Alban Berg: 5 Orchester-Lieder

  • nach Ansichtskartentexten von Peter Altenberg (1912)
  • for medium voice and orchestra
  • 3 3 4 3 - 4 3 4 1 - timp, perc(5), hp, cel, harm, pno, str
  • Duration: 10’
  • Soloists:
    medium voice
  • Instrumentation details:
    1. flute
    2. flute
    2. flute (+ picc.)
    1. oboe
    2. oboe
    3. oboe (+c.a.)
    1. clarinet in B
    2. clarinet in B
    3. clarinet in B (+clarinet in Eb)
    bass clarinet in B
    1. bassoon
    2. bassoon
    3. bassoon (+ cbsn.)
    1. horn in F
    2. horn in F
    3. horn in F
    4. horn in F
    1. trumpet in F
    2. trumpet in F
    3. trumpet in F
    1. trombone (+ Atbn.)
    2. trombone
    3. trombone
    4. trombone
    bass tuba (+ cbass tuba.)
    perc (3)
    violin I
    violin II
  • Composer: Alban Berg
  • Piano reduction: Hans Erich Apostel
  • Editor: Mark DeVoto
  • Text author: Peter Altenberg
  • Original language: German
  • Translator: A. Kitchin
  • Table of contents:
    Seele, wie bist du schöner
    Sahst du nach dem Gewitterregen
    Über die Grenzen des All
    Nichts ist gekommen
    Hier ist Friede
Web Cover

Printed product

Alban Berg: 5 Orchestral Songs for medium voice and orchestra - op. 4 | UE34123

After postcard texts by Peter Altenberg

  • Edition type: study score
  • Series: Neue Studienpartituren-Reihe
  • Languages: German
  • Format: 17.0 × 24.0 cm
  • ISBN: 978-3-7024-6647-3
  • ISMN: 979-0-008-08004-3
Product available


(…) Close study of the score has revealed the remarkable sophistication and originality of the architecture of the "Altenberglieder". The careful organization of motives relating Songs I and V is perhaps the most impressive aspect of this architecture; the relationship of the twelve-note passacaglia theme in Song V and the viola melody beginning at m. 12 of Song I is an adumbration of Schoenberg's serial technique of a decade later, while the harmonic relationship of two five-note chords at mm. 14-15 of Song I, which appear in reverse order at mm. 50-55 of Song V, defines an overall arch-form for the entire cycle. It is structural aspects like these that mark Berg's "Altenberglieder" as a work of particular importance in the historic development that culminated in Schoenberg's twelve-tone technique; that discovery, which has had such profound influence on composers ever since, can now be seen as the result of a search for structural coherence and comprehensiveness in which all three of the great Viennese, Schoenberg, Berg, and Webern, shared. (Mark DeVoto)

Sample Pages


  • Hier ist Friede
  • Nichts ist gekommen
  • Sahst du nach dem Gewitterregen
  • Seele, wie bist du schöner
  • Über die Grenzen des All


Additional Editions

Previously Viewed Works

No previously viewed works