Ludwig Berger (composer)

Carl Ludwig Heinrich Berger (* 18. April 1777 in Berlin; † 16. February 1839 in Berlin) was a German composer, pianist and a piano paedagogue.

Table of contents


its childhood lived Bergerfirst in Templin (Uckermark), later in Frankfurt/or, where it visited the High School and starting from 1795 the university. Starting from 1799 it received musical training with the retort bassists and later Kgl. Kapellmeister Joseph Augustin Gürrlich in Berlin. 1801 traveled Berger to Dresden, around itsto continue musical studies with the then famous Johann God-dear Naumann, which had deceased however briefly before its arrival. In Dresden connected to Berger a close friendship with the painter Philipp Otto Runge (1777-1810). 1803 returned Berger to Berlin, where he established himself as a piano teacher.

1804 Muzio Clementi ( 1752-1832) with its pupil arrived August Alexander Klengel at Berlin. Clementi, which did not arise since 1786 any longer publicly, was accompanied more frequent on its journeys by young pianists, who specified its piano works in its sense publicly. Still 1804 continued to travel Clementi to Italy,while Berger and Klengel prepared in Berlin for a concert journey together with Clementi, those in September 1805 began and after pc. Petersburg led. Until 1812 Berger there successfully worked itself as pianist and a piano paedagogue, as it the large Fluchtbewegung before the moving close troops Napoleonsattached. Over Stockholm it arrived to London, where in the meantime Clementi had established itself and its took care of. After 2 successful years as pianist and piano teachers in London he turned 1814 (not 1815, how often falsely indicated) to Berlin back, where he in November 1814to the last mark publicly arose.

The spirit life of Berlin flowered in this time particularly in the civil salons of the city, to which Berger found entrance as musical authority fast. Thus it already played 1814/1815 in the salon of Kriminalrat heated in New Year's Eve, where it E.T. A. Hoffmann (1776-1822) heard (description of Hoffmann in: The adventures of New Year's Eve, 1. The loving, out: Pieces of fantasy in Callots manners; here it is still “a strange Virtuose, named Berger”). In one of these salons, with the Council of State Friedrich August v. Staegemann, learned Berger the youngMore closely William Mueller (1794-1827) know. Beside Berger and Mueller were and. A. Luise Hensel and their brother, the painter William Hensel (the later brother-in-law of Felix Mendelssohn Bartholdy), Clemens Brentano and count Neithardt von Gneisenau guests of this salon. Within the framework one in this salonsusual literary plays with slogan “rose, which Müllerin” originated in to 1816 the first poems of of the later Zyklus' “the beautiful Müllerin”, to which Berger contributed the music, for a long time before Mueller's poem collection their final form found, which was then toned 1823 by Franz thrust ore (1797-1828).

Berger becamein this time to the most looked for piano paedagogue of its time. Its call spread the far over borders of the city Berlin outside. Its most prominent piano pupil was young Felix Mendelssohn Bartholdy (1809-1847), which as a composer a pupil of Carl Friedrich Zelter (1758-1832) was, the authority of Goethe inThings music. Zelter had a so-called in Berlin 1808. “Song board” based, a man choir, which had given itself so elitäre photograph rules that Berger had striven in vain for admission. In reaction to it Berger created the “younger one together with Bernhard Klein, Ludwig Rellstab and Gustav Reichardt 1819Song board to Berlin ", outward more strongly opened and so important impulses gave for the large man choir movement 19. Century.


Bergers kompositorisches work essentially concentrated on 3 kinds: Song, man choir and piano music. From the contemporaries it particularly becameas a song composer estimated. Here it has the strict Strophenform of the so-called. 2. Berlin song school 18. Century broken open in favor of an increased Expressivität, as the piano company was integrated into the melody river and intensified with the help of the Harmonik as tendency carrier the text interpretation. In the piano music those dominatesmall forms, which it left only once convincingly, i.e. with its Sonate pathetique OI 1 inspired by Beethoven. Beside variation works above all its two Etüdensammlungen were OI. 12 and OI. 22 much spreads. The Etüden OI. 12 became to in 20. Century inside alwaysagain presented. They are by their poetic character lyric pieces of piano and, like already Robert Schumann emphasized, actually “songs without words”, which pointed Mendelssohn Bartholdy to its compositions of the same name the way. Berger tried also large forms (z. B. Piano concert), but with little luck.He was a master of the small forms and outstanding representative citizen of Berlin conventional Meier at the threshold to the north German romance.

An affectionate literary memory dedicated his friend Ludwig Rellstab in the year 1846 with the appreciation “Ludwig Rellstab, a monument” to him. Note: Ludwig Berger had an of the same nameContemporary, also as Ludwig the K. Berger or Ludwig Berger (singer) published. It lived last in Karlsruhe and wrote above all songs with guitar company. In some publications the works of both are wrongly assigned. Life data: 1774 (?) - 1828.


Dieter Siebenkäs: Ludwig Berger,its life and its works, Berlin 1963, 316 S. (with haven guessing design by Philipp Otto Runge).

Web on the left of

  • {{#if:
| | * Literature of and over Ludwig Berger (composer) in the catalog of the DDB


see also: Felix Mendelssohn Bartholdy, Fanny Hensel, Muzio Clementi, Carl Friedrich Zelter, conventional Meier


  > German to English > (Machine translated into English)