Analyses of Arnold Schönberg’s Serenade, op. 24 and Wind Quintet, op. 26 by Alban Berg and Julius Schloß

Abstract

This article examines the collaborative analytical efforts of Alban Berg and his pupil Julius Schloß in studying Arnold Schönberg’s twelve-tone compositions, particularly the Serenade, op. 24 and the Wind Quintet, op. 26. Through a detailed investigation of annotated scores, row charts, and correspondence, the author challenges earlier assumptions that Berg was the sole author of these analyses, demonstrating Schloß’s significant contributions. Key findings include Schloß’s meticulous labeling of twelve-tone rows, his use of colored pencils and symbols to track compositional techniques, and his corrections to row transpositions. By comparing multiple sources, including the Berg-estate and Schloß-collection, the study highlights the pedagogical and analytical practices within Schönberg’s circle, offering new insights into the early reception of twelve-tone music.