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The Development of Alban Berg's Compositional Style: a Study of His Jugendlieder (1901-1908) Sara Ballduf Adams

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The Development of Alban Berg's Compositional Style: a Study of His Jugendlieder (1901-1908) Sara Ballduf Adams Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 The Development of Alban Berg's Compositional Style: A Study of His Jugendlieder (1901-1908) Sara Ballduf Adams Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE DEVELOPMENT OF ALBAN BERG’S COMPOSITIONAL STYLE: A STUDY OF HIS JUGENDLIEDER (1901-1908) by SARA BALDUF ADAMS A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2008 Copyright © 2008 Sara Balduf Adams All Rights Reserved The members of the Committee approve the Dissertation of Sara Balduf Adams defended on 27 October 2008. ____________________________________ Douglass Seaton Professor Directing Dissertation ____________________________________ Matthew Shaftel Outside Committee Member ____________________________________ Charles E. Brewer Committee Member ____________________________________ Denise Von Glahn Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I must first thank the Austrian National Library and the Alban Berg Stiftung for permitting me to study Berg’s manuscripts. Without their support, this dissertation would not have been completed. Many sincere thanks to Dr. Douglass Seaton, my mentor, whose textbook initially sparked my interest in music history and whose classes encouraged me to pursue a degree in musicology. I will never forget his encouragement and support throughout the writing process. Many thanks to Dr. Charles Brewer, Dr. Denise Von Glahn, and Dr. Matthew Shaftel, whose comments on my drafts helped produce a better document. Much love and thanks to my family, who had the utmost faith in me, even in those times when I lost faith in myself. Many thanks to Madisonville Community College’s faculty, staff, administration, and students who supported me as I finished this degree, especially Dr. Deborah Cox, Dr. Judith Rhoads, Dr. Susan Edington, the Humanities Division, and the MCC Singers. One cannot complete a dissertation without the support of wonderful friends, especially Cindy and Brian Tinkel, David and Laura Pruett, and Stephanie Rea. Finally I am most indebted to my wonderful husband, Randy, who sacrificed much during these last years. I love you. iii TABLE OF CONTENTS List of Musical Examples vii List of Tables xiv Abstract xv INTRODUCTION 1 1. THE BIOGRAPHY OF AN AMATEUR COMPOSER 6 JUGENDLIEDER, VOLUME 1 (1901-04) 2. THE EARLY MANUSCRIPTS 13 3. THE POEMS AND POETS 24 1901 25 1902 29 1903 37 1904 45 4. DRAMATIC ACCOMPANIMENT FIGURES 53 AND TEXT PAINTING 5. RHYTHMIC TECHNIQUES 74 Repeated Syncopated Patterns 74 Time Signatures 87 Triplets 95 6. FORM 110 7. MELODIC TECHNIQUES 123 Similar Melodic Gestures 123 Motivic Thirds 128 Appoggiaturas 132 Continous Melodies 135 8. HARMONIC TECHNIQUES 138 iv Keys and Key Relationships 138 Non-Traditional Sonorities 152 Neapolitan 156 Pedal Tones 159 Augmented Sixth Chords 161 Parallel Intervals 166 Secondary Dominants 168 Alternating and Repeating Progressions 169 Chromaticism 179 Suspensions 183 Stepwise Root Movement 185 Conclusion 187 JUGENDLIEDER, VOLUME 2 (1904-08) 9. THE FORMAL EDUCATION BEGINS 188 The Manuscripts 189 10. TEXTS AND TEXT PAINTING 205 Traditional Poets 205 Goethe Settings 206 Contemporary Poets 210 Schlaf Settings 211 Altenberg Settings 213 Common Poetic Topics Observed Throughout Volume 2 217 Compositional Devices Employed to Illustrate Poetic Images 226 11. RHYTHMIC TECHNIQUES 241 Time Signatures 241 Syncopated Rhythmic Pattersn 247 Polyrhythms 254 12. FORM 269 Binary Form 269 Rounded Binary Form 270 Ternary Form 275 Strophic Form 282 Modified Strophic Form 283 Through-composed Form 289 Other Notable Examples 291 13. MELODIC MOTIVES 300 v Appoggiaturas 300 Melodic Neighbor-Tone Figures 302 Alternating Interval Patterns 305 Melodic Thirds 306 Scalar Passages 308 Repeated Melodic Motives 315 A Possible Romantic Model 325 Musical Mottos 328 14. HARMONIC TECHNIQUES 337 Keys 337 Pre-Dominant Harmonies 340 Seventh Chords and Major Triads with added Sixths and Ninths346 Dissonant Sonorities 350 Alternating Harmonies and Repeating Progressions 352 Wandering and Non-Functional Harmonic Passages 359 Chromaticism 360 Phrase Exchange 363 15. CONCLUSION 366 Jugendlieder Characteristics in “Warm die Lüfte,” op. 2/4 368 BIBLIOGRAPHY 373 BIOGRAPHICAL SKETCH 381 vi LIST OF MUSICAL EXAMPLES Chapter 2 2.1 “Heiliger Himmel” m. 6 14 2.2 “Herbstgefühl” m. 22 14 2.3 “Unter der Linden” mm. 14-15 15 2.4 “Heilger Himmel” m. 39 15 2.5 “Herbstgefühl” m. 20 15 2.6 “Geliebte Schöne” mm. 21-22 16 2.7 “Unter der Linden” mm. 19-20 17 2.8 “Unter der Linden” mm. 5-7 20 2.9 “Unter der Linden” m. 30 20 Chapter 4 4.1 “Heiliger Himmel” mm. 20-21 54 4.2 Schubert, “Der Atlas” mm. 5-6 54 4.3 “Herbstgefühl” mm. 16-17 55 4.4 “Unter der Linden” mm. 2-3 55 4.5 “Spielleute” mm. 6-7 55 4.6 “Lied des Schiffermädels” mm. 1-2 56 “Spielleute” mm. 1-2 56 4.7 Schubert, “Am Meer” mm. 14-15 56 4.8 “Schlummerlose Nachte” mm. 2-3 57 4.9 “Nachtgesang” mm. 10-11 57 4.10 “Ich liebe dich” mm. 3-4 58 4.11 “Ich liebe dich” mm. 10-11, 14-15 59 4.12 “Lied des Schiffermädels” mm. 21-22 60 4.13 “Sehnsucht II” mm. 1-2 61 4.14 “Traum” mm. 1-2 61 4.15 “Sternenfall” mm. 8-9 62 4.16 “Nachtgesang” mm. 35 63 4.17 “Liebe” mm. 15-16 63 4.18 “Liebe” m. 18 64 4.19 “Wandert ihr Wolken” mm. 17-19 65 4.20 “Vielgeliebte schöne Frau” mm. 3-5 66 4.21 “Geliebte schöne” mm. 35-41 66 4.22 “Herbstgefühl” mm. 20-24 67 4.23 “Grabschrift” mm. 1-2, 19-20 67-68 4.24 “Vom Ende” mm. 17-18 68 4.25 “Liebe” mm. 7-9 69 4.26 “Spielleute” mm. 4-6 69 vii 4.27 “Sternenfall” mm. 5-7 70 4.29 “Sehnsucht II” mm. 11-12 71 4.30 “Wenn Gespenster” mm. 13-15 71 4.31 “Es wandelt was wir schauen” mm. 13-19 72 4.32 “Es wandelt was wir schauen” mm. 20-22 73 4.33 “Im Morgengrauen” mm. 1-2 73 Chapter 5 5.1 “Sternenfall” mm. 1-2 75 5.2 “Augenblicke” mm. 7-8, 12-14 76-77 19-21, 25 5.3 “Ich will die Fluren meiden” mm. 8-9 79 5.4 “Lied der Schiffermädels” mm. 23-24 80 5.5 “Schattenleben” mm. 7-9 83 5.6 “Am Abend” mm. 1-2 83 5.7 “Sehnsucht III” mm. 14-15 84 5.8 “Unter der Linden” mm. 16-17 87 5.9 “Wo der Goldregen steht” mm. 26-27 88 5.10 “Liesbeslied” mm. 10-11 88 5.11 “Grabschrift” mm. 4-6 89 5.12 “Sternenfall” mm. 18-19 90 5.13 “Sehnsucht III” mm. 23-25 90 5.14 “Furcht” mm. 23-25 92 5.15 “Ferne Lieder” mm. 6-7 93 5.16 “Ich will die Fluren meiden” mm. 10-11 94 5.17 “Herbstgefühl” mm. 4-5 96 5.18 “Unter der Linden” m. 1 96 5.19 “Spielleute” mm. 8-10 97 5.20 “Wo der Goldregen steht” m. 6 98 5.21 “Sehnsucht II” m. 19 99 5.22 “Furcht” mm. 26-27 99 5.23 “Sehnsucht III” m. 11 101 5.24 “Ferne Lieder” m. 17 101 5.25 “Über meinen Nächten” mm. 27-29 102 5.26 “Schlummerlose Nächte” mm. 6, 16 103 5.27 “Grabschrift” mm. 12-13 104 Chapter 7 7.1 “Abschied” mm. 3, 18 124 7.2 “Liebeslied” mm. 6, 22 124 7.3 “Über meinen Nächten” m. 3 125 7.4 “Sehnsucht I” mm. 8, 19 125 7.5 “Vielgeliebte schöne Frau” mm. 8-9 126 7.6 “Sternenfall” mm. 3-4, 7-8 126 7.7 “Sehnsucht II” mm. 19-20 127 7.8 “Sternenfall” mm. 5-6 127 viii 7.9 “Nachtgesang” mm. 7-9 136 Chapter 8 8.1 “Heiliger Himmel” mm. 10-12 139 8.2 “Heiliger Himmel” mm. 38-39 140 8.3 “Liebeslied” mm. 23-24 141 8.4 “Vielgeliebte schöne Frau” first ending 142 8.5 “Vielgeliebte schöne Frau” second ending 142 8.6 “Sehnsucht III” mm. 29-32 143 8.7 “Schlummerlose Nächte” mm. 18-19 144 8.8 “Spielleute” mm. 42-47 145 8.9 “Augenblicke” mm. 25-30 146 8.10 “Sehnsucht III” mm. 7-8 147 8.11 “Am Abend” mm. 23, 33 147 8.12 “Schattenleben” mm. 27-29 148 8.13 “Furcht” mm. 24-28 148 8.14 “Ich will die Fluren meiden” mm. 4-7 149 8.15 “Spielleute” mm. 5-6 153 8.16 “Spielleute” m. 41 153 8.17 “Abschied” m. 17 153 “Liebeslied” m. 23 8.18 “Sehnsucht III” m. 26 154 8.19 “Sehnsucht III” m. 24 155 8.20 “Ich liebe dich” mm. 18, 22 155 8.21 “Ferne Lieder” m. 10 156 8.22 “Wo der Goldregen steht” m. 26 157 8.23 “Wandert ihr Wolken” mm. 3-5 157 8.24 “Scheidelied” mm. 16-17 158 8.25 “Schlummerlose Nächte” mm. 4-6 158 8.26 “Vielgeliebte schöne Frau” mm. 1-2 159 8.27 “Wandert ihr Wolken” mm. 14-15 160 8.29 “Spielleute” m. 4 162 8.30 “Wenn Gespenster” mm. 40-45 162 8.31 “Ich liebe dich” m. 5 163 8.32 “Ich liebe dich” m. 19 163 8.33 “Scheidelied” mm. 25-26 163 8.34 “Sehnsucht I” mm. 6-7 164 8.35 “Sternenfall” m. 6 165 8.36 “Es wandelt was wir schauen” m. 3 165 8.37 “Augenblicke” m.
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