The best music always results from ecstasies of logic.
Austrian composer (1885–1935)
Berg made modernism feel. He took Schoenberg's twelve-tone system — the grid that could sound like math — and ran it through the Romantic wringer, writing operas and chamber works that didn't abandon emotion for structure but somehow held both at once.
Born in Vienna in 1885, Berg started composing at fifteen and studied with Arnold Schoenberg from 1904 to 1911, absorbing the twelve-tone technique and principles of developing variation. Between 1914 and 1922 he completed Wozzeck, an opera that married the new system to Romantic lyricism; he followed with the Lyric Suite, Chamber Concerto, and began Lulu in 1928, left unfinished at his death. Where Schoenberg's modernism could seem austere, Berg's had what one observer called "surface glamour" — a way of folding entire worlds of emotion into the grid, winning admirers when his teacher had few…
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The best music always results from ecstasies of logic.
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