Abstract
Early in 1925, the Viennese periodical Pult und Taktstock printed the ‘Open Letter’ in which Berg unveiled the dedication of his newly completed Chamber Concerto for piano, violin, and 13 wind instruments.1 According to this letter, the concerto was intended first and foremost as a tribute, albeit belated, for Schoenberg’s 50th birthday, celebrated on 13 September 1924. Both the holograph fair copy2—which Berg eventually presented to Schoenberg—and the published score bear the dedication ‘Arnold Schönberg zum fünfzigsten Geburtstag’. Second, the completion of the concerto marked the occasion of Berg’s own 40th birthday, 9 February 1925.3 Third, the work commemorated the 20-year friendship enjoyed by the three central figures of the Second Viennese School: Arnold Schoenberg, Anton Webern, and Alban Berg.4
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