In a letter to Erwin Schulhoff, Berg bitterly complained about his unsuccessful attempt to find a publisher for his “Pieces for Clarinet”, “Once again at my own expense! A few antique pieces in my apartment had to pay for it …” The concise miniatures are outstanding examples of the “little pieces” genre, to which Arnold Schoenberg and Anton von Webern also contributed. We warmly recommend these short but imaginative pieces in Henle Urtext to all those clarinettists who are willing to experiment. This edition is worldwide available.
- Four Pieces for Clarinet and Piano op. 5
Between 1904 and 1909, Alban Berg (1885–1935) took formal lessons from Arnold Schoenberg, first in music theory, then in composition. He concluded these five years of study with the Piano Sonata op. 1 and produced two further works by the following year, 1910: the Lieder op. 2 on texts by Hebbel and Mombert, and the String Quartet op. 3 in two movements. Then, however, Berg … 続き
Together with his teacher Schönberg and with Webern, he belongs to the Second Viennese School, which defined musical advancement through atonality and the twelve-tone technique. His modest oeuvre is explained not only by his early death, but also by his high aesthetic standard. His two operas Wozzeck and Lulu shaped twentieth-century music theatre. He also wrote essays on analytical and aesthetic matters.
|1885||Born in Vienna on February 9, the son of an art and book dealer.|
|from 1904||Studies with Arnold Schönberg.|
|1904–06||Employment as an accountant. After coming into an inheritance, he relinquishes the position and dedicates himself to music.|
|1905–08||Seven Early Songs (orchestrated 1928).|
|1909||Sonata for piano, Op. 1, in one movement, in sonata-form.|
|1909–10||Four Songs for voice and piano, Op. 2, atonal with dense contrapuntal structure.|
|1910||String Quartet, Op. 3, with expressive tonal qualities.|
|1912||Five Orchestral Songs, texts from postcards from Peter Altenberg, Op. 4. Completes piano reduction of Schönberg’s Gurre-Lieder.|
|1913||Four Pieces for clarinet and piano, Op. 5.|
|1913–15||Three Pieces for Orchestra, Op. 6.|
|1923–25||Chamber Concerto for Piano and Violin with Thirteen Wind Instruments.|
|1925||Premiere in Berlin of his most famous opera, “Wozzeck,” considered an Expressionist work.|
|1925–26||Lyric Suite for string quartet, using twelve-tone technique.|
|1929||Concert aria “Der Wein” after Charles Baudelaire.|
|1935||Violin Concerto as a kind of “requiem” (dedicated “to the memory of an angel,” Manon Gropius). Dies in Vienna on December 23/24.|
|1937||Posthumous performance of the two acts of his unfinished opera “Lulu,” begun in 1927.|
Der Henle Verlag hat jetzt eine von Ullrich Scheideler minutiös recherchierte Urtextausgabe herausgebracht und damit dem Werk auch seinen musikologischen Stellenwert gesichert.
Da apprezzare ancora una volta il criterio di impaginazione adottato da Henle che, nel quarto pezzo, solleva il clarinettista dal noto problema della voltata di pagina.
La edición es sencillamente formidable, puesto que, además de un estudio introductorio intersantísimo del alemán Ullrich Scheideler, cuenta con la delicadeza de tener una triple página que evita los incómodos pasos de página para los intérpretes amén de facilitar el que no haya prácticamente pausas entre las piezas, tal y como el autor quería.
Die von Ulrich
This is a great new edition of Berg’s Vier Stücke. … It is the attention to detail that makes this edition so attractive to both performer and scholar. The music is clearer and less squashed – no small achievement given Berg’s incredibly precise markings – and Henle has also solved the page-turn problem in the fourth piece. For those with an academic interest there is a comprehensive discussion of sources and a preface which provides background to the music and its context. These advantages come at a price but should we really mind paying for quality?