Kirjahaku

Although Berg decided immediately after seeing Büchner's play Woyzeck in May 1914 to set it to music, he did not complete his opera until 1922, with the Berlin premiere taking place in 1925. Berg's Wozzeck traces the composer's slow but determined progress. Using compositional sketches, diaries, notebooks and other archival material, author Patricia Hall reveals the challenges Berg faced—from his induction as a soldier in World War I, to the hyper-inflation of the twenties. In addition to the precise chronology of the opera, the sketches show how Berg derived large-scale form from the Büchner text, and how his compositional style evolved during the nine years in which he composed the opera. A comprehensive visual database on the book's companion website of the extant sketches from seven archives in the United States, Germany and Austria allows the reader to examine, for the first time, Berg's sketches in high resolution color scans.

After 50 years of analysis we are only beginning to understand the quality and complexity of Alban Berg's most important twelve-tone work, the opera Lulu. Patricia Hall's new book represents a primary contribution to that understanding—the first detailed analysis of the sketches for the opera as well as other related autograph material and previously inaccessible correspondence to Berg. In 1959, Berg's widow deposited the first of Berg's autograph manuscripts in the Austrian National Library. The complete collection of autographs for Lulu was made accessible to scholars in 1981, and a promising new phase in Lulu scholarship unfolded. Hall begins her study by examining the format and chronology of the sketches, and she demonstrates their unique potential to clarify aspects of Berg's compositional language. In each chapter Hall uses Berg's sketches to resolve a significant problem or controversy that has emerged in the study of Lulu. For example, Hall discusses the dramatic symbolism behind Berg's use of multiple roles and how these roles contribute to the large-scale structure of the opera. She also revises the commonly held view that Berg frequently invoked a free twelve-tone style. Hall's innovative work suggests important techniques for understanding not only the sketches and manuscripts of Berg but also those of other twentieth-century composers. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996.

After 50 years of analysis we are only beginning to understand the quality and complexity of Alban Berg's most important twelve-tone work, the opera Lulu. Patricia Hall's new book represents a primary contribution to that understanding—the first detailed analysis of the sketches for the opera as well as other related autograph material and previously inaccessible correspondence to Berg. In 1959, Berg's widow deposited the first of Berg's autograph manuscripts in the Austrian National Library. The complete collection of autographs for Lulu was made accessible to scholars in 1981, and a promising new phase in Lulu scholarship unfolded. Hall begins her study by examining the format and chronology of the sketches, and she demonstrates their unique potential to clarify aspects of Berg's compositional language. In each chapter Hall uses Berg's sketches to resolve a significant problem or controversy that has emerged in the study of Lulu. For example, Hall discusses the dramatic symbolism behind Berg's use of multiple roles and how these roles contribute to the large-scale structure of the opera. She also revises the commonly held view that Berg frequently invoked a free twelve-tone style. Hall's innovative work suggests important techniques for understanding not only the sketches and manuscripts of Berg but also those of other twentieth-century composers. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996.

London, 1964. At three a.m. on a chilly autumn morning, Detective Sergeant Harry Barnard is called to a club in Greek Street where a young girl has fallen to her death from a top-floor window. A new breed of fans is flocking to Soho's rock and roll haunts. But was it a tragic accident, or something more sinister? Meanwhile, Kate O'Donnell, Harry's photographer girlfriend, receives a call from her Liverpudlian ex, Dave Donovan, pleading for her help. His new squeeze, Bernie Collins, set off for London in the hope of getting a recording contract, but she's not answering her phone. Where is she?With simmering tensions, intimidation and terror rife on Soho's streets, Harry and Kate are drawn into its dark underbelly in their attempts to find answers.

A past crime causes new murder in the latest intriguing Kate O'Donnell mystery1964. Detective Sergeant Harry Barnard has been ordered to track down notorious Soho club owner Ray Robertson, who hasn't been seen for several days. The case takes on a greater urgency when a battered body is discovered at the gym Ray owns. Is Ray the killer . or is he a victim?Photographer Kate O'Donnell meanwhile is working on a feature about the regeneration of Canvey Island, finally being rebuilt after the devastating East Coast floods of 1953. But as Kate and Harry are about to discover, the Canvey Island floods, the murder and Ray Robertson's disappearance are connected in more ways than one .

On a busy Friday night in 1964, a woman's partially clothed body is discovered in London's Soho Square. She has been raped and strangled. With no one reported missing, her identity remains a mystery. Assuming the victim to be a prostitute, DCI Jackson is inclined to dismiss the case. Detective Sergeant Harry Barnard disagrees.Harry's partner Kate meanwhile has been despatched to her native Liverpool to work on a magazine feature about the city's remarkable regeneration, timed to coincide with the release of the Beatles' movie, A Hard Day's Night.As Harry's investigations point to evidence of a cover-up at the highest level, Kate's assignment leads her to uncover a darker side to 1960s' Liverpool - and a possible link to the Soho murder victim. Are she and Harry getting into something too deep and dangerous for them to handle?

The death of a young girl leads Detective Sergeant Harry Barnard and Kate O'Donnell into a hotbed of simmering tensions, violence and threats in sixties' Soho.London, 1964. At three a.m. on a chilly autumn morning, Detective Sergeant Harry Barnard is called to a club in Greek Street where a young girl has fallen to her death from a top-floor window. A new breed of fans is flocking to Soho's rock and roll haunts. But was it a tragic accident, or something more sinister? Meanwhile, Kate O'Donnell, Harry's photographer girlfriend, receives a call from her Liverpudlian ex, Dave Donovan, pleading for her help. His new squeeze, Bernie Collins, set off for London in the hope of getting a recording contract, but she's not answering her phone. Where is she?With simmering tensions, intimidation and terror rife on Soho's streets, Harry and Kate are drawn into its dark underbelly in their attempts to find answers.