Fünf Orchesterlieder After postcard texts by Peter Altenberg 歌詞 總譜 環球版

（......）通過對樂譜的仔細研究，我們發現《阿爾騰貝格舞曲》的結構具有非凡的複雜性和獨創性。歌曲五中十二音的過門主題與歌曲一第 12 小節開始的中提琴旋律之間的關係是十年後勳伯格連奏技巧的體現，而歌曲一第 14-15 小節的兩個五音和絃的和聲關係則出現在歌曲一第 14-15 小節。而歌曲 I 第 14-15 小節的兩個五音和絃的和聲關係，在歌曲 V 第 50-55 小節以相反的順序出現。第五首樂曲第 50-55 樂章的兩個五音和絃在第 14-15 樂章中的和聲關係與第五首樂曲第 50-55 樂章中的和聲關係相反，為整個樂曲確定了一個拱形結構。在勳伯格的十二音技術達到頂峰的歷史發展過程中，伯格的《阿爾騰貝格舞曲》正是一部具有特別重要意義的作品；這一發現對此後的作曲家產生了深遠的影響，現在可以將其視為尋求結構連貫性和全面性的結果，而勳伯格、伯格和韋伯恩這三位偉大的維也納作曲家都共同追求這種連貫性和全面性。(馬克-德沃托）

作曲家: Berg, Alban / Diverse
編者: DeVoto, Mark
樂器: for medium voice and orchestra
出版社: Universal Edition
原文簡介:
(…) Close study of the score has revealed the remarkable sophistication and originality of the architecture of the Altenberglieder. The careful organization of motives relating Songs I and V is perhaps the most impressive aspect of this architecture; the relationship of the twelve-note passacaglia theme in Song V and the viola melody beginning at m. 12 of Song I is an adumbration of Schoenberg's serial technique of a decade later, while the harmonic relationship of two five-note chords at mm. 14-15 of Song I, which appear in reverse order at mm. 50-55 of Song V, defines an overall arch-form for the entire cycle. It is structural aspects like these that mark Berg's Altenberglieder as a work of particular importance in the historic development that culminated in Schoenberg's twelve-tone technique; that discovery, which has had such profound influence on composers ever since, can now be seen as the result of a search for structural coherence and comprehensiveness in which all three of the great Viennese, Schoenberg, Berg, and Webern, shared. (Mark DeVoto)