| In textural density and thematic development, it is generally agreed that Alban Berg's (1885-1935) Opus 6 orchestral pieces (1914-15)--Praludium, Reigen, and Marsch--are the most complex music in his output. In order to understand these works better, the thesis examines documents from the composer's Nachlass. Berg's compositional process is discussed, his sketchbooks reconstructed and selectively transcribed, and his textual revisions given critical commentary. Nachlass materials clarify the relation between Opus 6 and other items from this period (Op.4, Op.5, the Symphonie-Fragmente, and the earliest sketches forWozzeck), document the Berg-Schoenberg relationship, suggest programmatic contents (Berg's Reigen seems based on Arthur Schnitzler's play), and account for the early performance and publication history. It is maintained that sketch and Particell documents provide clues to, and corroborating support for, analytical interpretations. The principal analytical tools employed in the study are: structural voice-leading (Schenkerian) analysis, atonal pitch-class set analysis, and the analysis of formal function. The chapter divisions are: (1) Introduction: a Praludium on matters of purpose, procedure, and plan; (2) The Composition of Opus 6: "ein Entstehungsreigen"; (3) A March through the Documents; (4) Praludium: "composing between the tones"; (5) Reigen: blocks, chains, and cycles; sonority, theme, and form; (6) "Interlude": performance and publication history of Opus 6; and (7) Marsch eines Asthmatikers: a documentary and analytical study. |
