Alban Berg born in 1885 through 1935 was one of the composers of the Second Viennese School founded by Arnold Schoenberg. The most Romantic of these tokened European modern composers like Berg, he successfully combined late Romanticism elements with adaptations of Schoenberg’s twelve tone techniques. Berg wrote his most famous and widely performed instrumental work, the Violin Concerto, in 1935 and it’s premiere was held shortly after his death in 1936 by renowned violinist Louis Krasner. His last composition ever of his Violin Concerto summarizes his entire musical career and style more than any of his compositions. Many famous violinists perform this work as essential compositions to their repertoire. Christian Tetzlaff, a quote from
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In addition, each movement is divided into two parts: Alban Berg's concerto has a two part form: I – Andante, II – Allegro each part subdivided into two parts: I = Andante and Allegretto and II = Allegro and Adagio. First, Part one of the Concerto for violin and orchestra is divided into sections: Andante and Allegretto (scherzando). The first section in the Andante indicates a three part form of an A - B – A which begins with an introduction of 10 bars. In the introduction, the harp and the clarinet portray arpeggios of fifths, which is taken over by the solo violin, and the same pedal (B flat) of the bass clarinet. The arpeggios can be heard in the solo violin presented in bars 11-37. The score carries the Berg’s indications, stipulated in terms of modulation and the highlight of the expressive moments of the change of tempo. The orchestra and the solo …show more content…
The Allegretto (scherzando) consists of a scherzo with two trios and begins with a Phrygian mode on D minor of the clarinet and strings in pizzicato of the orchestration. This section indicates melodic formulas and rhythmic passages imposing the feature of this section with a strong status; however, the dominant feature of this section and the emergence of the Viennese folklore influenced the theme. The instrumental ensemble of the horns, bassoons, and strings horns indicates a melodic-harmonic segment in the Viennese folklore spirit. The section is taken over by the solo violin and transposed into an imitative style. The chromatic accompaniment of the cellos, the oboe, and the flute leaps over major and minor thirds, with melodic fragments in the same Viennese spirit. Every change in the dynamics or the tempo specifying the interpretative expression of the instruments are marked in the score concisely; the changes in tempo happen very frequent with many accelerations which makes the concerto very musically expressive. The solo violin is integrated into the symphonic discourse. Right on bar 137, “subito un poco energico” it introduces a new section which is the Quasi Trio I. In this trio, the solo violin interprets with many major melodic chord leaps higher than an octave, with double markings which is a complex technique for a violinist. In Trio II, the Meno mosso is expressed
In addition, each movement is divided into two parts: Alban Berg's concerto has a two part form: I – Andante, II – Allegro each part subdivided into two parts: I = Andante and Allegretto and II = Allegro and Adagio. First, Part one of the Concerto for violin and orchestra is divided into sections: Andante and Allegretto (scherzando). The first section in the Andante indicates a three part form of an A - B – A which begins with an introduction of 10 bars. In the introduction, the harp and the clarinet portray arpeggios of fifths, which is taken over by the solo violin, and the same pedal (B flat) of the bass clarinet. The arpeggios can be heard in the solo violin presented in bars 11-37. The score carries the Berg’s indications, stipulated in terms of modulation and the highlight of the expressive moments of the change of tempo. The orchestra and the solo …show more content…
The Allegretto (scherzando) consists of a scherzo with two trios and begins with a Phrygian mode on D minor of the clarinet and strings in pizzicato of the orchestration. This section indicates melodic formulas and rhythmic passages imposing the feature of this section with a strong status; however, the dominant feature of this section and the emergence of the Viennese folklore influenced the theme. The instrumental ensemble of the horns, bassoons, and strings horns indicates a melodic-harmonic segment in the Viennese folklore spirit. The section is taken over by the solo violin and transposed into an imitative style. The chromatic accompaniment of the cellos, the oboe, and the flute leaps over major and minor thirds, with melodic fragments in the same Viennese spirit. Every change in the dynamics or the tempo specifying the interpretative expression of the instruments are marked in the score concisely; the changes in tempo happen very frequent with many accelerations which makes the concerto very musically expressive. The solo violin is integrated into the symphonic discourse. Right on bar 137, “subito un poco energico” it introduces a new section which is the Quasi Trio I. In this trio, the solo violin interprets with many major melodic chord leaps higher than an octave, with double markings which is a complex technique for a violinist. In Trio II, the Meno mosso is expressed