Berg's Op. 5: Rehearsal Instructions
William DeFotis · Perspectives of New Music · 1978
The primary problem to which Berg addressed himself in the composition of the clarinet-and-piano pieces was how to compose in small forms with materials recognizably derived from large ones; he wanted to find out what would happen if that contravention were allowed to manifest itself rather than be resolved. Consistent with his penchant for setting up a counterpoint of intentions for himself, he solved the problem by simultaneously using two opposing approaches: 1) omitting the expected continuations and resolutions of those materials, thereby constantly creating unconsummated beginnings; 2) interpolating transformations of the materials, dwelling upon pivotal moments of those transformations. Thus, the pieces are simultaneously abridged and extended with regard to the tendencies of their materials. The performers have two problems that relate respectively to Berg's opposing approaches: