Alban Maria Johannes Berg (February 9, 1885 – December 24, 1935) was an Austrian composer. He was a member of the Second Viennese School along with Arnold Schoenberg and Anton Webern, producing works that combined Mahlerian romanticism with Schoenberg's twelve-tone technique.
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Life and work
He was more interested in literature than music as a child, and did not begin to compose until he was fifteen, when he started to teach himself music. He had very little formal music eduction until he began a six-year period of study with Arnold Schoenberg in October 1904 to 1911, studying counterpoint, music theory, and harmony; by 1906 he concentrated on his music studies full-time, and by 1907 he began composition lessons. Among his compositions under Schoenberg were five piano sonata drafts and various songs, including his Seven Early Songs (Sieben frühe Lieder), three of which were Berg's first publicly performed work in a concert featuring the music of Schoenberg's pupils in Vienna that same year.
These early compositions would reveal Berg's progress as a composer under Schoenberg's tutelage. The early sonata sketches eventually culminated in Berg's Piano Sonata Op.1 (1907–8); while considered to be his "graduating composition", is one of the most formidable Op. 1 ever written by any composer. (See Lauder.) Schoenberg was a major influence on him throughout his lifetime; Berg not only greatly admired him as a composer and mentor, but they remained close friends for the remainder of his life. Many people believe that Berg also saw him as a surrogate father, considering Berg's young age during his father's death.
An important idea of Schoenberg is his teaching was what would later be known as developing variation, which stated that the unity of a piece is dependent on all aspects of the composition being derived from a single basic idea. Berg would then pass this idea down to one of his students, Theodor Adorno, who stated: "The main principle he conveyed was that of variation: everything was supposed to develop out of something else and yet be intrinsically different." The Sonata is a striking example of the execution of this idea — the whole composition can be derived from the opening quartal gesture and from the opening phrase.
Berg was a part of Vienna's cultural elite during the heady period of fin de siècle. Among his circle included the musicians Alexander Zemlinsky and Franz Schreker, painter Gustav Klimt, writer and satirist Karl Kraus, architect Adolf Loos, and poet Peter Altenberg. In 1906, Berg met Helene Nahowski, singer and daughter of a wealthy family, and despite the outward hostility of her family, married on May 3, 1911.
In 1913, Berg's Five songs on picture postcard texts by Peter Altenberg were premiered in Vienna. The piece caused a riot, and the performance had to be halted: a complete performance of the work was not given until 1952.
From 1915 to 1918, he served in the Austrian Army and it was during a period of leave in 1917 that he began work on his first opera, Wozzeck. Following World War I, he settled again in Vienna where he gave private music lessons, one of whom was Hanns Eisler. He also helped Schoenberg run the Society for Private Musical Performanceswhich sponsored new work by promising composers.
The performance in 1924 of three excerpts from Wozzeck brought him his first public success. Wozzeck, which Berg completed in 1922, was not performed in its entireity until a performance conducted by Erich Kleiber in 1925. The opera is today seen as one of his most important works; a later opera, also critically acclaimed, Lulu, was left incomplete at his death.
Berg is probably best known for his Violin Concerto, which, like much of his work, combines atonality with tonal passages, and uses Schoenberg's twelve tone technique in a way as to admit Wagnerian harmonies. Other well known Berg compositions include the Lyric Suite (thought to be a big influence on the String Quartet No. 3 of Béla Bartók) and the Chamber Concerto for violin, piano and 13 wind instruments.
Berg died on Christmas Eve, 1935, in Vienna, from blood poisoning caused by an insect bite. He was 50 years old.
- Adorno, Theodor W. Alban Berg: Master of the Smallest Link. Trans. Juliane Brand and Christopher Hailey. New York: Cambridge University Press, 1991.
- Schmalfeldt, Janet. Bergs Path to Atonality: The Piano Sonata, Op. 1. Alban Berg: Historical and Analytical Perspectives. Eds. David Gable and Robert P. Morgan, pgg. 79–110. New York: Oxford University Press, 1991.
- Lauder, Robert Neil. Two Early Piano Works of Alban Berg: A Stylistic and Structural Analysis. Thesis. Chapel Hill: University of North Carolina, 1986.
- Bruhn, Siglind, ed. Encrypted Messages in Alban Bergs Music. New York: Garland Publishing, 1998.
- Schweizer, Klaus. Die Sonatensatzform im Schaffen Alban Bergs. Stuttgart: Satz und Druck, 1970.
- Wilkey, Jay Weldon. Certain Aspects of Form in the Vocal Music of Alban Berg. Ph.D. thesis. Ann Arbor: Indiana University, 1965.
- Perle, George. The operas of Alban Berg. Berkeley: University of California Press, 1980.
- Jarman, Douglas. Dr. Schon's Five-Strophe Aria: Some Notes on Tonality and Pitch Association in Berg's Lulu. Perspectives of New Music 8/2 (Spring/Summer 1970).
- Jarman, Douglas. Some Rhythmic and Metric Techniques in Alban Berg's Lulu. Musical Quarterly 56/3 (July 1970).
- Jarman, Douglas. Lulu: The Sketches. International Alban Berg Society Newsletter, 6 (June 1978).
- Jarman, Dougas. The Music of Alban Berg. Berkeley: University of California Press, 1979.
- Jarman, Douglas. Countess Geschwitz's Series: A Controversy Resolved?. Proceedings of the Royal Musical Association 107 (1980/81).
- Jarman, Douglas. Some Observations on Rhythm, Meter and Tempo in Lulu. In Alban Berg Studien. Ed. Rudolf Klein. Vienna: Universal Edition, 1981.
- Jarman, Douglas. Lulu: The Musical and Dramatic Structure. Royal Opera House Covent Garden program notes, 1981.
- Jarman, Douglas. The 'Lost' Score of the 'Symphonic Pieces from Lulu'. International Alban Berg Society Newsletter 12 (Fall/Winter 1982).
- Brand, Juliane, Christopher Hailey and Donald Harris, eds. The Berg-Schoenberg Correspondence: Selected Letters. New York: Norton, 1987.
- Grun, Bernard, ed. Alban Berg: Letters to his Wife. London: Faber and Faber, 1971.
- Redlich, H.F. Alban Berg, the Man and His Music. London: John Calder, 1957.
- Reich, Willi. The life and work of Alban Berg. Trans. Cornelius Cardew. New York : Da Capo Press, 1982.
- Monson, Karen. Alban Berg: a biography. London: Macdonald and Jane's, 1979.
- Carner, Mosco. Alban Berg: the man and the work. London: Duckworth, 1975.
- Redlich, Hans Ferdinand. Alban Berg, the man and his music. London: J. Calder, 1957.
- Leibowitz, René. Schoenberg and his school; the contemporary stage of the language of music. Trans. Dika Newlin. New York: Philosophical Library, 1949.