Zugl.: Berlin, Techn. Univ., Diss., 2008

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Thesis (M.A.). / Written for the Faculty of Music. Title from title page of PDF (viewed 2008/07/24). Includes bibliographical references.

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Hauptsächlich beschäftigte Wozzeck verständlicherweise die Kritiker in den 1920er Jahren: Boris Asaf’ev, der mit seinen Rezensionen das russische Publikum auf die neue Oper vorbereitete, sowie Ûlian Vajnkop, Abram Gozenpud, Sergej Mokulskij und post factum Sergej Levik.2 Doch können wir uns daraus kaum eine Vorstellung davon machen, was für eine Stimmung bei den Vorbereitunge

This sonata by Alban Berg is a product of Arnold Schoenberg's teachings and is, indeed, a musical reflection of the Schoenberg of 1907-1908. At this time the musical thought of Schoenberg himself was in a state of metamorphosis, developing from the chromaticism of the late Romantic composers toward the twelve-tone technique which he was to formulate a few years later. The sonata, as a whole and above all, reflects the growth of an important composer, one who is perhaps the most important link between the traditional Classical and Romantic schools and the modern schools. His growth was based on a thorough knowledge of traditional styles and techniques, vestiges of which are seen in the formal design, chromaticism, and evasive harmony of the work. His advance is seen in his peculiar use of polyphony and motivic variation. Compared with many other works for piano, Berg's sonata is perhaps not among the most celebrated. But as indication of the attitude of a great composer who wished to build upon rather than break with his heritage, it is a most significant work.

Alan Berg's two musical settings of Theodor Storm's poem"Schliesse mir die Augen beide" have received little in the way of scholarly analytical attention. The three major chapters of this thesis deal with the two settings on three different levels. Chapter II surveys the political and cultural milieu in which Berg functioned as a young composer of Lieder in the years 1900-1910. Chapter III examines the special quality of lyricism which is often attributed to Berg and his works. Chapter IV provides more definitive and complete musical analyses of the two settings than have heretofore been available. The question of what role songwriting played in the development of Berg's compositional process is addressed in the conclusion.