Beruflich Dokumente
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Class Notes
Berg: Violin Concerto (1935)
The following comes from Anthony Poples Berg: Violin Concerto (Cambridge University Press,
1991):
Movement 1a (Andante)
mm.
1-10
11-37
38-76
77-83
84-93
94-103
Introduction
A (aaba)
B (abab)
Retransition (using material from A)
A (also uses material from intro)
Codetta/Transition (using material from intro)
Movement 1b (Allegretto)
104-136
137-154
155-166
167-175
176-213
214-227
228-257
Scherzo (abcba)
Trio I (aba)
Trio II (aba)
Trio I
Waltz
Folk Song (Ein Vogel aufm Zwetschenbaum)
Coda (using material from trios)
Movement 2a (Allegro)
1-22
23-43
44-60
61-77
78-95
96-124
125-135
A
B
C (using material from Trio II in 1b)
D
C (using material from Trio II in 1b)
A (with interpolation of B, mm. 104-119)
Transition
Movement 2b (Adagio)
136-157
158-177
178-199
200-213
214-230
Chorale
Variation I
Variation II
Folk Song (Ein Vogel aufm Zwetschenbaum)
Coda (includes material from Introduction in 1a)
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Berg inscribed the Violin Concerto dem Andenken eines Engels (to the memory of an angel).
It was written on the death of Manon Gropius, the daughter of Alma Mahler and Walter Gropius,
of poliomyelitis in April of 1935. Berg himself died in December of 1935, shortly before the
premiere of the concerto, of septicaemia resulting from an insect sting he received at the base of
his spine in July of the same year.
The following is the program of the work, produced by Willi Reich and overseen by Berg:
Insofar as a transcription into words is possible at all, the tonea favorite expression of Bergsof the
whole work may be described as follows: delicate Andante melodies emerge from the rising and falling movement
of the introduction. These crystallise into a Grazioso middle section and then dissolve back into the waves of the
opening. The Allegretto Scherzo rises from the same background; this part captures the vision of the lovely girl in a
graceful dance which alternates between a delicate and dreamy character and the rustic character of a folk tune. A
wild orchestral cry introduces the second main part, which begins as a free and stormy cadenza. The demonic action
moves irresistibly towards catastrophe, interrupted oncebrieflyby a reversed point of rest. Groans and strident
cries for help are heard in the orchestra, choked off by the suffocating rhythmic pressure of destruction. Finally:
over a long pedal pointgradual collapse. At the moment of highest suspense and anxiety, the Chorale enters,
serious and solemn, in the solo violin. Like an organ the woodwinds answer each verse with the original
harmonization of the classical model. Ingenious variations follow, with the original Chorale melody always present
as a cantus firmus, climbing misterioso from the bass while the solo violin intones a plaint [Klagegesang] that
gradually struggles towards the light. The dirge grows continually in strength; the soloist, with a visible gesture,
takes over the leadership of the whole body of violins and violas; gradually they all join in with his melody and rise
to a mighty climax before separating back into their own parts. An indescribably melancholy reprise of the folk tune
as if in the distance (but much slower than the first time) reminds us once more of the lovely image of the girl; then
the Chorale, with bitter harmonies, ends this sad farewell while the solo violin arches high over it with entry after
entry of the plaint.
The beginning of the row (next page) alternates minor and major triads, and notes 1, 3, 5, 7 are
the open strings of the violin (used in the beginning of the concerto). The last four notes, a
whole-tone segment, suggest the beginning of the chorale, Es ist genug. (See page 6)
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The row:
0
9
5
1
A
7
3
B
8
6
4
2
3
0
8
4
1
A
6
2
B
9
7
5
7
4
0
8
5
2
A
6
3
1
B
9
B
8
4
0
9
6
2
A
7
5
3
1
2
B
7
3
0
9
5
1
A
8
6
4
5
2
A
6
3
0
8
4
1
B
9
7
9
6
2
A
7
4
0
8
5
3
1
B
1
A
6
2
B
8
4
0
9
7
5
3
4
1
9
5
2
B
7
3
0
A
8
6
6
3
B
7
4
1
9
5
2
0
A
8
8
5
1
9
6
3
B
7
4
2
0
A
A
7
3
B
8
5
1
9
6
4
2
0
Berg often explicitly uses the tonal potential of the row (mm. 11-14 of 1a):
And often uses row forms in unusual ways (as in the production of the Klagegesang):
*the last four notes of T3P are heard at the beginning of the row.
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