The Harmony of Berg's "Reigen"

Abstract

IT Is quite possible that the Mahlerian symphony inspired by Balzac's Seraphita that Berg pondered in the years 1912-13 would have centered on D minor. The works that developed from this project, the final interlude of Wozzeck and the Three Pieces for Orchestra, Op. 6, are strongly dominated by this key. Possibly the first movement of Mahler's Ninth Symphonywhich Berg fondly studied and which seems to be a major influence on the Praeludium of Op. 6-haunted Berg's imagination during this period. The key of D minor may have been to him a symbol of farewell to traditional tonality. In Op. 6 old and new harmonic principles participate in a fascinating balance and D minor is the prime representative of the old. At least once in each of the three pieces there is a strong resolution to the note D or to a chord whose most prominent tones form a D minor triad. The use of D minor in this work leads us to ponder the function of the many tonal references that occur here. Do they serve in a way similar to the structural function of traditional tonality? Are they a part of or are they separate from the more prevailing contextual harmonic elements? The present article will attempt to present the harmonic structure of Reigen, the second piece of Op. 6,1 and discuss certain questions that this harmonic structure provokes. Reigen is a dance movement of a predominantly waltz or Ldndler rhythm. Melody is its most prominent aspect but its texture shows extraordinary variety. Its shape is a kind of sonata form with an introduction and coda in a contrasting duple meter. While contrasts in meter, melodic material, and texture help to articulate the shape it is the harmony or pitch structure of the piece that is most bound up with the question of form. Smoothing over all subdivisions is the growing, evolving quality of the music.