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Home , Der Wein, Edward Clark (conductor), Erwin Stein, Heinrich Jalowetz, Jascha Horenstein, Lulu (opera)

AND THE BBC

NICHOLAS CHADWICK

EDWARD CLARK (1888-1962), who was a programme planner with the BBC from 1927 to 1936, had been introduced to after a performance of the latter's symphonic poem Pelleas und Melisande in in 1910.-^ He was thereafter an ardent champion of the music of Schoenberg (whose pupil he became in 1911) and also of that of Alban Berg and Anton von Webern. During his time with the BBC Clark was instrumental in arranging for both Schoenberg and 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 the chorus for the premiere of Schoenberg's Gurrelieder in in 1913, he had never conducted and was insistent that he was a composer, not a conductor. However, Clark ensured that most of Berg's major works were heard in England through the auspices of the BBC: the ; the fragments; the Chamber ; ; Wozzeck complete in concert performance; the Symphonic Pieces from ; and, posthumously, the Concerto. Berg's first great success as a composer had come when his Op. 3 was performed at the first festival of the International Society for Contemporary Music at in 1923. Virtually overnight he had found himself, to his considerable surprise, a composer of international standing. After the successful premiere of Wozzeck at the Berlin Staatsoper in December 1925, his reputation was such that it was only to be expected 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 in Zurich to select the works to be performed in September of that year in Siena. In 1931 Clark's inspiration brought the ISCM Festival to Oxford and London. The festival itself took place in July, but the jury, of which Berg was again a member, met from 12 to 14 January in Cambridge in the house of the President of the ISCM, Edward Dent.^ , at that time Director of Music for the BBC, was present to advise on matters of performance. Berg was intending to travel to England via Brunswick, where he was to be present at a performance of Wozzeck at the Landestheater on 9 January, the same day as Schoenberg would be in London the BBC Orchestra in the British premiere of Erxpartung. He wrote to from Vienna to tell him of his plans.

46 WienXIII/i 20./12.30 Trauttmansdorffgasse 27 Dear Mr. Clark, als Juror der Internationalen Gesellschaft fur komme ich Anfangs Januar nach England (zum erstenmal!). Es ist klar, daJ3 ich nicht dort gewesen sein will, ohne Sie 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 ich am Sonntag den 11. Januar 8 Uhr 38 friih in London Liverpol-Station [sic] und ich kann dann entweder um 9 Uhr 25 frlih weiterfahren nach Cambridge (wo ich Sonntag erwartet werde), oder erst um 3 Uhr 25 nachmittag. Wenn es sich zufallig ergabe, dafi Sie gerade am Sonntag vormittag frei sind und Zeit haben, wiirde ich erst nachmittag nach Cambridge fahren und ein paar Stunden mit Ihnen zubringen. Ich mache diesen Vorschlag, weil ich ja nicht weiB, ob ich in den folgenden 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 wir uns im Lauf dieser Woche votn 12. bis 17. einmal sehen werden. Jedenfalls freue ich mich sehr darauf und bitte Sie heute schon, mir darliber ein Wort zu schreiben! Auf Wiedersehen und merry Christmas! Ihr ergebener Alban 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 been there without having seen you. Will that be possible? In fact I shall be spending 4 to 5 days in Cambridge, where the jury meeting takes place on 12 January. I shall arrive on Sunday 11 January at 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 by chance happen that you are free on that particular Sunday morning and have time, I shall go to Cambridge in the afternoon and spend a few hours with you. I make this proposal because I do not know whether I shall have time in the days following to travel down from Cambridge to 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 17 January—so that even if you do not have time on the nth, there is sure to be an opportunity for us to see each other sometime in the course of the week from the 12th to the 17th. At all events I am looking forward to it very much and am asking you today to send me a line about it! Auf Wiedersehen and Merry Christmas! Yours respectfully Alban Berg]*

In the event, an attack of influenza prevented Berg from attending the performance in Brunswick. Instead he travelled direct from Vienna to London via Ostend. On 5 January Clark received a letter^ from Berg's pupil Julius Schloss dated three days earlier, which explained that Berg would now be arriving at Victoria Station at 4.42 p.m. on the nth and

47 would be departing for Cambridge from Kings Cross at 6.50 p.m., arriving in Cambridge at 9.01. Berg gave a full and sometimes amusing account of his visit to England in letters to his wife,^ a discussion of which lies outside the scope of this article. Suffice it to mention that on 11 January he was able as he had hoped to spend the time between arrival at Victoria and departure from Kings Cross in the company of Clark. As a letter to his wife reveals, he travelled from Cambridge to London on the 15th and was due to be given a guided tour of London 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 performed through the auspices of the BBC. The Wozzeck fragments received their first performance in the United Kingdom on 13 May 1932 in a studio concert conducted by Sir that also included works by Kfenek and Webern. They were performed again under the same conductor in a Queen's Hall concert on 8 March 1933. On 21 April 1933, Berg's for string orchestra of three movements from the Lyric Suite received its first performance in the United Kingdom in a studio concert conducted by Webern; the other works were Kfenek's orchestral song-cycle Durch die Nacht and Berg's Chamber Concerto, with and as the violin and soloists respectively. Berg wrote a grateful letter to Clark, which also contained the first of several requests on behalf of fellow musicians who, either because of their Jewish blood or because of their links with progressive musical tendencies, were finding their opportunities increasingly restricted owing to the worsening political situation in Germany and Austria. As this letter shows. Berg was now experiencing similar difficulties.

WienXIII/i Trauttmansdorffgasse 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) Konzert ermoglicht und zustande gebracht hat, und dann folgende Bitte\ Der mir sehr befreundete u. von mir sehr geschatzte Pianist Stefan Askenase (Bruxelles Rue des Erables 15) soil, wie ich bore, in der nachsten 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 oft beriihrten, 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 und Kommunist, so docb 'der Exponent einer kiinstlerischen Richtung, die von der deutschnationalen Bewegung 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 the pianist Stefan Askenase (Bruxelles Rue des Arables 15), who is on very friendly terms with me and whom I value most highly, is to take part next season in one of the Sir Henry Wood Promenade Concerts (Beethoven ist Piano Concerto or Mozart). For the dear fellow's sake I desire with all my heart that it should take place, and I am therefore asking you to espouse his cause with the wartnth with which you have so often espoused all good causes. Incidentally, perhaps you can give me some indication of Askenase's chances. To turn to other matters—I have just gathered from a letter from the AUgemeiner Deutscher Musikverein (whose music committee I have belonged to for years) that, although not a Jew and a Communist, I am 'the exponent of an artistic tendency which will be opposed with the utmost rigour 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, he did not take part in any of the 1933 or 1934 Promenade Concerts. Berg had met him when visiting Brussels on the occasion of the performance of Wozzeck at the Theatre de on 29 February 1932.'' About a month after this letter Clark received a further request.

'Waldhaus' in Auen am Worthersee Post Velden Osterreich 21.6.33 Mein lieber Herr Clark, ich muB die Liste der Ihren fur die B.B.C. zu empfehlenden Kapellmeister um Einen vermehren. Tu' dies aber sehr gern, da es sich um einen ganz hervorragenden Kunstler handelt: 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 mich auch 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 get him some concert or other at the BBC you would not only thereby do me a favour and help him tremendously, but it would also be a credit to the BBC. This latter conviction is the cause of this my latest 'recommendation'. Were you also able to do something for the pianist Askenase? Warmest greetings from your Alban Berg]

49 Jascha Horenstein (1899-1973) had been chief conductor at the Diisseldorf since 1928 and had conducted PVozzeck there in 1930 under the composer's supervision. Nazi pressure forced him to leave in 1933. Berg's plea does not appear to have had any immediate outcome. On 9 August 1933 Owen Mase, Assistant Director of Music for the BBC, wrote to Berg to give notice that the BBC was contemplating including Wozzeck in the 1933-4 season of Symphony Concerts and to ask for the timing of each act. Berg replied enthusiastically on 24 August, recommending Willi Reich's English-language booklet^ on the opera (which Reich immediately sent to the BBC at his behest) and expressing interest in the English translation ofthe : he would like to know who was going to do it and he wished to be sent a vocal score with English text added so that he could check it, as he had done in the case of Russian, Czech, and French performances. Berg was clearly assuming that the performance was to be in English, and it seems that this was indeed the original intention. M. D. Calvocoressi was asked to prepare a translation of one scene, but Boult came to the conclusion that 'like some German songs, it is almost impossible to achieve a translation that is not ridiculous. Further, the size ofthe name part makes it very difficult to think of an English artist who could do justice to it. In regard to other roles, I think and hope it may be possible to fill them by English artists who can speak good enough German.'^ This was in fact done, and Richard Bitterauf, who was Berg's own recommendation and had sung the title-role at Aachen in 1930, was engaged to sing the part in London. The performance in the Queen's Hall on 14 March 1934 delighted the composer, who was able to hear the broadcast in his country residence on the Worthersee and who wrote to Boult the following day to express his deep appreciation and gratitude. ^°His one sorrow was that so much effort had been expended on what was to be no more than a single performance. 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-Wozzeck gemacht hat. Meiner Bewunderutig f[ur] d[ie] B.B.C. gesellt sich nun auch die fiir den wunderbaren Mr. Boult.^^

[I want to take the opportunity to say how deeply happy the BBC Wozzeck has made me. To my admiration 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 intentions properly. However, Mr. Kurt Prerauer, who, 1 believe, trained most if not all ofthe singers for the Berlin performance under Kleiber, was able to itistruct me in every detail from his knowledge of the Berlin Performatice, and when Mr. Bitterauf arrived I had the extra help of his splendid musicianship, I quite agree with you how much it is to be deplored that the work cannot remain in the

50 repertoire, but I eertainly have hopes that we shall be able to find some opportunity for repeating the performance, though this is of course very uncertain in the present diffieulties of our London eoncert life. At one point I took a decision in consultation with Mr. Prerauer on which I should very much value your approval or otherwise. We felt that the end ofthe last Act played without any ritenuto failed to give an impression of finalitywithou t the dropping ofthe curtain, which would accompany it in the Opera House. We therefore adopted the ritenuto which you have yourself marked in the full 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 sympathetic chord with Berg: about a fortnight before the performance, his publisher, of Vienna, had already hinted at the possibility of a performance at Covent Garden if the Queen's Hall performance was successful.^^ Kenneth Wright ofthe BBC, who was the chief intermediary between Boult and Berg in the discussions about future performances 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 course settled. He [Berg] would very much like to be privileged to be present during the official rehearsals and performance on another occasion, and realising that we could scarcely bring him over purely for 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 the moment it is quite impossible to say if the plans we have in mind will mature, but at least we would like 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 like Bitterauf 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 the event of our performing 'Wozzeck' again. It is agreed in principle that we should invite you to aeeompany a recital of your songs in the studio during the same period, and this would enable you to be here at the time. You could assist us materially in Press interviews, etc., in obtaining publicity for 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' in Coventgarden [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 mich sonst nutzlich machen. Verfiigen Sie also ganz iiber mich, meine Herren!

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

In view of the worsening political situation, which made the prospect of further performances of Wozzeck in Germany and Austria bleak indeed. Berg had set his heart on a stage production in London, especially as the Queen's Hall performance had been musically one ofthe finest given during the composer's lifetime.^''" By the end of January 1935 ^ producer had been chosen and had gone through the production with Berg in Vienna;^^ this was Otto Erhardt (1888-1971), who had much experience of producing opera in Germany and was at that time a guest producer at Covent Garden, where 30 April had been fixed as the opening date. ^^ By mid-February, however, there were clearly difficulties. Berg mentioned these when he wrote to Boult about various matters connected with the forthcoming BBC performance ofthe Symphonic Pieces from Lulu.

WienXIII/i Trauttmansdorffgasse 27 (Austria) 19-2.35 Sehr werter Mr. Boult, ich hore, dal3 Sic wieder in London sind, ^"^ und da mdehte ich Sie — wieder einmal nach langerer Zeit — herzlieh begrufien und wegen der kommenden B.B.C.-Auffuhrungen ein paar Dinge zur Sprache bringen: I. Haben Sie, Mr. Boult, fiir das 'Lied der Lulu' und den SchlulJgesang meiner 'Symphonischen Stiicke' eigentlich sehon eine Sangerin? Ich habe in den bisherigen europaischen Auffiihrungen dieser Stucke zwei Vertreterinnen dieser Partie kennen gelernt, die^fln^; vorziiglich waren: Fraulein Lili Claus^^ (von der Wiener Staatsoper) und Frau Julia Nessy aus Prag. Der Zufall will, daU letztcre (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 leieht erreichbar ware. — Ich sage Ihnen das, Mr. Boult, natUrlich nur fiir den Fall, dal5 Sie nicht selbst schon eine entsprechende Sangerin haben, und wenn Sie daher froh waren, fiir diese in jeder Hinsicht schwierigen Partie, eine vollwertige Besetzung zu haben.

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

52 Bei dieser Gelegenheit mochte ieh aueh cine andere Sache zur Sprache bringen: Ich hore, dafi die Covend [sic] Garden-Auffiihrung des 'Wozzeck' plotzlich auf Schwicrigkeiten stoBt. Das nimmt mich naturlich sehr wunder, da nach allem Bisherigen die Annahme berechtigt war, die Sache als vollstandig sicher zu betrachten, — Ich brauche Ihnen nicht zu sagen, wie mich diese Nachricht konsterniert. Nicht nur aus dem naheliegcnden Grund, daB dadurch die Chance, diese fabelhafte BBC-Auffiihrung entsprechend auszuwerten verloren gienge, sondern auch aus rein personlichen Griinden: Die Nachricht von der buhnenmafiigen Auffiihrung des 'Wozzeck' ist seit Wochen, ja Monaten so allgemein bekannt und durch alle Zeitungen Europas und Amcrikas verbreitet worden, daJ3 ein Entfall, eine Absage dieser Auffiihrung eine direkte Welt-Blamage fiir mieh bedeuten wiirde. Ich geniere mich nicht, Ihnen gegeniiher^ Mr. Boult, das auszusprechen, nachdem ich weiB, da6 es kaum Jemandcn gibt, der so gut wie Sie versteht, was die Auffiihrung des Wozzeck vor einem Jahr in der BBC fiir das Werk und die moderne Musik iiberhaupt bedeutet hat und dafi die nunmehrige biihnenmaUige Auffiihrung die Kronung dieser Tat, dieses Gedankens darstellt, eines Gedankens, 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, liebwertcr Mr. Boult, herziicbst Ibr aufricbtig ergebener Alban 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 approaching BBC performances: I. Have you in faet, Mr Boult, already got a singer for tbe 'Lied der Lulu' and the closing vocal sequence of my 'Symphoniscbe Stiicke'? In the previous European performances of these pieces I have made the acquaintance of two interpreters of tbis part wbo were quite excellent: Fraulein Lillie Claus (from the ) and Frau Julia Nessy from . 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 suitable singer and would therefore be bappy to bave a first-rate casting for this part, wbieb is in every respect 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 and then 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!)—in other words from bars 2/3 all the strings, , and , later also , and all this up to tbe end ofthe first variation. Thus the part bas not to dominate but simply to be clear and to adapt itself 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. Tbat astounds 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. Not only for tbe obvious reason that the cbanee to utilize this fabulous BBC performance would be lacking, but also for more personal reasons: Tbe news ofthe stage performance of'Wozzeck' has been for weeks, nay, montbs so generally known and circulated in all European and American newspapers tbat a failure to happen or a cancellation of tbis performance would be seen throughout the 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 who understands as well as you wbat tbe performance of Wozzeck a year ago in tbe BBC has meant for tbe work and for modern music generally; tbe present stage performance represents the culmination of tbis acbievement, tbis idea—an idea wbich apparently seems to be missing in the German-speaking world. And now, after unburdening myself to you in tbis way, I send you sincerest greetings, dear Mr Boult. Your very devoted Alban Berg]

What emerges from this letter is Berg's increasing feeling of isolation. Schoenberg had left Germany in 1933 and was now in Los Angeles; Berg himself, though not a Jew, was branded a non-indigenous composer in his homeland. ^^ It was to countries such as Britain that he turned to keep the torch of his music alight. Small wonder that, after such hopeful preliminaries, 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 did not know that Madame Nessy was to be in England on Marcb 20tb, as we sbould bave been deligbted to make use of ber services. Under tbe circumstances, however, we felt tbat Miss May Blyth, wbo sang the part of Marie' witb sucb distinction last year, would be able to do full justice to the part. As you know, there is always a certain pressure on the B.B.C. in favour of engaging English 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 not looked at tbe Score since my return from America, having spent some time on the joumey on the preliminary 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 mueh beforehand, but, as sometimes happens, the basis on which the agreement was being made seems to bave been built on a misunderstanding. I tbink there is no harm in my telling you privately wbat the issue was: the arrangement as we understood it was that Covent Garden was to be responsible for tbe stage and tbe B.B.C. for the Orchestra and tbe singers. Now Covent Garden are saying that they never intended to undertake any expense in connection with the stage and scenery, and you will readily understand that we as a broadcasting authority could never justify before Parliament an expenditure 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 have beard of as doing wonderful work for Opera in tbe poorer quarters of London. We will let you know

54 how these negotiations proceed, and in any case, though I can make no promises, I certainly hope that tbe full score of* Wozzeck', wbieh was so kindly presented to me by Doktor Kalmus, will not remain unopened much longer. [Adrian C. Boult]

Boult*s exposition of the reasons for the demise of the Covent Garden plans needs enlarging. In fact, Covent Garden approached several German and Austrian opera houses with the idea of buying the costumes and scenery from them. However, by 1935 Nazi pressure 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' to which he referred in his reply was that prepared by for the production at Aachen 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 cut between bars 85 and 116 of the first movement ofthe Symphonic Pieces from Lulu^ 'in case this piece should be felt to be too long in relation to the other pieces' (fig. i).

Wien XIII/i TrauttmansdorfFgasse 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 aucb nicbt 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 famos hergestellte Reduktion heute an die B.B.C. per Post abgebt. Diese Fassung wurde bereits an vielen kleineren Biibnen gespielt* u. hat sich auBerordentlieh bewahrt. Ibr Vorteil bestebt namlicb nicbt so sebr darin, daB statt 4 facbem Holz [sic] und Blecb nur 3faches verlangt wird, sondern hauptsachlicb darin, daB dort, wo ein zu kleiner Orebesterrawm vorhanden ist, durcb Weglassung der 4. Blaser: I.) mehr Platz fiir Streicber bleibt und 2.) 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 Fall ware) 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 des Orcbesters 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 Ibre weiteren Londoner 'Wozzeck'-Plane (mit denen ieh natiirlicb sebr einverstanden bin) wicbtig erscheint. Seien Sie herzlichst gegriiBt von Ihrem aufriehtig ergebenen Alban Berg * unter anderm in Aachen! 55 (Aojtria) Tc?. n 34-8-3.!

/. An indication of a possible cut in the first movement of Alban Berg's Symphonic Pieces from 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 is now tbe chance that 'Wozzeck' will be performed with scenery (even if not at Covent Garden). In this connection, Mr Boult, I should like to say tbe following: Mr Clark has enquired about the reduced orchestra version of 'Wozzeck' and I bave arranged for tbis reduction, whicb has been splendidly done by Kapellmeister Stein, to be posted today to tbe BBC. This version bas already been performed on many smaller stages* and bas proved an outstanding success. Its advantage lies not so mucb in tbe fact that instead of quadruple woodwind and brass only triple is required, but ebiefly in the fact that wbere tbere is too little space available for tbe orchestra, tbe omission of tbe 4th wind instrument means that 1) more space is left for tbe strings and 2) 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), and except 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 original orchestration, 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 your further 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 to that of Tristan. Since the orchestration even of Tristan had needed reducing when that opera was performed at the Old Vic after the First World War, it is unlikely that it 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 mitigated by the performance ofthe Symphonic Pieces from Lulu at the Queen's Hall on 20 March 1935, 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, a fortnight before his death. Berg's final letter to Boult, and the latter's reply, need no comment.

WienXIII/i Trauttmansdorffgasse 27 (Austria) 154-35 Liebwerter Herr Doktor, langst scbon wollte icb Ibnen fijr die Lulu-Sympbonie danken. Ich babe sie ziemlicb gut boren konncn und biebei mit Wonne konstatiert, wie wunderbar das wieder studiert 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 fur meine Kunst. DaB dies gerade in England geschieht — und nicbt in meiner Heimat, wo diese

57 Stiicke nicbt aufgefiibrt wurden und niemand daran denkt, sie aufzufiihren — macht mich doppelt gliicklicb 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 together and bow splendid tbe orchestra seems to have sounded. Deepest thanks to you, Mr Boult, and your colleagues for tbis latest support for my work. That this is happening in England especially—and not in my own country, wbere tbese pieces have not been performed and no one thinks of performing 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 you were satisfied with it, as witbout tbe autboritative guidance of anyone like Mr. Prerauer I was not always certain tbat I was interpreting your wisbes correctly. There are one or two points I should very 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 performance when I beard it reproduced by our recording process.^^ It bas taught me a most valuable lesson about modern music, for tbe conductor is so immersed in tbe mecbanics ofthe performance that he cannot, 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, Kenyon's book The BBC Symphony Orchestra: 13 May and 21 June 1933, and 5 March 1935, are the First Fifty Years ig^o-igSo (London, 1981). in the British Library, Department of Manu- 2 H. H. Stuckenschmidt, Schonberg: Leben, scripts, Add. MS. 52256, fois. 43, 45-9. All other Ummelt, Werk (Zurich, 1974), pp. 125, 139. quoted and cited correspondence is in the BBC 3 The other members of the jury were Alfredo Written Archives Centre, Caversham, unless it is Casella, Desire Defauw, Gregor Fitelberg, and stated otherwise. I am grateful to the Alban Berg Charles Koechlin. Stiftung, Vienna, for permission to use Berg's 4 All translations in this article are my own. letters and to the British Broadcasting Corp- 5 Add. MS. 52256, foi. 44. oration for permission to quote correspondence 6 Helene Berg (ed.), Alban Berg: Briefe an seine from BBC staff included in the Alban Berg file at Frau (Munich and Vienna, 1965), pp. 578-81- the Written Archives Centre. For information 7 Ibid., pp. 590 ff.I t is possible that Berg may also about the BBC Music Department and its have known of him at the time of his debut in activities I have been indebted to Nicholas Vienna in 1919. 8 W. Reich, A Guide to Alban Berg's Opera 14 Letter from Heinrich Jalowetz to Berg, March Wozzeck (New York, 1931). 1934, in E. Hilmar, Wozzeck von Alban Berg 9 Memorandum of 25 October 1933 to Roger (Vienna, 1975), p. 69. Eckersley, Director of Entertainment for the 15 Letter from Berg to Schoenberg, 30 January BBC. 1935, in J. Rufer, *Dokumente einer Freund- 10 An English translation of this letter is in schaft', Melos., xxii (1955), p- 44- J. N. Moore (ed.). Music and Friends: Seven 16 M. Carner, Alban Berg: the Man and the Work Decades of Letters to Adrian Boult (London, (2nd edn., London, 1983), pp. 59-60. 17 Boult had visited Massachusetts in January. 11 This letter also contained another 'Bitte\ on 18 Lillie Claus (born in 1910), Austrian who behalf of the musicologist Andreas Liess and the had sung the part in Berlin at the premiere on mezzo-soprano Sofie Redlin. 30 November 1934. 12 The ritenuto does not appear in the vocal score of 19 See also M. Carner, op. cit., p. 83. the Bruchstiicke. 20 On the way to Birmingham to conduct tbe BBC 13 In a letter dated 26 February 1934. See B. Grun Symphony Orchestra. (ed,), Alban Berg: Letters to his Wife (London, 21 M. Carner, op. cit., p. 6c. 1971), p. 419; German text, without annotation, 22 E. Hilmar, op. cit., pp. 57-61. (1965), p. 634. 23 In a letter to Berg of 3 April 1935.

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