Alban Bergs Sieben Frhe Lieder

By Vera L. Bowser

Alban Berg was born in Vienna in 1885. Alban was one of four children born to
Johanna and Conrad Berg. He was taught piano by his governess and began to compose
as early as 1901. In 1904 Berg became a student of Arnold Schoenberg. One year later
he began composition of the Seven Early Songs. It took him until 1908 to finish
composition of these songs.1 Although finished, this set was not published until twenty
years later.2 The set is comprised of pieces that were separately composed and grouped
together after completion.3 The published order of these songs (Nacht, Schilflied,
Die Nachtigall, Traumgekrnt, Im Zimmer, Liebesode, and Sommertage) is
not the same as the chronological order in which they were written (Im Zimmer, Die
Nachtigall, Liebesode, Traumgekrnt, Nacht, Schilflied, and Sommertage).4
During the three years it took to compose this collection of songs for voice and piano,
Bergs style was constantly evolving, resulting in a set of pieces that are greatly varied
upon first hearing. This begs the question: what compositional elements connect these
songs to form a set? An analysis of this set shows that syllabic setting, use of
chromaticism, rhythmic patterns, vocal range, romanticism, poetry and text painting link
these pieces together.
Each of Bergs Seven Early Songs is highly syllabic in its setting. It is very rare
that one syllable is sung over more than one note. The exceptions to this rule seem to be

Douglas Jarman grove pg. 1

Douglas Jarman berg comp. pg. 39
3
Jim Samson pg. 116
4
Mosco Carner Pg. 80
2

mainly for poetic emphasis. For instance, in Schilflied the second of the seven songs,
Berg stretches the word weinen, which translates to weep over a series of three
descending notes. In Liebesode he gives Trume three notes that span almost an
octave in range to express its translation: dreams. Although the exceptions are few, not
one piece in the set is purely syllabic. Whether for poetic or melodic reasons, Berg
chooses these moments carefully.
Chromaticism is widely used in this collection. However, the degree of
chromaticism varies greatly from piece to piece. Im Zimmer is the least chromatic of
the set most likely because it was the first to be composed. The tonal center is slightly
ambiguous because of the use of abnormal resolutions of secondary dominants.5 A root
position B flat major chord in the last measure clarifies and assures us of the key.6 Die
Nachtigall also lacks the heavy chromaticism of some of the chronologically later pieces
of the set. Written in da capo form, the key of D is easily recognizable in the outer
sections of the piece with F sharp minor heard in the middle section.7 The beauty of Die
Nachtigall lies in the thick harmonic texture created by the balance between chromatic
passing tones and a clearer tonal center. In contrast, Traumgekrnt is perhaps the least
tonal of the Seven Songs. It has no clear tonality although the key of G minor is
suggested by the G major chord with a Picardy third at the end.8 Nacht has a wavering
tonal center true to its key signature, but employs chromaticism to create the whole tone
motives found in measures one through eight and twenty five through thirty eight.9 See
the following example:
5

Douglas Jarman Pg. 39

Mosco Carner Pg. 81
7
Douglas Jarman Pg. 39
8
Douglas Jarman Pg. 39
9
David John Headlam Pg. 18
6

Bergs dedication to the use of unique rhythmic patterns is yet another link
between the pieces of this set. Each piece has its own pattern established and used
throughout, sometimes reworked such as in Schilflied. The right hand of the
accompaniment sets up a pattern of eighth-quarter in 6/8 time that spreads to the left hand
in measure three. This continues until measure nine and comes back reworked in
measure nineteen. This new form is present until the end of the piece.10 In Die
Nachtigall Berg uses two different rhythmic patterns. The first of these begins with a
dotted half note in the left hand and five arpeggiated eighth notes in the right hand. This
is seen in measures one through fifteen until the second pattern marks the start of the B
section. The second pattern is a syncopated eighth-quarter-quarter-eighth in 3/4 time that
continues throughout the entire second section of the piece. See the following example:
Liebesode also uses two rhythmic patterns, although in a different way than Die
Nachtigall. The first four measures establish the eighth rest-eighth-dotted quarter-eighth
note motive. This continues while the second motive of a dotted sixteenth followed by
five 32nd notes begins in the left hand. See the following example:
A three eighth-dotted quarter note pattern can be found in Im Zimmer although it is not
used as often as the previously mentioned examples. Berg weaves this motive in and out
of both the accompaniment and voice parts.
Vocal range is a small but important part of what links these pieces. The
combined range of all seven songs runs from middle C to high A. Most of the Seven
Early Songs utilize this range within a step or two. Schilflied has the smallest range of
all the pieces, using just over an octave starting with the E flat above middle C to high F.
Berg was mindful of the type of voice he wanted singing these songs. For a soprano with
10

David John Headlam Pg. 21-22

a heavier voice the tessitura is comfortable as it is not too high. It allows the voice to
utilize its high notes as well as its lush middle voice.
The influence of Romanticism on Bergs compositional style is clear in this set.
Even in those pieces with a more atonal flavor, Berg harkens back to his past with
sweeping, romantic phrases. Die Nachtigall is perhaps the best example of his ties to
Romanticism. It is so closely related to Brahms Wie Melodien zieht es mir that one
can barely discern the difference between the two (other than the key) when the first
measure of each is played back to back. Berg seems to use an adaptation of Brahms
rhythmic motive. The addition of heavier chromaticism and the syncopated rhythm of
the B section is what makes Bergs work unique. See the following example:
Nacht also exemplifies the influence of Romanticism in Bergs work. The use of the
whole tone scale to connect with the dreamy subject of Hauptmanns poetry is Romantic
in its concern for prosody.
Tied into the Romanticism of Bergs work is the vivid text painting used in the
Seven Early Songs. In Liebesode he uses triplet chromatically descending eighth notes
to illustrate the creeping scent of roses from the garden. Nacht has only two phrases
that do not lower in pitch at their finish. Instead the phrase O gib acht! Gib acht!
which means Pay heed! start low and end at their peak. This treatment illustrates the
warning in the text. See the example below:
In Im Zimmer the staccato eighth notes in the B section paint the picture of a
crackling fire in the hearth. Also the simplicity of the accompaniment sets the feel of a
quiet night spent indoors with a lover. See the following example:

Measures ten and eleven in Schilflied use a downward moving chromatic scale in the
voice part to illustrate the setting sun in text that translates to as the bush grows dark.
Also in this piece weinen, which means weep is set to a downward moving scale.
See examples below:
The phrase und wei nicht was beginnen or and knows not what to do gives the feel
of urgency because of its stepwise motion leading to a leap and crescendo. The use of
chromatic passing tones to create dissonance in Traumgekrnt exerts the feeling of fear
in the text of measure 15.
Berg chose to set his Seven Early Songs to not one, but seven poets works.
Although not technically a cycle, the poetry used in this set can be seen as an emotional
journey when read in the published order. The first piece with poetry by Carl Hauptmann
speaks of a man trying to enjoy his solitude. Ultimately though, he cannot help but feel
the weight of lonliness. The next poem, by Nikolaus Lenau, is a sort of ode to a lost love.
The lines As the bushes grow dark, the reed whistles mysteriously, and it laments and
whispers so, that I must weep. And I believe, I hear blowing the gentle sound of your
voice, and in the pond is lost your lovely song. beautifully articulate the depth of pain
felt at this remembrance. Theodor Storms Die Nachtigall may be seen as describing
the partner lost in the piece before it. In Traumgekrnt, Rainer Maria Rilke illustrates
the finding of a new love and the anxious ecstasy that comes with it. Johannes Schlafs
poem follows this beautifully, describing a night spent at home with a lover. He sets the
scene with images of a red fire crackling in the oven. The poem that follows, by Otto
Erich Hartleben, extends these images to a night spent in bed with this new love. He
speaks of beautiful dreams of intoxication and yearning. The last poem was written by

Paul Hohenberg. This piece is a remembrance of the deep joy of love. Not only do these
poems seem to fit together linearly; they all use imagery of nature as well. Some
reoccurring images include meadows, night, wind, and mists.