Alban Berg, in full Alban Maria Johannes Berg (born Feb. 9, 1885, Vienna, Austriadied Dec.

24, 1935, Vienna), Austrian composer who wrote atonal and 12-tone compositions that remained true to late 19th-century Romanticism. He composed orchestral music (including Five Orchestral Songs, 1912), chamber music, songs, and two groundbreaking operas, Wozzeck (1925) and Lulu (1937).

Apart from a few short musical trips abroad and annual summer sojourns in the Austrian Alps, Bergs life was spent in the city of his birth. At first, the romantically inclined youth leaned toward a literary career. But, as in most Viennese middle-class homes, music ... (100 of 1705 words) Aspects of the topic Alban Berg are discussed in the following places at Britannica. contribution to Expressionism (in Expressionism (artistic style): Expressionism in other arts) 20th-century opera (in opera (music): Later opera in Germany and Austria) vocal music (in vocal music: Art songs in German, French, and English)

influenced by use of Bchners Wozzeck (in Georg Bchner (German dramatist)) Romantic expression (in chamber music: The 20th century) 12-tone music (in 12-tone music) Schoenberg (in Arnold Schoenberg (American composer): First major works) Wedekind (in Frank Wedekind (German actor and dramatist))

"Alban Berg." Encyclopdia Britannica. Encyclopdia Britannica Online. Encyclopdia Britannica Inc., 2012. Web. 05 Apr. 2012. <http://www.britannica.com/EBchecked/topic/61674/Alban-Berg>. http://www.britannica.com/EBchecked/topic/61674/Alban-Berg Alban Maria Johannes Berg (February 9, 1885 - December 24, 1935) was an Austrian composer. He was a member of the Second Viennese School along with Arnold Schoenberg and Anton Webern, producing works that combined Mahlerian romanticism with a highly personal adaptation of Schoenbergs twelve-tone technique. Berg was born in Vienna, the third of four children of Johanna and Conrad Berg. His family lived comfortably until the death of his father in 1900. He was more interested in literature than music as a child and did not begin to compose until he was fifteen, when he started to teach himself music. In late February or early March 1902 he fathered a child with Marie Scheuchl, a servant girl in the Berg family household. His daughter, Albine, was born on December 4, 1902.[1]

Berg had little formal music education before he became a student of Arnold Schoenberg in October 1904. With Schoenberg he studied counterpoint, music theory, and harmony. By 1906, he was studying music full-time; by 1907, he began composition lessons. His student compositions included five drafts for piano sonatas. He also wrote songs, including his Seven Early Songs (Sieben frhe Lieder), three of which were Bergs first publicly performed work in a concert that featured the music of Schoenbergs pupils in Vienna that year. The early sonata sketches eventually culminated in Bergs Piano Sonata (Op. 1) (19071908); it is one of the most formidable first works ever written (Lauder, 1986). Berg studied with Schoenberg for six years until 1911. Berg admired him as a composer and mentor, and they remained close lifelong friends. Berg may have seen the older composer as a father figure, as Bergs father had died when he was only 15. Among Schoenbergs teaching was the idea that the unity of a musical composition depends upon all its aspects being derived from a single basic idea; this idea was later known as developing variation. Berg passed this on to his students, one of whom, Theodor Adorno, stated: The main principle he conveyed was that of variation: everything was supposed to develop out of something else and yet be intrinsically different.*citation needed+ The Piano Sonata is an examplethe whole composition is derived from the works opening quartal gesture and its opening phrase. Berg was a part of Viennas cultural elite during the heady fin de sicle period. His circle included the musicians Alexander von Zemlinsky and Franz Schreker, the painter Gustav Klimt, the writer and satirist Karl Kraus, the architect Adolf Loos, and the poet Peter Altenberg. In 1906, Berg met the singer Helene Nahowski, daughter of a wealthy family (said by some to be in fact the illegitimate daughter of Emperor Franz Joseph I of Austria from his liaison with Anna Nahowski)[2]; despite the outward hostility of her family, the two were married on May 3, 1911. In 1913, two of Bergs Five Songs on Picture Postcard Texts by Peter Altenberg (1912) were premired in Vienna, conducted by Schoenberg. Settings of aphoristic utterances, the songs are accompanied by a very large orchestra. The performance caused a riot, and had to be halted; the work was not performed in full until 1952 (and its full score remained unpublished until 1966). From 1915 to 1918, Berg served in the Austrian Army and during a period of leave in 1917 he began work on his first opera, Wozzeck. After the end of World War I, he settled again in Vienna where he taught private pupils. He also helped Schoenberg run his Society for Private Musical Performances, which sought to create the ideal environment for the exploration and appreciation of unfamiliar new music by means of open rehearsals, repeat performances, and the exclusion of professional critics. Three excerpts from Wozzeck were performed in 1924, and this brought Berg his first public success. The opera, which Berg completed in 1922, was not performed in its entirety until December 14, 1925, when Erich Kleiber directed a performance in Berlin. Today Wozzeck is seen as one of Bergs most important works. Berg completed only the first two acts of his later opera, the critically acclaimed Lulu, before he died. Bergs best-known piece is his elegiac Violin Concerto. Like much of his mature work, it employs a personal adaptation of Schoenbergs twelve tone technique that enables the composer to combine frank atonality with passages that use more traditional tonal harmonies; additionally, Berg incorporates quotations from historical tonal music, including a Bach chorale and a Carinthian folk song. The Violin Concerto was dedicated to Manon, the

deceased daughter of architect Walter Gropius and Alma Schindler. Other well known Berg compositions include the Lyric Suite (seemingly a significant influence on the String Quartet No. 3 of Bla Bartk[citation needed]), Three Pieces for Orchestra and the Chamber Concerto for violin, piano and 13 wind instruments. Berg died in Vienna, on Christmas Eve 1935, apparently from blood poisoning caused by an insect bite. He was 50 years old. Douglas Jarman writes in the New Grove: As the 20th century closed, the backward-looking Berg suddenly came as Perle remarked, to look like its most forward-looking composer.*3+ http://www.last.fm/music/Alban+Berg/+wiki Alban Berg, along with his mentor Arnold Schoenberg and fellow pupil Anton Webern, was a principal composer of the Second Viennese School. The Second Viennese School thrived before World War One, and is now best known for breaking with tonality and creating serial composition. The composers of this school theoretically inherited their legacy from a First Viennese School (Mozart, Haydn, and Beethoven), although these earlier composers were by no means as closely associated with one another as were those of the Second School. Coincidentally, the deaths of Berg, Schoenberg, and Webern were all somewhat unusual. In Bergs case, he was stung by an insect, which led to an abscess and blood poisoning. He died on Christmas Eve, 1935.

Bergs Formative Years

Alban Berg was born into an affluent Viennese family on February 9, 1885. His father, Conrad Berg, ran a successful export business and owned properties throughout Vienna, as well as an estate in Carinthia known as the Berghof. As practicing Catholics, the Berg family also garnered income from a shop Bergs mother Johanna operated, a Devotionalienhandlung. However the family faced financial difficulties when Bergs father died in 1900.

For Berg the loss of his father was unfortunate on a very practical level. As a pupil, Berg was notoriously lazy, and, due to poor academic performance, his future career choices were limited, particularly as the family finances were unstable. Having graduated from Gymnasium after repeating two years, Berg found himself working as a trainee civil servant.

He was rescued from this career in October of 1904 when his siblings interfered and secured him a position as Arnold Schoenbergs private pupil. Before formally becoming a composition student, Berg had written approximately eighty songs and a number of piano duets; these compositions were composed for performance at

home where all the children had been taught to play the piano by the governess. The early songs reflected the Romantic sensibility of Brahms, Debussy and Schumann.

Studies with Arnold Schoenberg

Schoenbergs first order of business was to address what he considered to be Bergs biggest weakness: his inability to compose instrumentally. To his new teacher, Berg seemed capable only of composing vocal lines. Consequently, the teacher set the pupil on a rigorous course of study, which included instruction in harmony, strict counterpoint and the principles of large and small compositional construction. Schoenberg not only oversaw Bergs musical studies, he also advised him in other facets of life, such as dress and personal character.

The works that date from this period include the Sieben frhe Lieder (1905-1908), the Piano Sonata op.1, the Vier Lieder op.2 and the String Quartet op.3. The first two are considered Romantic and the last two atonal. Perhaps the most important idea that Berg took from his studies with Schoenberg was that of developing variation, an idea which states that a piece is held together by the thorough development of a single basic idea. Berg held onto this compositional strategy throughout his career and conveyed it to his own students, among whom was Theodor Adorno the famous German philosopher and critical theorist.

As Berg pursued his studies he took in the cultural atmosphere of turn-of-the century Vienna. As the geographic center of a dominant world power, the Austro-Hungarian Empire, the citys intellectual environment both attracted and produced great thinkers of the time. Among them, Karl Kraus perhaps had the greatest impact on Alban Berg.

Karl Kraus is today considered something of a prophet, having accurately assessed the cultural and political climate of early twentieth-century Vienna and thus having envisaged events such as the two World Wars and the dissolution of the empire. His pronouncements, made via a newspaper, were closely followed and adhered to by segments of Viennese intelligentsia. The same can be said of his thoughts on the creative arts. Kraus was actively involved in supporting artists and works that he believed needed assistance. He was particularly drawn to the playwright Frank Wedekind (1864-1918), whose play Die Bchse der Pandora had been banned by the authorities as obscene. Kraus organized two private performances of this play in 1905. Berg attended one of them and was attracted to the work. Several years later he based his opera Lulu on this play.

After seven years of lessons with Schoenberg, in 1911 Berg ended his formal study when the former departed for Berlin. Throughout Bergs life, Schoenberg was to remain an important influence and even a father figure, a relationship that is revealed in the sometimes-obsequious letters that Berg wrote to his former teacher. The years

that Berg studied with Schoenberg are considered the start of the Second Viennese School, which also included Schoenbergs other pupil Anton Webern.

Marriage and Scandal The year that Berg left Schoenberg is the same year in which he married Helene Nahowski. The courtship of Helene had been a long and difficult one because her father did not approve of the match. It is probable that Franz Nahowski, Helenes father, objected to Alban Berg on two grounds: his Catholic faith and that he was largely unemployed. Ultimately Berg was able to convince Helenes father to allow them to marry, in part because he converted to Protestantism; however, after the marriage he returned to Catholicism.

The year following Schoenbergs departure, Berg wrote Fnf Orchesterlieder nach Ansichtkartentexten von Peter Altenberg (Five Orchestral Songs after Picture Postcard Texts by Peter Altenberg) op.4. At the first performance of these songs on March 31, 1913, there was a riot due to what was considered offensive poetry. The police were called in and arrested the concert organizer. This performance, one of the great scandals in Western music history, was conducted by Schoenberg and also included works by himself, Webern, Zemlinsky and Mahler. Schoenberg harshly criticized the piece by Berg, not on account of its scandalous nature but instead because of its brevity, and as a result Berg chose neither to publish it nor to have it performed during his lifetime.

Wozzeck

In 1914, Berg once again decided to set controversial material after seeing a performance of Georg Bchners play Woyzeck, the story of a soldier who is tormented by his superiors and ultimately kills himself and his mistress Marie. The play may have resonated with Berg because of his own life experiences. First, shortly after his fathers death, Berg fathered an illegitimate child with a Berghof kitchen maid named Marie. Second, his time in the army during the First World War may have also influenced him as he was working on the opera.

From 1917 to 1922, Berg worked on this expressionist opera, called Wozzeck, and upon completion was forced to publish it himself by borrowing the money from his sister Smaragda. Not long after, Alma Mahler assisted him in repaying the loan and hence the score is dedicated to her. Having the opera produced, however, proved even more difficult. Despite thorough marketing efforts on his part, no opera company would stage the work, deeming it too complex (it is considered the first fully atonal opera) and not wanting to take a risk on a fairly unknown composer.

However, in 1924 this situation changed when, after having parts of Wozzeck performed as a concert suite, Erich Kleiber, the music director of the Berlin Staatsoper, decided to stage the full work. Thus, in December 1925 the opera received its premiere and Berg began to achieve critical and popular success.

Following the opera Berg wrote the Kammerkonzert for violin, piano and thirteen wind instruments and the Lyrische Suite (1927) for string quartet. It was with these pieces that he fully embraced twelve-tone composition. In addition, the Kammerkonzert is Bergs first instrumental piece to fully utilize extramusical programmatic ideas. He centered these ideas on the three main composers of the Second Viennese School: Schoenberg, Webern, and himself. Works following this one also have such internal programmatic ideas. For instance, in the Lyrische Suite the extramusical material concerns the affair between Berg and Hanna Fuchs-Robettin, a married woman.

Lulu

In 1928, Berg returned to the material that had caught his attention almost twenty years beforehand. This material consisted of the Lulu plays by Wedekind, which dealt with the subject of sexual hypocrisy. Again, Berg probably was drawn to this material for personal reasons. First, there was his affair with the maid. Second, the topic of sexual morality, particularly that of men versus women, wherein men were permitted indiscretions and women of a certain class were expected to remain virgins until married, was keenly debated in the Vienna of Sigmund Freud. And third, Berg may have also been interested in questioning the prevailing sexual code because his sister Smaragda, who, not long after making an advantageous marriage, declared that she was gay.

His work on this opera, called Lulu, lasted from 1928 to 1935. The opera was a twelve-tone work and was also an example of expressionism in music. Because of his frequent travel to oversee performances of his works and simultaneous work on new pieces, the operas completion took quite some time. During these years, the Nazis came to power and, as a result, performances of his compositions decreased as the Nazis judged them to be the work of a cultural Bolshevik.

In 1935 he was close to completely scoring Lulu and had also written the Violin Concerto. Louis Krasner, a violinist, commissioned the latter and Berg wrote it as a memorial to Manon Gropius, the daughter of Alma Mahler and Walter Gropius who had recently died. In November of that year an insect stung him. This sting formed an abscess that ultimately caused his death on December 24, 1935.

Lulu, which had all but some of the third act scored, was premiered in Zurich in 1937 with its first fully-scored two acts and act three being completed with the final Adagio of his Symphonische Stcke aus Lulu. His widow, Helene, never allowed its complete scoring during her lifetime and thus, it was not until after her death in 1976

and a court battle with the Berg estate, that Friedrich Cerha, an Austrian composer, finished the score. It received its premiere as a completed work in Paris in 1979. http://www.musicacademyonline.com/composer/biographies.php?bid=24 What is Expressionism Expressionism is the tendency of an artist to distort reality for emotional effect. Expressionism is exhibited in many art forms, including painting, literature, film, and architecture. Additionally, the term often implies emotional angst - the number of cheerful expressionist works is relatively small. There were a number of Expressionist groups in painting, including der Blaue Reiter and Die Br?cke. Later in the 20th century, the movement influenced a large number of other artists, including the so-called abstract expressionists. http://www.artinthepicture.com/styles/Expressionism/ Composers: Arnold Schoenberg (1874-1951), Alban Berg (1885-1935), Anton Webern (1883-1945) Arnold Schoenberg, creator of the twelve-tone system (or, dodecaphony): "I personally hate to be called a revolutionist, which I am not. What I did was neither revolution nor anarchy." Style: Atonality, Serialism and Twelve-tone composition [Dodecaphony] Characteristics of expressionism in the visual arts: * non-representational; not a "straightforward presentation of the external world, but a projection of and internal idea without the use of literal symbols" * a look into the emotional and psychological state; distorted images; irregular shapes * portrayal of human terror, haunting anxieties, nightmarish fears, anguish * materialism, industrialization, disillusionment, fragmentation, * excursions into the subconscious * distorting images depict the inner, psychological, subjective world of the artist Characteristics of expressionism in music: * episodic, fragmentary form and structure * abrupt musical language * clashing dissonances * interest in common man * tonality, triadic harmony, and consonance vs. dissonance are not valid anymore * abstract procedures * great emotional intensity http://www.academic.muohio.edu/mus189/expressionism/ Alban Berg, with Anton Webern and their teacher Arnold Schoenberg, together make up the group of composers generally known as the Second Viennese School in the early years of the twentieth century. The technical compositional systems developed by Schoenberg, a logical extension of Wagnerian chromaticism, had a profound effect on the course of music throughout the century, as traditional tonalities and keys were seemingly abandoned, dissonances differently handled and principles of musical unity developed into a very different language.

Born in Vienna in 1885, Berg was the son of a prosperous businessman. He had little formal musical education, although he attempted his first compositions in 1901, but owed the training he had to Schoenberg, whose pupil he became in 1904, after he left school and began unpaid work as an apprentice civil servant. Bergs father had died in 1900 and he persuaded his mother to allow him to give up the government career for which he had been trained in order to manage the family properties, enhanced by inheritance that settled them in the comfortable suburb of Hietzing, near the Palace of Schnbrunn. The cultural milieu in Vienna was a stimulating one, with innovative writers and artists. While Mahler presided at the Court Opera, aesthetic boundaries were extended by composers such as Richard Strauss and Franz Schreker. Schoenbergs Verklrte Nacht, written in 1899, had its first performance in Vienna in 1902, but it was chance that brought Berg to study with him at a time when he was developing his own revolutionary musical ideas. Other strong influences on him were the writer and satirist Karl Kraus, whose private production of Wedekinds Die Bchse der Pandora (Pandoras Box), the later source of Bergs unfinished opera Lulu, he saw in 1905, the writer Peter Altenberg, the architect Adolf Loos, the critic and dramaturg Hermann Bahr and the painter and writer Oskar Kokoschka. Under the tutelage of Schoenberg Berg continued, with some diffidence, to develop his own distinctive musical language. His studies came to an end in 1911, when Schoenberg moved once more to Berlin, and the following year he wrote his Altenberger Lieder, Opus 4, works of exemplary brevity and intensity. Two of the songs were performed in 1913 in Vienna under the direction of Schoenberg, but the concert could not be continued, when a vocal clique in the audience made its objections clear. Schoenberg, who had come from Berlin for the occasion, expressed his own criticism of the work. Military service during the war put an end to composition for the moment, but in 1914 Berg had attended a performance of the play Wozzeck, by Georg Bchner, the first staging in Vienna of the fragmentary work, after its first performance in Munich the previous year. He immediately felt the need to use this as the basis of an opera, making early sketches, which he was able to continue only in 1917. He finished the initial work in 1921 and the orchestral score early in the following year, and wider interest gradually grew, leading to the performance of three fragments from the opera in a 1924 concert performance in Frankfurt under Hermann Scherchen. The year 1925 brought the first staging of the whole work at the Berlin State Opera under Erich Kleiber. Performances in Prague were interrupted by Czech nationalist protests, but in 1927 Berg travelled to Russia for successful performances of Wozzeck in Leningrad, although the opera was soon dropped from the repertoire as changes in Soviet cultural policy were introduced. A production at Oldenburg persuaded a number of provincial opera-houses to stage the work, which was establishing itself as an accepted part of repertoire. In 1930 Wozzeck had its premire at the Vienna State Opera, a success in spite of the previous hostility of some, and in 1931 it was given in America for the first time. Berg had, meanwhile, been working on a second opera, Lulu. In 1934, a suite from the new opera was performed in Berlin under Kleiber, but the work became the object of National Socialist condemnation, not only of the music itself but also of those who had written favourable criticisms of it. Vienna, of course, was still free, but performances of music by Berg were discouraged and finally forbidden in Germany, a ban extended to Austria after the Anschluss. In 1935, Berg completed his remarkable Violin Concerto, a commission from the violinist Louis Krasner, a work in memory of Manon Gropius, the daughter of Mahlers former wife Alma and the Bauhaus architect Walter Gropius, who had died of infantile paralysis in April of that year. By Christmas Eve Berg, himself was dead, having contracted blood-poisoning from an infected insect bite. http://www.kunstderfuge.com/bios/berg.html violin concerto

http://www.youtube.com/watch?v=nO6dHVp-WOs&feature=fvst This piece, Bergs only solo concerto, evolved according to the twelve-tone principles that the composer had learned from Arnold Schoenberg and championed as only a great composer couldwhich is to say, by using those principles as a means toward articulating a unique world of expression. Within his tone row (that is, the series of twelve pitches on which a composition is based), Berg chooses to emphasize those pitches that correspond to the open strings of the violin, yielding a harmonic basis that makes perfect sense in terms of the forces involved. These are intoned at the very outset of the concerto. In fact, many nineteenth-century violin concertos, including those of Beethoven, Brahms, and Tchaikovsky, had settled their tonic on the note D, a note at the heart of the instruments tuningnot such a different tactic from Bergs. The concertos most astonishing section is doubtless its conclusion: a set of variations on the Lutheran chorale Es ist genug! Herr wenn es Dir gefllt (It is enough! Lord, if it pleases You). After the piece was already well along, Berg discovered that the opening notes of that chorale, which he knew through its harmonization in Bachs Cantata No. 60, corresponded exactly to the final four notes of his tone row. The chorale melody is striking in that it begins with a succession of three whole tones, which together describe a tritone (the interval of the augmented fourth), anciently forbidden as the devil in music. As such, it is not a particularly comfortable melody in the context of traditional tonic-centered tonality, and even Bachs harmonization had to reach in unaccustomed directions to harness it. Berg quickly realized that his current project enjoyed not just a musical connection to the chorale, but a poetic one as well, since the text of the chorale supremely expressed an emotion he was wanting to express about Manon Gropiuss inevitable resignation to untimely death: The concerto occupies two movements, each in two parts, in the overall sequence of AndanteAllegretto / AllegroAdagio (or, as Berg described it in a letter to Schoenberg two weeks after the piece was completed, PreludiumScherzo / CadenzaChorale Variations). Berg told his biographer Willi Reich that in the AndanteAllegretto movement he had tried to translate the young girls characteristics into musical characters. A nostalgic, dreamy quality pervades the first section, whose improvisational spirit belies its rigid musical organization. The ensuing Allegretto recalls a more cheerful aspect of Manon, even to the point of Bergs introducing a Carinthian folk melody, played by solo horn. http://www.sfsymphony.org/music/ProgramNotes.aspx?id=38768 Twelve-tone technique (also dodecaphony, twelve-tone serialism, and, in British usage, twelve-note composition) is a method of musical composition devised by Arnold Schoenberg. The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any[3] through the use of tone rows, an ordering of the 12 pitches. All 12 notes are thus given more or less equal importance, and the music avoids being in a key. The technique was influential on composers in the midtwentieth century.

Adagio | for violin, clarinet and piano Alban Berg Studien An Leukon | G minor | for higher voice and string orchestra

1925 1980 1908

An Leukon | E minor | for medium voice and string orchestra Analysen musikalischer Werke von Arnold Schnberg 3 Bruchstcke | from "Lulu" | for soprano, alto, tenor, baritone and ensemble 3 Bruchstcke | op. 7 | for soprano, orchestra and children's choir ad lib. 3 Bruchstcke | from "Wozzeck" | op. 7 | for soprano and orchestra | reduced v [...] Es ist ein Reis entsprungen | for mixed choir a cappella Frhe Klaviermusik 1: Ausgewhlte Stcke | for piano Frhe Klaviermusik 2: 12 Variationen ber ein eigenes Thema | for piano 7 frhe Lieder | for high voice and piano 7 frhe Lieder | for high voice and orchestra 7 frhe Lieder | for high voice and ensemble 7 frhe Lieder | for medium voice and piano 7 frhe Lieder | for medium voice and orchestra Gesamtausgabe Hier ist Friede | op. 4/5 | for piano, harmonium, violin and violoncello Hier ist Friede | op. 4 | for clarinet, piano and string quartet Im Zimmer | for 8 voices Jugendlieder | for voice and piano Kammerkonzert Kammerkonzert | for piano and violin with 13 wind instruments Kanon | for 9 solo strings or string orchestra and violin solo ad lib. Kompositionen aus der Studienzeit, Teil 1 Kompositionen aus der Studienzeit, Teil 2

1908 1935 1923 1923 1908 1908 1908 1928 1928 1907 1928 1917 1917 1908 1908 1925 1930

4 Lieder | op. 2 | for medium voice and piano 2 Lieder | for voice and piano 4 Lieder | op. 2 | for medium voice and ensemble Lulu | opera in 2 acts | including "Variations and Adagio" Lulu | Opera in 3 acts Lulu | 3rd act Lulu | Opera in 3 acts | version for solo voices and chamber orchestra (2008/09 [...] Lulu-Suite | for coloratura soprano and orchestra Lied der Lulu | from the opera "Lulu" | for coloratura soprano and orchestra Lulu Fantasy | for piano Lyric Suite | for string quartet The Secret Vocal Part | for string quartet Lyrische Suite | for string orchestra Lyrische Suite | for string orchestra Die Nachtigall | D major | for 16-part choir Orchestergesnge 5 Orchesterlieder | op. 4 | for medium voice and orchestra 5 Orchesterlieder | op. 4 | for medium voice and chamber ensemble 3 Orchesterstcke | op. 6 | for orchestra Orchesterstudien: Schnberg - Webern - Berg | for bassoon Passacaglia | for orchestra Schliee mir die Augen beide | Eb major | for higher voice and orchestra Schliee mir die Augen beide | C major | for medium voice and orchestra

1910 1925 2010 1935 1935 1935 1934 2008 1926 2001 1928 1926 1907 1912 1912 1929 1913 1900 1900

Sonate | op. 1 | for piano Die Sorglichen | A major | for medium voice and wind instruments Die Sorglichen | C major | for higher voice and wind instruments Das stille Knigreich | A minor | for higher voice and orchestra Das stille Knigreich | G minor | for medium voice and orchestra Streichquartett | op. 3 | for string quartet Streichquartett | op. 3 | for piano for 4 hands Four Pieces | op. 5 | for clarinet and piano Symphonie-Fragmente Traumgekrnt | for 16 voices Variationen | for piano for 4 hands (or 2 pianos) Variationen und Adagio | for orchestra Violinkonzert Violinkonzert | for violin and orchestra Violinkonzert | for violin and chamber orchestra | reduced version Webern, Berg, Schnberg: Austellungskatalog Der Wein | for soprano and orchestra Der Wein | for high voice and chamber orchestra Wein, Weib und Gesang | op. 333 | for small ensemble Wozzeck | Opera in 3 acts (15 scenes) | op. 7 Wozzeck | op. 7 | Reduzierte Fassung (21 Instrumente) (Rea) Wozzeck | op. 7 | Reduzierte Fassung (Stein) Wozzeck | op. 7 | version for small orchestra (Kloke) 1907 1907 1908 1908 1910 1910 1913 1913 1908 1935 1935 1969 1929 1929 1921 1921 1921 1921 1921

1909

Wozzeck-Fragmente | for piano and string quintet