Alban Berg

Britannica Concise Encyclopedia: Alban Maria Johannes Berg

(born Feb. 9, 1885, Vienna, Austria-Hungary — died Dec. 24, 1935, Vienna, Austria) Austrian composer. He was largely self-taught musically until he met Arnold Schoenberg at age 19. This would prove to be the decisive event in his life, and Schoenberg would remain his teacher for eight years. Under his influence, Berg's early late-Romantic tonal works gave way to increasing atonality and finally (1925) to 12-tone composition. His Expressionist opera Wozzeck (1922) would become the most universally acclaimed post-Romantic opera. His second opera, Lulu, on which he worked for six years, remained unfinished at his death. Berg's other works include two string quartets, including the Lyric Suite (1926); Three Pieces for Orchestra (1915); and a violin concerto (1935).

For more information on Alban Maria Johannes Berg, visit Britannica.com.

Search unanswered questions...

Browse: Unanswered questions | Most-recent questions | Reference library

5min Related Video: Alban Berg

Top

Music Encyclopedia: Alban (Maria Johannes) Berg

Top

(b Vienna, 9 Feb 1885; d there, 24 Dec 1935). Austrian composer. He wrote songs as a youth but had no serious musical education before his lessons with Schoenberg, which began in 1904. Webern was a pupil at the same time, a crucial period in Schoenberg's creative life, when he was moving rapidly towards and into atonality. Berg's Piano Sonata op.1 (1908) is still tonal, but the Four Songs op.2 (1910) move away from key and the op.3 String Quartet (1910) is wholly atonal; it is also remarkable in sustaining, through motivic development, a larger span when the instrumental works of Schoenberg and Webern were comparatively momentary. Berg dedicated it to his wife Helene, whom he married in 1911.

Then came the Five Songs for soprano op.4 (1912), miniatures setting poetic instants by Peter Altenberg. This was Berg's first orchestral score, and though it shows an awareness of Schoenberg, Mahler and Debussy, it is brilliantly conceived and points towards Wozzeck - and towards 12-note serialism, notably in its final passacaglia. More immediately Berg produced another set of compact statements, the Four Pieces for clarinet and piano op.5 (1913), then returned to large form with the Three Orchestral Pieces op.6 (1915), a thematically linked sequence of prelude, dance movement and funeral march. The prelude begins and ends in the quiet noise of percussion; the other two movements show Berg's discovery of how traditional forms and stylistic elements (including tonal harmony) might support big structures.

In May 1914 Berg saw the Vienna première of Büchner's Woyzeck and formed the plan of setting it. He started the opera in 1917, while he was in the Austrian army (1915-18), and finished it in 1922. He made his own selection from the play's fragmentary scenes to furnish a three-act libretto for formal musical setting: the first act is a suite of five character pieces (five scenes showing the simple soldier Wozzeck in different relationships), the second a five-movement symphony (for the disintegration of his liaison with Marie), the third a set of five inventions on different ostinato ideas (for the tragedy's brutally nihilist climax). The close musical structuring, extending to small details of timing, may be seen as an analogue for the mechanical alienness of the universe around Büchner's central characters, though Berg's music crosses all boundaries, from atonal to tonal (there is a Mahlerian interlude in D minor), from speech to song, from café music to sophisticated textures of dissonant counterpoint. Wozzeck had its première in Berlin in 1925 and thereafter was widely produced, bringing Berg financial security.

His next work, the Chamber Concerto for violin, piano and 13 wind (1925), moves decisively towards a more classical style: its three formally complex movements are still more clearly shaped than those of the op.6 set and the scoring suggests a response to Stravinskian objectivity. The work is also threaded through with ciphers and numerical conceits, making it a celebration of the triune partnership of Schoenberg, Berg and Webern. Then came the Lyric Suite for string quartet (1926), whose long-secret programme connects it with Berg's intimate feelings for Hanna Fuchs-Robettin - feelings also important to him in the composition of his second opera, Lulu (1929-35). The suite, in six movements of increasingly extreme tempo, uses 12-note serial along with other material in projecting a quasi-operatic development towards catastrophe and annulment.

The development of Lulu was twice interrupted by commissioned works, the concert aria Der Wein on poems by Baudelaire (1929) and the Violin Concerto (1935), and it remained unfinished at Berg's death: his widow placed an embargo on the incomplete third act, which could not be published or performed until 1979. As with Wozzeck, he made his own libretto out of stage material, this time choosing two plays by Wedekind, whom he had long admired for his treatment of sexuality. Dramatically and musically the opera is a huge palindrome, showing Lulu's rise through society in her successive relationships and then her descent into prostitution and eventual death at the hands of Jack the Ripper. Again the score is filled with elaborate formal schemes, around a lyricism unloosed by Berg's individual understanding of 12-note serialism. Something of its threnodic sensuality is continued in the Violin Concerto, designed as a memorial to the teenage daughter of Mahler's widow.

works:
Operas

Wozzeck (1925)
Lulu (1935)

Orchestral music

5 Altenberg Songs, op.4 (1912)
3 Pieces, op.6 (1915)
Chamber Conc. (1925)
7 Early Songs (1928)
3 Pieces from the Lyric Suite (1928)
Der Wein, aria (1929)
Vn Conc. (1935)

Chamber music

Pf Sonata, op.1 (1908)
Str Qt, op.3 (1910)
4 Pieces, cl, pf, op.5 (1913)
Adagio, cl vn, pf
Lyric Suite, str qt (1925)

Songs

4 op.2 (1910)
many early songs

Biography: Alban Berg

Top

The Austrian composer Alban Berg (1885-1935) adopted the revolutionary twelve-tone method, but he frequently combined it with tonality.

Alban Berg, Arnold Schoenberg, and Anton Webern have often been called the second Viennese school. (The first Viennese school included those classical composers of the 18th century who wrote many of their important works in Vienna; Haydn, Mozart, and Beethoven are the most outstanding representatives.) Schoenberg, the great innovator, first transcended the limitations of traditional tonality and then organized his new sounds according to the twelve-tone method.

Schoenberg's principal European disciples, Berg and Webern, followed his ideas but developed them in quite different directions. Webern pushed many of Schoenberg's innovative concepts as far as was possible in the 1940s. In fact, Schoenberg even said on one occasion, "Webern always exaggerated!" But Berg always seemed to be linking Schoenbergian techniques with those of earlier music: sometimes he used baroque or classical forms (sonata, rondo, passacaglia, fugue); at other times he quoted older compositions within the framework of the twelve-tone method (Wagner's Tristan prelude, Bach's chorale Es ist genug, a Carinthian folksong). Such links with the familiar aided in winning acceptance for Berg's music and in preparing the ear to accept even more complex contemporary styles.

Berg was born on Feb. 9, 1885, in Vienna. His father was an export salesman; his mother the daughter of a court jeweler. At the age of 14 Berg began to develop an intense interest in music, and the following year he composed his first songs. He neglected his school studies and failed in his matriculation examinations. Sinking into a profound depression, which was intensified by an unhappy love affair, he attempted suicide in the fall of 1903. He overcame this spiritual crisis, and after his graduation in 1904 he took the job of unpaid accountant in a government office.

A decisive change in Berg's life soon took place. His brother, who had read one of Schoenberg's newspaper advertisements as teacher of theory and composition, secretly took some of Alban's songs to Schoenberg. Impressed with the talent they revealed, Schoenberg invited Berg to become his pupil, at first without fee, later at modest cost. Compositions written during the period of study with Schoenberg include the Seven Early Songs (1905-1907), the Piano Sonata, Op. 1 (1908), the Four Songs, Op. 2 (1908-1909), and the String Quartet, Op. 3 (completed in 1910). Berg married Helene Nahowska in 1911. The World War I years were difficult for Berg. At first enthusiastic about his military service, he soon suffered a physical breakdown caused largely by asthma, which had tormented him for years. He was transferred to office work in the Ministry of War and remained there until the war's end.

The Opera Wozzeck

Berg completed his first opera, Wozzeck, in 1921. He arranged his own libretto from a play by Georg Büchner. There are three acts of five scenes each. In Act I the protagonist is shown in his relation to the world around him; in Act II the drama develops; in Act III the catastrophe occurs, followed by an epilogue. Each act consists of a series of strict musical forms. The first act is composed of five character pieces; the second is a five movement symphony; and the third is made up of six "inventions" (the extra section being an elaborate orchestral interlude between the fourth and fifth scenes).

However, Berg did not want these forms to be obvious to the listener. He stated, "From the moment when the curtain rises until it descends for the last time there must not be anyone in the audience who notices anything of these various fugues and inventions, suite movements and sonata movements, variations and passacaglias. Nobody must be filled with anything else except the idea of the opera - which goes far beyond the fate of Wozzeck. And that - so I believe - I have achieved!" The continuing success of Wozzeck since its premiere in Berlin in 1925 proved that Berg was right.

Later Works

In the last 10 years of his life Berg turned to the twelvetone method. Works employing this method include the Chamber Concerto for violin, piano, and wind instruments (1923-1925); the Lyric Suite for string quartet (1925-1926); Der Wein, a concert aria for soprano and orchestra (1929; text by Baudelaire in the German translation of Stefan George); Lulu, a three-act opera (1928-1935; text by Frank Wedekind, last act unfinished); and the Violin Concerto (1935). In these compositions the twelve-tone method is treated in a free and personal manner. The Chamber Concerto is preceded by a musical motto including the letters of Schoenberg's, Berg's, and Webern's full names, insofar as these can be translated into musical notation. In the Lyric Suite strict twelve-tone movements alternate with those in which the tonal material is more freely treated. The Violin Concerto has a tone row made up almost entirely of triads, a procedure that most twelve-tone composers avoided.

Early in 1935 the American violinist Louis Krasner commissioned Berg to write a violin concerto. While he was thinking about the form the work should take, a tragedy occurred in his intimate circle: the death of Manon Gropius, the 19-year-old daughter of Alma Mahler. Berg quickly composed the concerto as a tribute to her memory. It was completed on Aug. 11, 1935. Ironically, it became his farewell to life. An insect bite led to general blood poisoning. On Dec. 24, 1935, he died, his thoughts preoccupied to the last with his unfinished opera Lulu.

Biography

Alban Maria Johannes Berg is one of the central figures of twentieth century musical composition. As one of the triumvirate of the Second Viennese School, Berg produced a rather small body of work that is nonetheless distinguished by a strongly Romantic aesthetic and a distinctive dramatic sense.

Berg's father was an export salesman, his mother the daughter of the Austrian Imperial jeweler. The young Alban's musical training consisted mainly of piano lessons from his aunt. By his teenage years, however, he had composed dozens of songs without the benefit of formal compositional studies. Berg was a dreamy youth and an indifferent student. In 1903, he endured the end of a passionate (if adolescent) love affair, failed his school finishing exams, and became despondent over the death of his idol, composer Hugo Wolf, all of which led to a suicide attempt. However, he survived to repeat his final year of school and went to work as an apprentice accountant. In 1904 Berg's brother, Charley, took Alban's compositions to Arnold Schoenberg, who accepted Berg as a student. In 1907 Berg met the singer Helene Nahowski, overcame her parents' objections over his poor health (he had severe asthma) and lack of prospects, and married her in 1911.

The composer was drafted into the Austrian army in 1915, served for eleven months, and was discharged for poor health. The army experience led him to revisit Woyzeck Georg Büchner's tragedy about a horribly brutalized private. In 1917, Berg began an operatic adaptation of the play, which occupied him for the next five years. When the Austro-Hungarian empire collapsed in the wake of World War I, Berg found work as business manager of Schoenberg's Society for Private Musical Performances, an organization which allowed Vienna's musical avant-garde to enjoy professionally prepared performances before friendly, critic-free audiences.

After a number of interruptions related to personal and familial affairs, Berg completed Wozzeck in 1922. Though initially savaged by critics, the opera eventually gained momentum, enjoying performances throughout Europe and recognition as a masterpiece. Berg's next major work, the Chamber Concerto (1923-1925) was among his first to demonstrate the influence of Schoenberg's twelve-tone method, though the work does not make rigorous, consistent use of twelve-tone practices. In 1925 and 1926, Berg wrote the Lyric Suite for string quartet, parts of which systematically employ twelve-tone principles. The Lyric Suite remains one of the composer's most often performed works; George Gershwin, it is said, had a particular admiration for this music. Years after Berg's death, scholars confirmed that the composer had originally included a sung text in the last movement, a tribute to his "secret" lover, Hanna Fuchs-Robertin. The Suite is now sometimes performed with this restored text.

The last of Berg's works are among his most important. The Violin Concerto (1935) is dedicated "to the Memory of an Angel," a reference to the daughter of Alma Mahler (a close ally) and Walter Gropius, Manon, who had died at the age of 19. The work is particularly striking in its lyrical expressiveness and for the incorporation of tonal elements into its 12-tone idiom. At the time of his death from blood poisoning in 1935, Berg was in the middle of work on his opera Lulu, a sexual horror story, which he had begun in 1929. The opera's unfinished third act was completed by Friedrich Cerha in 1976, after 12 years of work. ~ AMG, All Music Guide

Wikipedia: Alban Berg

Top

Alban Berg, photograph before 1935

Alban Maria Johannes Berg (February 9, 1885 – December 24, 1935) was an Austrian composer. He was a member of the Second Viennese School with Arnold Schoenberg and Anton Webern, and produced compositions that combined Mahlerian Romanticism with a personal adaptation of Schoenberg's twelve-tone technique.

1 Life and work
2 Major compositions
3 Bibliography
- 3.1 Analytical writings
- 3.2 Biographical writings
4 Notes
5 References
6 External links

Life and work

Berg was born in Vienna, the third of four children of Johanna and Conrad Berg. His family lived comfortably until the death of his father in 1900.

Education

He was more interested in literature than music as a child and did not begin to compose until he was fifteen, when he started to teach himself music. In late February or early March 1902 he fathered a child with Marie Scheuchl, a servant girl in the Berg family household. His daughter, Albine, was born on December 4, 1902.

Berg had little formal music education before he became a student of Arnold Schoenberg in October 1904. With Schoenberg he studied counterpoint, music theory, and harmony. By 1906, he was studying music full-time; by 1907, he began composition lessons. His student compositions included five drafts for piano sonatas. He also wrote songs, including his Seven Early Songs (Sieben Frühe Lieder), three of which were Berg's first publicly performed work in a concert that featured the music of Schoenberg's pupils in Vienna that year. The early sonata sketches eventually culminated in Berg's Piano Sonata (Op. 1) (1907–1908); it is one of the most formidable "first" works ever written.^[1]

Berg studied with Schoenberg for six years until 1911. Berg admired him as a composer and mentor, and they remained close lifelong friends. Berg may have seen the older composer as a father figure, as Berg's father had died when he was only 15.

Among Schoenberg's teaching was the idea that the unity of a musical composition depends upon all its aspects being derived from a single basic idea; this idea was later known as developing variation. Berg passed this on to his students, one of whom, Theodor Adorno, stated: "The main principle he conveyed was that of variation: everything was supposed to develop out of something else and yet be intrinsically different".^[2] The Piano Sonata is an example—the whole composition is derived from the work's opening quartal gesture and its opening phrase.

Innovative composer

Berg was a part of Vienna's cultural elite during the heady fin de siècle period. His circle included the musicians Alexander von Zemlinsky and Franz Schreker, the painter Gustav Klimt, the writer and satirist Karl Kraus, the architect Adolf Loos, and the poet Peter Altenberg. In 1906, Berg met the singer Helene Nahowski, daughter of a wealthy family (said by some to be in fact the illegitimate daughter of Emperor Franz Joseph I of Austria from his liaison with Anna Nahowski);^[3] despite the outward hostility of her family, the two were married on May 3, 1911.

In 1913, two of Berg's Five Songs on Picture Postcard Texts by Peter Altenberg (1912) were premièred in Vienna, conducted by Schoenberg. Settings of aphoristic utterances, the songs are accompanied by a very large orchestra. The performance caused a riot, and had to be halted; the work was not performed in full until 1952 (and its full score remained unpublished until 1966).

From 1915 to 1918, Berg served in the Austrian Army and during a period of leave in 1917 he began work on his first opera, Wozzeck. After the end of World War I, he settled again in Vienna where he taught private pupils. He also helped Schoenberg run his Society for Private Musical Performances, which sought to create the ideal environment for the exploration and appreciation of unfamiliar new music by means of open rehearsals, repeat performances, and the exclusion of professional critics.

Success, death and honors

Three excerpts from Wozzeck were performed in 1924, and this brought Berg his first public success. The opera, which Berg completed in 1922, was not performed in its entirety until December 14, 1925, when Erich Kleiber directed a performance in Berlin. Today Wozzeck is seen as one of Berg's most important works. Berg completed only the first two acts of his later opera, the critically acclaimed Lulu, before he died.

Among Berg's best-known pieces is his elegiac Violin Concerto. Like much of his mature work, it employs a personal adaptation of Schoenberg's twelve tone technique that enables the composer to combine frank atonality with passages that use more traditional tonal harmonies; additionally, Berg incorporates quotations from historical tonal music, including a Bach chorale and a Carinthian folk song. The Violin Concerto was dedicated to Manon, the deceased daughter of architect Walter Gropius and Alma Mahler.

Other well known Berg compositions include the Lyric Suite (seemingly a significant influence on the String Quartet No. 3 of Béla Bartók^{[citation needed]}), Three Pieces for Orchestra and the Chamber Concerto for violin, piano and 13 wind instruments.

Berg died in Vienna, on Christmas Eve 1935, apparently from blood poisoning caused by an insect bite. He was 50 years old.

Douglas Jarman writes in the New Grove: "As the 20th century closed, the 'backward-looking' Berg suddenly came as Perle remarked, to look like its most forward-looking composer."^[4]

Major compositions

Piano

Piano Sonata, Op.1
Kammerkonzert (1925) for piano, violin and 13 wind instruments

Chamber

String Quartet, Op. 3
Four Pieces for Clarinet and Piano, Op. 5
Lyric Suite

Orchestra

Opera

Wozzeck, Op. 7
Lulu

Vocal

Seven Early Songs
Four Songs, Op. 2
Five Orchestral Songs on Postcard Texts of Peter Altenberg, Op. 4
Der Wein
Schliesse mir die Augen beide

Bibliography

Analytical writings

Adorno, Theodor W. Alban Berg: Master of the Smallest Link. Trans. Juliane Brand and Christopher Hailey. New York: Cambridge University Press, 1991.
Bruhn, Siglind, ed. Encrypted Messages in Alban Berg’s Music. New York: Garland Publishing, 1998.
Headlam, Dave. The Music of Alban Berg. New Haven: Yale University Press, 1996.
Jarman, Douglas. Dr. Schon's Five-Strophe Aria: Some Notes on Tonality and Pitch Association in Berg's Lulu. Perspectives of New Music 8/2 (Spring/Summer 1970).
Jarman, Douglas. Some Rhythmic and Metric Techniques in Alban Berg's Lulu. Musical Quarterly 56/3 (July 1970).
Jarman, Douglas. Lulu: The Sketches. International Alban Berg Society Newsletter, 6 (June 1978).
Jarman, Douglas. The Music of Alban Berg. Berkeley: University of California Press, 1979.
Jarman, Douglas. Countess Geschwitz's Series: A Controversy Resolved?. Proceedings of the Royal Musical Association 107 (1980/81).
Jarman, Douglas. Some Observations on Rhythm, Meter and Tempo in Lulu. In Alban Berg Studien. Ed. Rudolf Klein. Vienna: Universal Edition, 1981.
Jarman, Douglas. Lulu: The Musical and Dramatic Structure. Royal Opera House Covent Garden program notes, 1981.
Jarman, Douglas. The 'Lost' Score of the 'Symphonic Pieces from Lulu'. International Alban Berg Society Newsletter 12 (Fall/Winter 1982).
Lauder, Robert Neil. Two Early Piano Works of Alban Berg: A Stylistic and Structural Analysis. Thesis. Chapel Hill: University of North Carolina, 1986.
Perle, George. The Operas of Alban Berg. Berkeley: University of California Press, 1980.
Schmalfeldt, Janet. "Berg’s Path to Atonality: The Piano Sonata, Op. 1". Alban Berg: Historical and Analytical Perspectives. Eds. David Gable and Robert P. Morgan, pp. 79-110. New York: Oxford University Press, 1991.
Schweizer, Klaus. Die Sonatensatzform im Schaffen Alban Bergs. Stuttgart: Satz und Druck, 1970.
Wilkey, Jay Weldon. Certain Aspects of Form in the Vocal Music of Alban Berg. Ph.D. thesis. Ann Arbor: Indiana University, 1965.

Biographical writings

Brand, Juliane, Christopher Hailey and Donald Harris, eds. The Berg-Schoenberg Correspondence: Selected Letters. New York: Norton, 1987.
Grun, Bernard, ed. Alban Berg: Letters to his Wife. London: Faber and Faber, 1971.
Floros, Contantin. Trans. by Ernest Bernhardt-Kabisch. Alban Berg and Hanna Fuchs. Bloomington: Indiana University Press, 2007.
Redlich, H.F. Alban Berg, the Man and His Music. London: John Calder, 1957.
Reich, Willi. The life and work of Alban Berg. Trans. Cornelius Cardew. New York : Da Capo Press, 1982.
Monson, Karen. Alban Berg: a biography. London: Macdonald and Jane's, 1979.
Carner, Mosco. Alban Berg: the man and the work. London: Duckworth, 1975.
Redlich, Hans Ferdinand. Alban Berg, the man and his music. London: J. Calder, 1957.
Leibowitz, René. Schoenberg and his school; the contemporary stage of the language of music. Trans. Dika Newlin. New York: Philosophical Library, 1949.

Notes

^ Lauder (1986)
^ Adorno, p. 33
^ Georg Markus, Der Kaiser Franz Joseph I.: Bilder und Dokumente; Anna Nahowski and Friedrich Saathen, Anna Nahowski und Kaiser Franz Joseph : Aufzeichnungen / erstmalig herausgegeben und kommentiert von Friedrich Saathen, Böhlau, 1986.
^ Jarman, Grove

References

Adorno, Theodor W. Alban Berg: Master of the Smallest Link. Trans. Juliane Brand and Christopher Hailey. New York: Cambridge University Press, 1991.
Jarman, Douglas. "Alban Berg", Grove Music Online, ed. L. Macy (Accessed April 9, 2007), (subscription access)
Warrack, John and Ewan West. The Oxford Dictionary of Opera, 1992. ISBN 0-19-869164-5

External links

Wikimedia Commons has media related to: Alban Berg

Wikiquote has a collection of quotations related to: Alban Berg

The Lied and Art Song Texts Page greated and mantained from Emily Ezust Texts of the Lieder of Berg with translations in various languages.
Free scores by Alban Berg in the International Music Score Library Project
Alban Berg at Pytheas Center for Contemporary Music
Excerpts from sound archives of Berg's works.

Persondata
NAME	Berg, Alban
ALTERNATIVE NAMES	Berg, Alban Maria Johannes
SHORT DESCRIPTION	Composer
DATE OF BIRTH	February 9, 1885(1885-02-09)
PLACE OF BIRTH	Vienna, Austria
DATE OF DEATH	December 24, 1935
PLACE OF DEATH	Vienna, Austria

This entry is from Wikipedia, the leading user-contributed encyclopedia. It may not have been reviewed by professional editors (see full disclaimer)

Donate to Wikimedia

Learn More

	Alwa (character)
	Gidon Kremer/Alban Berg: Violin Concerto (1984 Music Film)
	Beethoven: String Quartet, Op. 130; Grosse Fuge (Classical Album)

	Alban Berg and Anton Webern were Schoenberg's? Read answer...
	When was Monte Alban built? Read answer...
	Why was St Albans Cathedral built? Read answer...

Help us answer these

	What is the best hotel in St Albans?
	Who is the composer berg?
	When was st albans founded?

Post a question - any question - to the WikiAnswers community:

Copyrights:

		Britannica Concise Encyclopedia. Britannica Concise Encyclopedia. © 2006 Encyclopædia Britannica, Inc. All rights reserved. Read more
		Music Encyclopedia. The Concise Grove Dictionary of Music. Copyright © 1994 by Oxford University Press, Inc.. All rights reserved. Read more
		Biography. © 2006 through a partnership of Answers Corporation. All rights reserved. Read more
		Dictionary of Dance. The Oxford Dictionary of Dance. Copyright © 2000, 2004 by Oxford University Press. All rights reserved. Read more
		German Literature Companion. The Oxford Companion to German Literature. Copyright © 1976, 1986, 1997, 2005 by Oxford University Press. All rights reserved. Read more
		Columbia Encyclopedia. The Columbia Electronic Encyclopedia, Sixth Edition Copyright © 2003, Columbia University Press. Licensed from Columbia University Press. All rights reserved. www.cc.columbia.edu/cu/cup/. Read more
		Artist. Copyright © 2009 All Media Guide, LLC. Content provided by All Music Guide ®, a trademark of All Media Guide, LLC. All rights reserved. Read more
		Wikipedia. This article is licensed under the Creative Commons Attribution/Share-Alike License. It uses material from the Wikipedia article "Alban Berg". Read more