Alban Berg's 23 Structure (Opus 1-2)

Adorno’s term ‘number games’ for Berg's codes, applicable to virtually all Berg’s works, can be most readily observed in structural determinants, such as bar numbers (whether in sections of movements, whole movements and/or the whole work) and metronome markings, etc. My studies have set out the structures of Berg’s early works (but not including his earliest student works, including approximately 70 songs, that were not given Opus numbers and sketches), to observe the most frequently occurring structural determinants and, where applicable, to see if there is any evidence to suggest that Berg already had a preference for certain numbers. The examples below cover Berg's Opus 1 and 2 works.

Berg was first given private tuition by Schoenberg in 1904 (ending in 1910) and his serious compositions under Schoenberg’s tutorage include his Piano Sonata Opus 1 and Four Songs Opus 2. In the first of these, it can be seen that Berg uses 5 and 23 as structural determinants:

Figure 2-1. Basic Form of Berg’s Piano Sonata, Op.1 (1907-8)

1-55 exposition 55 bars (x 2)
56-110 development 55 bars
111-179 recapitulation 69 bars

The 55 bar exposition (5 x 11) is repeated and at 110 bars, is exactly twice the length of the 55 bar development section.[1] As will be seen later in this thesis, Berg very often uses multiples of 5 and 10 as structural determinants. The recapitulation section is 69 bars in length (3 x 23). Berg would often write the number 69 in his later manuscripts as ‘23 x 3 takte’ although he has not done so here. There are no metronome markings in the score.

Two early songs ‘Im Zimmer’ (crotchet = 82) and ‘Liebesode’ (crotchet = 63) in Wiener Stadtbibliothek manuscripts have had their metronome markings subsequently altered (to multiples of 23: crotchet = 69 and crotchet = 46 respectively) for publication in Berg’s ‘Seven Early Songs’.[2]

The structure of Berg’s next published work - Vier Leider für eine Singstimme mit Klavier 1908-10 (Four Songs Opus 2) – features another multiple of 23 in the total number of bars in the work:

Figure 2-2. Basic Form of Berg’s Songs Op. 2, numbers 1-4 (1908-10)

I 1-30 (30 bars)
II 1-30 (30 bars)
III 1-30 (30 bars)
IV 1-25 (30 bars)
TOTAL = 115 bars

The first three songs are 30 bars each in length and the fourth movement is 25 bars: (30+30+30+25). Thus, the total number of bars is 115 bars - (115 = 23 x 5).[3] Moreover, multiples of 5 and 10 are also very clearly present in the structures of each of the songs (i.e. 30 = 10 x 3, 5 x 6 ; 25 = 5 x 5).

The architect Hermann Watznauer, who was Berg’s mentor, claimed that Op. 2 was inspired by Berg’s experiences of his first love affair (with his servant Marie Scheuchl) and fathering a child (Albine).[4] Certainly there is a love song, (Wo der Goldregen steht), and the pains of Berg’s separation from mother and child might be represented in Lied des Schiffesmädels and Abschied (Naude 1997 p.18-19). The theme of the work is clearly ‘fatalistic’, and thus the (presence of) 23 in the total number of bars might be seen to be in accordance with Berg’s belief (at this time) that this number denoted his ‘fate’ – a belief that I have explored elsewhere.

Dale Harris
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