Berg’s pupil Adorno once said, “Whoever is seriously trying to comprehend Berg’s music should closely apply themselves to the eleven-page piano sonata”. It is tempting to enlarge upon this statement: Whoever is trying to get to grips with New Music will not be able to avoid Berg’s opus 1. It is one of the most frequently played sonatas amongst the Second Viennese School piano compositions. With this publication Henle is introducing Urtext editions to classical modernism. Once again, pianists will find flawless engraving, an absolutely reliable musical text and a commentary based on the sources. This edition is worldwide available.
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Alban Berg (1885–1935) wrote his Piano Sonata opus 1 toward the end of his period of study with Arnold Schoenberg (1874–1951). He came to Schoenberg in the autumn of 1904, at first in order to take lessons in counterpoint and harmony. Later, from autumn 1907, he received instruction in composition, ending with a study of sonata movements. Several drafts in sonata form date … more
About the composer
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.|
Die nun vorliegende und von Ulrich Scheideler verantwortete Ausgabe erfreut … durch große Übersichtlichkeit (ein Kompliment den Notensetzern) und weiß die Abweichungen von der Hauptquelle in einem ausführlichen kritischen Bericht gut zu begründen.
Het is de enorme verdienste van Henle om deze verdichte partituur toch overzichtelijk uit te geven. De opzet is ruimtelijk en er is gelukkig afgezien van vingerzetting, wat de leesbaarheid extra ten goede komt. Er is eigenlijk maar één geschikt woord om compositie en uitgave recht te doen juweel.
The edition of the Berg is exemplary: detailed notes on the various editions made in Berg’s lifetime, great precision in the layout and no fingering!