Alban Berg (1885-1935)

Analysis of Piano Sonata, Op. 1 (1907-8)

by Andrew Kuster
Alban Berg's Piano Sonata, Op. 1 is a fascinating work which employs,
within a tonal framework, many of the techniques Berg would use in his
mature style. The Sonata is a one-movement work in the traditional
sonata form, including an exposition (which repeats), a development, and
a varied recapitulation with coda. Each main theme (first, second, and
closing themes) is stated in the Exposition in a different tempo. These
themes, which are motivically linked, are all developed from the opening
theme. The work's tonal center and key signature is b-minor, and the key
areas utilized in the course of the movement are historically logical, but its
complex chromaticism has led Carner to call Berg's Sonata "a study in the
use of chromatically 'altered' suspensions and passing-note chords."
(Carner: 1975, 101) Typical to his style, Berg uses many cyclic tonal
patterns in the Sonata. Especially prominent are chromatic (1-cycle)
progressions and "wedges", whole-tone (2-cycle) chords and
progressions, augmented progressions (4-cycle), and quartal chords and
progressions (5-cycle).
Berg's Sonata, (1907-8), was first performed at a recital of compositions
by students of Schoenberg on 24 April 1911. Berg composed the Sonata
during the first year of his apprenticeship "for himself," not to be
examined by Schoenberg. (Leibowitz: 1949, 140) Nevertheless, the work
was composed in reaction to Berg's teacher's ideas, and is influenced by
another work employing sonata form and using 5-cycle progressions,
Schoenberg's Chamber Symphony, Op. 9. Samson claims that "to the
extent that the work approaches total thematicism as a unifying method
which might replace tonality, it reflects the influence of Schoenberg..."
(Samson: 1977, 121) Many analysts comment on the Tristanesque quality
of the Sonata, but I sense a connection (perhaps because of the form or
the medium) with the sonata movements of Scriabin and their
chromaticism, and cyclic progressions and chords.
 The Sonata opens with two motives which are used and developed
throughout the entire composition. (a Grundgestalt, Hedlam: 1996, 23)
The first motive begins immediately in the right hand: G-C-F#, [0,1,6].
The second motive, heard in the second and third measures in the upper
voice, is a descending 4-cycle followed by chromatic falling motion G-
Eb-B-D-C#, which makes up a whole-tone group with one added note
[0,1,2,4,8]. (Samson divides motive 2 into two motives: motive (b) is B-
Eb-B, motive (c) is D-C#) The opening phrase of the Sonata lands solidly
on the b-minor tonic chord, approached by a 5-cycle bass note
progression, C#-F#-B, and can be analyzed traditionally as ii/°-V-i, but
the harmonic progression is not by traditional voice leading. Rather, "the
harmony is 'filled in' with characteristic passages in major thirds moving
chromatically or by whole-tone steps to create whole-tone harmonic
areas." (Samson: 1977, 118) Played simultaneously with the second
motive are two descending chromatic lines (1-cycles), one in the right
hand B-Bb-A-etc., the other in the bass C#-C-B-etc. which continue
(inverted) into the fifth measure. The conjunction of the 1- and 4-cycles
in the first measure creates harmonies based on the 3-cycle (beat 1: C#-G
<6>, beat 2: C-Eb <3>, and beat 3 B-B <0>). Berg uses patterns of this
sort in the course of the Sonata, and more extensively in his later works.
The first theme area in the exposition (ms. 1-28) is tripartite, the third
part being a varied repeat of the first part and the transition to the second
theme area at the same time. Within the first part of the first theme, the
motives first heard in the opening measures are developed in measures 3-
7. Motive 1 is played in the bass part of measure 3 and motive 2 is
sounded in the right hand wedging out to a whole-tone (2-cycle) based
measure (ms. 7) and a repeat of motive 2 in measure 8. The second part
of the first theme area begins in measure 11. This second part, which
implies D-major, the relative major of b-minor, uses motive 1 and upward
moving chromatics (1-cycles). Motive 1 combines with itself (in measures
11-12) to form whole-tone collections with one added note (similar to the
collection formed in motive 2). A 5-cycle bass progression (ms. 13 E, ms.
14 A, ms. 16 D) leads back to the return of the first part of the first
theme area in measure 16. Instead of the resolution to tonic as in measure
3, now there is a deceptive progression in measure 19 leading to a
sequence of motive 2 to measure 23.
The material in measures 23-28 leads to the second theme area. This new
material, played in the right hand is motive 3 which is used in transitional
passages elsewhere in the Sonata. Motive 1 is heard in inverted form in the
left hand of measure 25. Measure 26 contains chromatically descending 5-
cycle chords in the left hand. A 5-cycle bass progression (B in ms. 25, E in
ms. 27, A in ms. 29) delivers us to the second theme.
The second theme area (ms. 29-48) is in two parts. The first part of the
second theme is in D-major (over an A pedal), the relative major of b-
minor, although no solid cadence to D is heard. The second theme uses
the dotted rhythm and pitches of motive 1 with an added half-step
forming a [0,1,6,7]. Motive 2 is played in measure 30, beat 3 right hand. A
cadence to E is reached in measure 33, followed by a sequential pattern
using [0,1,6,7] until the second part of the second theme area beginning in
measure 38. Here, motive 1 alternates with scales based on whole-tones
with added notes. A sequence which repeats for three measures begins in
measure 40. Motive 3 returns in measure 43 forming a link to the closing
theme area at measure 49.
The short closing theme area (ms. 49-55) which begins with a prominent
F# in the bass (the dominant of b) uses chromatically descending whole-
tone based chords in the left hand over which is a melody based on
motive 1 from measures 45-47. Both the closing theme and the second
parts of the first (without F) and second theme areas have the pitches E-
F-F#-A-C in common. A sequence in measures 52-53 proceeds without a
solid cadence to the exact repeat of the exposition.

The development section (ms. 56-110) is highly sequential and

homophonic, simpler than the exposition which is highly developed in
itself. It is divided in three parts, each of which develops a different part
of the exposition. The first part of the development (ms. 56-70) develops
motive 1 and uses overall descending chromatic progressions. Motive 1 is
used in 3-cycle, in measure 56 (on Ab), in 58 (on D), in 61 (on Bb), and in
63 (on E). A 4-cycle progression (or [0,1,4,8]) in measures 66-67 leads to
a whole-tone measure (ms. 69) and the second, and longest, part of the
development section (ms. 70-99). The second part of the development
uses motive 1 and motive 2. Beginning in measure 73 both motives are
tossed back and forth between hands. Motive 3 is developed from 81 to
the climax halfway through the development in 84. Beginning in 84 a 5-
cycle bass progression (G in 84, C in 88, and F in 89) moves to a
chromatic descent starting at the loudest part of the work in measure 91.
The development calms before the third section (ms. 100-110) which is
based on the second theme. Motive 2 is heard in measure 109, like the
false entrance of the horn just before the recapitulation in Eroica.
The recapitulation sneaks back in measure 111 at the same pitch level as
the Sonata's opening material. Berg's recapitulation is varied and
developed, not simply the exposition material repeated in new keys. While
composing the recapitulation, Berg must have taken the message of
Schoenberg to heart: "Never do what a copyist can do." (Carner: 1975,
102) The initial phrase of the recapitulation does not offer a solid cadence
as in the exposition, but instead leads to an extensive development of
motives 1 and 2. A whole-tone area (ms. 127) moves to the second part
of the first theme area beginning in measure 131. The second part of the
first theme begins solidly on F# (V/V in E or the dominant of B). A
colorful "white" arrival in measure 134 moves to the second theme area.
The return of the first part of the first theme area (the transition of the
exposition) is truncated from the recapitulation. The first theme area ends
with an important harmonic move to V at the end of measure 164.
When the second theme area returns (ms. 137), the subdominant E is
reached (as opposed to B as in traditional sonata form). The second
theme sounds over a pedal B, now serving as the dominant of E. In
measure 153 to 160 motive 3 is expanded upon sequentially, landing on E
(subdominant) in measure 163.
The ending coda (ms. 167-179) is based on the closing theme (using
descending whole-tone based chords). As with the closing theme in the
exposition, it begins prominently on F# (dominant) in the bass. The
closing theme melody is played again in the left hand of measures 169-
170, and then is inverted and used in sequence for the next four
measures. A half-step motion from C-B in the top voice reinforces the
tonic B (like a bII) at the same time as whole-tone collections on F# (the
dominant of B) are played. A solid V-i cadence on B occurs in measure
175 and is repeated three times, the last of which is delayed during which
motive 1 is sounded.
The Sonata is formally complete in itself. The work is roughly
symmetrical. Its exposition is 55 bars long (110 including the repeat), its
development is 55 bars long, and its recapitulation is 69 bars long. At one
time Berg had intended to compose additional movements for the Sonata,
but he later changed his mind. After Berg told his teacher that he could
not think of musical ideas for other movements, Schoenberg replied that,
for this Sonata at least, "he had said all there was to say." (Carner: 1975,
99)
Many of the techniques that Berg would come to use in his later works
are explored in this early Piano Sonata. A thorough analysis of the work
offers insight to the logic and coherence of Berg's compositional method,
and at the same time causes awareness of the intense emotion and
passion which are the core of his musical language. Certainly Op. 1 is an
important stepping stone in the understanding of early 20th Century
extended tonality.
SELECTED BIBLIOGRAPHY
Carner, Mosco. Alban Berg: the Man and His Work. London: Duckworth, 1975. 99-102.
Gable, David and Robert Morgan. Alban Berg: Historical and Analytical
Perspectives. Oxford: Clarendon Press, 1991. 64-69.
Hedlam, David. The Music of Alban Berg. New Haven & Yale: Yale University Press,
1996. 22-33.
Jarman, Douglas. The Music of Alban Berg. Berkeley & Los Angeles: University of
California Press, 1979. 30-33.
Leibowitz, René. Schoenberg and His School. Translated by Dika Newlin. New York: Da
Capo, 1949. 140-144.
Samson, Jim. Music in Transition. New York: Norton, 1977. 116-121.
(C) Copyright 2004 Andrew Kuster. All Rights Reserved.