Alban Berg

Four Pieces op. 5 for Clarinet and Piano

Ullrich Scheideler (Editor)

Urtext Edition, paperbound

Clarinet and Piano

页数 27 (V+13+9), 尺寸 23,5 x 31,0 cm

重量 121 g

HN 820 · ISMN 979-0-2018-0820-8

本书目其他版本

Digital (tablet)

Online-tutorial available at Henle Masterclass
In a letter to Erwin Schulhoff, Berg bitterly complained about his unsuccessful attempt to find a publisher for his “Pieces for Clarinet”, “Once again at my own expense! A few antique pieces in my apartment had to pay for it …” The concise miniatures are outstanding examples of the “little pieces” genre, to which Arnold Schoenberg and Anton von Webern also contributed. We warmly recommend these short but imaginative pieces in Henle Urtext to all those clarinettists who are willing to experiment. This edition is worldwide available.

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Four Pieces for Clarinet and Piano op. 5

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About the Composer

Alban Berg

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.

Der Henle Verlag hat jetzt eine von Ullrich Scheideler minutiös recherchierte Urtextausgabe herausgebracht und damit dem Werk auch seinen musikologischen Stellenwert gesichert.

Clarino, 2008

Da apprezzare ancora una volta il criterio di impaginazione adottato da Henle che, nel quarto pezzo, solleva il clarinettista dal noto problema della voltata di pagina.

Il Giornale della Musica, 2008

La edición es sencillamente formidable, puesto que, además de un estudio introductorio intersantísimo del alemán Ullrich Scheideler, cuenta con la delicadeza de tener una triple página que evita los incómodos pasos de página para los intérpretes amén de facilitar el que no haya prácticamente pausas entre las piezas, tal y como el autor quería.

Doce Notas, 20007

Scheideler besorgte Edition folgt im Wesentlichen der von Alban Berg mit Korrekturen versehenen 2. Auflage der … Erstausgabe, mit ihrem angenehm ins Auge fallenden Druckbild und einer geschickten Disposition der Systeme (Nummer 3 lässt sich sogar auf drei Seiten ausklappen, um ein Blättern überflüssig zu machen) eignet sich die Henleausgabe gleichermaßen für den Forscher wie für den Praktiker.

Ensemble, 2007

This is a great new edition of Berg’s Vier Stücke. … It is the attention to detail that makes this edition so attractive to both performer and scholar. The music is clearer and less squashed – no small achievement given Berg’s incredibly precise markings – and Henle has also solved the page-turn problem in the fourth piece. For those with an academic interest there is a comprehensive discussion of sources and a preface which provides background to the music and its context. These advantages come at a price but should we really mind paying for quality?

Music Teacher England, 2007