Nine Duos

Item details

• Description +

  • Duration: 20 min.
    
    Danish composer Gunnar Berg (1909-1989) is a significant representative of the European musical modernism. Visits to the Salzburg Festivals in 1932 and 1935 tuned Berg’s ears internationally, and in 1948 he went to Paris to study with Arthur Honegger. He became part of the circle around Olivier Messiaen and got to know the music of Webern and Varèse. In 1952 he participated in the International Summer Courses for New Music in Darmstadt, where hearing Karlheinz Stockhausen’s Kreuzspiel justified Berg’s own musical experiments.
    
    The 10-year stay in Paris proved crucial to Berg, and from 1950 he uncompromisingly, yet in his very own fashion, would remain faithful to the complex expressive mode of musical modernism. From then on always composing within the theoretical and aesthetic framework of serialism - without turning dogmatic, it should be noted. Berg’s point of departure here was Olivier Messiaen’s division of the twelve chromatic notes of the tempered scale into groups, the so-called ‘modes with restricted transpositions’, but he expanded it to apply to all parameters of the music. The result is a meticulously calculated structuring of pitches, volumes, durations and rests.
    
    9 Duos is a typical example of Berg’s works in the latter half of the fifties with several short movements or variants of differing characters and idioms. The first handwritten manuscript of 9 Duos bears the title Thèse et Anthithèse, but Berg abandoned this title – without revealing why, or the background for using the Hegelian concepts. The interval of the third provides the common structural factor in the nine movements, which exhibit varying degrees of complexity and intensity – with the last and longest movement as a Synthèse, where the two instruments unite in unison passages.
    
    The first version of 9 Duos is composed 1957 for flute and cello for the Swiss recorder player Anita Stange, for whom Berg also composed Triedra for recorder in 1952, both compositions are published by Edition Svitzer. The cello part, thoroughly reworked by Berg in 1984 for the guitarist Maria Kämmerling, for whom Berg composed all his guitar works, has been tailored to the playing techniques of the guitar, and the work has the feel of an independent composition, in no way of an arrangement of something else for the guitar. The flute part can be played on both the recorder and the flute, and in concert, the 9 movements may be performed as a composition in its own right, but it is equally possible to select just one or more single movements for inclusion.
    
    This project was supported financially by DMFF through KODA’s Funds for cultural and social purposes.

• Instrumentation +

  • Flute & Guitar

• About the composer +

  • In 2009, the 100th anniversary of the birth of Gunnar Berg (1909-1989) sparked a rediscovery and reassessment of the Danish composer as one of the most important Danish representatives of musical modernism on the international scene. More than 50 performances and events were held in Denmark, Germany, Austria, Switzerland, Finland, Ukraine, USA, China, France, Northern Ireland and Scotland. Berg’s music was played, discussed and written about to an extent never experienced by Berg, himself, in his lifetime. His drawings were also exhibited and his music was released both in print and on CD.
    
    Gunnar Berg was born in St. Gallen in Switzerland on 11 January 1909, the oldest of four siblings. From 1890 his Danish father Sigvard Berg worked on the railway construction in Switzerland, but he died of a heart attack in 1914, only 60 years old. Consequently Berg’s youth in Switzerland and in Denmark was difficult, marked as it was by illness and frequent moves, and without much contact with music. 
        In 1934 Berg graduated from a business school in Copenhagen, despite having been so  deeply affected by a 1931 performance of Wagner’s Tannhäuser at the Royal Theatre that he vowed to devote his life to music. In the summer of 1932 Berg bicycled from Copenhagen to Salzburg, and during the music festival he attended a course given by Austrian music critic Paul Stefan at the Mozarteum. The course opened doors for Berg; he attended rehearsals, concerts and other courses as well as experienced decisive first encounters with the music of composers such as Debussy, Schönberg and Stravinsky. Berg returned to Salzburg in 1935, where he was granted  access to rehearsals and concerts led by Arturo Toscanini and Bruno Walter, and where he attended the conductor course by Herbert von Karajan, with whom he had private meetings.
    
    Berg’s time in Salzburg was of landmark importance to his musical orientation, for thereafter he was positioned closer to the music culture of Europe rather than to one that embodied a Danish-Nordic aesthetic. His stays in Salzburg certainly contrasted with his studies at the Royal Danish Academy of Music in Copenhagen in 1936 where his idea of establishing a study group for new music was met with blank refusal from the conservatory. He left at the end of the year, but  continued to study piano with the pianist and composer Herman D. Koppel until 1943. From 1944 on Berg studied with Elizabeth Jürgens, an unusually gifted piano teacher of Swedish birth  who had lived in Copenhagen for decades.
        During the German occupation, Berg actively took part in the rescue of Danish Jews - transporting them to Sweden - and in the Danish resistance movement. After the liberation he  was involved in music teaching projects at numerous refugee camps in Denmark and gave concerts featuring his own compositions, classics, and new music including works by Stravinsky, Satie and Honegger.
    
    Berg’s first works date from the mid-1930s; Zehn japanische Holzschnitte (Ten Japanese  Woodcuts) for voice and piano from 1938 is considered his first major work, and the three sonatas - for flute and clarinet (1942), for violin (1945) and for piano (1945-47) - with which  Berg in the 1940s finally left classical formal structures behind, are significant contributions to this genre within the neoclassical style.
        In January 1945 the autodidact composer debuted in Copenhagen, but Berg won no  recognition for his music so he began to prepare to go abroad, and in autumn 1948 he went to  Paris in order to study with Arthur Honegger at École normale. Berg quickly gained access to the  circle around Olivier Messiaen and thus became part of the international modernist environment  in post-war Europe. In 1950, at the invitation of Darius Milhaud, he attended the Salzburg  Seminar in American Studies, and in 1952 he married the French pianist Béatrice Duffour. They  spent their honeymoon at the International Summer Courses for New Music in Darmstadt, where  Berg’s meeting with Karlheinz Stockhausen served to confirm the validity and contemporaneity  of Berg’s own musical experiments. The couple made a number of concert tours around Europe  featuring music of the leading composers of the time. In 1957 and 1958, funded by the French  Ministry of Foreign Affairs, they toured Germany and Scandinavia, and then settled in Denmark.  For a number of years thereafter the Berg couple embarked on a unique project with residences,  lectures and concerts at the Danish Folk High Schools. In 1965 they established their first own  home in the old school in Lindved, a very small village located between Horsens and Juelsminde  in Jutland. There they created an unusual cultural venue where the people of the region were  often invited to memorable concerts with contemporary and classical music. Béatrice Berg died  1976, and in 1979 Gunnar Berg returned to Europe and finally settled in Switzerland, where he  experienced a significant surge of interest in his music. Gunnar Berg died in Bern, Switzerland,  on 28 August 1989, and he and Béatrice Berg are both buried at the Rårup churchyard, close to  their home in Lindved.
    
    The 10-year stay in Paris proved crucial to Berg, and from 1950 he uncompromisingly, yet in his  very own fashion, remained faithful to the complex expressive mode of musical modernism within the theoretical and aesthetic framework of serialism, and, it should be noted, without  turning dogmatic.
    
    Only very rarely did Gunnar Berg add analytical or explanatory comments to his music: “My works must stand on their own feet, and they must answer for themselves,” he asserted. However, among his posthumous papers there is a wealth of slips of paper with columns of figures and letters, note names, volumes and durations, which provide us some insight into his composition workshop. They also confirm the limited number of analyses of Gunnar Berg’s works that have attempted to map out his working method. Berg’s point of departure was Olivier Messiaen’s division of the twelve chromatic notes of the tempered scale into groups, the so-called “modes with restricted transpositions,” but expanded to apply to all the parameters of the music. The result is a meticulously calculated structuring of durations, pitches, volumes and  instrumentation, which was a major theme in Darmstadt in 1952. Berg described his method as  “static”, and he spoke of ground rules where, by means of techniques such as mirroring, reversal  and transposition, he established a basic body of material to be ordered in his own, personal way. 
    
    Gunnar Berg came too late to his study of piano to attain a professional career as a pianist.  However, his experiences at the piano decisively influenced his compositional thinking as reflected in his piano compositions – from the numerous small educational pieces to the four virtuoso concertos for piano and symphony orchestra: Essai acoustique (1954), Pour piano et  orchestra (1959), Frise (1961) and Uculang (1967). The two major works for solo piano - Eclatements (1954-88) and Gaffky’s (1958-59) - both large compositions, are among the most  important contributions to Danish piano literature in the second half of the twentieth century.
        This is also the case with his contributions to Danish guitar literature after his meeting  with Maria Kämmerling in 1976 which resulted in Fresque I-IV (1978), Hyperion (1978) for guitar, soprano and 9 instruments, Melos (1979) for solo guitar and Ar-Goat (1984) for guitar-duo.

• Credits +

  • Foreword: Jens Rossel
    Engraving: Per Dybro
    Front cover: Drawing by Gunnar Berg
    Front cover graphics and layout: Ronni Kot Wenzell
    Copyright © Edition Svitzer
    Published in cooperation with Working Group Gunnar Berg www.gunnarberg.dk
    www.editionsvitzer.com

Related publications

Nine Duos

Fresque I

Fresque III