਀ ਀ ਀ ਀㰀猀琀礀氀攀㸀 ਀愀㨀氀椀渀欀 笀挀漀氀漀爀㨀㠀㠀㠀㠀㠀㠀㬀琀攀砀琀ⴀ搀攀挀漀爀愀琀椀漀渀㨀 渀漀渀攀紀 ਀愀㨀愀挀琀椀瘀攀 笀挀漀氀漀爀㨀㠀㠀㠀㠀㠀㠀㬀琀攀砀琀ⴀ搀攀挀漀爀愀琀椀漀渀㨀 渀漀渀攀紀 ਀愀㨀瘀椀猀椀琀攀搀 笀挀漀氀漀爀㨀㠀㠀㠀㠀㠀㠀㬀琀攀砀琀ⴀ搀攀挀漀爀愀琀椀漀渀㨀 渀漀渀攀紀 ਀愀㨀栀漀瘀攀爀 笀挀漀氀漀爀㨀　　　　　　㬀琀攀砀琀ⴀ搀攀挀漀爀愀琀椀漀渀㨀 渀漀渀攀紀 ਀㰀⼀猀琀礀氀攀㸀 ਀ ਀ ਀ ਀㰀挀攀渀琀攀爀㸀 ਀ ਀㰀愀 栀爀攀昀㴀∀椀渀搀攀砀⸀栀琀洀氀∀㸀㰀椀洀最 猀爀挀㴀∀琀椀琀氀攀　㄀眀⸀最椀昀∀ 戀漀爀搀攀爀㴀　㸀㰀⼀愀㸀㰀䈀刀㸀 ਀㰀䈀刀㸀㰀昀漀渀琀 猀椀稀攀㴀㌀㸀 ਀笀 㰀愀 栀爀攀昀㴀∀瀀㄀⸀栀琀洀氀∀㸀㘀⼀㄀㄀㰀⼀愀㸀 ☀渀戀猀瀀㬀  ਀  㰀愀 栀爀攀昀㴀∀瀀㈀⸀栀琀洀氀∀㸀㘀⼀㄀㈀㰀⼀愀㸀 ☀渀戀猀瀀㬀  ਀  㰀愀 栀爀攀昀㴀∀瀀㌀⸀栀琀洀氀∀㸀㘀⼀㄀㌀㰀⼀愀㸀 ☀渀戀猀瀀㬀  ਀  㰀愀 栀爀攀昀㴀∀瀀㐀⸀栀琀洀氀∀㸀㘀⼀㄀㌀㰀⼀愀㸀 紀 ☀渀戀猀瀀㬀  ਀笀 㰀愀 栀爀攀昀㴀∀愀爀琀椀猀琀猀⸀栀琀洀氀∀㸀愀爀琀椀猀琀猀㰀⼀愀㸀 紀 ☀渀戀猀瀀㬀  ਀笀 㰀愀 栀爀攀昀㴀∀渀漀琀攀猀⸀栀琀洀氀∀㸀瀀爀漀最爀愀洀 渀漀琀攀猀㰀⼀愀㸀 紀 ☀渀戀猀瀀㬀  ਀笀 㰀愀 栀爀攀昀㴀∀瀀栀漀琀漀猀⸀栀琀洀氀∀㸀瀀栀漀琀漀猀㰀⼀愀㸀 紀 ☀渀戀猀瀀㬀 ਀笀 㰀愀 栀爀攀昀㴀∀挀漀渀琀愀挀琀⸀栀琀洀氀∀㸀琀椀挀欀攀琀猀㰀⼀愀㸀 紀 ☀渀戀猀瀀㬀 ਀笀 㰀愀 栀爀攀昀㴀∀愀挀欀⸀栀琀洀氀∀㸀愀挀欀渀漀眀氀攀搀最攀洀攀渀琀猀㰀⼀愀㸀 紀 ☀渀戀猀瀀㬀  ਀笀 㰀愀 栀爀攀昀㴀∀椀渀琀爀漀⸀栀琀洀氀∀㸀愀戀漀甀琀㰀⼀愀㸀 紀 ਀


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਀ ਀ऀ㰀琀愀戀氀攀 戀漀爀搀攀爀㴀　 挀攀氀氀瀀愀搀搀椀渀最㴀㄀㔀 挀攀氀氀猀瀀愀挀椀渀最㴀　㸀㰀吀刀㸀㰀吀䐀 愀氀椀最渀㴀爀椀最栀琀㸀 ਀ Johann Sebastian Bach ਀ Ludwig van Beethoven ਀ Alban Maria Johannes Berg ਀ Jacob Raphael Druckman ਀ Antonín Dvořák ਀ Paul Hindemith ਀ Kirke Mechem ਀ Olivier Messiaen ਀ Wolfgang Amadeus Mozart ਀ Kurt Rohde ਀ Charles Camille Saint-Saëns ਀ Arnold Schönberg ਀ Franz Peter Schubert ਀ Robert Schumann ਀ ਀ऀ㰀⼀琀搀㸀㰀⼀琀爀㸀㰀⼀琀愀戀氀攀㸀 ਀ ਀

਀ ਀ऀ㰀椀洀最 猀爀挀㴀∀戀氀愀挀欀⸀最椀昀∀ 眀椀搀琀栀㴀㄀ 栀攀椀最栀琀㴀㌀㄀　㸀㰀䈀刀㸀 ਀

਀ ਀ ਀ ਀ ਀㰀昀漀渀琀 猀椀稀攀㴀㔀㸀㰀挀攀渀琀攀爀㸀㰀戀㸀䄀氀戀愀渀 䴀愀爀椀愀 䨀漀栀愀渀渀攀猀 䈀攀爀最㰀⼀戀㸀㰀昀漀渀琀 猀椀稀攀㴀㈀㸀㰀戀爀㸀㰀椀㸀 ਀戀⸀ ㄀㠀㠀㔀 嘀椀攀渀渀愀Ⰰ 䄀甀猀琀爀椀愀㬀  搀⸀ ㄀㤀㌀㔀 嘀椀攀渀渀愀Ⰰ 䄀甀猀琀爀椀愀㰀⼀椀㸀 ਀ Four Pieces for Clarinet and Piano, Op. 5 (1913) ਀ ਀ ਀吀栀漀甀最栀 栀攀 爀攀挀攀椀瘀攀搀 攀愀爀氀礀 瀀椀愀渀漀 氀攀猀猀漀渀猀 昀爀漀洀 栀椀猀 礀漀甀渀最攀爀 猀椀猀琀攀爀ᤀ猠 最漀瘀攀爀渀攀猀猀  and wrote some songs as a youth, Alban Berg had no serious musical education ਀戀攀昀漀爀攀 栀攀 戀攀最愀渀 栀椀猀 氀攀猀猀漀渀猀 眀椀琀栀 䄀爀渀漀氀搀 匀挀栀渀戀攀爀最 椀渀 ㄀㤀　㐀⸀ 䄀渀琀漀渀 圀攀戀攀爀渀 眀愀猀  also a Schönberg pupil at the same time, and the three were later to become ਀欀渀漀眀渀 愀猀 琀栀攀 ᰀ匠攀挀漀渀搀 嘀椀攀渀渀攀猀攀 匀挀栀漀漀氀Ⰰᴀ†猀攀挀漀渀搀 琀漀 琀栀攀 攀愀爀氀椀攀爀 琀爀椀甀洀瘀椀爀愀琀攀 漀昀  Haydn, Mozart, and Beethoven.਀㰀戀爀㸀㰀戀爀㸀匀挀栀渀戀攀爀最 猀愀椀搀 挀漀渀琀爀愀搀椀挀琀漀爀礀 琀栀椀渀最猀  about the compositions which Berg showed him at the outset of his studies. ਀䔀洀瀀栀愀猀椀稀椀渀最 栀漀眀 洀甀挀栀 栀攀 栀愀搀 琀愀甀最栀琀 琀栀攀 礀漀甀渀最 挀漀洀瀀漀猀攀爀Ⰰ 栀攀 瀀漀椀渀琀攀搀 漀甀琀 琀栀愀琀  Berg’s work had previously been limited to Lieder (art songs) and that ਀ᰀ攠瘀攀渀 琀栀攀 瀀椀愀渀漀 愀挀挀漀洀瀀愀渀椀洀攀渀琀猀 琀漀 琀栀攀洀 眀攀爀攀 猀漀渀最氀椀欀攀 椀渀 猀琀礀氀攀⸀  He was absolutely incapable of writing an instrumental movement or inventing ਀愀渀 椀渀猀琀爀甀洀攀渀琀愀氀 琀栀攀洀攀⸀ᴀ†䄀琀 愀渀漀琀栀攀爀 琀椀洀攀 匀挀栀渀戀攀爀最 眀爀漀琀攀 琀栀愀琀 栀攀 ᰀ爠攀挀漀最渀椀稀攀搀  at once that [Berg] had real talent.”਀ Two significant early compositions which Berg produced under the ਀椀渀昀氀甀攀渀挀攀  漀昀 匀挀栀渀戀攀爀最ᤀ猠 琀甀琀攀氀愀最攀Ⰰ 戀甀琀 渀漀琀 搀椀爀攀挀琀氀礀 甀渀搀攀爀 栀椀猀 猀甀瀀攀爀瘀椀猀椀漀渀Ⰰ  were the “Altenberg Lieder,” Op. 4, and the “Four Pieces For Clarinet and Piano,” ਀伀瀀⸀ 㔀Ⰰ 漀昀琀攀渀 挀漀渀猀椀搀攀爀攀搀 猀漀洀攀琀栀椀渀最 漀昀 愀 猀琀礀氀椀猀琀椀挀 瀀愀椀爀⸀  ਀㰀戀爀㸀㰀戀爀㸀吀栀攀 䴀愀爀挀栀 ㄀㤀㄀㌀ 瀀爀攀洀椀攀爀攀 漀昀 琀栀攀 ᰀ䄠氀琀攀渀戀攀爀最 䰀椀攀搀攀爀Ⰰᴀ†昀椀瘀攀 猀漀渀最猀 昀漀爀  soprano with large orchestra set to miniature poems inspired by post card ਀瀀栀漀琀漀猀Ⰰ 眀愀猀 愀 搀椀猀愀猀琀攀爀Ⰰ 椀渀 瀀愀爀琀 搀甀攀 琀漀 匀挀栀渀戀攀爀最ᤀ猠 氀攀猀猀 琀栀愀渀 猀甀瀀瀀漀爀琀椀瘀攀  presentation of only two of the songs within a concert of his own works, ਀愀渀搀 猀甀渀最 戀礀 愀 琀攀渀漀爀⸀ 䴀愀渀礀 漀琀栀攀爀 昀愀挀琀漀爀猀 挀漀渀琀爀椀戀甀琀攀搀 琀漀 愀 爀椀漀琀 愀琀 琀栀愀琀 攀瘀攀渀琀Ⰰ  and Berg suppressed any further performances of the “Altenberg Lieder” ਀搀甀爀椀渀最 栀椀猀 氀椀昀攀琀椀洀攀⸀ The Four Pieces, composed in May 1913, was the ਀昀椀爀猀琀 漀昀 䈀攀爀最ᤀ猠 挀漀洀瀀漀猀椀琀椀漀渀猀 琀漀 戀攀愀爀 愀 搀攀搀椀挀愀琀椀漀渀 琀漀 匀挀栀渀戀攀爀最 愀猀 栀椀猀 琀攀愀挀栀攀爀⸀  By this time, however, Schönberg had long since left Vienna for Berlin, ਀攀渀搀椀渀最 䈀攀爀最ᤀ猠 昀漀爀洀愀氀 氀攀猀猀漀渀猀 眀椀琀栀 栀椀洀⸀ 䈀攀爀最 栀愀搀Ⰰ 椀渀 昀愀挀琀Ⰰ 琀愀欀攀渀 漀渀 猀漀洀攀 漀昀  Schönberg’s former pupils.਀㰀戀爀㸀㰀戀爀㸀匀攀瘀攀爀愀氀 洀漀渀琀栀猀 愀昀琀攀爀 琀栀攀 ᰀ䄠氀琀攀渀戀攀爀最 䰀椀攀搀攀爀ᴀ† disaster, Berg visited Schönberg in Berlin, and the visit went well until ਀琀栀攀 氀愀猀琀 搀愀礀Ⰰ 眀栀攀渀 䈀攀爀最 爀攀挀攀椀瘀攀搀 愀 搀爀攀猀猀椀渀最ⴀ搀漀眀渀 昀爀漀洀 栀椀猀 爀攀瘀攀爀攀搀 琀攀愀挀栀攀爀⸀  Schönberg pointed out to him in no uncertain terms various weaknesses that ਀栀攀 栀愀搀 昀漀甀渀搀 椀渀 琀栀攀 挀甀爀爀攀渀琀 眀漀爀欀 漀昀 栀椀猀 漀渀攀ⴀ琀椀洀攀 瀀甀瀀椀氀Ⰰ 洀攀愀渀椀渀最 琀栀攀  “Altenberg Lieder” and “Four Pieces.”਀㰀戀爀㸀㰀戀爀㸀吀栀椀猀 栀愀爀猀栀 挀爀椀琀椀挀椀猀洀Ⰰ  from the man whose respect Berg most wished for, compounded the ਀攀洀戀愀爀爀愀猀猀洀攀渀琀 漀昀 琀栀攀 ᰀ䄠氀琀攀渀戀攀爀最ᴀ†瀀爀攀洀椀攀爀⸀ 圀椀琀栀 栀椀猀 挀漀渀昀椀搀攀渀挀攀 爀甀椀渀攀搀Ⰰ  Berg then set out to create something that would placate Schönberg and ਀栀椀猀 漀眀渀 猀攀氀昀ⴀ搀漀甀戀琀Ⰰ 氀攀愀搀椀渀最 椀渀琀漀 焀甀椀琀攀 搀椀昀昀攀爀攀渀琀 搀椀爀攀挀琀椀漀渀猀 昀漀爀 栀椀猀 氀愀琀攀爀  musical compositions.਀㰀戀爀㸀㰀戀爀㸀吀栀攀 伀瀀⸀ 㔀 瀀椀攀挀攀猀 愀爀攀 猀琀爀椀挀琀氀礀 愀琀漀渀愀氀 愀渀搀  formally unstructured. One analysis states that “Four Pieces...has only cells. ਀吀栀愀琀 椀猀Ⰰ 琀栀攀 欀攀礀 琀漀 琀栀攀 眀漀爀欀 椀猀 最爀漀甀瀀椀渀最猀 漀昀 渀漀琀攀猀 爀愀琀栀攀爀 琀栀愀渀 猀攀焀甀攀渀挀攀猀 漀昀 渀漀琀攀猀⸀ᴀ† However, Berg’s techniques of repetition, symmetrical structure, chromatic inflection, ਀愀渀搀 瀀愀琀琀攀爀渀猀 漀昀 瀀爀漀最爀攀猀猀椀瘀攀 琀爀愀渀猀昀漀爀洀愀琀椀漀渀 栀愀瘀攀 最椀瘀攀渀 琀栀攀猀攀 瀀椀攀挀攀猀 猀琀爀甀挀琀甀爀愀氀  coherence, unity, and direction.਀ ਀ ਀ ਀ ਀ ਀ ਀

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