Who Is Alban Berg?

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Alban Berg, one of the three members of the Second Viennese School. He is known as being one of the excelling masters of the atonal and serial idioms gave us some of the greatest music known to history. He is known for his dramatic and unique compositions of orchestral music, opera (Wozzek, Lulu), chamber music, and songs. Schoenberg took Berg in as a student after the tragic death of his father. His talent impressed Schoenberg and because of that the world was introduced to the great music of Alban Berg.
“Sahst du nach dem Gewitterregen” is the second movement in Alban Berg’s Fünf Orchesterlieder, which are five songs for large orchestra and voice. Though short it is the closest one out of all five to being an aphorism. This work is more commonly …show more content…
First the vocalist should notice that there are three important notes through the whole song; F, A. and maybe even E-flat. Central pitches were a common enough occurrence in the twentieth century, but they appear in strange disguised places. Sadly, I don’t have the orchestral score but while listening and looking at the score given the disguised places start to become very noticeable on how the central pitches play a distinct role not only in the voice but in the line traced by each instrument. F is important throughout the piece; E is important in the beginning and end which makes a half step with F; A is important in the middle and makes a third with F; similarly, the main class (0347) features a half step and thirds as the main intervals emphasized in the piece overall. So, in this way the set class is featured not only in the harmonic language of individual measures but also built in the overall structure …show more content…
There are two dyads beginning with G-B in the chromatic triplet leading to an ascending F – E flat dyad. Due to the rounded binary like structure, the vocalist must make some implications of the changes. When the vocalist comes in on “siehe” she must sing it as softly as possible. She comes off the measure from before, singing the same note two octaves down (central pitch A). Her use of dynamics alone can help present a change in the piece. When studying this piece for a performance the vocalist should go through each measure at a time and notice how the accompaniment flows and helps the color of the vocal
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