Early life Berg was born in Vienna, the third of four children of Johanna and Konrad Berg. His father ran a successful export business, and the family owned several estates in Vienna and the countryside. The family's financial situation turned to the worse after the death of Konrad Berg in 1900, and it particularly affected young Berg, who had to repeat both his sixth and seventh grade to pass the exams. One of his closest lifelong friends and earliest biographer (under the pseudonym Hermann Herrenried), architect Hermann Watznauer, became a father figure (partly at Konrad's request), being ten years Berg's senior. Berg wrote him letters as long as thirty pages, often in florid, dramatic prose with idiosyncratic punctuation. Berg was more interested in literature than music as a child and would consider a career as a writer several times, turning to music slowly and at times unconfidently until the success of
Wozzeck. He did not begin to compose until he was fifteen, when he started to teach himself music, although he did take piano lessons from his sister's governess. With Marie Scheuchl, a maid in the family estate of Berghof in
Carinthia and fifteen years his senior, he fathered a daughter, Albine, born 4 December 1902. In 1906 Berg met the singer (1885–1976), daughter of a wealthy family (rumoured to be in fact the illegitimate daughter of Emperor
Franz Joseph I from his liaison with
Anna Nahowski). Despite the outward hostility of her family, the couple married on 3 May 1911, although "her father insisted on a Protestant ceremony to facilitate the divorce he foresaw as inevitable."
Early works (1907–1914) With little prior music education, Berg began studying
counterpoint,
music theory, and
harmony under
Arnold Schoenberg in October 1904. 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 sketches eventually culminated in the
Piano Sonata, Op. 1, published in 1910 and likely composed 19081909; it has been described as one of the most formidable "first" works ever written. Berg studied with Schoenberg for six years until 1911. Among Schoenberg's teachings 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 W. 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". The Piano Sonata is an example—the whole composition is derived from the work's opening
quartal gesture and its opening phrase. 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. File:Watschenkonzert Karikatur in Die Zeit vom 6. April 1913.jpg|thumb|upright=1.3| [slapping concert], caricature in '''' (Vienna), 6 April 1913 In 1913 two of Berg's
Altenberg Lieder (1912) premiered in Vienna, conducted by Schoenberg in the infamous
Skandalkonzert. Settings of aphoristic poetic utterances, the songs are accompanied by a very large orchestra. The performance caused a riot, and had to be halted. Berg effectively withdrew the work, and it was not performed in full until 1952. The full score remained unpublished until 1966. Berg had a particular interest in the number 23, using it to structure several works. Various suggestions have been made as to the reason for this interest: that he took it from the
biorhythms theory of
Wilhelm Fliess, in which a 23-day cycle is considered significant, or because he first suffered an asthma attack on the 23rd of the month.
Wozzeck (1914–1922) and Lulu (from 1928) From 1915 to 1918 Berg served in the
Austro-Hungarian Army. During a period of leave in 1917 he accelerated 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. In 1924 three excerpts from
Wozzeck were performed, which brought Berg his first public success. The opera, which Berg completed in 1922, was first performed on 14 December 1925, when
Erich Kleiber conducted the first performance in Berlin. Today,
Wozzeck is seen as one of the century's most important works. Berg made a start on his second opera, the three-act
Lulu, in 1928 but interrupted the work in 1929 for the concert aria
Der Wein which he completed that summer.
Der Wein presaged
Lulu in a number of ways, including vocal style, orchestration, design and text. Other well-known Berg compositions include the
Lyric Suite (1926), which was later shown to employ elaborate cyphers to document a secret love affair; the post-Mahlerian
Three Pieces for Orchestra (completed in 1915 but not performed until after
Wozzeck); and the
Chamber Concerto (
Kammerkonzert, 1923–25) for violin, piano, and 13 wind instruments: this latter is written so conscientiously that
Pierre Boulez has called it "Berg's strictest composition" and it, too, is permeated by cyphers and posthumously disclosed hidden programs. It was at this time he began exhibiting
tone clusters in his works after meeting with American avant-garde composer
Henry Cowell, with whom he would eventually form a lifelong friendship.
Final years (1930–1935) Life for the musical world was becoming increasingly difficult in the 1930s both in Vienna and Germany due to the rising tide of
antisemitism and the
Nazi cultural ideology that denounced
modernity. Even to have an association with someone who was Jewish could lead to denunciation, and Berg's "crime" was to have studied with the Jewish composer
Arnold Schoenberg. Berg found that opportunities for his work to be performed in Germany were becoming rare, and eventually his music was
proscribed and placed on the list of
degenerate music. In 1932 Berg and his wife acquired an isolated lodge, the
Waldhaus on the southern shore of the
Wörthersee, near
Schiefling am See in
Carinthia, where he was able to work in seclusion, mainly on
Lulu and the
Violin Concerto. At the end of 1934, Berg became involved in the political intrigues around finding a replacement for
Clemens Krauss as director of the
Vienna State Opera. As more of the performances of his work in Germany were cancelled by the
Nazis, who had come to power in early 1933, he needed to ensure the new director would be an advocate for modernist music. Originally, the premiere of
Lulu had been planned for the
Berlin State Opera, where
Erich Kleiber continued to champion his music and had conducted the premiere of
Wozzeck in 1925, but now this was looking increasingly uncertain, and
Lulu was rejected by the Berlin authorities in the spring of 1934. Kleiber's production of the
Lulu symphonic suite on 30 November 1934 in Berlin was also the occasion of his resignation in protest at the extent of conflation of culture with politics. Even in Vienna, the opportunities for the Vienna School of musicians were dwindling. Berg had interrupted the orchestration of
Lulu because of an unexpected (and financially much-needed) commission from the Russian-American violinist
Louis Krasner for a
Violin Concerto (1935). This profoundly elegiac work, composed at unaccustomed speed and posthumously premiered, has become one of Berg's frequently performed compositions. Like much of his mature work, it employs an idiosyncratic adaptation of Schoenberg's "dodecaphonic" or
twelve-tone technique, that enables the composer to produce passages openly evoking tonality, including quotations from historical tonal music, such as a
Bach chorale and a Carinthian folk song. The Violin Concerto was dedicated "to the memory of an Angel",
Manon Gropius, the deceased daughter of architect
Walter Gropius and
Alma Mahler.
Death Berg died aged 50 in Vienna, on Christmas Eve 1935, from
blood poisoning apparently caused by a
furuncle on his back, induced by an insect sting that occurred in November. He was buried at the
Hietzing Cemetery in Vienna. Before he died, Berg had completed the orchestration of only the first two of the three acts of
Lulu. The completed acts were successfully premièred in Zürich in 1937. For personal reasons Helene Berg subsequently imposed a ban on any attempt to "complete" the final act, which Berg had in fact completed in
short score. An orchestration was therefore commissioned in secret from
Friedrich Cerha and premièred in Paris (under
Pierre Boulez) only in 1979, soon after Helene Berg's own death. ==Legacy==