Book contents
- Frontmatter
- Dedication
- Contents
- Acknowledgments
- Note on Terminology
- Introduction
- Part One Berg's Ideal Identities
- 1 Between Schoenberg and Wagner
- 2 Berg as Wagner: In Pursuit of an Ideal Identity
- 3 Refiguring Tristan
- Part Two Personal and Cultural Identities
- Conclusion: Berg's Wagnerism
- Notes
- Bibliography
- Index
2 - Berg as Wagner: In Pursuit of an Ideal Identity
from Part One - Berg's Ideal Identities
Published online by Cambridge University Press: 05 August 2014
- Frontmatter
- Dedication
- Contents
- Acknowledgments
- Note on Terminology
- Introduction
- Part One Berg's Ideal Identities
- 1 Between Schoenberg and Wagner
- 2 Berg as Wagner: In Pursuit of an Ideal Identity
- 3 Refiguring Tristan
- Part Two Personal and Cultural Identities
- Conclusion: Berg's Wagnerism
- Notes
- Bibliography
- Index
Summary
To a large extent, in fact, the identity of a person or a community is made up of [a set of acquired] identifications with values, norms, ideals, models, and heroes, in which the person or community recognizes itself. Recognizing oneself in contributes to recognizing oneself by. The identification with heroic figures clearly displays this otherness assumed as one's own, but this is already latent in the identification with values which make us place a “cause” above our own survival.
—Paul RicoeurBy establishing a principle of identity between Berg and Wagner, this chapter is bound to cause suspicion, as it could rightly be argued that a person's identity is formed by a multitude of factors—including the appropriation of historical or fictional narratives—by which the individual and collective identities are in a constant process of reconfiguration. To single out one element as the most important factor in the formation of one's identity would seem to establish a rather rigid category that overlooks other relational properties in identity formation. To be sure, as is well-known, Berg identified himself overtly with an array of individuals, including Schoenberg and Webern but also Peter Altenberg, Karl Kraus, and Gustav Mahler, among others. The evidence for Berg's identification with these individuals is all too apparent in his music and writing: Berg's adoption of the twelve-tone technique and his obsession with the logic behind musical structures, while they may have been latent traits in his personality, were certainly intensified by his long association with Schoenberg.
- Type
- Chapter
- Information
- Narratives of Identity in Alban Berg's 'Lulu' , pp. 25 - 42Publisher: Boydell & BrewerPrint publication year: 2014