduced to Arnold Schoenberg after a performance of the latter'ssymphonic poem Pelleas und Melisande in Berlin in 1910.-̂ He was thereafter an ardentchampion of the music of Schoenberg (whose pupil he became in 1911) and also of that ofAlban Berg and Anton von Webern.

During his time with the BBC Clark was instrumental in arranging for both Schoenbergand Webern to make several visits to England to conduct their own and, in Webern's case,other composers' works. Berg's case was rather different, since, apart from rehearsing thechorus for the premiere of Schoenberg's Gurrelieder in Vienna in 1913, he had neverconducted and was insistent that he was a composer, not a conductor. However, Clarkensured that most of Berg's major works were heard in England through the auspices ofthe BBC: the Lyric Suite; the Wozzeck fragments; the Chamber Concerto; Der Wein;Wozzeck complete in concert performance; the Symphonic Pieces from Lulu; and,posthumously, the Violin Concerto.

Berg's first great success as a composer had come when his String Quartet Op. 3 wasperformed at the first festival of the International Society for Contemporary Music atSalzburg in 1923. Virtually overnight he had found himself, to his considerable surprise,a composer of international standing. After the successful premiere of Wozzeck at theBerlin Staatsoper in December 1925, his reputation was such that it was only to beexpected that he would be asked to serve on the jury of the very Society that had origin-ally brought him before the public. In March 1928 Berg attended a jury meeting inZurich to select the works to be performed in September of that year in Siena. In 1931Clark's inspiration brought the ISCM Festival to Oxford and London. The festivalitself took place in July, but the jury, of which Berg was again a member, met from 12 to14 January in Cambridge in the house of the President of the ISCM, Edward Dent.^Adrian Boult, at that time Director of Music for the BBC, was present to advise on mattersof performance.

Berg was intending to travel to England via Brunswick, where he was to be present ata performance of Wozzeck at the Landestheater on 9 January, the same day as Schoenbergwould be in London conducting the BBC Symphony Orchestra in the British premiere ofErxpartung. He wrote to Edward Clark from Vienna to tell him of his plans.

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WienXIII/i 20./12.30Trauttmansdorffgasse 27

Dear Mr. Clark, als Juror der Internationalen Gesellschaft fur neue Musik komme ich AnfangsJanuar nach England (zum erstenmal!). Es ist klar, daJ3 ich nicht dort gewesen sein will, ohneSie gesehen zu haben. Wtrd das moglich sein? Ich werde namlich 4 bis 5 Tage in Cam-bridge zubringen, wo die Jury-Sitzungen ab 12. Januar stattfinden. Ankommen werde icham Sonntag den 11. Januar 8 Uhr 38 friih in London Liverpol-Station [sic] und ich kann dannentweder um 9 Uhr 25 frlih weiterfahren nach Cambridge (wo ich Sonntag erwartet werde), odererst um 3 Uhr 25 nachmittag. Wenn es sich zufallig ergabe, dafi Sie gerade am Sonntag vormittagfrei sind und Zeit haben, wiirde ich erst nachmittag nach Cambridge fahren und ein paarStunden mit Ihnen zubringen. Ich mache diesen Vorschlag, weil ich ja nicht weiB, ob ich in denfolgenden Tagen Zeit habe, von Cambridge aus nach London zu fahren. AUerdings habe ich vor,nach Absolvierung der Arbeiten in Cambridge — also etwa 15. oder 16. oder 17. January [sic]— auf der Heimreise: in London, das ich ja gar nicht kenne, ein oder zwei Tage zu bleiben,so daB sich sicherlicb Gelegenheit iinden wird, auch wenn Sie am 11. nicht Zeit haben, dal3 wiruns im Lauf dieser Woche votn 12. bis 17. einmal sehen werden. Jedenfalls freue ich mich sehrdarauf und bitte Sie heute schon, mir darliber ein Wort zu schreiben! Auf Wiedersehen undmerry Christmas!

Ihr ergebenerAlban Berg

[Dear Mr Clark,As a member of the jury of the International Society for Contemporary Music I am coming

to England (for the first time!) at the beginning of January. Clearly I do not want to have beenthere without having seen you. Will that be possible? In fact I shall be spending 4 to 5 days inCambridge, where the jury meeting takes place on 12 January. I shall arrive on Sunday 11 Januaryat 8.38 a.m. at London's Liverpool Street Station and I can then continue to Cambridge(where I shall be expected on Sunday) either at 9.25 a.m. or not until 3.25 p.m. If it should bychance happen that you are free on that particular Sunday morning and have time, I shall goto Cambridge in the afternoon and spend a few hours with you. I make this proposal becauseI do not know whether I shall have time in the days following to travel down from Cambridgeto London. To be sure, I mean to spend one or two days in London, which I do not know at all,on my way home after the completion of the proceedings in Cambridge—about 15 or 16 or 17January—so that even if you do not have time on the n th , there is sure to be an opportunity forus to see each other sometime in the course of the week from the 12th to the 17th. At all eventsI am looking forward to it very much and am asking you today to send me a line about it! AufWiedersehen and Merry Christmas!

Yours respectfullyAlban Berg]*

In the event, an attack of influenza prevented Berg from attending the performance inBrunswick. Instead he travelled direct from Vienna to London via Ostend. On 5 JanuaryClark received a letter^ from Berg's pupil Julius Schloss dated three days earlier, whichexplained that Berg would now be arriving at Victoria Station at 4.42 p.m. on the n t h and

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would be departing for Cambridge from Kings Cross at 6.50 p.m., arriving in Cambridgeat 9.01.

Berg gave a full and sometimes amusing account of his visit to England in letters to hiswife,^ a discussion of which lies outside the scope of this article. Suffice it to mention thaton 11 January he was able as he had hoped to spend the time between arrival at Victoriaand departure from Kings Cross in the company of Clark. As a letter to his wife reveals, hetravelled from Cambridge to London on the 15th and was due to be given a guided tour ofLondon by Clark on the i6th and to leave for Vienna on the 17th.

In the years following Berg's visit to England several of his works were performedthrough the auspices of the BBC. The Wozzeck fragments received their first performancein the United Kingdom on 13 May 1932 in a studio concert conducted by Sir Henry Woodthat also included works by Kfenek and Webern. They were performed again under thesame conductor in a Queen's Hall concert on 8 March 1933. On 21 April 1933, Berg'sarrangement for string orchestra of three movements from the Lyric Suite received its firstperformance in the United Kingdom in a studio concert conducted by Webern; the otherworks were Kfenek's orchestral song-cycle Durch die Nacht and Berg's ChamberConcerto, with Rudolf Kolisch and Eduard Steuermann as the violin and piano soloistsrespectively. Berg wrote a grateful letter to Clark, which also contained the first of severalrequests on behalf of fellow musicians who, either because of their Jewish blood or becauseof their links with progressive musical tendencies, were finding their opportunitiesincreasingly restricted owing to the worsening political situation in Germany and Austria.As this letter shows. Berg was now experiencing similar difficulties.

WienXIII/iTrauttmansdorffgasse 27(Austria) I3-/5-33

Dank und Bitte ist der Zweck meines Briefes,nnein lieber Herr Clark!

Dank fur Ihre Werktatigkeit, die das scbone und fur mich so erfreuliche Berg-(Kfenek) Konzertermoglicht und zustande gebracht hat, und dann folgende Bitte\ Der mir sehr befreundete u. vonmir sehr geschatzte Pianist Stefan Askenase (Bruxelles Rue des Erables 15) soil, wie ich bore, in dernachsten Saison in einem der Promenade Konzerte Sir Henry Woods mitwirken (Beeth[oven] I.Klavierkonzert od. Mozart). Ich mochte es dem lieben feinen Menschen vom Herzen wunschen,daB es zustande kommt und bitte Sie daher, Sich der Sache mit Ihrer, fiir alle guten Sacben so oftberiihrten, Wdrme anzunehmen. Vielleicht sagen Sie mir gelegentlich ein Wort liber die Chancen

Askenase's.Amsonsten — bin ich, wie ich eben aus einem Brief des Allgem[einen] deutschen Musikvereins

(dessen MusikausschuB icb seit Jahren angehore) entnehme, wenn auch nicht Jude undKommunist, so docb 'der Exponent einer kiinstlerischen Richtung, die von der deutschnationalenBewegung aufs scharfste bekampft wird' u. werde daher gebeten auszutreten.

Allerherzlichst gruBt Sie Ihr alter

Berg

[Saying 'Thank you' and 'please' is the purpose of my letter, my dear Mr Clark!Thank you for your good offices which made possible and brought to fruition the beautiful

Berg-(Kfenek) concert that gave me so much pleasure. Now the following 'please": I hear that thepianist Stefan Askenase (Bruxelles Rue des Arables 15), who is on very friendly terms with me andwhom I value most highly, is to take part next season in one of the Sir Henry Wood PromenadeConcerts (Beethoven ist Piano Concerto or Mozart). For the dear fellow's sake I desire with all myheart that it should take place, and I am therefore asking you to espouse his cause with the wartnthwith which you have so often espoused all good causes. Incidentally, perhaps you can give me someindication of Askenase's chances.

To turn to other matters—I have just gathered from a letter from the AUgemeiner DeutscherMusikverein (whose music committee I have belonged to for years) that, although not a Jew and aCommunist, I am 'the exponent of an artistic tendency which will be opposed with the utmostrigour by the German national movement' and am therefore requested to leave.

Warmest greetings from your old friend

Berg]

Although Askenase (born in 1896) made several BBC broadcasts around this time, hedid not take part in any of the 1933 or 1934 Promenade Concerts. Berg had met him whenvisiting Brussels on the occasion of the performance of Wozzeck at the Theatre de laMonnaie on 29 February 1932.''

About a month after this letter Clark received a further request.

'Waldhaus'in Auen am WortherseePost VeldenOsterreich 21.6.33

Mein lieber Herr Clark, ich muB die Liste der Ihren fur die B.B.C. zu empfehlenden Kapellmeisterum Einen vermehren. Tu' dies aber sehr gern, da es sich um einen ganz hervorragenden Kunstlerhandelt: um Jascha Horenstein. Wenn Sie ihm ein oder das andere Konzert bei der B.B.C.verschaffen konnten, wlirden Sie damit nicht nur mir einen Gefallen tun und ihm kolossal helfen,sondern es wiirde auch der B.B.C. zur Ehre gereichen. Diese letztere Uberzeugung veranlaBt michauch zu dieser meiner neuerlichen 'Empfehlung'.

Konnten Sie auch etwas fiir den Pianisten Askenase tun?Seien Sie herzlichst gegriiBt von Ihrem

Alban Berg

[My dear Mr Clark,I must lengthen by one name your list of conductors to be recommended to the BBC. However,

I do this very willingly, as it concerns a quite outstanding artist: Jascha Horenstein. If you could gethim some concert or other at the BBC you would not only thereby do me a favour and help himtremendously, but it would also be a credit to the BBC. This latter conviction is the cause of thismy latest 'recommendation'.

Were you also able to do something for the pianist Askenase?Warmest greetings from your

Alban Berg]

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Jascha Horenstein (1899-1973) had been chief conductor at the Diisseldorf opera since1928 and had conducted PVozzeck there in 1930 under the composer's supervision. Nazipressure forced him to leave in 1933. Berg's plea does not appear to have had anyimmediate outcome.

On 9 August 1933 Owen Mase, Assistant Director of Music for the BBC, wrote to Bergto give notice that the BBC was contemplating including Wozzeck in the 1933-4 season ofSymphony Concerts and to ask for the timing of each act. Berg replied enthusiastically on24 August, recommending Willi Reich's English-language booklet^ on the opera (whichReich immediately sent to the BBC at his behest) and expressing interest in the Englishtranslation ofthe libretto: he would like to know who was going to do it and he wished to besent a vocal score with English text added so that he could check it, as he had done in thecase of Russian, Czech, and French performances.

Berg was clearly assuming that the performance was to be in English, and it seems thatthis was indeed the original intention. M. D. Calvocoressi was asked to prepare atranslation of one scene, but Boult came to the conclusion that 'like some German songs, itis almost impossible to achieve a translation that is not ridiculous. Further, the size ofthename part makes it very difficult to think of an English artist who could do justice to it. Inregard to other roles, I think and hope it may be possible to fill them by English artists whocan speak good enough German.'^ This was in fact done, and Richard Bitterauf, who wasBerg's own recommendation and had sung the title-role at Aachen in 1930, was engaged tosing the part in London.

The performance in the Queen's Hall on 14 March 1934 delighted the composer, whowas able to hear the broadcast in his country residence on the Worthersee and who wroteto Boult the following day to express his deep appreciation and gratitude. ̂ °His one sorrowwas that so much effort had been expended on what was to be no more than a singleperformance. His gratitude was reiterated in a letter to Clark of 22 March;

Bei der Gelegenheit will ich auch Ihnen sagen, wie tief begluckt mich der BBC-Wozzeckgemacht hat. Meiner Bewunderutig f[ur] d[ie] B.B.C. gesellt sich nun auch die fiir denwunderbaren Mr. Boult.̂ ^

[I want to take the opportunity to say how deeply happy the BBC Wozzeck has made me. To myadmiration for the BBC is now added that for the marvellous Mr Boult.]

Boult replied on 26 March.

Please excuse a typed letter in English to thank you for your most kind and delightful letter,which I enjoyed reading more than I can say. I did so regret that you were not with us at rehearsals,for I really felt that only by your presence could we safely feel we were interpreting your intentionsproperly. However, Mr. Kurt Prerauer, who, 1 believe, trained most if not all ofthe singers forthe Berlin performance under Kleiber, was able to itistruct me in every detail from his knowledgeof the Berlin Performatice, and when Mr. Bitterauf arrived I had the extra help of his splendidmusicianship,

I quite agree with you how much it is to be deplored that the work cannot remain in the

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repertoire, but I eertainly have hopes that we shall be able to find some opportunity for repeatingthe performance, though this is of course very uncertain in the present diffieulties of our Londoneoncert life.

At one point I took a decision in consultation with Mr. Prerauer on which I should very muchvalue your approval or otherwise. We felt that the end ofthe last Act played without any ritenutofailed to give an impression of finality without the dropping ofthe curtain, which would accompanyit in the Opera House. We therefore adopted the ritenuto which you have yourself marked in thefull seore ofthe Bruchstiicke, and I hope that for concert performance you would approve this.'^

With very many thanks, hoping to have the pleasure of meeting you again,

[Adrian C. Boult]

Boult's hope that the performance could be repeated would have struck a sympatheticchord with Berg: about a fortnight before the performance, his publisher, UniversalEdition of Vienna, had already hinted at the possibility of a performance at Covent Gardenif the Queen's Hall performance was successful.^^ Kenneth Wright ofthe BBC, who wasthe chief intermediary between Boult and Berg in the discussions about futureperformances of Wozzeck^ had two meetings with the composer in Vienna in June 1934.As Wright reported in a memorandum to Boult dated 14 June,

I said that it might be possible to repeat the work next season, but that nothing was of coursesettled. He [Berg] would very much like to be privileged to be present during the official rehearsalsand performance on another occasion, and realising that we could scarcely bring him over purelyfor that said that he would like:

(a) To accompany a group of songs in a recital.(b) To give a short microphone interview, if we wish, before the performance of the opera to

help with the publicity.

On 24 August Wright was able to inform Berg that

We are looking into the question ofthe possibility of giving 'Wozzeck' at Covent Garden. At themoment it is quite impossible to say if the plans we have in mind will mature, but at least we wouldlike to be ready with a definite proposal should circumstances prove propitious.

At the moment we are ehiefly concerned with the members ofthe cast. Naturally we would likeBitterauf as Wozzeek, and have sent him a preliminary enquiry in the meantime.

One final point: you mentioned how much you would like to come over with your wife in theevent of our performing 'Wozzeck' again. It is agreed in principle that we should invite you toaeeompany a recital of your songs in the studio during the same period, and this would enable youto be here at the time. You could assist us materially in Press interviews, etc., in obtaining publicityfor the performance of the opera.

Berg, writing from the Waldhaus on 28 August, could barely conceal his excitement:

Es ware naturlich wundersehon, wenn die prachtvoUe B.B.C.-Auffiihrung des 'Wozzeck' inCoventgarden [sic] ihre wohlverdiente Auferstehung feiern wurde, und auch ieh wxirde gem

51

ailes dazu tun, was in meiner Macht steht. Das heifit, zu den letzten Proben hinkommen,event[uell] Vortrag halten. Interviews geben etz. etz. Naturlich auch Lieder begleiten und michsonst nutzlich machen. Verfiigen Sie also ganz iiber mich, meine Herren!

[It would of course be wonderful if the richly deserved resurrection of the magnificent BBCperformance of 'Wozzeck' were to be celebrated at Covent Garden, and I for my part wouldwillingly do all in my power towards it. In other words, come to the final rehearsals, possibly give alecture, give interviews, etc., etc. Naturally also accompany lieder and make myself useful in otherways. Gentlemen, I am entirely at your disposal!]

In view of the worsening political situation, which made the prospect of furtherperformances of Wozzeck in Germany and Austria bleak indeed. Berg had set his heart ona stage production in London, especially as the Queen's Hall performance had beenmusically one ofthe finest given during the composer's lifetime.^''" By the end of January1935 ^ producer had been chosen and had gone through the production with Berg inVienna;^^ this was Otto Erhardt (1888-1971), who had much experience of producingopera in Germany and was at that time a guest producer at Covent Garden, where 30 Aprilhad been fixed as the opening date. ̂ ^ By mid-February, however, there were clearlydifficulties. Berg mentioned these when he wrote to Boult about various matters connectedwith the forthcoming BBC performance ofthe Symphonic Pieces from Lulu.

WienXIII/iTrauttmansdorffgasse 27(Austria) 19-2.35

Sehr werter Mr. Boult, ich hore, dal3 Sic wieder in London sind, ̂ "̂ und da mdehte ich Sie — wiedereinmal nach langerer Zeit — herzlieh begrufien und wegen der kommenden B.B.C.-Auffuhrungenein paar Dinge zur Sprache bringen:

I. Haben Sie, Mr. Boult, fiir das 'Lied der Lulu' und den SchlulJgesang meiner 'SymphonischenStiicke' eigentlich sehon eine Sangerin? Ich habe in den bisherigen europaischen Auffiihrungendieser Stucke zwei Vertreterinnen dieser Partie kennen gelernt, die^fln ;̂ vorziiglich waren: FrauleinLili Claus^^ (von der Wiener Staatsoper) und Frau Julia Nessy aus Prag. Der Zufall will, daUletztcre (Fr. Nessy) zur Zeit der Londoner BBC-Auffuhrung der Symphonisehen Stiicke(20. Marz) in England sein wird, daB diese famose 'Lulu'-Sangerin also fiir die BBC leiehterreichbar ware. — Ich sage Ihnen das, Mr. Boult, natUrlich nur fiir den Fall, dal5 Sie nicht selbstschon eine entsprechende Sangerin haben, und wenn Sie daher froh waren, fiir diese in jederHinsicht schwierigen Partie, eine vollwertige Besetzung zu haben.

II. Im 4. Satz der 'Symphonischen Stiieke' (VARIATIONEN) konnte eine H"-Bezeichnung leiehtein MiBverstandnis hervorrufen. Diese /. Variation ist wirklich eine 'Variation'! Das 'Thema' inden 4 Hornern ist also nicht Hauptsache, sondern es soil nur sehr deudich einsetzen und dannweiterhin vorhanden sein, nicht aber ailes iibertonen! Hauptsache ist in dieser ganzen I, Variationdie Melodie der Oberstimme mit ihren harmonischen Fiillstimmen (wozu ja aueh die Hornstimmegehort!) also ab Takt 2/3 die ganzen Streicher, Oboen und Klarinetten, spater auch Floten, und alldies bis zum Schlufi der I. Variation. Die Hornstimme hat also nicht zu dominieren, sondern soilsich der durchwegs fiihrenden Oberstimme dieser Variation nur deutlich anpassen.

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Bei dieser Gelegenheit mochte ieh aueh cine andere Sache zur Sprache bringen:

Ich hore, dafi die Covend [sic] Garden-Auffiihrung des 'Wozzeck' plotzlich auf SchwicrigkeitenstoBt. Das nimmt mich naturlich sehr wunder, da nach allem Bisherigen die Annahme berechtigtwar, die Sache als vollstandig sicher zu betrachten, — Ich brauche Ihnen nicht zu sagen, wie michdiese Nachricht konsterniert. Nicht nur aus dem naheliegcnden Grund, daB dadurch die Chance,diese fabelhafte BBC-Auffiihrung entsprechend auszuwerten verloren gienge, sondern auch ausrein personlichen Griinden: Die Nachricht von der buhnenmafiigen Auffiihrung des 'Wozzeck' istseit Wochen, ja Monaten so allgemein bekannt und durch alle Zeitungen Europas und Amcrikasverbreitet worden, daJ3 ein Entfall, eine Absage dieser Auffiihrung eine direkte Welt-Blamage fiirmieh bedeuten wiirde.

Ich geniere mich nicht, Ihnen gegeniiher^ Mr. Boult, das auszusprechen, nachdem ich weiB, da6es kaum Jemandcn gibt, der so gut wie Sie versteht, was die Auffiihrung des Wozzeck vor einemJahr in der BBC fiir das Werk und die moderne Musik iiberhaupt bedeutet hat und dafi dienunmehrige biihnenmaUige Auffiihrung die Kronung dieser Tat, dieses Gedankens darstellt, einesGedankens, der in der deutsch-sprecbenden Welt ja scheinbar verloren gegangen zu sein scheint.

Und nun, nachdem ieh Ihnen solcherart mein Herz ausgescbiittet habe, griiBt Sie, liebwertcrMr. Boult, herziicbst

Ibr aufricbtig ergebenerAlban Berg

[Dear Mr Boult,I bear that you are in London again, and so I should like once again, after a rather long interval, to

send you my sincere greetings and to bring up one or two things in connection witb the approachingBBC performances:

I. Have you in faet, Mr Boult, already got a singer for tbe 'Lied der Lulu' and the closing vocalsequence of my 'Symphoniscbe Stiicke'? In the previous European performances of these pieces Ihave made the acquaintance of two interpreters of tbis part wbo were quite excellent: Fraulein LillieClaus (from the Vienna State Opera) and Frau Julia Nessy from Prague. By chance the latter singer(Frau Nessy) will be in England at the time of tbe BBC performance of the Symphonic Pieces(20 Mareb), so that it would be easy for tbe BBC to get hold of this superb 'Lulu' singer.—Obviously I'm telling you tbis, Mr Boult, only in case you yourself do not already have a suitablesinger and would therefore be bappy to bave a first-rate casting for this part, wbieb is in everyrespect a difficult one.

II, A Hauptstimme indication in tbe 4tb movement of tbe 'Sympboniscbe Stiicke' (Variations)could easily be the occasion of a misapprehension. This first variation is genuinely a 'variation'!Thus the 'theme' in tbe 4 horns is not tbe main element but must merely enter very distinctly andthen be present after tbat, not drown everything! Tbe main element in tbe wbole of this first varia-tion is the descant melody with its harmonic thickening (to wbicb the born part also belongs!)—inother words from bars 2/3 all the strings, oboes, and clarinets, later also flutes, and all this up to tbeend ofthe first variation. Thus the horn part bas not to dominate but simply to be clear and to adaptitself to the top part, wbicb leads throughout.

I should like to take tbis opportunity to bring up another matter also:

I hear tbat the Covent Garden performance of 'Wozzeck' is suddenly facing difficulties. Tbatastounds me, since after all tbat has happened so far one was entitled to assume tbat the event could

53

be regarded as absolutely certain. I do not need to tell you bow taken aback I was by tbis news. Notonly for tbe obvious reason that the cbanee to utilize this fabulous BBC performance would belacking, but also for more personal reasons: Tbe news ofthe stage performance of'Wozzeck' hasbeen for weeks, nay, montbs so generally known and circulated in all European and Americannewspapers tbat a failure to happen or a cancellation of tbis performance would be seen throughoutthe world as a direct bumiliation for me.

I do not mind saying tbis in front of you, Mr Boult, since I know that tbere is scarcely anyone whounderstands as well as you wbat tbe performance of Wozzeck a year ago in tbe BBC has meantfor tbe work and for modern music generally; tbe present stage performance represents theculmination of tbis acbievement, tbis idea—an idea wbich apparently seems to be missing in theGerman-speaking world.

And now, after unburdening myself to you in tbis way, I send you sincerest greetings, dearMr Boult.

Your very devotedAlban Berg]

What emerges from this letter is Berg's increasing feeling of isolation. Schoenberg hadleft Germany in 1933 and was now in Los Angeles; Berg himself, though not a Jew, wasbranded a non-indigenous composer in his homeland. ^̂ It was to countries such as Britainthat he turned to keep the torch of his music alight. Small wonder that, after such hopefulpreliminaries, he felt seriously let down.

Boult replied on 27 February.

Many thanks for your very kind letter. In regard to the singer for 'Lulu' I am so sorry tbat we didnot know that Madame Nessy was to be in England on Marcb 20tb, as we sbould bave beendeligbted to make use of ber services. Under tbe circumstances, however, we felt tbat Miss MayBlyth, wbo sang the part o f Marie' witb sucb distinction last year, would be able to do full justiceto the part. As you know, there is always a certain pressure on the B.B.C. in favour of engagingEnglish singers, where possibie, and so we have engaged Miss Blytb, who is an excellent musician,and wbo is learning the part. I do most earnestly hope tbat ber performance will satisfy you.

In regard to your second paragrapb, I sball take tbe greatest care to follow your instructions.I bave not tbe Score by me as I am, in fact, dictating this letter in the train on tour, ̂ ° and have notlooked at tbe Score since my return from America, having spent some time on the joumey on thepreliminary study of it. If there is any further problem I will communicate with you.

I cannot tell you wbat a grief it bas been to tbink that this prospective performance of'Wozzeck'has fallen tbrougb. I am more than sorry that tbe matter sbould bave been spread about so muehbeforehand, but, as sometimes happens, the basis on which the agreement was being made seems tobave been built on a misunderstanding. I tbink there is no harm in my telling you privately wbat theissue was: the arrangement as we understood it was that Covent Garden was to be responsible fortbe stage and tbe B.B.C. for the Orchestra and tbe singers. Now Covent Garden are saying that theynever intended to undertake any expense in connection with the stage and scenery, and you willreadily understand that we as a broadcasting authority could never justify before Parliament anexpenditure on scenery and dresses for the benefit of tbe seeing audience.

We bave been offered a smaller theatre by tbe authorities of tbe Old Vic, whicb you may havebeard of as doing wonderful work for Opera in tbe poorer quarters of London. We will let you know

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how these negotiations proceed, and in any case, though I can make no promises, I certainly hopethat tbe full score of* Wozzeck', wbieh was so kindly presented to me by Doktor Kalmus, will notremain unopened much longer.

[Adrian C. Boult]

Boult*s exposition of the reasons for the demise of the Covent Garden plans needsenlarging. In fact, Covent Garden approached several German and Austrian opera houseswith the idea of buying the costumes and scenery from them. However, by 1935 Nazipressure bad caused them to destroy their scenery, so they were in no position to help.^^

The Old Vic's offer again raised Berg's spirits. The 'reduzierte Orchesterfassung' towhich he referred in his reply was that prepared by Erwin Stein for the production atAachen in 1930, which was distinct from the reduced version used at Oldenburg in 1929,which is still in use.'̂ -̂ With this letter Berg included a Beilage indicating a possible cutbetween bars 85 and 116 of the first movement ofthe Symphonic Pieces from Lulu^ 'in casethis piece should be felt to be too long in relation to the other pieces' (fig. i).

Wien XIII/iTrauttmansdorfFgasse 27(Austria) 5,3.35

Liebwerter Doktor Boult, vielen Dank fiir Ibren lieben, ausfiibrhcben und aufschluBreicben Brief,aus dem icb mit Freude entnebme, daB Mrs. Blyth die Lulu singt (eventuell die Ossia-Fassung,falls die Koloratur zu bocb ist!) und daB nun docb die Aussicht bestebt, daB 'Wozzeck' (wenn aucbnicbt in Covent Garden) sceniscb aufgcfiibrt wird. In diesem Zusammenbang mochte icb Ibnen,Mr. Boult, nur folgendes sagen: Mr. Clark bat sich wegen der reduzierten Orchesterizssun% des'Wozzeck' erkiindigt und icb habe veranlasst, daB diese vom Kapellmeister Stein famoshergestellte Reduktion heute an die B.B.C. per Post abgebt. Diese Fassung wurde bereits an vielenkleineren Biibnen gespielt* u. hat sich auBerordentlieh bewahrt. Ibr Vorteil bestebt namlicb nicbtso sebr darin, daB statt 4 facbem Holz [sic] und Blecb nur 3faches verlangt wird, sondernhauptsachlicb darin, daB dort, wo ein zu kleiner Orebesterrawm vorhanden ist, durcb Weglassungder 4. Blaser:

I.) mehr Platz fiir Streicber bleibt und2.) das Verhdltnis zwiscben verminderten Bldsern und den eventuell ebenfalls vermindcrten

Streichern, wieder das richtige ist.AuBerdem sind dadurcb, daB die Wozzeckpartitur ja bauptsacblicb solistiscbes Holz u. Blech

enthalt, die Veranderungen gar keine so bedeutenden (als dies etwa einer StrauB-Partitur der Fallware) u. bis auf ein paar Tutti-Stellen merkt man die Reduktion kaum.

Sollten also zum Beispiel die Raumverbaltnisse in Old Vic die On^mrt/besetzung desOrcbesters nicbt zulassen, so kann obneweiters die reduzierte Fassung verwendet werden.

Das woUte ich Ibnen, liebwerter Herr Boult, nur scbnell mitgeteilt haben, da es mir fiir Ibreweiteren Londoner 'Wozzeck'-Plane (mit denen ieh natiirlicb sebr einverstanden bin) wicbtigerscheint.

Seien Sie herzlichst gegriiBt von Ihrem aufriehtig ergebenenAlban Berg

* unter anderm in Aachen!

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(Aojtria) Tc?. n 34-8-3.!

/. An indication of a possible cut in the first movement of Alban Berg's Symphonic Piecesfrom Lulu. Add. MS. 52256, fois. 49, 49^

[Dear Doctor Boult,Many thanks for your kind, detailed and informative letter, from wbich I am pleased to learn that

Mrs Blyth is singing Lulu (possibly tbe ossia version if tbe coloratura is too high!) and tbat there isnow tbe chance that 'Wozzeck' will be performed with scenery (even if not at Covent Garden). Inthis connection, Mr Boult, I should like to say tbe following: Mr Clark has enquired about thereduced orchestra version of 'Wozzeck' and I bave arranged for tbis reduction, whicb has beensplendidly done by Kapellmeister Stein, to be posted today to tbe BBC. This version bas alreadybeen performed on many smaller stages* and bas proved an outstanding success. Its advantage liesnot so mucb in tbe fact that instead of quadruple woodwind and brass only triple is required, butebiefly in the fact that wbere tbere is too little space available for tbe orchestra, tbe omission of tbe4th wind instrument means that

1) more space is left for tbe strings and2) the balance between reduced wind and tbe possibly similarly reduced strings is always tbe

correct one.Moreover, since tbe score of 'Wozzeck' contains mainly solo use of woodwind and brass, the

changes are by no means so significant (as would bave been the case witb a Strauss score), andexcept for a few tutti passages tbe reduction is barely noticeable,

Tbus, for example, should tbe amount of space available in tbe Old Vic not admit ofthe originalorchestration, tbe reduced version can be used witbout further ado.

I wanted to inform you of tbis quickly, dear Mr Boult, as it seems to me important for yourfurther plans for 'Wozzeck' in London (witb whicb I am naturally very mucb in agreement).

Warmest greetings from your very devoted

Aiban Berg]* at Aachen among others!

Stein's arrangement reduced the orchestra, approximately, from that of Parsifal tothat of Tristan. Since the orchestration even of Tristan had needed reducing whenthat opera was performed at the Old Vic after the First World War, it is unlikely thatit would have been possible to perform Wozzeck there at all adequately. At all events,tbe project fell through. The disappointment that Berg must have felt was mitigatedby the performance ofthe Symphonic Pieces from Lulu at the Queen's Hall on 20 March1935, conducted by Boult. This was the first time that Berg heard the Lulu Pieces;be was not to hear a live performance until 11 December of that year, in Vienna, afortnight before his death. Berg's final letter to Boult, and the latter's reply, need nocomment.

WienXIII/iTrauttmansdorffgasse 27(Austria) 154-35

Liebwerter Herr Doktor, langst scbon wollte icb Ibnen fijr die Lulu-Sympbonie danken. Ich babesie ziemlicb gut boren konncn und biebei mit Wonne konstatiert, wie wunderbar das wiederstudiert und gestaltet war und wie berrlich das Orcbester geklungen baben mag. Seien Sie,Mr. Boult und Ibre Mitarbeiter auf das berzliehste bedankt fiir dieses neuerlicbe Eintreten furmeine Kunst. DaB dies gerade in England geschieht — und nicbt in meiner Heimat, wo diese

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Stiicke nicbt aufgefiibrt wurden und niemand daran denkt, sie aufzufiihren — macht mich doppeltgliicklicb und stolz!

Empfangen Sie die allerschonsten GriiBe von Ihrem

aufrichtig ergebenen

Alban Berg . . .

[Dear Herr Doktor,For a long time now I bave been wanting to tbank you for tbe Lulu-Symphony. I was able to hear

it fairly well and I observed witb pleasure bow wonderfully it was again prepared and put togetherand bow splendid tbe orchestra seems to have sounded. Deepest thanks to you, Mr Boult, and yourcolleagues for tbis latest support for my work. That this is happening in England especially—andnot in my own country, wbere tbese pieces have not been performed and no one thinks ofperforming tbem—makes me doubly bappy and proud!

Please accept very best wishes from your

very devoted

Alban Berg]

i7tb April 1935

Many tbanks for your most kind letter. I am deligbted that you beard the 'Lulu', and that youwere satisfied with it, as witbout tbe autboritative guidance of anyone like Mr. Prerauer I was notalways certain tbat I was interpreting your wisbes correctly. There are one or two points I shouldvery mucb like to talk over witb you when tbe opportunity offers.

Mr. Wrigbt has told you bow very mucb more tbe work meant to me after the performancewhen I beard it reproduced by our recording process.^^ It bas taught me a most valuable lessonabout modern music, for tbe conductor is so immersed in tbe mecbanics ofthe performance that hecannot, as it were, get far enougb away from tbe work to judge it at tbe same time.

Witb cordial greetings,

[Adrian C, Boult]

The letters from Berg dated 20 December 1930,13 May and 21 June 1933, and 5 March 1935, arein the British Library, Department of Manu-scripts, Add. MS. 52256, fois. 43, 45-9. All otherquoted and cited correspondence is in the BBCWritten Archives Centre, Caversham, unless it isstated otherwise. I am grateful to the Alban BergStiftung, Vienna, for permission to use Berg'sletters and to the British Broadcasting Corp-oration for permission to quote correspondencefrom BBC staff included in the Alban Berg file atthe Written Archives Centre. For informationabout the BBC Music Department and itsactivities I have been indebted to Nicholas

Kenyon's book The BBC Symphony Orchestra:the First Fifty Years ig^o-igSo (London, 1981).

2 H. H. Stuckenschmidt, Schonberg: Leben,Ummelt, Werk (Zurich, 1974), pp. 125, 139.

3 The other members of the jury were AlfredoCasella, Desire Defauw, Gregor Fitelberg, andCharles Koechlin.

4 All translations in this article are my own.5 Add. MS. 52256, foi. 44.6 Helene Berg (ed.), Alban Berg: Briefe an seine

Frau (Munich and Vienna, 1965), pp. 578-81-7 Ibid., pp. 590 ff. It is possible that Berg may also

have known of him at the time of his debut inVienna in 1919.

8 W. Reich, A Guide to Alban Berg's OperaWozzeck (New York, 1931).

9 Memorandum of 25 October 1933 to RogerEckersley, Director of Entertainment for theBBC.

10 An English translation of this letter is inJ. N. Moore (ed.). Music and Friends: SevenDecades of Letters to Adrian Boult (London,

11 This letter also contained another 'Bitte\ onbehalf of the musicologist Andreas Liess and themezzo-soprano Sofie Redlin.

12 The ritenuto does not appear in the vocal score ofthe Bruchstiicke.

13 In a letter dated 26 February 1934. See B. Grun(ed,), Alban Berg: Letters to his Wife (London,1971), p. 419; German text, without annotation,

(1965), p. 634.

14 Letter from Heinrich Jalowetz to Berg, March1934, in E. Hilmar, Wozzeck von Alban Berg(Vienna, 1975), p. 69.

15 Letter from Berg to Schoenberg, 30 January1935, in J. Rufer, *Dokumente einer Freund-schaft', Melos., xxii (1955), p- 44-

16 M. Carner, Alban Berg: the Man and the Work(2nd edn., London, 1983), pp. 59-60.

17 Boult had visited Massachusetts in January.18 Lillie Claus (born in 1910), Austrian soprano who

had sung the part in Berlin at the premiere on30 November 1934.

19 See also M. Carner, op. cit., p. 83.20 On the way to Birmingham to conduct tbe BBC

Symphony Orchestra.21 M. Carner, op. cit., p. 6c.22 E. Hilmar, op. cit., pp. 57-61.23 In a letter to Berg of 3 April 1935.

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