The trio is lighter in texture featuring an inverted

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The Trio is lighter in texture, featuring an inverted two-part canon that evokes the spirit of a Bach invention. The beginning of the Minuet presents twomeasure phrases in antecedent-consequent relationships. The systematic grouping of the row is analogous to chord progressions in tonal music. Schoenberg follows the standard binary form, except that he does not repeat in the second section. The return of the opening material in measures 29–31 suggests a rounded binary form.
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Schoenberg as modernist His choices in facing the conflict between classic traditions and modernism shaped the course of music in the twentieth century. His music won a central place in the modernist tradition but was unpopular with most listeners.
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Schoenberg as modernist With his music we arrive at the widest gulf yet between audiences and connoisseurs in their evaluation of music. Schoenberg and his students Berg and Webern, both natives of Vienna, were known as the Second Viennese School.
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ALBAN BERG (1885–1935)
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General Berg began studying with Schoenberg in 1904 at the age of nineteen. He achieved greater popular success than Schoenberg by infusing his music with expressive gestures in the tradition of Mahler and Strauss. Berg’s expressionistic opera Wozzeck, which premiered in 1925, was one of the most successful modern operas and by far the most popular atonal opera.
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Wozzeck The story is adapted from a nineteenth- century play by Georg Buchner. ̈ The music is atonal, not twelve-tone, and includes some Sprechtstimme . Berg employs leitmotifs that are identified with the main characters.
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Wozzeck Each of the three acts has five scenes linked by interludes; the music is continuous. The first act includes a Baroque suite, rhapsody, march and lullaby, passacaglia, and rondo. The second act is a symphony in five movements and includes a sonata form, fantasia and fugue, ternary slow movement, scherzo, and rondo. Act three is a series of inventions: on a theme (seven variations and a fugue), on a note (B), on a rhythm, on a chord, on a key, and on a
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Wozzeck’s leitmotive; Act I, scene 1
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Wozzeck Act III, scene 3 Wozzeck sits in a tavern, having just murdered Marie. In this invention on a rhythm, an out-of-tune on- stage piano introduces the basic rhythmic pattern. Throughout the scene, the rhythmic pattern repeats incessantly, sometimes in augmentation or diminution. By the end, as blood is seen on Wozzeck’s hand, all are singing the scene’s main rhythm. Berg maintains atonality but references recognizable tonal styles.
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Tavern piano in Act III, scene 3
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Twelve-tone works After Wozzeck, Berg adopted the twelve- tone system. Berg chose rows that allowed for tonal- sounding chords and progressions.
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Twelve-tone works Principal twelve-tone works Lyric Suite for string quartet (1925–26) Violin Concerto (1935) Lulu (1928–35), his second opera
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Twelve-tone works Violin Concerto The row has four interlocking minor and major triads.
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  • Fall '07
  • Howell
  • Music, Arnold Schoenberg, Schoenberg, twelve-tone method

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