Fünf Orchesterlieder After postcard texts by Peter Altenberg 歌词 总谱 环球版

（......）通过对乐谱的仔细研究，我们发现《阿尔腾贝格舞曲》的结构具有非凡的复杂性和独创性。歌曲五中十二音的过门主题与歌曲一第 12 小节开始的中提琴旋律之间的关系是十年后勋伯格连奏技巧的体现，而歌曲一第 14-15 小节的两个五音和弦的和声关系则出现在歌曲一第 14-15 小节。而歌曲 I 第 14-15 小节的两个五音和弦的和声关系，在歌曲 V 第 50-55 小节以相反的顺序出现。第五首乐曲第 50-55 乐章的两个五音和弦在第 14-15 乐章中的和声关系与第五首乐曲第 50-55 乐章中的和声关系相反，为整个乐曲确定了一个拱形结构。在勋伯格的十二音技术达到顶峰的历史发展过程中，伯格的《阿尔腾贝格舞曲》正是一部具有特别重要意义的作品；这一发现对此后的作曲家产生了深远的影响，现在可以将其视为寻求结构连贯性和全面性的结果，而勋伯格、伯格和韦伯恩这三位伟大的维也纳作曲家都共同追求这种连贯性和全面性。(马克-德沃托）

作曲家: Berg, Alban / Diverse
编者: DeVoto, Mark
乐器: for medium voice and orchestra
出版社: Universal Edition
原文简介:
(…) 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)