Berg's Five Orchestral Songs Pushes Musical Boundaries

ALBAN BERG'S FIVE ORCHESTRAL
SONGS
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AFTER POSTCARD TEXTS BY PETER ALTENBERG, OP. 4
By RENE LEIBOWITZ
T HIS score is not only one of Berg's most extraordinary works

but also perhaps one of the strangest compositions in contem-
porary music. Written in 1912, it is the first "independent" work by
Berg, since the preceding composition, the String Quartet, Op. 3
(1910), was done under the supervision of Schoenberg.1 At the be-
ginning of 1913 Schoenberg, who had decided to have some works by
Webern and Berg performed, organized a concert which took place,
under his direction, on March 31 under the auspices of the Akadem-
ischer Verband fur Literatur und Musik of Vienna. The program was
to consist of Webern's Six Pieces for large orchestra, Op. 6, Schoen-
berg's Kammersymphonie, Op. 9, some of Zemlinsky's songs, Nos. 2
and 4 of Berg's Op. 4, and Mahler's Kindertotenlieder. Even while
the first two works were played there were all sorts of hostile demon-
strations; during the performance of Berg's songs there was such a
commotion that the music could hardly be heard. The concert finally
ended up with the participants in the police court. The Berg songs-
unpublished up to now (except for the last one, which was printed
in a small periodical that did not survive a few issues)—have never
been performed since.
Such anecdotes as this would no doubt be unnecessary within the
framework of this study if the "scandalous" nature of the occurrence
were not associated with elements inherent in the work itself. To tell
the truth it was unavoidable that such a work should rouse the oppo-
sition to astate of frenzy at that time. For, in its very essence, Berg's
Op. 4 is a "scandalous" work.
The first piece of evidence in support of this thesis is furnished
by Berg's choice of text. The poet Peter Altenberg (Richard
1 For more details on the following and on Berg in general, see Egon Wellesz,
Arnold Schoenberg, Vienna, 1921; Willy Reich, Alban Berg, Vienna, 1937; and R.
Leibowitz, Schoenberg et ton Ecole, Paris, 1947.
487
488 The Musical Quarterly
Englander), who lived just outside of Vienna, sent his friends and
enemies postcards covered with his impetuous and frantic scrawl, in
which he presented all sorts of non-conformist ideas and erotic allu-
sions in the form of aphorisms. Of course, it goes without saying that
Berg chose such texts not because they would shock people, but

because they corresponded to the artistic and compositional needs of
the inner structure of a work that is in itself "shocking". In order to
understand this statement, we must try to discover the place of these
songs in Berg's entire oeuvre as well as their relation to the musical
trends that produced them.
The songs were written in 1912, that is to say some four years
after Schoenberg had begun writing music that completely trans-
cended the classic tonal functions,2 a bold innovation in which he
was closely followed by Webern and Berg.8 Berg's first experience
of this kind takes place in the last ot the four songs for voice and
piano, Op. 2, composed in 1909. In this song, Berg not only trans-
cends tonality, but also transgresses the limits of the song itself. In
fact, certain elements of this piece tend to destroy the traditional
Lied form, and foreshadow the dramatic achievements of the future
author of Wozzeck and Lulu.
One is tempted to suppose that Berg wished to signalize the act
of shaking off the shackles of tonality by a real gesture of revolt, by
writing something "scandalous". This explanation is doubtless not
without its basis but it is incomplete. It is strange to contrast this
attitude with the fact that one of Berg's chief aims was to consolidate
the new discoveries of his master with the traditions of the past. We
may now conclude that Berg becomes bolder and more traditional at
the same time. Thus the shocking element in each of Berg's new
works lies precisely in his paradoxical dialectics: when he seems to
be destroying and denying all tradition, he is actually organizing,
consolidating, and confirming it. We shall have further occasion to
convince ourselves of this.
a
The last movement of the Second Quartet in F-sharp minor. Op. 10 (1908), the
Three Piano Pieca, Op. 11 (1908), the Fifteen Georgelieder, Op. 15 (1908), the Five
Orchestral Pieces, Op. 16 (1909), the two dramatic works, Erwartungj Op. 17 (1909)
and Die GlOckliche Hand, Op. 18 (1909-13), the Six Little Piano Pieces, Op. 19 (1911),
and the song, Herzgewdchie, Op. so (1911).
» The following works of Webem transcend the principles of tonality at this period:
the two sets of songs with piano accompaniment Opp. 3 and 4 (1909), Five Movements
for String Quartet, Op. 5 (1909), Six Orchestral Pieces, Op. 6 (1910), Four Pieces for
Violin and Piano, Op. 7 (1910), and Two Songs for voice and instruments. Op. 8
(1911-is).
From a painting by Franz Redcrcr

(Courtesy of Hertha Glitz)
Alban Berg
Alban Berg
Alban Berg's Five Orchestral Songs 489
The second stage of the suspension of tonal functions is found in
the String Quartet, Op. 3. Here the form itself necessitated a less
aggressive attitude; Berg had to devote his principal efforts to the
realization of the large symphonic form without the aid of tonality.
Up to a certain point, this Quartet is still the work of a pupil, not

because it was composed under the strict and minute supervision of
Schoenberg—in fact, the Quartet and the works that preceded it
already display an exceptional mastery in which there is nothing of
the school exercise—, but because one still feels in it a certain prud-
ence, the deliberation of a composer who is developing for himself a
technique that is capable of encompassing all problems and that will
later permit him to indulge in the most audacious innovations.
This audacity strikes us in the songs of Op. 4. Berg's delight in
his newly gained artistic freedom found free play in this first com-
pletely independent work. Also, the enthusiasm generated by his
familiarity with the resources of the new world of sound, free of tonal
reminiscences, achieved full expression here. Berg's deep conviction4
that, at the age of 27, he was master of his craft, as well as his con-
sciousness of having wholeheartedly committed himself to the new
evolution of polyphony—all this brought him profound satisfaction.
So there is no reason to be surprised at the violent explosion of so
much strength, joy, and enthusiasm in this music, and it is hardly
surprising that such an explosion shocked and scandalized the average
listener, who was far from understanding the. ideals and goals of the
activity of Schoenberg, Webern, and Berg—ideals and goals that
were responsible for one of the most passionately experienced
moments in musical history.
But there are still other aspects from which we must examine
the significance of the five songs in Berg's own development and in
the general history of polyphony.
Let us first consider the instrumental problems. Up to now Berg
had composed a piano work (the Sonata, Op. 1, 1908), songs with
piano accompaniment (the abovementioned songs, Op. 2* as well
as the Seven Early Songs of 1905-07) and a chamber work (the String
Quartet, Op. 3). In all these the instrumental style, without being
exactly "revolutionary", takes advantage of certain recent technical
acquisitions; this is especially evident in Berg's keen awareness of
the diversity of treatment required by these different media as well as
' E x p r e s s e d in a letter to W e b e r n , Sept. s j , 1911.
in his exploitation of the individual properties of the instruments.11
But he had not yet written an orchestral work; and it was pre-
cisely in orchestral style that Schoenberg had just introduced some of
his most daring innovations, in the Five Pieces, Op. 16, and in
Erwartung. This sufficiently explains why Berg's first work to use an

orchestra (the songs under consideration), which displays the pro-
found influence of the two Schoenberg compositions just mentioned,
was not only the most daring one the young master had composed
up to then, but was to remain one of the most daring works in his
entire output.
Our analysis will take account of all these factors, but even now
we may say that it is the boldness of the orchestral conception of
Berg's Op. 4 that constitutes what is perhaps the most shocking
aspect of the work.
We have just said that this work is Berg's first orchestral score;
but it is more than that since it consists of songs. Quite aside from the
fact that Berg's choice of songs for his first orchestral work is indic-
ative of his future development as a dramatist (a development to
which we shall return later), the very act of composing songs with
orchestral accompaniment creates new and important problems.
In a general way, it may be said that the song with orchestral
accompaniment is the creation of post-Wagnerian composers, espec-
ially Hugo Wolf, Richard Strauss, and Gustav Mahler. One could
doubtless trace its origins as far back as Mozart's numerous and
perfect "concert arias"; but this might be slightly misleading, since
these arias were, in reality, nothing but opera arias pure and simple.
Of course, they were intended to be sung independently in concerts,
but they could—and often did—replace genuine operatic arias, and
were often even interpolated in operatic scores. The orchestral song
of Wolf and Mahler proceeds in the opposite direction. Certainly
these men profited from the achievements of Wagner, but their
problem was to transfer these gains of musical dramaturgy to the
realm of pure musical forms. Thus these composers expanded the
genre of the song, which was now enriched with the nuances and
possibilities of variation furnished by orchestral tone color.
Mahler, in works like the Kindertotenlieder and the Sieben
Licder aus letzter Zcit, and Schoenberg, in certain sections of the
Gurre Lieder and in the Six Orchestral Songs, Op. 8, bring this genre
8
See my Qu'cst-cc-que la Musique de Douze Sons? (Liege, 1948) and Schoenberg el
son Ecole (paragraph: La nouvelle icriture instrumentalc).
to perfection. Here we already find the effort to change the instru-
mental setting from one song to the next of the same series, in order
to create a special atmosphere for each piece (a device that has
its roots in 18th-century opera); this process results in greatly
intensified contrasts. But—and this is even more important—the

instrumentation of works such as these plays an essential part in the
architectonic expression of each piece. The various structural ele-
ments are underlined, often very subtly, by variations in tone color
and other similar procedures. For example, recapitulations often
take on a quite new character through changes of instrumental setting
which also place the vocal part in fresh relief.
Berg displays mastery of these techniques in his Op. 4. It may be
said that he advances beyond his predecessors and thus foreshadows
Schoenberg's remarkable set of Four Songs, Op. 22 (as well as certain
vocal works of Webern), in which this type of composition reaches
the apex of its development. We shall try to clarify all this in our
analysis; however, let us add that Berg treats this genre in a spec-
ifically dramatic way which is foreign to the intentions of its creators
(a tendency that was already manifest in the last song of Op. 2).
This dramatic character is evident not only in the treatment of the
vocal part but also in many features of the orchestration. Voice and
orchestra make free use of vocalises or unusual instrumental effects,
which burst the bonds of the song and tend towards the opera.
This new "shocking" aspect of Op. 4 is but a further instance of
the strange dialectics of Berg's compositional attitude. The orchestral
song, which had become "pure" music because of its essentially
symphonic workmanship, is treated both traditionally and boldly
by the future author of Wozzeck and Lulu in such fashion as to
return to the dramaturgy from whence it came.
Before bringing these generalizations to a close, we must con-
sider one more problem of tradition posed by the songs: the problem
of extremely small forms. We must remember that this problem,
raised for the first time in Schoenberg's Six Little Piano Pieces, Op.
19, had a special meaning and that its solutions were often extremely
radical, especially in the work of Webern. For Berg, the problem was
never quite so serious, for his essentially lyric and dramatic genius
•always unfolded itself in large forms; that is why he never composed
any more songs after Op. 4, since he realized clearly that what he had
to say in the realm of vocal music demanded the vast dimensions of
492 • The Musical Quarterly
opera or of the concert aria—Der Wein—and that he had never really
felt comfortable in the Lied form.
However, Berg, with his clear comprehension of the evolution
and the tradition of polyphony, could not simply pass by a composi-
tional problem as important as that of the very small form. This

explains why he left us such a typical example of the genre as the
Four Pieces for Clarinet and Piano, Op. 5, in which the problem,
although approached differently than in the corresponding works of
Schoenberg and Webern, is basically the same. We may, then, con-
sideT Op. 4 a first step in this direction, since some of these songs are
extremely short and all of them except the last tackle the essential
problem of the small form.
It must be added that the strange disproportion between the,
extremely small dimensions of most of the pieces and the enormous
orchestral apparatus, as well as the exuberance of vocal and instru-
mental effects, is one of the most "scandalous" aspects of Berg's Op. 4.
A brief survey of the essential elements of the first four songs

and a complete analysis of the last song—which is reprinted here
in extenso—will prove the points we have made.
The first song. A large orchestra is called for: piccolo, 2 flutes,
3 oboes, 3 clarinets and a bass clarinet, 2 bassoons and a contra-
bassoon, 4 horns, 3 trumpets, 4 trombones, tuba, glockenspiel,
xylophone, cymbals, triangle, tamtam, tympani, side-drum, bass-
drum, celesta, harp, harmonium, and strings.
The piece begins with a long orchestral prelude of 19 measures
(4/8, eighth = 96). The first 13 measures present the structure of an
ostinato. A five-note motif in eighths is tirelessly repeated by the
piccolo, first clarinet, and glockenspiel in unison:
This is a real motivic germ from which almost all the other
figures of the prelude are derived. In fact, we note: 1) that this motif
is underlined by a figuration of the first violins (Ex. 2), which adds
tones a major third lower than those of the motif. Aside from the
Ex. 2
fact that this interval appears twice in the motivic germ (between
the first and fourth tones and between the third and fifth tones), we
thus hear a sort of imitation of the motif a third lower. 2) The
motif is strictly imitated: a) by the xylophone at the distance of a
sixteenth note (syncopated); b) by diminution in the second and

third clarinets in unison with the first half of the violas playing
tremolo sul ponticello. 3) The other figures are also derived more or
less directly from the motivic germ: a) the chord in the piano (Ex. 3)
—in a certain sense the fundamental chord of the piece—is nothing
but the three central tones of the motif; b) the figure in the flutes.
Ex.
Ex. 4 (underlined by the pizzicati of the second violins divisi), is
based on the interval of a minor third, the initial interval of the
Ex.4J
motivic germ A; c) the motif of the second and third trumpets
(Ex. 5) elaborates the intervals of a half step and a whole step found
in the motivic germ (B and D); d) the figure of the celesta as well as
its free imitation in the harp (Ex. 6) elaborates the interval of a
major third (taken from the figuration of the violins—c/. Ex. 2), the
intervals of a half step and a whole step (B, D), and especially an
interval that was not yet elaborated in the other secondary voices,
the augmented fourth (C).
This complex superposition of various elements, which seems to
be laid out on a number of different levels and appears somewhat
chaotic at first glance, nevertheless obeys the laws of a precise organi-
zation, produced by a strong sense of compositional economy. Variety
is achieved not only by the abundance of highly contrasted figura-
tions, but also by the perpetual shifting of accents which results
from the irregular meters of the figures contained within the regular
meter of the measure.
It is this superposition that determines the main part of the
prelude. A series of transpositions of the whole structure leads into
a ff climax at m. 15.

Chromatic passages and whole-tone scales rush towards the lower
register; this descending motion is underlined by a large ritenuto of
3 measures which leads back to the slow tempo (eighth = 80). Mm. 18
and 19 may be regarded as a cadence which prepares for the entrance
of the solo voice.
I should particularly like to call attention to the harmonic struc-
ture of this passage in order to emphasize Berg's strong sense of
compositional economy, which already points the way towards many
features of the twelve-tone technique. Ex. 7 shows the tones that
Ex. 7 S
make up the cadence. We recognize tones 1, 2, 3, and 5 of the motivic
germ, completed by the entrance of the voice with tone 4.
The next seven measures (mm. 20-26) may be considered a con-
trasting middle section in which the voice dominates. The voice
begins by sounding, in a hesitating fashion and without words (with
the mouth half closed), first B and then C. With its ascent to C-sharp,
the first phrase (antecedent) of this section begins. The connection
between the new section and the cadence is assured by the instrumen-
tation; the cadential elements of the flutes (Ex. 7) dissolve into a
melody which unfolds in an accompanying phrase. The vocal part
first uses (in the antecedent) four motifs built almost exclusively
on the intervals of the whole-tone scale; only the last motif begins
with the leap of a minor third. The harmony of the orchestra is
built on the same intervals and introduces the Schoenbergian
technique of the Klangfarbenmelodie, in which the same chord is
repeated with almost imperceptible changes of the instrumental
grouping.6 (This procedure, as we shall see, undergoes further
development in the third song, where it becomes one of the structural
bases of the composition.) I should like once more to call attention
to the way in which Berg tries to connect the discoveries of his
master with the musical language of the past. Schoenberg uses the
abovementioned procedure in a very complex way; the chord is
8
Sec Schoenberg's Op. 16, No. 3.
formed every time by heterogeneous combinations of solo instru-
ments. Berg simplifies the procedure by giving the chord each time
to homogeneous orchestral groups (woodwinds, brass, strings), and
thus, in a certain sense, makes the historical implications of the
technique explicit.

It is important, moreover, to note that the middle section of the
piece is related in many ways to the opening section. Thus, for
example, a new motif, heard here in the high register (Ex. 8), uses
the half step, the whole step, and finally (last three tones) a trans-
position of the tones of the piano chord of Ex. 3.
Ex. 8!
Even more interesting is the sixteenth-note figure which is found,
during these.measures, in the basses, 'cellos, and violas, and which
is simply the augmentation of the celesta figure of Ex. 6. Obviously,
then, Berg took great pains in establishing a connection between
this little section and the first section; this is also shown by the last
four notes in the vocal part (Ex. 9), which correspond literally to
the last four notes of the motivic germ. After a brief transition, the
recapitulation of the first section occurs in an extremely varied way.
The end of the transition takes place on a heavy chord which is
organized according to the following scheme:
It contains (on the upper staff) two augmented fifth chords belong-
ing to two different whole-tone scales (mixing the chromatic and the
whole-tone systems), and (on the lower staff) the "fundamental"
chord which persists as a pedal point until the end of the piece. This
produces the essential quality of recapitulation, although we should
also note that the motif of Ex. 6 is repeated literally by the violins
playing pizzicato, by the contrabassoon, and several other times in
free variants.'
To all this is added a new element, the last phrase of the vocal
part. Its style, declamatory rather than melodic, is based on Berg's
typical procedure of starting with the smallest interval, the half
step, and gradually increasing the size of the intervals7: G—A-flat
(minor second), G—B-flat (minor third), G—C-sharp (augmented

fourth), and G—E (major sixth). Later, the first violins take over
the vocal part and make the intervals still larger: G—A (major ninth)
and G—E-flat (minor thirteenth).
In contrast to the opening section, which is compact, the third
section is much looser in form and more transparent in texture. The
entrances of the various instruments or instrumental groups occur
in sporadic fashion and with delicate nuances. This transparent
texture is especially marked in the last two measures of the piece,
where the "fundamental" chord is supplemented by a glissando in
harmonics on the E-string of the violins and by. an indeterminate
sound produced by the violas, 'cellos, and basses striking the strings
with the bow behind the bridge. These two instrumental effects are
characteristic of Berg's attitude towards the orchestra; one may
regard them as a pendant to the first two scarcely articulated sounds
of the vocal part.
The second song is the shortest of the whole group (11 measures).
The smaller orchestra includes only 2 flutes, 2 oboes, 1 clarinet,
2 bassoons, 3 horns, 2 trumpets, 3 trombones, tamtam, triangle,
celesta, harp, piano, and strings. The vocal part, which occupied
only a small part of the preceding song (6 measures out of 38), is
almost constantly present here (9 measures out of 11). The orchestra,
which does not enter until the end of m. 2, is generally limited to
short motifs and chords. The tempo is rather animated.
The song begins with a long phrase in the vocal part, divided
into two segments. The first segment contains three motifs (Ex. 11,
a, b, c). These motifs contain the principal intervals of the entire
piece. Note that c is the literal inversion of a; the use of this variant
lends symmetry to the segment. The entrance of the orchestra at

this point, with the inversion of the same motif in the violas, is
i Cf. the analysis of the Quartet Op. 3 by T. W. Adorno in Willy Reich, Alban
Berg, and in my Schoenberg el son F.cole.
also noteworthy. The motif b, which introduces the interval of a
fourth and separates the two fourths by the half-step characteristic
of a and of the upbeat, is significant for other reasons.8
The second segment—the answer—follows immediately. The two
segments are connected by a motif of the first horn in the low register,

the first three tones of which are the exact retrograde of a. Between
the next two motifs of the vocal part we find the following link:
The tones of x, played simultaneously, produce the chord y; this is

equivalent to z, which results from the superposition of the tones
of the abovementioned motif b.
The last two tones of x constitute an upbeat for a long vocalise
which uses all the intervals that have been used up to now:9
The answer closes with a third motif (Ex. 14), in which we

recognize the upbeat and the first tone of b in contrary motion
(cf. Ex. 11 NB). This is followed by a new motif in the 'cellos
Ex. 14
• r
(Ex. 15), which elaborates the interval of a fourth twice; the first
elaboration contains two fourths, the second three fourths. The
Ex. 15 =
two elaborations are separated by.a major third.10 This motif intro-
8 First used in Schoenberg's Second Chamber Symphony, this motif recurs in
Webem's Op. 7 and plays a considerable role in Lulu.
• This vocalise seems to have been suggested by Schoenberg, according to the testi-
mony of the first pencil manuscript of the fourth and fifth songs. This manuscript
contains the vocalise, written on the last page in Schoenberg's handwriting. Egon
Wellesz reported on the manuscript in Tempo, No. 15 (London, 1946); since the other
songs were not available to him he affirmed a little too rashly that this passage "has
nothing to do with the Five Songs".
10 Ernst Krenek remarked that this motif returns in the last song, where it plays an
important role, and that it foreshadows certain typical aggregations in Wozzeck. (Reich,
op. cit.)
duces a short codetta which consists of a ninth chord with pedal
point.
After the pedal point of m. 7, there begins a final segment, which
we may consider a varied recapitulation of the first segment. Thus,
the complete form of this song again follows the A-B-A1 scheme.

Once more, the vocal part begins all alone, with a new motif (Ex.
16) which presents the following characteristics: 1) it is a variant of
Ex. 16 a
motif b (B-natural in place of B-flat); 2) its last three notes (NB) are
a variant of motif a.
The third song is also rather short. The tempo is moderate. The
orchestra is fuller than in the preceding piece: 3 flutes, oboe and
English horn, E-flat clarinet, bass clarinet, bassoon, contrabassoon,
3 horns, 1 trumpet, 2 trombones, tuba, tympani, tamtam, celesta,
piano, harp, and strings. Again the structure follows the A-B-A1
scheme. The form, very simple in this song, is largely elaborated by
purely orchestral means. In fact the two outer sections are dominated
by a twelve-tone chord (Ex. 17 a, b). This chord is first presented by
the woodwinds alone. It is held throughout the first five measures
and is then dissolved during the two following measures. But it is
Ex. 17
not simply held, since the different instruments are constantly chang-
ing their roles. This perpetual change in tone-color is again derived
from Schoenberg's concept of Klangfarbenmelodie, which also plays
an important part in the middle section of the piece. It should be
remarked that this procedure, each time it occurs in Op. 4, is not
simply imitated or copied by Berg. Instead, the composer of the Five
Songs adapts his master's device to his own needs, and uses it to
fulfil certain precise and traditional functions. Let us not forget that
the twelve-tone chord serves here as an accompaniment to the vocal
part TKus, its continuous changes of tone-color create an extremely
mobile accompaniment. Since there is only one twelve-tone chord
to be found within the total resources of chromaticism, it is clear
that it can only be varied through the use of Klangfarbenmelodie.
As regards structure, we observe that the vocal part is exactly the
same in the two principal sections (A and A1), except for the final c,

which is very low the first time and very high at the end. This simi-
larity of the two statements of the vocal melody is varied by different
treatment of the twelve-tone chord. In A1 this chord does not appear
at once and then dissolve, as at the beginning of the piece, but is
formed in the opposite way: it takes shape gradually, and is not
complete until the penultimate measure of the piece. It goes without
saying that the changes of tone-color are not used here, since they
were sufficiently exploited during the first two sections. But, since
the chord is played by the strings alone, there is a new contrast of
color with reference to what has gone before, which is again derived
from the concept of Klangfarbenmelodie. It must also be noted that
the chord is transposed two octaves higher on its second appearance.
Thus, A1 is radically varied with respect to A; the literal repetition
of the vocal part underlines this contrast instead of negating it.
A highly dramatic cadence introduces the last section; instead of
singing, the voice speaks. We are familiar with the chief elements
of A1, but let us note that each new entrance of the strings (which
build the twelve-tone chord), is punctuated by the celesta, which
thus presents a melodic figure of twelve tones. This figure, implicit
in the dissolution of the first chord, becomes explicit here.
The fourth song, slightly longer than the preceding one (32
measures in slow tempo), aga.in uses a different orchestral apparatus:-
1 flute, 1 oboe, English horn, 3 clarinets, bass clarinet, 1 bassoon, 4
horns, 2 trumpets, 4 trombones, tuba, cymbals, tympani, xylophone,
celesta, and strings.
The form is more complex here, although one may still speak of
an A-B-A1 scheme. The principal interval remains the half step,
which is generated in the flute part at the very beginning:
Ex. 18
The vocal part begins with the same interval, presented in con-
trary motion to the motif of the flute. The succeeding motifs of the
vocal part, although they continue to emphasize the half step, also
introduce new intervals which are subsequently used according to
principles already familiar to us.
The first section of the piece ends with a contracted repetition of
the motif of the flute, and with a free imitation of a fragment of the
vocal part by the English horn. A chord (Ex. 19) is constituted at

the end of the section. It is distributed among heterogeneous orches-
tral groups and persists, with constant changes of tone-color, through-

out the middle section of the song. This section is also characterized
by an accelerated tempo as well as by an increasingly faster presenta-
tion of the vocal part, which is built on motivic extensions of a
remaining fragment:
NB. NB.
KBl
A solo viola takes up the low A with which the vocal part ended,
and extends the motif to the A-flat a fifteenth above, where it remains
during the transition of A1 (Ex. 21). This segment is also introduced
by the chord of Ex. 19, played this time by the four clarinets.
Ex. 21
The last section of the piece is introduced by a new chord (Ex.
EX. 22
22), the intervals of which are familiar to us (cf. Exx. 11 and 12). The
dissolution of this chord produces some new "extravagant" effects:
a glissando in harmonics on the C-string of the solo 'cello, followed
by a glissando on the kettle drums which is achieved by tuning them
down during the roll.
The fifth song is by far the longest of the group: 55 measures
in slow tempo. The orchestra is the same here as in the first song.
The form is that of a passacaglia. Here, therefore, we observe the
tendency to organize vocal forms according to strictly instrumental
and symphonic principles, a tendency that finds its culmination in
Berg's operas. Furthermore this will to a priori organization which
impresses itself upon the last song of Op. 4 gives rise to a mode of
expression slightly calmer than that to be found in the other pieces

of the set. In this connection it is interesting to observe that special
vocal and instrumental effects (glissandi, Klangfarbenmelodie, vocal-
ises, spoken passages, etc.) disappear almost entirely here. Instead,
we observe more elaborate contrapuntal workmanship and more
complex structure.
The song (see p. 506) begins with a motif of five notes, played
by the bass clarinet in unison with the second half of the 'cellos
divisi, and punctuated by the pizzicati of the first half of the 'cellos.
This is the subject of the passacaglia. Its length, five measures, de- •
termines the length of the following segments—eleven in all, each
of which is 5 measures long. This motif is recognizable as a slightly
varied, form of the "extension" motif of the fourth song (cf. Ex. 21).
The first countersubject begins in the fifth measure. It is a
melodic line composed of a twelve-tone series. In this connection
it should be observed: 1) that this twelve-tone melody is the counter-
part of the twelve-tone chord in the third song (Ex. 17); 2) the first
and last groups of tones in this melody (tones 1-4 and 8-12) move
mostly in half steps, while the other intervals, a whole tone (2, 3)
and a major third (4, 5), are treated as in the vocal part of the third
song; 3) the central group of tones (5-8), in which fourths are used,
presents a form familiar to us from the second song onwards (cf.
Ex. 11, motif b and Ex. 12, chord y). Thus it may be said that this
last song tends to create a synthesis of the principal elements of the
preceding songs.
Another feature helps to substantiate this last statement. The
first variation of the passacaglia (mm. 5-10) introduces the 12-tone
countersubject, but the subject itself is absent. In its stead, we find
a new motif which will also play an important role in the course of
the piece. Here we immediately recognize the little episodic motif
of the second song (cf. Ex. 15). The third segment (Var! II, mm.
11-15), i n a slightly broader tempo, introduces some new figures.
Particularly significant is the oboe melody, which, taking off from
the familiar figure of two chromatic half steps, twice introduces a
characteristic motif, which is taken literally from the beginning of
the vocal part of the first song. Once more, the subject of the passa-
caglia is heard in the eighth notes of the third stopped horn; tht
countersubject in twelve tones is superimposed upon it.
In m. 13 the third trombone imitates the leap of a descending
sixth in the oboe; then, in m. 14, the first violins imitate the entire
motif of the oboe, with a slight variation. The vocal part takes up

this variant when it makes its entrance in m. 16. Meanwhile (m. 15)
the double-basses have also imitated the sixth of this motif; they
continue to play the twelve-tone countersubject (transposed), which,
passing to the 'cellos and then back to the double-basses, determines
the structure of the fourth segment (Var. Ill, mm. 16-20).
The voice, having presented the motif stated by the violins,
begins (m. 18) to unfold the 12-tone countersubject. However, it
presents only the first nine tones of this subject, which is then
completed by the first flute during the course of the fifth segment
(Var. IV, mm. 21-25).11 On the other hand, the subject proper is
present here in many forms: 1) in its normal form (contrabassoon,
fourth horn, tuba, harp, piano); 2) in diminution (in sixteenth
notes), constantly passing from one instrumental group to another
and permeating all registers (this figure was introduced by the 'cellos,
in eighth notes and a triplet, in m. 24). In m. 25, the harp, supported
by the fourth trombone and the bass clarinet, again introduces the
"alternative" subject in fourths (cf. mm. 7-11) in diminution (eighth
notes and a triplet). This motif and its "remainder" are the im-
portant elements of the sixth segment (Var. V, mm. 26-30). The
solo viola plays an abbreviated variant of the countersubject, the
missing tones of which occur in other parts; the voice progressively
elaborates certain intervals which finally (m. 29) constitute the
exact retrograde of the subject of the passacaglia.
The seventh segment (Var. VI, mm. 31-35), uses all three prin-
cipal elements simultaneously. The voice, which simply terminates
the preceding segment with a "remainder", does not take part in
mm. 33-34 and enters only in the last measure of this segment. On
the other hand, we find the following elements here: 1) the "alterna-
tive" subject in the low register; 2) the 12-tone countersubject in the
middle register; 3) the subject proper in the high register, presented
with some new figuration.
This segment, based on an accelerando followed by a ritcnuto,
introduces the eighth segment (Var. VII, mm. 36-40), which may be
11
The flute part in this segment is unfortunately not shown in the piano reduction
reproduced here.
• Alban Berg's Five Orchestral Songs 503
characterized as a recapitulation. Here we find, almost unchanged,
the oboe motif of the third segment (cf. mm. 11-12), elaborated in
various parts. Here, as before, its function is to introduce the motif
used for the initial phrase of the vocal part; this phrase now begins
in m. 39. The end of the phrase is again transformed into the begin-
ning of the countersubject, which, during the ninth segment (Var.

VIII, mm. 41-45), is unfolded in the first bassoon and in the piano,
with the assistance of the vocal part. The "alternative" subject in
fourths is added in the basses.
The last two segments (Var. IX-X, mm. 46-55), are to be regarded
as a coda. In the tenth segment (mm. 46-50) we observe the chromatic
dissolution of the countersubject in the middle voices above a pedal-
point on G (the first tone of the subject) in the bass. In the top
voice, we hear a variant of the "figurated" subject of mm. 31-35.
The eleventh and last segment (mm. 51-55) is a final cadence,
built entirely on the subject proper, which is heard in the following
forms: 1) in its normal form, in the pizzicati of the second violins;
2) in retrograde motion (transposed), in the third trombone (this
figure undergoes a progressive liquidation in the second trombone,
first trombone and first trumpet, the last note of which coincides
with the last note of the normal form of the subject, in unison with
the last pizzicato of the second violins); 3) the first violins divisi, the
violas divisi, and the lower half of the 'cellos divisi, gradually form,
through the successive entrances of the tones of the subject, a chord,
which is simply a vertical presentation of the subject; 4) the same
chord, in a different position, is heard in mm. 54 and 55, presented
successively by the following instruments or instrumental groups:
two oboes and three bassoons; two flutes and three clarinets; piano;
harp. Here Klangfarbenmelodie makes its last appearance.
The general scheme of this fifth song may be defined as follows:
Introduction (segment 1), based on the subject alone; Exposition
(segments 1-4), in which all the principal elements are exposed; Elab-
oration (segments 5-8), in which the principal elements undergo an
elaboration that culminates in the superposition of all three in the
last segment of this section; Recapitulation (segments 9-11), which
brings back, the initial phrase of the vocal part. There is symmetry
between the cadence (segment 11) and the introduction, since both
are based on the subject alone. Furthermore, it must be observed
that the coherence of the entire form is assured by the complete
absence of separations between the various segments. On the con-
trary, the transitions from one segment to the next are always made
as smooth as possible; this process often takes place by means of the
transformation of the "remainders" of one segment into fundamental
elements of the next. An overlapping structure is also frequently
used; a basic element of one segment originates in the last measures

of the preceding segment. It is important to call attention to all
these techniques for the benefit of those who will make a more
thorough study of the score.
I shall not try to recapitulate in detail all the characteristics of

Berg's Five Songs, Op. 4, nor shall I draw all possible conclusions
about them. In the first place the reader will have observed these
characteristics by himself; in the second place, I have already drawn
these conclusions in other theoretical works. However, it is necessary
to sum up our ideas about this music in a few words.
In a general way, it may be said that Berg's work clearly takes its
place in the evolution of polyphony as already determined by the
evolution of Schoenberg's work. This composition has not only
dispensed with the tonal functions, but has also made significant use
of the resources of chromaticism which are responsible for the
breakdown of tonality. The very first measures of this score are
already based on the twelve tones of the chromatic scale, and the
full resources of chromaticism are employed in this way throughout
the work. Furthermore, the conscious use of this material in the
third and fifth songs (twelve-tone chord and melody) tends towards
an entirely consistent organization; chromaticism produces func-
tional thematic elements. In this attempt to organize the resources
of chromaticism we may observe certain essential elements of the
future twelve-tone technique, which is also foreshadowed by many
other elements of Berg's Op. 4.
In this sense the most important characteristic of these songs (not
only with reference to twelve-tone technique, but also with respect
to Berg's entire compositional attitude) is the spirit of structural and
architectonic economy. Throughout our analysis we have tried to
emphasize the various manifestations of this attitude. They all result
from the same fundamental concept—the concept of variation carried
to its most radical extremes. This is the principal gain arising out
of Schoenberg's compositional activity and the most important
element of his instruction. While composing these songs, Berg, like
Webern at the same period, was strongly imbued with the spirit of
this instruction, and succeeded in handling the variation technique
with such rigorous mastery, that he attained an astonishing equil-
ibrium between abundance of invention and complete coherence.
We have already seen that the wealth of musical ideas presented

here could usually be reduced to a few motivic germs. The following
factors are most characteristic: 1) developments beginning with the
smallest possible interval, the half tone; 2) the technique of elaborat-
ing "remainders" to create new figures which can always be reduced
to the motivic germs that engendered them; 3) subtle connections
between the various songs (common motifs, etc.)—the last song
synthesizes the content of the whole work; 4) unity between melody
and harmony, particularly evident in the last song, where the subject
is already treated like a tone-row, especially in the cadence, where
the tones of the subject furnish the material for the chord that
terminates not only the song but the entire work.
I shall not stress the other aspects of the originality of Berg's
musical language (instrumentation, vocal problems, etc.), since our
analysis has already given precise examples to bolster the general
statements made in the first part of this article. Here as elsewhere,
Berg, although strongly influenced by his master's ideas, displays
individual mastery of his means and adapts these ideas to his own
compositional plan.
That Berg's score has remained unpublished and unperformed
since its incomplete presentation in 1913 is a shocking state of affairs.
Without saying any more about the lamentable situation of one of
the greatest composers of our time, who was never able to hear any
of his own most important scores, I must remark that the musical
world has deprived itself of one of the richest treasures of our time
in refusing to hear this work of Berg's.
ALBAN BERG
ORCHESTERLIED
(Ansiditfkartentext von Peter Altenberg)

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Berg's Five Orchestral Songs Pushes Musical Boundaries

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ALBAN BERG'S FIVE ORCHESTRAL

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T HIS score is not only one of Berg's most extraordinary works

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From a painting by Franz Redcrcr

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A brief survey of the essential elements of the first four songs

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lends symmetry to the segment. The entrance of the orchestra at

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The tones of x, played simultaneously, produce the chord y; this is

The answer closes with a third motif (Ex. 14), in which we

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tral groups and persists, with constant changes of tone-color, through-

The last section of the piece is introduced by a new chord (Ex.

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I shall not try to recapitulate in detail all the characteristics of

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Courtesy of Universal Edition

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. Wieder ins Tempo I zuruckkehren

Ctr. B*. Ctr BB.Tub. C.BCTub.

- er - mefl - Ji-dies Leid,

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hier sind kei - nc Men - schen. kei - - - ne-

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An - sied • lungen _ Hier ist Frie - - tie!

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