5 Orchesterlieder, Op.4 (Berg, Alban)

Since this work was first published after 1927 with the prescribed copyright notice, it is unlikely that this work is public domain in the USA. However, it is in the public domain in Canada (where IMSLP is hosted), the EU, and in those countries where the copyright term is life+70 years or less.

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Sheet Music


PDF scanned by Unknown
Daphnis (2008/10/12)

PDF scanned by Unknown
2138 (2016/2/11)

Publisher. Info. Vienna: Universal Edition, 1953. Plate U.E. 12124.
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General Information

Work Title 5 Orchesterlieder
Alternative. Title Nach Ansichtskartentexten von Peter Altenberg ; Postcard-Lieder
Composer Berg, Alban
Opus/Catalogue NumberOp./Cat. No. Op.4
I-Catalogue NumberI-Cat. No. IAB 7
Movements/SectionsMov'ts/Sec's 5 songs:
I. Seele, wie bist du schöner, tiefer, nach Schneestürmen
II. Sahst du nach dem Gewitterregen den Wald
III. Ăśber die Grenzen des All blicktest du sinnend hinaus
IV. Nichts ist gekommen, nichts wird kommen fĂĽr meine Seele
V. Hier ist Friede. Hier weine ich mich aus ĂĽber alles
Year/Date of CompositionY/D of Comp. 1911-12
First Performance. 1913 March 31 (nos. 2 and 3 only)

1952 or 1953, Rome (complete set)

First Publication. 1953
Librettist Richard Engländer (1859-1919) as Peter Altenberg
Language German
Composer Time PeriodComp. Period Early 20th century
Piece Style Early 20th century
Instrumentation voice, orchestra
Voice - mezzo-soprano
piccolo, 2 flutes, 3 oboes (3rd also English horn), 3 clarinets (B) (3rd also E clarinet),
bass clarinet (B), 2 bassoons, contrabassoon
4 horns (F), 3 trumpets (F), 4 trombones, contrabass-tuba
timpani, percussion, celesta, piano, harmonium, harp, strings
cymbals, bass drum, side drum, tam-tam, triangle, glockenspiel, xylophone
External Links The Lied, Art Song, and Choral Texts Archive
Wikipedia article
Universal Edition Perusal Score (new edition, making use of additional sources; personal use only)

Navigation etc.

According to the new edition available @ UE and the commentary, Berg (had) published song V of the set in a piano/vocal reduction in 1921 but otherwise, stung by Schoenberg's disapproval, did not try to have further performances of Op.4 after 1913; the set as a whole was premiered not only posthumously but after Schoenberg's death. (It's clear from their correspondence that their mutual regard was high.)