TECHNIQUES OF OPPOSITION IN
THE CHORAL MUSIC OF ANTON WEBERN
by
THOMAS FREDRICK PETROWITZ
B. Mus., U n i v e r s i t y of B r i t i s h Columbia
9
1966
A THESIS SUBMITTED IN PARTIAL FULFILMENT OF
THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF MUSIC
i n t h e Department
of
MUSIC
W© accept t h i s t h e s i s as conforming
required
t o the
standard*
THE UNIVERSITY OF BRITISH COLUMBIA
APRIL, 1971
In p r e s e n t i n g t h i s
thesis
an advanced degree at
the L i b r a r y s h a l l
I
by h i s
this
make i t f r e e l y a v a i l a b l e
written
It
for financial
i s understood that copying o r
gain shall
^/ 'J&t&ttf'
The U n i v e r s i t y o f B r i t i s h
Vancouver 8, Canada
pate
I agree
r e f e r e n c e and
f o r e x t e n s i v e copying o f
permission.
Department of
for
Columbia,
this
fipuy g$
>t
Columbia
/*r?/
for
that
study.
thesis
purposes may be granted by the Head of my Department
representatives.
thesis
f u l f i l m e n t o f the requirements
the U n i v e r s i t y of B r i t i s h
f u r t h e r agree t h a t p e r m i s s i o n
for scholarly
of
in p a r t i a l
or
publication
not be allowed without my
... I understand the word ' A r t ' as meaning
the f a c u l t y of p r e s e n t i n g a thought i n the c l e a r e s t ,
simplest form, t h a t i s , the most "graspable" form ...
That i s my view of a r t . And t h a t i s why
understood the meaning
of ' C l a s s i c a l ' ,
I have never
'Romantic
1
and
the r e s t , and I have never p l a c e d myself i n o p p o s i t i o n
t o the masters of the past but have always t r i e d t o do
j u s t l i k e them: t o say what i t i s given t o me t o say
w i t h the utmost
clarity
Anton Webern
1
Anton Webern, L e t t e r s t o H i l d e q a r d Jone and Joseph
Humplik.
(Bryn Mawr: Theodore Presser Company, 1967),
p. 36.
ABSTRACT
The
purpose of t h i s . t h e s i s i s to i n v e s t i g a t e the
compositional
changes, s i m i l a r i t i e s and
innovations
occur i n the c h o r a l music of Anton Webern.
The
study i s
s i g n i f i c a n t i n t h a t the f i v e p i e c e s t o be d i s c u s s e d
the
span of h i s c r e a t i v e l i f e .
which i n c l u d e s Op.
3 t o Op.
that
cover
Only the f r e e a t o n a l
17 has
no r e p r e s e n t a t i v e
period
choral
music.
Each composition, or where a p p l i c a b l e , each movement
w i t h i n t h a t composition i s s t u d i e d i n a s i m i l a r manner:
1.
Outward o r g a n i z a t i o n , form, compositional
pre-compositional
d e v i c e s , treatment of the
s e r i e s ( a f t e r Op.
19).
2.
3.
twelve-note
Text, treatment of words with regard
n a t u r a l i n f l e c t i o n and
and
to contour,
rhythm.
Instruments and
t h e i r r o l e i n the l a s t f o u r
choral
pieces.
From the
study, the author concludes t h a t the
composi-
t i o n a l techniques i n Anton Webern s c h o r a l music are based
1
p r i m a r i l y on a c o n t i n u a l metamorphosis and
c o n s o l i d a t i o n of
f i v e b a s i c elements: form, t e x t , melody, harmony
instrumentation.
and
The
Op.
c l a s s i c a l model which i s used as the b a s i s f o r
2 i s replaced
l e n g t h and
i n Op.
19 by a s t r u c t u r e dependent on
d i v i s i o n s of the t e x t .
In the l a s t three
form i s dependent on the p o s s i b i l i t i e s and
inherent
the
pieces,
restrictions
i n the dodecaphonic technique.
Texts with r e g u l a r meters and
used i n Op.
2 and
Op.
chooses blank verse
singling
out
inherent
musical
The
A f t e r the Zwei L i e d e r Webern
poems and
s h i f t s his attentions to
of p a r t i c u l a r words and
and
timbral
expands on
the
their
qualities.
melodic contours which Webern p e r c e i v e d
poem " E n t f l i e h t
h i s musical
19.
simple rhythms are
i n the
auf l e i c h t e n . Kahnen..." are r e f l e c t e d i n
lines.
V e r t i c a l expansion by r e g u l a r
v o c a l extremes occurs i n the
the f i n a l movement of Op.
poetic considerations
stages t o
succeeding works r e t u r n i n g , i n
31 t o the gentle contours
that were c h a r a c t e r i s t i c of Op.
and
2.
In the l a s t f o u r p i e c e s melodic v a r i a t i o n occurs as a r e s u l t
of Webern's m a n i p u l a t i o n of a r e c u r r i n g four-note
which i s regarded as the composer's " s i g n a t u r e
In Op.
motive
phrase."
2, Webern s approach to harmony i s based
1
romantic models although most of the v e r t i c a l
t h i s piece have m u l t i p l e i n t e r p r e t a t i o n s .
on
s t r u c t u r e s of
As h i s command
over the twelve-tone technique becomes more r e f i n e d , h i s
vertical
s t r u c t u r e s evolve
from a random o r d e r i n g
of
one
s e r i e s t o a homorhythmic r e a l i z a t i o n of f o u r s e r i e s w i t h i n
the framework of one
or more p i t c h canons.
-Webern uses instruments
i n h i s choral pieces to
provide c o n t i n u i t y between the v o c a l s e c t i o n s and t o i n t r o duce, continue,
or end a p a r t i c u l a r mood.
Choral
sections
are r a r e l y accompanied and the composer p r e f e r s t o use the.
instruments
as v o i c e s i n canon with the
than as accompaniments.
Instruments are chosen u s u a l l y f o r
t h e i r p r o x i m i t y t o v o c a l timbre
qualities.
The
solo l i n e s rather
and f o r t h e i r
use of Klangfarbenmelodie
percussive
or melody of
timbres becomes i n c r e a s i n g l y evident throughout Webern's
compositional
career.
In c o n c l u s i o n , i t i s seen t h a t these f i v e
combined i n v a r y i n g degrees, r e s u l t i n f i v e
aspects,
compositions
t h a t are unique i n musical h i s t o r y , works t h a t are at the
same time i n t r i c a t e , economic and transparent.'
Finally,
the
study i s intended t o provide the reader with some small
measure of understanding
and a p p r o a c h a b i l i t y to the c h o r a l
music of Anton Webern.
April,
1971
Supervisor
Chapter
Page
Abstract
i
Introduction
i
v i
I.
Entflieht
a u f l e i c h t e n K a h n e n . . . Opus 2
II.
Z w e i L i e d e r , Opus 19
12
III.
Das A u g e n l i c h t ,
27
IV.
F i r s t C a n t a t a , Opus 29
41
V.
S e c o n d C a n t a t a , Opus 31
66
Opus 26
1
Conclusion
94 .
Appendix
97
Bibliography
102
INTRODUCTION
The
purpose of t h i s paper i s t o i n v e s t i g a t e
c o m p o s i t i o n a l c h a n g e s , s i m i l a r i t i e s and
the
innovations
t h a t o c c u r i n t h e c h o r a l w o r k s of A n t o n Webern.
The
study i s s i g n i f i c a n t i n t h a t the f i v e works t o
d i s c u s s e d r a n g e f r o m t h e t o n a l t o t h e a d o p t i o n of
Schoenberg twelve-tone
personal refinement
technique
found
and b e y o n d t o
be
the
the
i n t h e Second C a n t a t a , h i s
l a s t p u b l i s h e d work.
Each c h o r a l c o m p o s i t i o n ,
o r where a p p l i c a b l e e a c h
movement w i t h i n t h a t c o m p o s i t i o n , i s s t u d i e d i n a
manner: f i r s t l y ,
such as form,
t h e o u t w a r d and
c o m p o s i t i o n a l and
physical organization
pre-compositional
d e v i c e s and,
a f t e r Op.
note
s e c o n d l y , t h e t e x t and
series;
similar
19, t h e t r e a t m e n t
of t h e
twelve-
the treatment
of
t h e words w i t h r e g a r d t o c o n t o u r , n a t u r a l i n f l e c t i o n
and
rhythm; f i n a l l y ,
t h e i n s t r u m e n t s and
their
role i n
the l a s t f o u r c h o r a l works.
From t h e
s t u d y , t h e a u t h o r h o p e s t o show t h a t t h e
choral techniques
of A n t o n Webern a r e b a s e d on a c o n t i n u a l
metamorphosis; the phasing
to accentuate
others.
out
of c e r t a i n a s p e c t s i n o r d e r
CHAPTER I
E n t f l i e h t auf
Of
only f i v e
l e i c h t e n K a h n e n ...
w i t h Opus numbers,
of A n t o n Webern's w o r k s a r e
for
and
1943,
p e r i o d w h i c h i n c l u d e s Op.
Only the
3 t o Op.
chorus.
pieces
free
17 has
no
cover
atonal
representative
music.
The
Passacaqlia
E n t f l i e h t auf
m i x e d chorus"'
for Orchestra,
l e i c h t e n K a h n e n ...
-
t h a t have key
in
these f i v e
s p a n of h i s c r e a t i v e l i f e .
choral
2
h i s t h i r t y - o n e compositions
W r i t t e n b e t w e e n 1908
the
Op.
are the
Op.
e l e m e n t s t h a t become c h a r a c t e r i s t i c
2 i s a s e t t i n g of t h e
S t e f a n George.
The
piece
falls
and
of h i s e n t i r e o u t p u t
A l t h o u g h they are
s t y l e f r o m h i s l a t e r w o r k s , t h e y do
Op.
1 (1908)
2 (1908) f o r a c a p e l l a
only compositions
signatures.
Op.
quite different
contain
several
of h i s l a t e r
poem w i t h t h e
i n t o three
style.
same t i t l e
by
sections
The i n d i c a t i o n i n t h e s c o r e , U n i v e r s a l E d i t i o n s No. 6 6 4 3 , i s
f o r a c a p e l l a mixed c h o r u s .
There i s , however, r e f e r e n c e t o
an u n p u b l i s h e d i n s t r u m e n t a l a c c o m p a n i m e n t t o t h i s work i n
A n t o n Webern: P e r s p e c t i v e s , c o m p i l e d by Hans M o l d e n h a u e r
( S e a t t l e and L o n d o n : U n i v e r s i t y of W a s h i n g t o n P r e s s ,
1966)
p. 125.
^One
o f t h e " M o u r n f u l D a n c e s " f r o m h i s "The Y e a r of t h e S o u l , "
w r i t t e n i n 1897, p u b l i s h e d i n S t e f a n G e o r g e Werke i n Z w e i
Banden, (Munich: Helmut Kupper V o r m a l s Georg B o n d i ,
1958,
p. 161.
(A-B-A'-Coda) a n d i s c a n o n i c t h r o u g h o u t .
section
i s constructed
so t h a t
The
first
e a c h o f i t s two c a n o n i c
v o i c e s i s doubled a t e i t h e r t h e t h i r d or s i x t h below.
The m e l o d i c m a t e r i a l
in
of t h e f i r s t
a closely knit construction
canon i s v e r y
with
seconds, e i t h e r major or minor.
first
most o f t h e m o t i o n b y
There i s here a l s o t h e
use of a f o u r - n o t e m o t i v e , a c o n s t r u c t i o n
becomes i n c r e a s i n g l y
chromatic
i m p o r t a n t i n Webern's l a t e r
that
writings.
Example 1
Op. 2
>j
Of.Zb
At
m m
I
O p . i q f * ) mm
ft J> 1 J J * -
1
mm 8-9
Alto
1$
* *J*-^ Xff
Op. 31-*
t h e c e n t r e of t h e f i r s t
the
>
if
m m
f7-28
canon (measure f i v e ) t h e r e i s
r e p e a t e d i n t e r v a l o f a m i n o r s i x t h i n t h e S o p r a n o and
(b^
and d ' ) ^ and a t e m p o r a r y r e v e r s a l
direction, hinting
a t the arch form that
of m e l o d i c
becomes a n
1
important
c o m p o s i t i o n a l device of Webern's l a t e r works.
The temporary r e v e r s a l idea becomes more s i g n i f i c a n t when
it
i s n o t i c e d t h a t the centre of the f o l l o w i n g canon
receives a similar
treatment.
Example 2
Op. 2 mm 5"
mm
k t j 'P P 'P 'F
9
The h i g h p o i n t s of the f i r s t
i n measures two,
f o u r and
D
canon, the e'',
f'
s i x r e s p e c t i v e l y are
1
and
f#''
structurally
p l a c e d so t h a t they complement the arch form i n d i c a t e d
above.
The
first
canonic e n t r y of the opening
section i s
the soprano which i s p a r a l l e l e d by the a l t o at the
below.
The
i m i t a t i n g v o i c e s , bass and tenor
third
respectively,
f o l l o w at the d i s t a n c e of one measure, the tenor i n the
same octave as the a l t o and the bass an octave below the
soprano.
At the beginning
of the t h i r d measure, however,
the
b a s s and t e n o r i n t e r c h a n g e p a r t s so t h a t t h e b a s s
f o l l o w s t h e a l t o , and t h e t e n o r , t h e s o p r a n o .
measures t h r e e a l s o ,
line
are a l t e r e d
the f i r s t
In
f o u r n o t e s of t h e a l t o
so t h a t t h e y do n o t p a r a l l e l t h e s o p r a n o .
A similar alteration
o c c u r s l a t e r i n m e a s u r e s s e v e n and
eight.
Example 3
Op Z mm
t
3
r n T
These a l t e r a t i o n s
mm
7-
i
are s t r u c t u r a l l y placed
ambiguous t o n a l i t y , r e s u l t i n g
harmonic
intervals
8
so t h a t
from a series
s u r r o u n d s them.
of
The f i r s t
an
similar
four
i n t e r v a l s b e t w e e n t h e s o p r a n o and a l t o h a v e a c h a n g i n g
q u a l i t y - minor, major, minor, major - from which
may
deduce a h a r m o n i c
or V-I-V i n C major.
one
p r o g r e s s i o n of I - I V - I i n G major,
However,
a f t e r these f i r s t
the
quality
of t h e succeeding i n t e r v a l s
for
s e v e r a l c o n s e c u t i v e n o t e s so t h a t t h e
four,
remains constant
following
p a t t e r n emerges - s e v e n m a j o r t h i r d s , a l t e r e d
f o u r minor t h i r d s ,
s i x m i n o r s i x t h s , two
f o u r minor s i x t h s , a l t e r e d
canonic w r i t i n g
lines
i t was
section.
In
section,
major
thirds,
traditional
t h e p r a c t i s e t o compose
melodic
so t h a t t h e y w o u l d f i t t o g e t h e r i n an
acceptable
h a r m o n i c p a t t e r n , d e p e n d i n g on t h e h a r m o n i c
direction,
r e s o l u t i o n s , degree dissonance
p r e s e n t i n s t a n c e , by k e e p i n g
avoids establishing
w o r k s t a r t s and
ambiguous
The
through
at
t h i s q u a l i t y the
centre.
In
the
same Webern
Thus, a l t h o u g h
ends i n G m a j o r , t h e t o n a l
centre
the
remains
throughout.
second
s e c t i o n of t h e w o r k , m e a s u r e s n i n e
seventeen,
the f i r s t
a tonal
permitted, etc.
voice.
i s a f o u r - p a r t canon w i t h t h e a l t o
The
the f o u r t h above.
soprano answers o n e - h a l f bar
The
o c t a v e b e l o w t h e a l t o and
a f t e r the bass,
an
octave below the
half
soprano.
The
o f t h e c a n o n i c theme o c c u r s
at
s o p r a n o on t h e r e p e a t e d
entqelten. resulting
b e t w e e n t h e two
i n an i n t e r e s t i n g
syncopated
first
word
o v e r l a p and
connection
sections.
S e v e r a l c o m p o s i t i o n a l elements
s e c t i o n i n such
an
measure
f i g u r e at the beginning
measure e i g h t i n t h e
later
b a s s e n t e r s i n measure t e n
t h e t e n o r , one
as
a way
musical expression.
combine i n t h i s
second
t h a t t h e r e s u l t i s an i n t e n s i f y i n g
Firstly,
the canonic
e n t r i e s are
now
of
three beats apart instead
opening
tied
section.
figure
of s i x , as i s t h e case i n t h e
S e c o n d l y , t h e r e i s a s y n c o p a t e d and
over t h e s t r o n g beat which t e m p o r a r i l y suspends
t h e 6 / 8 m e t e r t h a t Webern was s o c a r e f u l t o p r e s e r v e i n
t h e "A" s e c t i o n .
T h i s new r h y t h m i c a m b i g u i t y c o m b i n e s
w i t h a r a p i d m e l o d i c movement t o p r o d u c e
e x c i t e d m u s i c a l atmosphere.
m i t y of t h e f i r s t
as a r e v e r s a l
to
unifor-
The m e l o d i c c o n t o u r i s p r e s e n -
of t h a t of t h e p r e v i o u s s e c t i o n ,
a b r u p t l y i n t h e soprano
tapering
T h i r d l y , the rhythmic
p a r t has been r e p l a c e d by melodic
s i m p l i c i t y and r e p e t i t i o n .
ted
a much more
rising
t o a g'' i n m e a s u r e t h i r t e e n and
o f f g r a d u a l l y , but not c h r o m a t i c a l l y t h i s
a d'' i n m e a s u r e s i x t e e n .
Paralleling
contour are the q u i c k l y increasing
this
time,
melodic
and s l o w l y d e c r e a s i n g
tempo i n d i c a t i o n s i n m e a s u r e s n i n e , e l e v e n , t h i r t e e n ,
fourteen, f i f t e e n ,
The
of
s i x t e e n and s e v e n t e e n .
l a s t beat
t h e "A" s e c t i o n .
of measure s e v e n t e e n marks t h e r e t u r n
The r e t u r n i s e x a c t f o r t h r e e
measures a f t e r which t h e r e i s an e x p a n s i o n by a s e q u e n t i a l
figure
third
two,
of thematic m a t e r i a l
measures of t h e f i r s t
the r i g i d
drawn f r o m t h e s e c o n d and
canon.
canonic w r i t i n g
A f t e r measure
dissolves into fragmentation
b u t t h e mpdd p r e v a i l s t h r o u g h t h e s t r i c t
fragments.
twenty-
i m i t a t i o n of
The shape o f t h e m e l o d i c c o n t o u r i s t h e same
as t h a t of t h e opening
s e c t i o n w i t h t h e h i g h e s t note of
the p i e c e , a'', o c c u r r i n g i n t h e corresponding
measure t w e n t y - t h r e e .
A t t h e coda,
measure t w e n t y - f i v e , t h e b a s s l i n e
which
location,
begins i n
d i v i d e s , the lower
p a r t m a i n t a i n i n g a p e d a l G w h i l e t h e upper c o n t i n u e s i n
t h e f a m i l i a r t h i r d s and s i x t h s w i t h t h e t e n o r .
The
u p p e r v o i c e s a r e t r e a t e d i n a manner s i m i l a r t o t h a t o f
m e a s u r e s s i x and s e v e n w h i l e t h e l o w e r p a r t s p r e s e n t a
much d i m i n u t e d v e r s i o n o f t h e o v e r a l l m e l o d i c
the
"B"
c o n t o u r of
section.
Analytically,
i ti s difficult
to treat this
chorus
by any of t h e c o n v e n t i o n a l methods of d e a l i n g w i t h
traditional
harmony.
Although
there i s a hint
i n d i c a t e d by t h e key s i g n a t u r e , by t h e opening
of G major
intervals
o f e a c h s e c t i o n and b y t h e p e d a l G and t h e s t r o n g l y s u b dominant p e n u l t i m a t e chord
i n t h e coda,
c i s m c r e a t e d by t h e t w i s t i n g
built
a n a l y s i s of t h e chords
an u n r e w a r d i n g
task.
dominate t h e d i a t o n i c
of t h e c h o r d s
dissonances
upon w h i c h
makes a
the piece i s
Webern u s e s c h r o m a t i c i s m t o
s t r u c t u r e t o t h e p o i n t w h e r e most
have m u l t i p l e i n t e r p r e t a t i o n s .
non-harmonic tones
chromati-
c a n o n i c t e x t u r e and t h e o u t - o f
phase q u a l i t y c r e a t e d by t h e a c c e n t e d
meaningful
t h e extreme
occur i n accented
o f f u n c t i o n becomes a p r o m i n e n t
When t h e
situations,
p a r t of t h e
ambiguity
music.
F o u n d a t i o n s of t h e t o n a l s t r u c t u r e l i e i n t h e
nineteenth century.
At c r i t i c a l s t r u c t u r a l
p o i n t s t h e t o n i c and d o m i n a n t p l a y m a j o r r o l e s .
• The e x p a n s i o n of t h e s o n o r i t i e s t h r o u g h t h e
s u p e r p o s i t i o n of a d d i t i o n a l t h i r d s and t h e sound
i d e a l of t h e c h o r d of n a t u r e h a v e t e n d e d t o g i v e
most c h o r d s a d o m i n a n t f u n c t i o n i n r e l a t i o n t o
the succeeding chord.4
The
t e x t f o r t h e w o r k was
w r i t t e n by
Stefan
George
(1863-1933).
... a German l y r i c p o e t who was c h i e f l y r e s p o n s i b l e
f o r t h e r e v i v a l of German p o e t r y a t t h e t u r n of t h e
nineteenth century.
A t one t i m e he was a s s o c i a t e d
w i t h M a l l a r m e and t h e S y m b o l i s t s i n P a r i s and t h e
P r e - R a p h a e l i t e s i n L o n d o n . H i s a i m was t o i m p o s e a
new c l a s s i c i s m on German p o e t r y , a v o i d i n g i m p u r e
r h y m e s and m e t r i c a l i r r e g u l a r i t i e s .
The f o r m a l
p e r f e c t i o n i s m of h i s poems i s a c c o m p a n i e d by a
c o o l n e s s of t o n e , a s e l f c o n t a i n e d q u a l i t y w h i c h a t
t i m e s seems t o c o n t r a d i c t t h e w o r d s . V o w e l s and
c o n s o n a n t s were a r r a n g e d w i t h p r e c i s i o n t o a c h i e v e
an i n n e r h a r m o n y and t o show c l e a r l y h i s p o e t i c
i d e a l s , a p r o t e s t a g a i n s t t h e debasement of h i s
l a n g u a g e , m a t e r i a l i s m and n a t u r a l i s m .
His collected
w o r k s f i l l e i g h t e e n v o l u m e s and show h i s d e v e l o p m e n t
f r o m e a r l y d o u b t s and s e l f e x a m i n a t i o n t o an
a s s u r a n c e of h i s m y s t i c a l r o l e as a s e e r i n a new
s o c i e t y b a s e d on t h e humanism f i r s t p r e a c h e d by t h e
Greeks.^
4
M e r r i l l K. B r a d s h a w , " T o n a l S t r u c t u r e i n t h e E a r l y
Works of A n t o n Webern" ( u n p u b l i s h e d Ph. D. t h e s i s ,
U n i v e r s i t y of I l l i n o i s , 1 9 6 2 ) , p. 45.
Hans S e i g b e r t R e i s s , " S t e f a n George" i n
B r i t a n n i c a , 1963, x, p. 193.
Encyclopaedia
was
in
w r i t t e n i n t h r e e , f o u r - l i n e v e r s e s and
t h r e e p a r t s : "A,"
and
"A'
11
n i n e m e a s u r e s ; "B,"
p l u s Coda, e l e v e n measures.
t h e t e x t t o t h e r h y t h m and
pronounced i n t h i s
s e t by
nine
The
Webern
measures
relationship
melody of t h e music i s not
i n s t a n c e a s i n Webern's l a t e r
Owing t o t h e r a p i d movement of t h e m i d d l e
i s obliged to include (the f i r s t )
l a s t verse
two
s e c t i o n and
t o accommodate an a l m o s t
the beginning
s e c t i o n , he
the t e x t through
i s further
the f o l l o w i n g
to
section,
l i n e s from
i n o r d e r t o h a v e enough w o r d s f o r h i s
Subsequently,
as
works.
t h e c o m p o s e r ' s s e n s e of p r o p o r t i o n r e g a r d i n g t h i s
he
of
the
music.
e x a c t r e t u r n of
obliged to
extend
repetitions:
Es s i e d i e s t i l l e T r a u e r d i e d i e s e n F r u h l i n g
F u l l e es s i e d i e s t i l l e T r a u e r d i e s t i l l e T r a u e r
die s t i l l e Trauer d i e d i e s e n F r u h l i n g f u l l e
diesen Fruhling diesen Fruhling f u l l e . 6
T h i s r e p e t i t i o n i s not a l t o g e t h e r u n r e a s o n a b l e ,
a s G e o r g e h i m s e l f u s e s an e c h o e f f e c t a t t h e
stanzas.
Webern's t r e a t m e n t
effective
i n m e a s u r e s e i g h t and
The
of one
such
nine.
p u b l i s h e d v e r s i o n of t h e s e l a s t
"Es s i e d i e s t i l l e t r a u e r
Die d i e s e n f r u h l i n g f u l l e . "
of h i s
echo i s p a r t i c u l a r l y
The
two
end
however,
beginning
lines i s :
of
the
third
stanza
nicht
...)
ritard
of t h e poem i n measure t h i r t e e n ,
(Das
i s a l s o t r e a t e d i n a s p e c i a l manner, by a
and a change
considerably
o f d y n a m i c s , and i s f o l l o w e d b y a
s l o w e r tempo i n d i c a t i o n a t t h e m i d d l e o f
measure f o u r t e e n .
In
t h i s w o r k , t h e w o r d s and t h e m u s i c
seem i n t h e
a u t h o r ' s o p i n i o n , t o e n t e r i n t o f o r m a l and e m o t i o n a l
as a r e s u l t
phrases.
o f Webern's b e n d i n g o f t h e t e x t t o s u i t h i s
As w i l l
be s e e n , t h i s q u a l i t y o f
attachment i s n o t i c e a b l y l a c k i n g
compositions.
As t h e o u t l i n e
s i m i l a r i t i e s between
emotional
in his later
choral
o f and t h e a p p r o a c h t o t h i s
work a r e e s s e n t i a l l y R o m a n t i c , t h e r e a r e
Example
ties
striking
t h e s p o k e n and t h e m u s i c a l
rhythm.
4
Op. 2 m rn 8- to
4l—+r—
*r
LIT E
0
-k
T
/
L
George's p o e t r y i t s e l f ,
emphasis
admirably
}i JK
J
* *
SeKt
d «e - S^n
1
-
»
die -
J
+
1J
s<»r»
\
Taw-
"few-
=••
=fc
w i t h i t s f o r m a l p e r f e c t i o n and
on t h e s m o o t h l y f l o w i n g l i n e
lends
itself
t o t h e r e g u l a r r h y t h m s t h a t Webern h a s c h o s e n ,
e s p e c i a l l y i n the outer
dipfchongs
are given
sections.
I m p o r t a n t v o w e l s and
s t r e s s i n p l a c e m e n t and
rhythm.
Example 5
Op.
The
%
mm
iq
t
21
dynamic m a r k i n g s work i n c o n j u n c t i o n w i t h t h e 6 / 8
m e t e r and t h e c a n o n i c
e n t r i e s t o produce g e n t l y
emphases w h i c h complement t h e
text.
surging
CHAPTER I I
Zwei L i e d e r
In
Op. 19
h i s n e x t c h o r a l w o r k , Z w e i L i e d e r , Op. 19
(1926), f o r mixed c h o r u s w i t h accompaniment of c e l e s t a ,
guitar, violin,
c l a r i n e t and b a s s
clarinet,
Webern c h o s e
t e x t s f r o m G o e t h e ' s C h i n e s i s c h e J a h r e s und T a q e s z e i t e n .
It
was t h e t h i r d w o r k t o be w r i t t e n a f t e r h i s a d o p t i o n o f
t h e Schoenberg t e c h n i q u e of composing w i t h t w e l v e
which
are related
only t o one-another.
In his lecture
s e r i e s , The P a t h t o T w e l v e - N o t e C o m p o s i t i o n , " '
1
reflects
on h i s own e a r l y e x p e r i m e n t s
semitones
Webern
w i t h t h e "system":
About 1911 I wrote t h e B a g a t e l l e s f o r S t r i n g Q u a r t e t ,
Op..9, a l l v e r y s h o r t p i e c e s , l a s t i n g a c o u p l e o f
m i n u t e s - p e r h a p s t h e s h o r t e s t m u s i c so f a r . H e r e I
had t h e f e e l i n g , 'When a l l t w e l v e n o t e s h a v e gone b y ,
the piece i s over.'
Much l a t e r I d i s c o v e r e d t h a t t h i s
was p a r t o f t h e n e c e s s a r y d e v e l o p m e n t .
I n my s k e t c h book I w r o t e o u t t h e c h r o m a t i c s c a l e a n d c r o s s e d o f f
the i n d i v i d u a l notes.
Why? B e c a u s e I h a d c o n v i n c e d
m y s e l f , ' T h i s note has been t h e r e a l r e a d y . ' I t sounds
g r o t e s q u e , i n c o m p r e h e n s i b l e a n d i t was i n c r e d i b l y
difficult..
The i n n e r e a r h a d d e c i d e d q u i t e r i g h t l y
t h a t t h e man who c r o s s e d o f f t h e i n d i v i d u a l n o t e s was
no f o o l .
I n s h o r t , a r u l e o f l a w emerged; u n t i l a l l
t w e l v e n o t e s h a v e o c c u r r e d , none o f t h e m may o c c u r
A n t o n Webern, The P a t h t o t h e New M u s i c . W i l l i
( B r y n Mawr: T h e o d o r e P r e s s e r Company, 1 9 6 3 ) .
Reich (ed.),
again.
The most i m p o r t a n t t h i n g i s t h a t e a c h
' r u n ' of t w e l v e n o t e s m a r k e d t h e d i v i s i o n w i t h i n
t h e p i e c e , i d e a or theme.^
and
l a t e r , i n the
same t a l k , he
says:
My G o e t h e s o n g . G l e i c h und G l e i c h ( f r o m F o u r S o n g s ,
Op. 12 ( 1 9 1 7 ) ) b e g i n s a s f o l l o w s : G s h a r p A - D s h a r p - G, t h e n a f o u r n o t e c h o r d , E - C B f l a t - D, t h e n F s h a r p - B - F -'C s h a r p .
That
makes t w e l v e n o t e s : none i s r e p e a t e d .
At t h a t time
we were n o t c o n s c i o u s of t h e l a w , b u t had b e e n
s e n s i n g i t f o r some t i m e .
One day S c h o e n b e r g
i n t u i t i v e l y d i s c o v e r e d the law t h a t u n d e r l i e s twelvenote c o m p o s i t i o n .
An i n e v i t a b l e d e v e l o p m e n t of t h i s
l a w was t h a t one gave t h e s u c c e s s i o n of t w e l v e n o t e s
a particular
order.3
The
Z w e i L i e d e r m a r k s t h e end
p e r i o d during which
exclusively.
During
f o r m u l a t i o n and
of an e l e v e n
year
t i m e Webern w r o t e v o c a l m u s i c
t h i s t i m e t h e r e was
d e v e l o p m e n t of h i s u n i q u e
a
gradual
motivic
style,
a compositional aspect that w i l l
be n o t e d
in relation
the remaining
interior
structure
these
c h o r a l works.
The
s o n g s c o n t a i n s t h e most c o m p l e x c h o r a l w r i t i n g
Webern was
t o produce.
the thematic
In the f i r s t
song of t h e
m a t e r i a l i s d i v i d e d i n t o two
to
of
that
group,
p a r t s w i t h the
soprano b e i n g answered i n a t r a d i t i o n a l l y a n t i p h o n a l
manner by t h e a l t o , t e n o r and
I b i d . - , p.
Ibid.
51
bass, i n c l u s i v e l y .
This
a n t i p h o n a l e f f e c t i s maintained and heightened by the
twelve-tone technique, w i t h i n which the soprano
one row-form w i t h the f i r s t
group
shares
of instruments, the
g u i t a r and c e l e s t a , while the other instruments and the
t h r e e remaining v o i c e s have another form of the
The v i o l i n ,
series.
c l a r i n e t and b a s s - c l a r i n e t p a r t s are i n
d i f f e r e n t rhythms from the v o i c e p a r t s and
invariably,
t h i s echoing occurs j u s t a f t e r the v o c a l sound, thereby
merely adding another c o l o r or dimension t o the sound
r a t h e r than a i d i n g the chorus i n m a i n t a i n i n g the c o r r e c t
pitch.
When the chorus e n t e r s i n measures s i x and
seven,
the soprano, g u i t a r and c e l e s t a have the "0" form while
the other t h r e e v o i c e s have the e i g h t h t r a n s p o s i t i o n ^ of
the R e t r o g r a d e - i n v e r s i o n . T h i s i s the f i r s t
twelve-tone
work i n which Webern uses any row t r a n s p o s i t i o n s .
The
ones e x c l u s i v e l y employed i n t h i s case are a t r i t o n e
the b a s i c
s e t , t h a t i s , i n t h i s i n s t a n c e , the e i g h t h
t r a n s p o s i t i o n of any given row form.
are
of
In t h i s p i e c e t h e r e
no d i r e c t l y o v e r l a p p i n g rows i n which the t w e l f t h note
one
s e r i e s becomes the f i r s t
s e t t i n g up a predetermined
in
from
note of the next, thereby
s e r i e s of row forms.
one i n s t a n c e i n the second
Although
song, measure t h r e e , there
4
See Appendix number one f o r i l l u s t r a t i o n
numbering.
of t r a n s p o s i t i o n
is
a r e p e a t e d 'g' w h i c h m a r k s t h e end of one row and t h e
beginning
o f t h e n e x t , t h e a u t h o r does n o t f e e l
constitutes
overlapping.
forms t h a t i s employed
c h o r a l p i e c e s depends
this
The p r e d e t e r m i n a t i o n o f row
and e x p a n d e d
on a s i n g l e
upon i n t h e s u c c e e d i n g
sound f o r i t s d u a l
func-
tion.
The
last
c h o r d of t h e f i r s t
song i n t h e p r e s e n t
w o r k c o n t a i n s a l l t w e l v e t o n e s and i s t h e o n l y
instance
in
w h i c h Webern u s e s t h i s l a r g e s t p o s s i b l e t o n e
in
connection with h i s choral
Structurally,
pre-existing
form.
the f i r s t
The
music.
song of Op.
only l i m i t i n g
19 f o l l o w s
of
attempt at a c h o r a l
mark
s e t t i n g , and t h e use
o n l y e i g h t f o r m s o f t h e row, O r i g i n a l
- one and
eight,
I n v e r s i o n - one and e i g h t , R e t r o g r a d e - one and e i g h t
R e t r o g r a d e - i n v e r s i o n - one and e i g h t .
predetermined
Example
and
T h e r e i s no
sequence a p p a r e n t i n t h e i m p l e m e n t a t i o n of
these e i g h t row-forms.
four-note
no
f a c t o r s are the
poem., w h i c h i s u s e d w i t h o u t t h e r e p e t i t i o n s t h a t
Webern's f i r s t
cluster
The
entire
song i s b a s e d on t h e
soprano m o t i v e i n measures
s i x and
seven.
6
!"•"
\ Op. W
"'1
«•*»»
^ T •» J. 13hy^
i
Ej
In t h i s ,
extremely
careful
determined
is
h i sthird
serial
t o maintain the exact
by t h e s e t .
sequence of notes
The o n l y l i b e r t y he a l l o w s h i m s e l f
t h e m u l t i p l e r e p e t i t i o n o f one n o t e b e f o r e m o v i n g t o t h e
next, a c h a r a c t e r i s t i c which,
present
handled
as i t i s i n t h e
i n s t a n c e , r e s u l t s i n a v e r y jagged
which i s admirably
suited
Rhythmically, the f i r s t
multiple figures
texture.
two
c o m p o s i t i o n , Webern i s
and s t a t i c
style
t o t h e mood o f t h e poem.
song i s h i g h l y c o m p l e x ; t h e u s e o f
simultaneously results i n a very
thick
B a s i c a l l y , t h i s complex rhythm i s d i v i d e d i n t o
groups,
corresponding
t o t h e two i n s t r u m e n t a l
groupings.
Example 7
I-
=
The
1
jo/
f a c t t h a t the next
figure
LV£/
^ *
song o f Op. 19 h a s o n l y one r h y t h m i c
o c c u r r i n g a t any g i v e n time w i l l
significance
be o f g r e a t
i n h i s f u t u r e s t y l e of w r i t i n g .
I n t h e s e c o n d song t h e r e i s no a n t i p h o n a l
writing
and t h e e n t i r e e n s e m b l e
instrumental
lines
still
s h a r e s t h e same r o w - f o r m .
c o n t a i n many r e p e a t e d
The
notes,
c o n t i n u i n g t h e j a g g e d mood i n t r o d u c e d i n t h e f i r s t
Structurally,
pre-existing
the
this
song, l i k e
form.
the f i r s t
The b a s i s i s ,
song.
o n e , f o l l o w s no
a g a i n , a c o n t i n u a t i o n of
v a r i a t i o n s on t h e f o u r - n o t e m o t i v e .
There i s a
c o n s i d e r a b l y g r e a t e r e x p a n s i o n of t h a t m o t i v e , however,
in
this
to
use o n l y t h e e i g h t forms of t h e s e r i e s i n d i c a t e d
And
second song.
As i n t h e f i r s t
song Webern c h o o s e s
above.
once more, t h e r e i s no a p p a r e n t p r e d e t e r m i n e d o r d e r i n
w h i c h t h e s e row f o r m s a r e u s e d , a l t h o u g h e a c h t i m e a new
e n t r y o f t h e row a p p e a r s , t h e t i m e d i s t a n c e t o i t s
completion i s smaller.
The poems f o r t h e Z w e i L i e d e r were w r i t t e n , a s
p r e v i o u s l y m e n t i o n e d , by Johann Wolfgang von Goethe
(1749-
1832).
His greatness l i e s mainly i n h i s s u b j e c t i v e
approach t o l i f e and, as a r e s u l t , v e r y l i t t l e
of h i s w o r k s p r a n g f r o m what m i g h t be t e r m e d
artistic
or o b j e c t i v e impulse.
I t i s as a l y r i c
p o e t t h a t h i s s u p r e m a c y c a n n o t be c h a l l e n g e d .
From a p h i l o s o p h i c a l s t a n d p o i n t , G o e t h e s t o o d
a p a r t f r o m t h e ' S t u r m und D r a n g ' w h i c h so d e e p l y
i n v o l v e d h i s c o m p a t r i o t S c h i l l e r and t h e o t h e r
Romanticists.
G o e t h e ' s many s i d e d a c t i v i t y i s a
t r i b u t e t o h i s mind and p e r s o n a l i t y ; we may see
i n h i m m e r e l y t h e embodiment o f h i s p a r t i c u l a r
a g e , o r we may r e g a r d h i m a s a p o e t ' f o r a l l t i m e ' ,
but w i t h one o p i n i o n a l l who have f e l t t h e power
of G o e t h e ' s i n f l u e n c e a r e i n a g r e e m e n t ... Of a l l
men o f g e n i u s , G o e t h e i s t h e most u n i v e r s a l . 5
J o h n G. R o b e r t s o n , " J o h a n n W o l f g a n g v o n G o e t h e " i n
E n c y c l o p a e d i a B r i t a n n i c a . 1 9 6 3 , X, p. 4 6 4 .
The f i r s t
Lilies
...),
irregular
poem, W e i s s w i e L i l i e n
-of
like
i s w r i t t e n i n t r o c h a i c t e t r a m e t e r w i t h no
lines.
The t e x t , t h e n , f i t s
c h o i c e of a f o u r note m o t i v e :
for
... ( W h i t e ,
e v e r y two m o t i v i c
one c o m p l e t e
statements.
Op. 2, Webern's f o n d n e s s
perfectly
line
Webern's
of p o e t r y
As i n t h e middle
section
f o r t e m p o r a r i l y suspending the
m o t i o n by t h e u s e o f t h e s y n c o p a t e d - t i e d n o t e f i g u r e
comes t o t h e f o r e ,
"rotgesaumt"
on t h e w o r d s " S t e r n e n , "
again
"leuchtet,"
and "Mogen" i n m e a s u r e s n i n e t o t e n , e l e v e n ,
t h i r t e e n and t w e n t y - t w o
t o twenty-three
respectively.
Example 8
Ster
-
ner>
\euch -
In
another
is
changed f r o m t h e normal
the t r i p l e t
instance,
figure
saumt
+e+
on t h e word " f r u h z e i t i g e , " t h e r h y t h m
trochaic
on t h e l a s t
Example 9
IT
-froh
three
p a t t e r n t o accommodate
syllables.
Otherwise, t h e rhythm f o r a g i v e n melodic motive
the
follows
s p o k e n w o r d a n d , i n t h e a u t h o r ' s o p i n i o n , i s much
closer to the actual
speaking rhythm than a s e t t i n g
same poem b y a r o m a n t i c
c o m p o s e r m i g h t have b e e n .
The i n s t r u m e n t s a r e u s e d
coloristic
here e x c l u s i v e l y f o r t h e i r
c o n t r i b u t i o n and t o a s s i s t i n d i v i d i n g
into i t s respective sections.
t h e i n s t r u m e n t s have i n t e g r a l
series, their
of t h e
t h e poem
A s t h e work i s s e r i a l and
and s e p a r a t e p a r t s o f t h e
use as a d o u b l i n g f o r t h e v o i c e i s i m p o s s i b l e
I n d e p e n d e n t a s t h e y a r e , t h e i n s t r u m e n t s do n o t y e t f o l l o w
t
h
e
Klangfarbenmelodie
c h o r a l works.
p r i n c i p l e a s t h e y do i n s u c c e e d i n g
However, t h e f i g u r e a t measure
twenty-eight
has, i n the author's o p i n i o n , t i m b r a l a s s o c i a t i o n s w i t h the
t e n o r and s o p r a n o
p a r t s i n measures twenty-seven
eight.
E x a m p l e 10
Op«<» mm *1- 22
f
p*jnij
"In.
r
t>r-
and t w e n t y
w h i l e i n m e a s u r e s i x , t h e same i n s t r u m e n t s m e r e l y
heighten the p o i n t i l l i s t i c
through r e g i s t e r
effect
of t h e soprano
line
extension.
E x a m p l e 11
Op. <9 fslo. I
The
6
s e c o n d song i s b y f a r t h e most a p p r o a c h a b l e o f
t h e t w o f r o m an a n a l y t i c a l
row f o r m s u s e d i n t h i s
p r e v i o u s one.
this
mm
standpoint.
As mentioned, t h e
song a r e t h e same a s t h o s e o f t h e
H o w e v e r , t h e y a r e u s e d one a t a t i m e i n
song, t h e r e s u l t b e i n g a f a r s i m p l e r s t r u c t u r e .
poem f o r t h e s e c o n d song i s n o t w r i t t e n i n a r i g i d
t e t r a m e t e r i n t h a t t h e s e c o n d and l a s t
do n o t end w i t h a weak a c c e n t .
of t h e f o u r l i n e s b y G o e t h e
ment b y t h e c o m p o s e r .
lines
trochaic
of each
stanza
This c a t a l e c t i c treatment
receives further
The f i r s t
The
truncation
special
treat-
(measure
teni n
t h e s c o r e ) on t h e word " G r u n " i s s e p a r a t e d f r o m t h e
remainder
o f t h e music by s i x t e e n t h
twelve).
The v o i c i n g
( s e e example
and i n s t r u m e n t a t i o n a t t h i s p o i n t
h a s b e e n s a i d t o be d e s c r i p t i v e
chromosthesia,
rests
i n t h e sense o f
( i . e . , t h e sound a c t u a l l y
6
the color green).
approximates
The n e x t e x a m p l e o f c a t a l e x i s
as m e n t i o n e d , a t t h e end o f t h e f o u r t h
on t h e word " e r b l u h n , " t h e " b l u h n "
line
occurs
of t h e t e x t
s y l l a b l e being
s e p a r a t e d from t h e p r e c e e d i n g music by s i x t e e n t h
rests.
E x a m p l e 12
Op.
•A
19
min 1 0
K
*4
(ty* »J*—
mm
in
H
* tJL^
Grtin
-/V t—7-p
TT-S—
f
*
'ft
1
*
y
^
-
*
Grur»
W a l l a c e C. M c K e n z i e , "The M u s i c o f A n t o n Webern,"
( u n p u b l i s h e d Ph.D. t h e s i s , N o r t h T e x a s S t a t e C o l l e g e ,
I 9 6 0 ) , p.393.
The
third metrical
line
of t h e t e x t
i r r e g u l a r i t y , a t t h e end o f t h e s i x t h
shows t h e " g l a n c e " a s b e i n g i n d i f f e r e n t
d i r e c t i o n s by t h e i n t e r v a l s used:
ascending
augmented f o u r t h ,
ascending
major
falling
falling
minor s i x t h ,
perfect
f o u r t h and
seventh.
E x a m p l e 13
Op. (9
rrtn* »0 - l<?
eiicic
"Biict-
3
L_.
The
final
afforded
rest
pi
Bltek-
word o f t h e poem, " G l u c k , "
like
s p e c i a l treatment by separating
of t h e music.
"Grun" i s
i t from the
Op
In a l l other
I9, mm
S|
i n s t a n c e s t h e r h y t h m of t h e m u s i c f o l l o w s
c l o s e l y the n a t u r a l rhythm of t h e words.
concludes
is
from hearing the poetry r e c i t e d ,
p a r t i c u l a r l y aware of t h e l o n g e r v o w e l
fast
f l o w i n g words i n c h o o s i n g
i n the f i r s t
of m e t r i c a l c a t a l e x i s
OP. 19
15
rr»*n 10- %Q
author
t h a t Webern
s o u n d s and t h e
h i s rhythmic
s o n g , u s e i s made o f t h e
f i g u r e s which are p a r t i c u l a r l y
Example
This
figures.
As
syncopated-tied
noticeable at the points
o u t l i n e d above.
The
result
i s a hastening
the p o e t i c l i n e which,
toward
the f i n a l
s t r o n g beat of
i n t h e music, i s a r e s t w i t h the
irregular
m e t e r e d word o c c u r r i n g on a weak p a r t o f t h e
measure.
The o v e r a l l
effect
i s one o f b r e a t h l e s s n e s s and
e x p e c t a t i o n , a mood w h i c h i s m u s i c a l l y v e r y c l o s e t o t h e
mood o f t h e poem ( m i s t - l i k e
The
in this
glance, wish
i n s t r u m e n t s have much more i n t e r d e p e n d e n t
song t h a n
As i n t h e f i r s t
song,
u s e , w i t h a v e r y f e w e x c e p t i o n s , i s one o f s u p p l y i n g
an added c o l o r d i m e n s i o n
vocal timbre.
latter
parts
i n t h e p r e v i o u s one b e c a u s e o f t h e u s e
of o n l y one r o w - f o r m a t a t i m e .
their
fulfilment).
t o t h e music or a p p r o x i m a t i n g
One p a r t i c u l a r l y
a
e v i d e n t example of t h e
i s a t measure t e n , a c c o m p a n y i n g t h e w o r d
w h i c h has a l r e a d y been mentioned.
"Grun"
A n o t h e r i s a t t h e end
of t h e s o n g , a t m e a s u r e s t w e n t y - o n e and t w e n t y - t w o where t h e
particular
notes,
i n s t r u m e n t a t i o n and t i m e v a l u e s
e c h o t h e v o c a l sound o f t h e s o p r a n o ' s
E x a m p l e 16
"Gluck."
chosen
The
e c h o e f f e c t w h i c h Webern u s e d
more p r e v a l e n t i n t h e s e c o n d
at
i n the f i r s t
and i s e s p e c i a l l y
song i s
noticable
t h e e n t r y o f t h e c h o r u s i n m e a s u r e s s i x and s e v e n .
Example. 17
Op. 13
"Mo. X
r».rtit-1
\fo/\6ef
dtt Scha- fr
Jiehn
*Tff-y
7—bf2Tx
Sfip
Pointillism
and r e g i s t e r
dence w i t h t h e d i r e c t i o n
extremes
of t h e i n s t r u m e n t a l
determined m a i n l y by t h e soprano
There
tional
a r e a g a i n much i n e v i accompaniment
voice.
i s no a p p a r e n t u s e o f p r e d e t e r m i n e d
composi-
d e v i c e s i n Op. 19 a s were p r e v a l e n t i n t h e f i r s t
c h o r a l w o r k , n a m e l y t h e e x t e n s i v e u s e o f c a n o n and a c l o s e d
t e r n a r y form.
The r o m a n t i c m e l o d i c c o n t o u r s o f Op. 2 h a s
been r e p l a c e d by a jagged l i n e which i s , i n t h e a u t h o r ' s
o p i n i o n , much more s y m p a t h e t i c t o t h e n a t u r a l i n f l e c t i o n o f
the
spoken words,
even t h o u g h t h i s
inflection
i s obviously
distorted at times.
E x a m p l e 18
Op. 19
*r»m W,
M-lfc
OpZ
Ra -
ra -
die - s *
mm
*l
i«trt-H»y-fr
Traw
This vocal
line
inversions
and t r a n s p o s i t i o n s .
f o r word w i t h
Op.
i s c o m p r i s e d m o s t l y of s e c o n d s , t h e i r
The t e x t i s f o l l o w e d
no r e p e t i t i o n s n e c e s s a r y , a s was t h e c a s e i n
2 f o r t h e s a k e of t h e f o r m a l c o n s t r u c t i o n .
develops f u r t h e r
Das A u g e n l i c h t ,
word
Webern
i n t h i s d i r e c t i o n i n the f o l l o w i n g
where he s t r i v e s f o r a n e v e n
closer
a s s o c i a t i o n b e t w e e n t h e s p o k e n word and t h e m u s i c .
work,
CHAPTER I I I
Das
A u q e n l i c h t Op.
Among t h e few
really
26
s u c c e s s f u l p e r f o r m a n c e s of
A n t o n Webern's m u s i c d u r i n g h i s l i f e t i m e was
Das
A u q e n l i c h t by t h e B r i t i s h B r o a d c a s t i n g
chorus
in
Corporation
and
o r c h e s t r a i n L o n d o n on J u n e 17,
Das
A u q e n l i c h t i s a s i n g l e movement p i e c e w r i t t e n
a motet s t y l e :
Webern had
technique
and
had
1938.
t h a t i s , w i t h t h e i d e a of
i m i t a t i v e polyphonic
1935,
sections with chordal
mastered the Schoenberg
begun t o experiment
separating
sections.
see f o r t h e f i r s t
predetermination
a l l o w i n g the l a s t
note
time
By
twelve-tone
with other
t i o n a l r e s t r i c t i o n s i n h e r e n t i n t h a t system.
w o r k we
t h a t of
In
composithis
i n h i s c h o r a l music, a
of t o n e - r o w t r a n s p o s i t i o n s e f f e c t e d by
note
of one
s e r i e s t o become t h e
first
of t h e n e x t , r e d u c i n g t h e p o s s i b l e c h o i c e s t o f o u r
from the usual f o r t y - e i g h t . ^
compositional techniques
Webern's a f f i n i t y f o r t h e
of t h e N e t h e r l a n d ' s
School,
such
He was t o i m p o s e e v e n f u r t h e r r e s t r i c t i o n s on t h e c h o i c e
of t r a n s p o s i t i o n i n h i s succeeding c h o r a l c o m p o s i t i o n s .
as t h e s t r i c t
Op.
u s e of c a n o n and t h e c l o s e d f o r m , r e t u r n s i n
26 a f t e r b e i n g
Zwei L i e d e r .
extensive
noticeably lacking i n the
H i s use of c a n o n i c
and r e s t r i c t i v e
technique
i n Das A u q e n l i c h t
preceding
i s e v e n more
t h a n i n Op.
2
b e c a u s e o f t h e c l o s e a s s o c i a t i o n b e t w e e n t h e c a n o n and t h e
polyphonic
a p p l i c a t i o n o f t h e row t r a n s p o s i t i o n s .
Formally,
Das A u q e n l i c h t
a l t e r n a t e s between
p h o n i c - i n s t r u m e n t a l and c h o r d a l
sequence:
poly-
sections, i n the f o l l o w i n g
instrumental
to
polyphonic
J chordal
T
| polyphonic
chordal
| instrumental
:
polyphonic
so
polyphonic
|
to
instrumental
j chordal
j
instrumental
polyphonic
90
£ instrumental
chordal
^polyphonic
'chordal
instrumental
/Co
polyphonic
chordal
s t r u c t u r e o f Das A u q e n l i c h t i n a l e t t e r
the
text, Hildegard
t o t h e a u t h o r of
Jone.
When y o u a s k e d a b o u t t h e .'.Augenlicht' t h e o t h e r
day when we w e r e l o o k i n g a t y o u r p a i n t i n g s , t h e
o n l y t h i n g t h a t I c o u l d a n s w e r m o m e n t a r i l y was
t h a t i t was d i f f i c u l t t o s a y a n y t h i n g a b o u t i t .
B u t a c t u a l l y , how I w o u l d h a v e l i k e d t o t e l l y o u
a g r e a t d e a l a b o u t i t . A f t e r a l l , i t was an
e s p e c i a l j o y f o r me t o see y o u a g a i n i n t h e f u l l
c o n s c i o u s n e s s of h a v i n g c o m p l e t e d t h e work!
Then
we were d i s t r a c t e d .
And s o , t o f i l l t h e gap u n t i l
we meet a g a i n , I w o u l d l i k e t o s a y a few t h i n g s i n
t h i s medium, a b o v e a l l , s o m e t h i n g t h a t I w o u l d
d e a r l y l i k e t o have e x p r e s s e d l o n g ago and p a r t i c u l a r l y a t t h e t i m e when y o u a s k e d me: n a m e l y , how
much y o u r w o r d s meant t o me once more!
'O Meer d e s B l i c k e s m i t d e r T r a n e n b r a n d b u r g ! '
('Oh t h e o c e a n o f a g l a n c e w i t h i t s s u r f of t e a r s ! ' )
( i t l i e s j u s t a t t h e m i d d l e o f t h e p i e c e and
c o n s t i t u t e s a t t h e same t i m e i t s d y n a m i c c l i m a x . )
What a t h o u g h t ! And t h e n i n c o n t i n u a t i o n ( m u s i c a l l y ,
t h e l a r g e s t c o n t r a s t f o l l o w s d i r e c t l y ) y o u awaken an
image t h a t c a n o n l y be t h e q u i n t e s s e n c e o f a l l
loveliness; a l l kindness:
'Die t r o p f e n , w e l c h e s i e v e r s p r u h t a u f W i m p e r n h a l m e ,
v o n H e r z e n , und d e r sonne w e r d e n s i e b e s c h i e n e n '
('The d r o p s i t s p r a y s on t h e b l a d e s o f an e y e l a s h
are d r e n c h e d i n t h e l i g h t of t h e sun and of t h e h e a r t ' ) ,
and t h u s the.mode o r r e p r e s e n t a t i o n t h a t I c a n o n l y
r e g a r d as t h e h i g h e s t i s p r o v i d e d : t h e t e a r s , a drop
of w a t e r , 'shone on b y t h e h e a r t and b y t h e s u n ' ; and
2
what makes them f l o w ? The a n s w e r i s no l o n g e r n e c e s s a r y .
The
f o r m a l o r g a n i z a t i o n , t h e n , f r o m Webern's
d e s c r i p t i o n and f r o m t h e p r e c e d i n g - e x a m p l e ,
own
i s t h a t o f an
A n t o n Webern, L e t t e r s t o H i l d e g a r d J o n e and J o s e p h
( B r y n Mawr: T h e o d o r e P r e s s e r Company, 1 9 6 7 ) , p. 3 1 .
Humplik.
arch.
the
The
climax,
beginning
as
of t h a t a r c h
i n d i c a t e d by Webern, a t m e a s u r e s
f o u r t o s i x t y - n i n e , and
three.
the
i s t h a t measure t w e n t y ,
I t must be
r e s u l t of t h e
the
conclusion
sixty-
at measure
noted at t h i s p o i n t t h a t the
ninety-
arch
is
p h y s i c a l p l a c e m e n t of t h e a l t e r n a t i n g
s e c t i o n s , which i n t u r n are
u l t i m a t e l y d e p e n d e n t on
length
In comparing the preceding: .
of t h e
poetic line.
graph with the
poem, we
of e x p r e s s i o n ,
polyphonic
of
f i n d t h a t f o r e a c h c h a n g e i n mode
or c h o r d a l , t h e r e
transparent
texture
of Das
KMhnen ...
Auqenlicht
The
h a l f notes,
c h o r a l work, E n t f l i e h t
vocal
perform
m i n o r s e v e n t h s and
i n t h a t the
i n s p i t e of t h e f a c t t h a t
ninths.
The
e n t r i e s are
h a l f beat t o each other.
d i s t a n t as t h r e e
auf l e i c h t e n
m a k i n g them s u b s t a n t i a l l y e a s i e r t o
c o n t a i n an a b u n d a n c e o f v o c a l l y d i f f i c u l t
simpler
reminiscent
quarter
19,
l i n e s are
is
c o m p r i s e d m o s t l y of
t h a n t h o s e o f Op.
is
line
i s v e r y much more
t h a n t h a t of t h e Z w e i L i e d e r and
of t h a t i n h i s f i r s t
and
i s a new
poetry.
The
and
the
I n one
intervals:
canonic
other.
major
writing also
never c l o s e r than
instance
measures from each
they
they are
as
one-
Op- £ 6
71-
T?
ASopto<
\ — — » » J TJJ
T-
7
1
? '
—i
5—1—|
i
r
I—*~i—*
—
—
>
r j
1 •
1-
V
— —* y -
J
T
The c h o r d a l s e c t i o n s i n t h i s work a r e c o m p l e t e l y
from anything
occur
found
compositions
F o r t h e most p a r t t h e s e
s e c t i o n s are comprised
Retrograde
1 > ft.
different
i n Webern's p r e v i o u s c h o r a l w o r k s and
often i n the remaining
i n t h i s paper.
-J
t o be d i s c u s s e d
homorhythmic
of t h r e e t r a n s p o s i t i o n s of t h e
f o r m and one o f t h e R e t r o g r a d e - i n v e r s i o n .
The
Q
two e x c e p t i o n s
occur
two s t a t e m e n t s
of the O r i g i n a l
See Example 19.
at the beginning
o f t h e arch° where
a r e c o m b i n e d w i t h two o f
^ >f V
the
R e t r o g r a d e - i n v e r s i o n , and a t t h e apex w h e r e two
trans-
p o s i t i o n s o f t h e R e t r o g r a d e , one o f t h e R e t r o g r a d e i n v e r s i o n and one o f t h e I n v e r s i o n a r e u s e d .
f o u r forms of t h e b a s i c
results i n a choral
The use o f
set i n a simultaneous s i t u a t i o n
sound o f e x t r a o r d i n a r y b e a u t y , w h i l e
r e m a i n i n g w i t h i n t h e bounds
t h a t a r e so c h a r a c t e r i s t i c
of the s t r i c t
formal
controls
o f Webern's w r i t i n g s .
The
l i n e s f o l l o w the chosen row-forms
e x a c t l y and e m p l o y
transpositions,
19 where a
a s o p p o s e d t o Op.
vocal
all
single
t r a n s p o s i t i o n i s used.
Webern b e g a n t o use t h e p o e t r y o f H i l d e g a r d
e x c l u s i v e l y a f t e r t h e two met
Jone
i n 1926.
I n 1926 Webern made t h e a c q u a i n t a n c e o f t h e p o e t e s s
and p a i n t e r H i l d e g a r d J o n e and h e r h u s b a n d t h e
s c u l p t o r Joseph Humplik.
M a t t e r and f o r m o f t h e
poems e v o k e d an i m m e d i a t e and l a s t i n g r e s p o n s e i n
Webern; and he was s o o n aware o f a deep r e c i p r o c a l
u n d e r s t a n d i n g o f h i s own work on t h e p a r t o f t h e
couple.
And t h e i r a t t i t u d e s t o a r t and t h e w o r l d ,
t h e i r human q u a l i t i e s and c o n d u c t of l i f e w e r e so
c o n g e n i a l t o Webern t h a t t h e a c q u a i n t a n c e s o o n
r i p e n e d i n t o f a s t f r i e n d s h i p - i n t o mutual unders t a n d i n g t o the u l t i m a t e degree.4
Very l i t t l e
i s known a b o u t H i l d e g a r d J o n e ' s l i f e
and
works
e x c e p t i n c o n n e c t i o n w i t h t h e l a t e r v o c a l music of A n t o n
Webern.
From h e r p o e t r y t h a t i s a v a i l a b l e we
can
ascertain
t h a t t h e s t r o n g e s t s p i r i t u a l bond b e t w e e n h e r and t h e
J o s e f P o l n a u e r , i n p r e f a c e t o L e t t e r s t o H i l d e g a r d Jone
and J o s e p h H u m p l i k . ( B r y n Mawr: T h e o d o r e P r e s s e r Company,
1 9 6 7 ) , p. 7.
c o m p o s e r was
i n t h e i r m u t u a l l o v e of n a t u r e
expressionistic
connection t o the
present.Webern
of c a r e and
"reality
and i t s
behind
f o l l o w e d her poetry w i t h a great
p r e c i s i o n i n h i s m u s i c , t a k i n g no
s u c h a s t h e r e p e t i t i o n i n Op.
2.
I n Das
beginning
w i t h an u p p e r c a s e
commencement of a new
section.
s e c o n d c o m p l e t e s e c t i o n and
letter
The
Auqenlicht,
I n d i v i d u a l words are g i v e n a melodic
c l o s e t o the n a t u r a l spoken
Example
Op
2(p
mm
marking
the
each
the
bogen s t a r t s a t
ends w i t h the
deal
liberties
f o r m o f t h e m u s i c stems f r o m t h e poem i t s e l f • w i t h
line
the
the
penultimate.
contour
that i s very
inflection.
21
76-80
,
f
x
3
3
M e r r i l l K. B r a d s h a w , " T o n a l S t r u c t u r e i n t h e E a r l y Works
o f A n t o n Webern" ( u n p u b l i s h e d Ph.D. t h e s i s , U n i v e r s i t y o f
I l l i n o i s , 1 9 6 2 ) , p. 105.
The
musical
rhythm i s a l s o c l o s e r t o the
rhythm than i n the previous
The
instrumental
choral
natural
spoken
writings.
accompaniment i n Das
Augenlicht
i s more d i r e c t l y a s s o c i a t e d w i t h the c h o r a l p a r t than t h a t
of e i t h e r of h i s previous
choral pieces.
Although Webern
never r e l i e s on the technique of Klanqfarbenmelodie
or
melody of timbres i n h i s c h o r a l music as he d i d i n h i s
l a t e r , p u r e l y instrumental
t h i s compositional
the
device
works, there
i s some h i n t of
i n Das A u g e n l i c h t .
e s p e c i a l l y at
opening where there are many t i m b r a l c o n t r i b u t i o n s to
the melodic
Example
Op.
line.
22
I-
Pk.
€
mm
0b. * l
Mr, >»-»•
pi
By 1935, Webern had become f a m i l i a r with the Schoenbergian
technique of Sprechstimme i n which the v o c a l p a r t i s
a c t u a l l y spoken on an i n d i c a t e d p i t c h . Although he never
used t h i s technique as such i n h i s v o c a l w r i t i n g s , i t i s
apparent t h a t h i s i n t e n t i o n s were i n t h i s d i r e c t i o n as he
keeps as c l o s e as p o s s i b l e t o the i n f l e c t i o n and rhythm of
the spoken word when s e t t i n g t h i s t e x t to music.
For
t h e most p a r t , t h e
much i n t h e
instruments
same manner as i n t h e p r e v i o u s
except that the
instrumental
The
t h e v o c a l l i n e by
timbres
specific
present
f a m i l i a r technique
a p p e a r s i n a l l of t h e p o l y p h o n i c
26
Zwei L i e d e r .
t e x t u r e i n the
i s much more t r a n s p a r e n t .
Example
a r e e m p l o y e d i n Op.
i n octave
of
instance
echoing
transposition
s e c t i o n s of Op.
26.
23
Op.
9
36
*nrr\
37-3
>
9
ITT
3
4^-
3
A l s o the technique
of u s i n g
instruments
to
approximate
a p a r t i c u l a r v o c a l i n f l e c t i o n i s employed a g a i n ,
i n measure e i g h t y - o n e
on t h e word
"niedersenkt"
notably
Op.Zb
mm
Bl
4-
•—A
l_l
*
7&
vie. ,
and w i t h t h e s o l o c y m b a l
Example
on t h e l a s t word
25
Op. 2fe
r»m
"3-
Out
tot
m
totter),
113
of t h e
song,"gut."
The c h o r d a l
with the exception
s e c t i o n s of t h e w o r k a r e a l l a c a p e l l a
o f t h e one t h a t o c c u r s
t h e a r c h , where i n s t r u m e n t s
intensify
the dramatic
a r e u s e d t o augment
and s t r u c t u r a l
The p u r e l y i n s t r u m e n t a l
are
to
a t t h e apex of
and
importance.
s e c t i o n s , of w h i c h
s i x , are t o prepare the l e v e l
of excitement
there
that i s
f o l l o w i n t h e c h o r a l p a r t s , s u c h as t h e c h o r d a l
section
from measures s i x t y - f o u r t o s i x t y - n i n e w h i c h i s preceded
i n measure
level
s i x t y - o n e by an i n s t r u m e n t a l
of excitement
s e c t i o n of a h i g h
and f o l l o w e d i n measure
seventy-two
b y a much s h o r t e r one o f c a l m .
Example
26
The a c c o m p a n i m e n t u s e d by Webern i n Das
i s much more " t r a d i t i o n a l "
The o n l y i n s t r u m e n t
the present
fond
instance
t h a n t h e one f o u n d i n Op.
t h a t c o u l d be c o n s i d e r e d
i s the mandolin.
of t h e p e r c u s s i v e
Augenlicht
qualities
19.
unusual i n
Webern was
of a l l i n s t r u m e n t s
very
and
his
orchestrations
show t h e s e q u a l i t i e s a s w e l l
use
o f t u n a b l e and n o n - t u n a b l e p e r c u s s i o n i n s t r u m e n t s . I n
Op. 2 6 , t h e t y m p a n i , g l o c k e n s p i e l , x y l o p h o n e ,
celesta
as h i s wide
cymbal,
and h a r p a r e u s e d i n v a r i o u s c o m b i n a t i o n s and
registers
i n d i c a t i n g Webern's u n f a i l i n g i n t e r e s t
colors.
E x a m p l e 27
10'
mit Uamp/br
Jtrn
l^
1
J
mit Uampfor
^
A,
l
i=
rr".
—
r
T~~C-~
iff
'mit Sampfer
^
—
1
0
'
=
i n tone
I t c a n be c o n c l u d e d t h a t Webern h a s an a c u t e
awareness of t h e m u s i c a l a s s o c i a t i o n s a l r e a d y i n t h e
p o e t r y of H i l d e g a r d J o n e - i n t h e n a t u r a l
inflection
and
r h y t h m o f t h e w o r d s - and i n t h e s o u n d s o f t h e w o r d s
t h e m s e l v e s - w h i c h c o n t i n u e f o r t h e composer t o evoke
instrumental timbre associations.
accompaniment
to the text.
I n t h e melody,
and f o r m , t h e composer h a s c a t e r e d
entirely
CHAPTER I V
F i r s t Cantata
There
Op.
29
i s c o n s i d e r a b l y more i n f o r m a t i o n
available
c o n c e r n i n g t h e v a r i o u s a s p e c t s of Webern s l a s t
1
c h o r a l w o r k s , t h e C a n t a t a s Op.
29 and Op.
those pieces p r e v i o u s l y discussed i n t h i s
l a t e r works are mentioned
31, than f o r
paper.
1-
volume of d i e R e i h e w h i c h i s d e v o t e d e n t i r e l y
o
The
These
many t i m e s i n Webern's p u b l i s h e d
l e t t e r s t o H i l d e g a r d J o n e and J o s e p h Humplik-
and w o r k s .
two
and i n t h e
to his l i f e
most n o t a b l e f e a t u r e o f t h e s e d o c u m e n t s
is
the r e c u r r i n g mention of the c l o s e p e r s o n a l p h i l o s o p h i e s
of
J o n e and Webern w h i c h r e s u l t e d
b e t w e e n t h e t e x t and t h e
First
Op.
mention
i n the remarkable a f f i n i t y
music.
of t h e c o n c e p t i o n o f t h e C a n t a t a
29 i s f o u n d i n one o f t h e l e t t e r s f r o m Webern t o J o n e ,
Now l i s t e n t o t h i s : I am c o m p o s i n g ' K l e i n e r F l u g e r
A h o r n s a m e n s c h w e b s t im Winde . . . ' ( ' L i t t l e w i n g e d
s e e d of m a p l e , b o r n b y b r e e z e s . . . ' ) .
I t i s t o be
the key t o a s i z a b l e symphonic c y c l e f o r s o l o ,
A n t o n Webern, L e t t e r s t o H i l d e g a r d J o n e and J o s e p h
( B r y n Mawr: T h e o d o r e P r e s s e r Company, 1967.)
Humplik.
d i e R e i h e ( e d . ) H e r b e r t E i m e r t and K a r l h e i n z S t o c k h a u s e n .
( B r y n Mawr: T h e o d o r e P r e s s e r Company, 1 9 5 8 ) , v o l . I I .
o r c h e s t r a and c h o r u s , i n w h i c h more o f y o u r t e x t s
a r e t o a p p e a r . A s o r t o f symphony w i t h v o c a l
sections.3
H o w e v e r , he a p p a r e n t l y
c h a n g e d h i s mind a b o u t t h e s y m p h o n i c
aspects
on t h e e x c l u s i v e l y v o c a l
t o concentrate
instrumental
a c c o m p a n i m e n t ) c y c l e of- t h r e e movements.^
News o f t h e f i n a l
contained
(with
completion
o f t h e work i n e a r l y 1940 i s
i n the following l e t t e r
f r o m t h e same
collection,
The s c o r e o f my C a n t a t a , t h a t i s , t h e p a r t t h a t I
w o r k e d on l a s t , i s now f i n a l i z e d and f i n i s h e d once
and f o r a l l .
How I w o u l d l o v e t o show i t t o y o u .
How y o u r w o n d e r f u l w o r d s , d e a r H i l d e g a r d , have
become m u s i c a l ; ' C h a r i s d i e Gabe d e s H o c h s t e n : d i e
Anmut d e r Gnade e r g l a n z e t ' ( C h a r i t y , t h e g i f t o f
the h i g h e s t ; t h e grace of mercy s h i n e s f o r t h ' ) , o r
t h e p r e c e d i n g p a s s a g e 'und a u c h d i e b l a s s e r e m B i l d e r
zum S i e g e l d e s S p e c k t r u m s g e s c h m o l z e n ' ('and p a l e
i m a g e s t o o , m e l t e d i n t o t h e s e a l o f t h e s p e c t r u m ' ) ...
I have now h a d t o p u t t h i s p i e c e a t t h e end o f t h e
Cantata a f t e r a l l .
M u s i c a l l y i t h a d t o be a t t h e
ending.
I t was so i n t h e p l a n and i t h a s t u r n e d o u t
e x a c t l y so. M u s i c a l l y there i s not a s i n g l e centre
of g r a v i t y i n t h e p i e c e .
The h a r m o n i c c o n s t r u c t i o n
( r e s u l t a n t of t h e i n d i v i d u a l v o i c e s ) i s such t h a t
everything i s f l o a t i n g . ^
Concerning t h e s t r u c t u r e of t h e C a n t a t a ,
hand i n f o r m a t i o n , w i t h t h e e x c e p t i o n
concerning
the f i n a l
there
i s no
first-
of t h e l e t t e r t o Jone
movement.
A n t o n W e b e r n , L e t t e r s ... , p. 3 6 .
4
T h e r e a r e no e x c l u s i v e l y i n s t r u m e n t a l
published
•
movements i n t h e
e d i t i o n , U n i v e r s a l E d i t i o n s No. 1 2 1 9 7 .
5
A n t o n W e b e r n , L e t t e r s ... , p. 4 0 .
Now I w i s h t o t e l l you t h a t t h e ' C h a r i t e n ' a r e
finished!
The p i e c e was a l o t of work.
In
c o n s t r u c t i o n , i t i s a f o u r p a r t fugue: but t o
r e g a i n a l l t h e f r e e d o m of m o b i l i t y w i t h i n t h i s
s t r i c t n e s s - so t h a t t h e r e c a n be no q u e s t i o n of
f o r c i n g - was no e a s y t a s k .
So i n f a c t i t t u r n e d
i n t o something q u i t e d i f f e r e n t , a scherzo form t h a t
came a b o u t on t h e b a s i s of v a r i a t i o n s . B u t s t i l l a
fugue!
Now I am p r e p a r i n g t h e s c o r e .
That w i l l
t a k e some t i m e - I have t o o b t a i n a s o u n d more
m a n i f o l d , p e r h a p s , t h a n a n y t h i n g I have i m a g i n e d
hitherto.
T h a t done, t h e C a n t a t a w i l l be c o m p l e t e .
I t h i n k t h e ' C h a r i t e n ' w i l l h a v e t o be t h e f i r s t
^
p i e c e f o r m u s i c a l r e a s o n s but a l s o f o r t e x t u a l ones.
A r e n ' t t h e ' l i t t l e w i n g s ' and ' L i g h t e n i n g and
t h u n d e r ' answering the q u e s t i o n s posed i n the
' C h a r i t e n ' v e r s e s , dear H i l d e g a r d ?
Aren't they
s a y i n g what i s i m p l i e d b y t h e l a t t e r , b y t h e s o u n d ,
t h e 'word', t h e ' s e a l o f t h e s p e c t r u m ' ? Of c o u r s e
t h e ' C h a r i t e n ' a r e composed on t h e b a s i s o f t h e same
s e q u e n c e o f t w e l v e n o t e s as t h e o t h e r two p i e c e s , t h e
s e r i e s w h i c h , as I h a v e a l r e a d y t o l d y o u , h a s t h e
p e c u l i a r i t y t h a t t h e s e c o n d s e t of s i x n o t e s , i s . , i n . . i t s
i n t e r v a l s , t h e backwards i n v e r s i o n of t h e f i r s t s e t ,
so t h a t e v e r y t h i n g t h a t o c c u r s c a n be t r a c e d b a c k t o
t h e s e q u e n c e of s i x n o t e s .
E v e r t h e same: w h e t h e r
i t ' s t h e ' b l i s s f u l s t r i n g s ' , t h e 'charm of m e r c y ' ,
t h e ' l i t t l e w i n g s ' , t h e ' l i g h t e n i n g of l i f e ' , o r t h e
' t h u n d e r of t h e h e a r t b e a t ' .
Surely i t i s evident from
t h i s how w e l l t h e m u s i c and t h e t e x t c a n be b u i l t i n t o
t h e same s e q u e n c e . And m u s i c a l l y , i t i s j u s t t h e same.
And y e t , e a c h t i m e s o m e t h i n g q u i t e d i f f e r e n t ! '
Whereas t h e b a s i s f o r the
Das
Auqenlicht,
s t r u c t u r e of t h e
i s found i n the
s t r u c t u r e i s b a s e d on t h e
preceding
t e x t , i n Op.
unique overlap
and
29
work,
the
combination
E v i d e n t l y Webern's p l a n o f h a v i n g t h e " C h a r i t e n " v e r s e a t
t h e b e g i n n i n g of t h e work must h a v e u n d e r g o n e a f u r t h e r
r e v i s i o n as t h e p u b l i s h e d o r d e r of v e r s e s r e m a i n e d t h e same
as t h a t i n d i c a t e d i n the f i r s t l e t t e r t o H i l d e g a r d Jone
r e g a r d i n g t h e c o m p l e t i o n of t h e w o r k .
A n t o n Webern, L e t t e r s ...
, p.
39
qualities
of t h e t w e l v e - n o t e
i n the preceding
u s e d i n Op.
first
29
letter,
second
h a l f , the r e s u l t being that
form has
Retrograde-inversion
Example
A s Webern m e n t i o n s
half
of t h e
i s an e x a c t r e t r o g r a d e - i n v e r s i o n
of t h e O r i g i n a l
See
the
series.
29.
a certain
series
of
the
transposition
an i d e n t i c a l c o u n t e r p a r t i n t h e
form.
Op. 29
I.
SERIAL
Kantate
ANALYSIS
ROW-FORM
CHART
(I)
6
D#
B
G
E
b
9
10
11
F#
Bb
A
C
A
b
D
C#
E
C
b
C#
A.
3
Bb
h
#
5
D
C#
F
E
G
F#
F
A
Ab
B
F#
F
GP
G
B
B
G
Gb
A
Ab
C
B
D
F
E
G#
G
B
F#
F
A
A
E'
C
D#
D
F
C#
E
E
C#
A
C
B
D#
D
D
B
C#
C
E
E
b
7
b
b
B
b
b
B
12
b
F
G
6
(R)
(0)
B
G
B
C
G#
G#
10
b
A
C#
C
D#
D
B
Bb
D
c #
E
E
E
G
F#
A
C
B
A
F
G#
G
B
Bb
C#
C
11
F#
D
F
E
G#
G
B
b
12
Bb
F#
A
G#
C
B
D
B
b
p#
F
G
F
E
A
F
D
F
C#
E
Eb
F#
D
10
A
C#
C
Eb
B
11
C#
F
E
G
b
E
b
#
10
(RI
7
G#
E
11
b
12
8
12
Identical
s e r i e s a l s o occur
transpositions
The
is
o f t h e I n v e r s i o n and R e t r o g r a d e
choice
nature
i n the f i r s t
Cantata
than
time
i t was i n
I n Op. 2 6 , a t o n e - r o w s e r i e s i s e f f e c t e d
by a l l o w i n g t h e l a s t
first
forms.
o f r o w - f o r m t o be u s e d a t a g i v e n
e v e n more l i m i t e d
Das A u g e n l i c h t .
the
between t h e c o r r e s p o n d i n g
n o t e o f one t r a n s p o s i t i o n t o become
note of t h e succeeding
of t w e l v e - t o n e
one.
Because of t h e
music, t h i s r e s u l t s i n a choice
o f f o u r t r a n s p o s i t i o n s f o r u s e , one i n e a c h o f t h e row
forms.
I n the Cantata
Op. 2 9 , t h i s
serialization
r e s u l t s f r o m a l l o w i n g t h e l a s t two n o t e s
t i o n t o become t h e f i r s t
because of t h e i n t e r v a l
Further,
arrangement of t h e b a s i c s e t , t h e
n o t be c h a n g e d w i t h o u t
pre-determining
o f one t r a n s p o s i -
two o f t h e n e x t .
p a r t i c u l a r row f o r m u s e d a t t h e b e g i n n i n g
can
of rows
the order
o f e a c h movement
d e s t r o y i n g t h e p r i n c i p l e of
of tone-rows.
I n other
words,
9
O r i g i n a l must l e a d t o O r i g i n a l , I n v e r s i o n t o I n v e r s i o n .
Finally,
t h e i n t e r v a l s between t h e t r a n s p o s i t i o n s a r e such
t h a t a c y c l e o f f o u r t o n e - r o w s emerges, w i t h a p a r t i c u l a r
transposition
of a given row-form belonging
t o o n l y one
cycle.
^ O n l y t h e O r i g i n a l and I n v e r s i o n f o r m s o f t h e s e r i e s a r e
mentioned i n t h i s paper because of t h e i r d u p l i c a t i o n by
t h e R e t r o g r a d e - i n v e r s i o n and R e t r o g r a d e f o r m s r e s p e c t i v e l y .
Op. 29
E x a m p l e 29
I. Kantate
SERIAL
ANALYSIS
ROW-FORM
CHART
(I)
3
o)
D#
B
G
E
b
h
5
6
12
Bb
A
C
A
B
B
b
D
C#
E
C
F
G#
G
B
B
b
c#
A
G
Gb
A
A
C
B
D.
B
b
It
'F
E
G#
G
B
F#
5
F#
F
A
Ab
B
G
6
F
F#
F
A
A
F#
E
b
E
C
D#
D
It
F
C#
E
E
5
C#
A
C
B
D#
D
i-
D
B
C#
C
E
Eb
b
11
F#
C#
3
D
10
G
D
b
8
7
b
b
b
3
(R)
F#
F
G#
E
7
G
F#
A
F
8
D
F
C#
B
G
Bb
A
C#
C
D#
D
C
G#
B
Bb
D
C#
E
E
G#
E
G
F#
B
A
C
B
E
10
A
F
G#
G
B
B
C#
C
E
11
F#
D
F
E
G#
G
B
b
A
C#
C
E
12
Bb
F
G#
C
B
D
C#
F
E
G
1
#
2
| A
3
H
b
5
b
6
7
(RI)
b
b
E
b
10
F
#
b
11
D
10
B
11
E
b
12
12
In
t h e p r e c e d i n g e x a m p l e o n l y one c y c l e i s i l l u s t r a t e d ,
showing
that the f i r s t
t r a n s p o s i t i o n of the I n v e r s i o n
l e a d s t o the e i g h t h , which l e a d s t o the t e n t h ,
to
and t h e n
t h e e l e v e n t h which l e a d s back t o t h e f i r s t .
c y c l e s c a n be s e e n i n t h e s e c o n d , t h i r d , f i f t h
t r a n s p o s i t i o n s and i n t h e f o u r t h ,
transpositions.
sixth,
Further
and t w e l f t h
s e v e n t h and n i n t h
T h e s e c y c l e s a l s o o c c u r b e t w e e n t h e same
t r a n s p o s i t i o n s of t h e O r i g i n a l
form, g i v i n g
a total
of s i x
c y c l e s o r r o w - s e r i e s t h a t c a n be u s e d .
A n o t h e r p e c u l i a r f e a t u r e o f t h e p r e s e n t row,
b e s i d e s i t s m i r r o r image c h a r a c t e r i s t i c
outlined
above, i s
t h a t i t c o n t a i n s no m e l o d i c i n t e r v a l s o t h e r t h a n t h e m i n o r
second, minor t h i r d
be d i v i d e d
and m a j o r
i n t o f o u r segments,
t h r e e i n t e r v a l s mentioned
third.
The row may
further
each c o n t a i n i n g a l l of t h e
above.
The p e r f e c t f i f t h
which
o c c u r s b e t w e e n t o n e t w e l v e and t o n e one o f any g i v e n
t r a n s p o s i t i o n i s never used as a m e l o d i c e n t i t y because of
the
cyclic
p r i n c i p l e mentioned
above.
The F i r s t C a n t a t a c o n s i s t s o f t h r e e c o n t r a s t i n g
movements w h i c h a r e c o n n e c t e d t e x t u a l l y a s Webern s u g g e s t s ,
r a t h e r than f o r m a l l y , m e l o d i c a l l y or r h y t h m i c a l l y .
The
t e x t d i s c u s s e s v a r i o u s phenomena o f n a t u r e : i n t h e f i r s t
movement, t h u n d e r and l i g h t n i n g " ^ ;
Zunden (measure
i n t h e second t h e
f o u r t e e n ) and Donner ( m e a s u r e
twenty-six).
r e p r o d u c t i v e c y c l e o f t h e m a p l e t r e e and i n t h e t h i r d ,
the
metamorphosis
of the Graces.
I n e x p l a i n i n g what she
meant be " G r a c e s , " t h e p o e t e s s s a y s
... a b o v e a l l , i t means i n f i n i t e l y more t h a n s o m e t h i n g
not q u i t e r e c o n c i l a b l e w i t h complete s e r i o u s n e s s . F o r
g r a c e i t s e l f c a n be a l l t h a t i s p u r e s t and d e e p e s t i n
the s e r i o u s n e s s of l i f e , n o t o n l y t h e b r e a t h of b e a u t y
i n what i s w e l l and w h o l e , b u t a l s o i n t h e h e a l i n g o f
. t h e wound, and t h e c h e e r f u l a c c e p t a n c e o f t h e wound
t h a t c a n n o t be h e a l e d . B u t t h e m u s i c ... i s no o t h e r
than t h e s p a r k l e of t h e grace of Grace
...ii
Structurally,
t h e o p e n i n g movement o f t h e F i r s t
C a n t a t a i s m o d e l l e d a f t e r Das A u g e n l i c h t w i t h t h e
i n s t r u m e n t a l and c h o r a l
ing
sections alternating
i n the follow-
manner:
H i l d e g a r d J o n e , "A C a n t a t a " i n d i e R e i h e , ( e d . ) H e r b e r t
E i m e r t and K a r l h e i n z S t o c k h a u s e n . ( B r y n Mawr: T h e o d o r e
P r e s s e r Company, 1958). v o l . I I , p. 1.
E x a m p l e 30
•finstrumental
I
choral
5
instrumental
|
choral
j
instrumental
choral
9 _
instrumental
I n t h e p r e c e d i n g ' - e x a m p l e i t c a n be n o t i c e d
sections
(with the exception
that the
of t h e two-measure
m e n t a l p a r t a t m e a s u r e s t h i r t y and t h i r t y - o n e )
progressively
s h o r t e r toward the c e n t r a l
fashion
of t h e b a s i c
derived
from the c o n s t r u c t i o n
s e t , t h e y become l o n g e r
become
instrumental
s e c t i o n , measures t w e n t y - t h r e e t o t w e n t y - f i v e
a mirror
instru-
where, i n
principle
toward t h e end.
Further
structural
homorhythmic
similarities
c a n be s e e n b e t w e e n t h e
s e c t i o n s o f Das A u g e n l i c h t
of t h e e n t i r e f i r s t
and t h e v o c a l
movement o f t h i s F i r s t
part
Cantata
E x a m p l e 31
Op.2(o
mm
Op
tO-2i
'
.
No.l
rwm
70-
Zi
»
I
7 t
^?
j
In both compositions
'
l
J
l
3^
t h e v o i c i n g of t h e f o u r
simultaneous
t r a n s p o s i t i o n s r e s u l t s i n a harmony t h a t h a s now become a
f a v o u r i t e choral device
o f A n t o n Webern.
In the
Cantata.
however, t h e c h o i c e
o f row f o r m i s s u c h t h a t a t a n y
time there
s i x possible four-note
are only
given
structures.
*q
Op
mm
Mo. I
5et»r«n» oio A
Chord*
A
i
f
A
h
14-
8
G
B
b
zt,
C*C
l
i
I
i
I
0
i
P
P
6 * G
B
C
1
u s e t h e same t o n e r o w s , t h i s r e s t r i c t i v e c h o r d
there
*
k
C
C*
A t "
choice
as w e l l a l t h o u g h i n t h e former
i s o f t e n a one-beat d i f f e r e n c e i n t h e time of e n t r y .
Referring
back t o example t h i r t y - t w o , i t i s n o t i c e d
r e v e r s a l process derived
p l e of t h e b a s i c
from the c o n s t r u c t i o n
s i x successive
This
princi-
r e v e r s a l i s extended
c h o r d s i n measure t h i r t y - t w o .
E x a m p l e 33
'
that
set occurs a l s o i n the chord s e l e c t i o n ,
A-B-A, C-D-C, E-B-E and F-D-F.
to
F*
sections alternate with the vocal
c a r r i e s over t o t h e i r part
the
£k
« 4 C D C » T © e P D P
Because the i n s t r u m e n t a l
and
f
Op. 29
Ale. I
Soprano
B
/Alt©
G
Tenor
A
B«<$
p
cwonrfs
h
c
i
mm
b
p
32-^4
a
C**
IT
P*
E*> IT
C*
0
Bb
B
0
C*
F
p
B
C
tr
tr
r
C
F
.
c
i
The
o n e - b e a t d i f f e r e n c e i n t i m e of e n t r y m e n t i o n e d
a l s o occurs
i n the v o c a l p a r t s .
I n measures s i x t e e n ,
seventeen, twenty-seven, twenty-eight
tenor
and
b a s s sound one
This c h a r a c t e r i s t i c
the
lower
"A"
s e c t i o n s of t h e f i r s t
The
first
two
instrumental
i n t r o d u c t i o n and
t h a t are
i n the
a t any
one
transparent
instrumental
s e l e c t e d to y i e l d the
postlude
and
(See
tone-
nineteen).
instrumental
time,
resulting
doubling
the
i n an e x t r e m e l y
With the
exception
timbres
of
varied
the
of t h e v o i c e p a r t s i n m e a s u r e
explosive effect
o f , and
eighteen
adds a n o t h e r
d i m e n s i o n t o the word " s c h l u g , " the c h o r a l
in
i n h e r e n t p a r t o f t h e f o r m and
as an
a d d i t i o n of t h e
c o n t i n u i n g the
particular
combined
a l s o example
As
29
the
six vertical
are a c a p e l l a .
Op.
to
s c o r e , Webern n e v e r u s e s more t h a n s i x of
texture.
which heightens
coloristic
the
auf
s i x notes from four
there are f i f t e e n d i f f e r e n t
indicated
upper
...
s t r u c t u r e s mentioned above.
Although
alto.
the
choral piece, E n t f l i e h t
movement c o n t a i n h o m o p h o n i c , c a n o n i c
row-series
and
s o p r a n o and
v o i c e s i s a prominent f e a t u r e of
homophonic-canonic s e c t i o n s using
these
t h i r t y - t w o the
of h o m o p h o n i c a l l y a r r a n g i n g
and
l e i c h t e n Kahnen
and
beat a f t e r the
two
above
i n Das
Augenlicht,
color-dimension,
effect
level
the
instruments
for
the
either previewing
or
parts
are
of a w o r d - s o u n d , o r i n t r o d u c i n g a
of t e n s i o n and
excitement.
use
E x a m p l e 34
© > * < t . No.I
*n*4C;;?4.
4
1
m
=5*
Because
second
The
o f i t s f l o w i n g and l y r i c a l . n a t u r e , t h e
movement s e r v e s a s a g r e a t c o n t r a s t
t e x t i s p r e s e n t e d by t h e v o i c e
phrases
of e i t h e r t e n or t w e l v e
instances,
i n quite
syllables.
to the f i r s t .
regular
I n t h e former
t h e tone-rows a r e s e r i a l i z e d by a two-note
overlap;
i n the l a t t e r ,
similar to that
no o v e r l a p o c c u r s .
of t h e f i r s t
movement and may
as f o l l o w s :
Example
35
instrumental
s o l o soprano
instruments
^instrumental
Si-
s o l o soprano
instruments
^instrumental
s o l o soprano
instruments
"I
The
instrumental
be
form i s
outlined
In t h i s movement the mirror form which a g a i n i s d e r i v e d
from the c o n s t r u c t i o n p r i n c i p l e of the b a s i c
set, i s
much more symmetrical than t h a t of the f i r s t
movement.
M e l o d i c a l l y , the e n t i r e movement i s based on a
now-familiar f o u r note motive found i n measures s i x and
seven, which appears i n t r a n s p o s e d , i n v e r t e d ,
retrograde,
and v e r t i c a l l y expanded
and c o n t r a c t e d forms, much i n
keeping w i t h the t e x t .
One might imagine seeing a myriad
of maple l e a v e s , each b a s i c a l l y the same, but seen " i n
different lights,
showing
d i f f e r e n t c o l o r s and from
12
d i f f e r e n t a n g l e s showing d i f f e r e n t
shapes."
The treatment of the t e x t i n regard t o the n a t u r a l
spoken rhythm i s not as exact as one might expect from
the i n c r e a s i n g a t t e n t i o n p a i d t o t h i s
compositional
aspect i n Op. 2, Op. 19, and Op. 26.
Although the rhythm
approximates the n a t u r a l spoken rhythm i n the second
movement of the Cantata - w i t h the longer notes o c c u r r i n g
on the a p p r o p r i a t e dipthongs, and r e s t s o c c u r r i n g a t the
end of the spoken phrase - the v o c a l l i n e appears t o be
12
Wallace C. McKenzie, "The Music of Anton Webern"
(unpublished Ph. D. t h e s i s , North Texas State C o l l e g e ,
I960), p. 438.
d i c t a t e d by the metamorphosis of the f o u r - n o t e motive
r a t h e r than by the n a t u r a l i n f l e c t i o n of the words.
Example 36
Op^R
St.
No,
m m
U-H
1*11 IT h i
Waim^Ti
Klei 1
ner
Flii
<*H
A - how- i& - men
'
«eWbd* iw
•
The i n s t r u m e n t a l
Vlin-de
1
-
WvJW deck MI d
'
-
accompaniment t o the c e n t r a l
movement of the F i r s t Cantata i s c o n s t r u c t e d
from four
simultaneous statements (but not homorhythmic) statements
of the s e r i e s w i t h the emphasis on the h o r i z o n t a l
than the v e r t i c a l aspects of r e a l i z a t i o n .
mental i n t r o d u c t i o n presents three
rather
The i n s t r u -
different
compositional
i d e a s : a two note motive ( l a b e l l e d " a " ) , a f o u r note
motive i d e n t i c a l i n s t r u c t u r e with that of the v o c a l
(labelled
"b") and a three
constructed
Example 37
line
note chord ( l a b e l l e d " c " ) ,
by a p e r f e c t f o u r t h and an augmented
fourth.
As
i n the f i r s t
movement t h e c h o i c e
of t r a n s p o s i t i o n i s
such t h a t a t any t i m e
t h e same numbered n o t e i n t h r e e
t r a n s p o s i t i o n s occurs
s i m u l t a n e o u s l y , t h e same c h o r d a l
structure results.
The i n s t r u m e n t a l p o r t i o n o f t h i s
movement i s n o t c a n o n i c
i n the t r a d i t i o n a l
sense, i n t h a t
the three compositional
aspects
as t h e b a s i s
are
employed i n a d i f f e r e n t
lines.
t h a t serve
o r d e r by e a c h o f t h e f o u r
When t h e v o i c e e n t e r s i n measure s i x i t p r o c e e d s
t h r o u g h o u t t h e movement w i t h i t s own r o w - f o r m s , and i s
n e i t h e r connected t o nor shares
as d i d t h e p o l y p h o n i c
song o f Op. 1 9 .
is
a row w i t h t h e i n s t r u m e n t s
s e c t i o n s o f Op. 26 and t h e s e c o n d
The t e c h n i q u e
of i n s t r u m e n t a t i o n , however,
t h e same a s m e n t i o n e d a b o v e , t h a t i s , t o b o t h
the v e r t i c a l
color.
d i m e n s i o n o f t h e p i e c e and t o add
For the f i r s t
time
paper there i s a s p e c i f i c
passing
i n this
use of K l a n q f a r b e n m e l o d i e
r a r e l y h a s more t h a n
i nthe
f o l l o w s t h e spoken phrase)
throughout the various instruments,
phrase.
another
i n t h e works d i s c u s s e d
of t h e tone-row (which
instrument
increase
so t h a t a s i n g l e
one o r t w o n o t e s
of t h a t
ample 38
The
final
movement of t h e F i r s t C a n t a t a
Webern's r e t u r n t o t h e more f a m i l i a r
marks
canonic idiom
s e r v e s as a b a s i s f o r h i s e a r l i e r c h o r a l w o r k s .
movement, h o w e v e r , t h e c a n o n i c t r e a t m e n t
which
In
i s again
this
unique.
A s Webern's t o n e - r o w s become synonymous w i t h m e l o d i c
he r e l i e s l e s s
and
of
the term.
in
every sense.
less
I n Op.
on t h e t r a d i t i o n a l
interpretation
2 the canonic w r i t i n g
i s traditional
I n Op.
19 t h e r h y t h m i c and
s i m i l a r i t i e s between the v o i c e s are s t i l l
dependent w i t h the tone-row.
canonic w r i t i n g
each
i s not t r a d i t i o n a l
refined
13
i n t h a t each
be c a l l e d
similar
row-forms.
qualities
T h i s use
i n the
inter-
26, however, t h e
i n the second
rhythmic pattern.
h o w e v e r , i t may
inherent
not
h a v e t h e same t i m e v a l u e .
p r e s e n t work, e s p e c i a l l y
own
I n Op.
melodic
i s s u c h t h a t t h e same numbered t o n e s
row-statement
their
lines
In the
movement, t h e
of t h e f o u r l i n e s
canon
have
In the author's o p i n i o n ,
a pitch-canon
because of t h e
of t h e f o u r h o r i z o n t a l l y
of p i t c h - c a n o n i s e x p l o i t e d
succeeding
of
treated
and
composition.
From t h i s p o i n t i n h i s c h o r a l w o r k s , Webern was t o e m p l o y
two t y p e s of c a n o n i c w r i t i n g , t h e t r a d i t i o n a l and a t y p e
t h a t d e p e n d e d o n l y on t h e n o t e s of t h e t w e l v e - t o n e row f o r
its realization.
T h i s l a t t e r t y p e i s r e f e r r e d t o as a
p i t c h canon.
The s t r u c t u r e o f t h e t h i r d
work i s s i m i l a r t o t h a t
o f t h e o t h e r two and may
o u t l i n e d as f o l l o w s :
Example
39
choral &
instrumental
instrumental
en
*"3
movement o f t h e p r e s e n t
choral &
'instrumental
instrumental
choral &
instrumental
•a.
instrumental
be
and
c h o r a l - i n s t r u m e n t a l s e c t i o n s , t h e random l e n g t h
does
not
d e f i n e a m i r r o r form as i s t h e case i n t h e p r e v i o u s
two
movements.
C o n c e r n i n g t.he s t r u c t u r e o f t h i s movement
and
the f i t t i n g
together
o f t h e t e x t and t h e m u s i c ,
H i l d e g a r d J o n e makes t h e f o l l o w i n g
observations:
Webern w i s h e d t o have no c e n t r e o f g r a v i t y i n t h i s
piece.
The h a r m o n i c s t r u c t u r e l e a v e s e v e r y t h i n g
i n a s t a t e of suspense.
'She comes i n d a r k n e s s ' ;
a d a r k n e s s made d e e p e r b y t h e m u s i c ; t h i s g i f t
i n d e e d must come f r o m a b o v e and be s h i n i n g b r i g h t
t o be s e n s e d a s a g i f t a t a l l .
'In darkness, the
r i p e n i n g h e a r t ' s g i f t ' c a n o n l y do good w i t h l o v e
f u l l of grace.
Y e s , l o v e i s t h e 'dew o f p e r f e c t i o n '
( d e r Tau d e r V o l l e n u n g ).
As
m e n t i o n e d , Webern h i m s e l f
d e s c r i b e d t h e movement
as a f o u r v o i c e fugue w i t h i n w h i c h a r e c o n t a i n e d
certain
15
qualities
again
of a scherzo
and v a r i a t i o n s .
Melodically, the f i n a l
movement o f t h e C a n t a t a i s
d i f f e r e n t from anything
f o u n d i n Webern's p r e v i o u s
c h o r a l music.
The f i r s t o f t h e c h o r a l s e c t i o n s i s a two
v o i c e canon a t t h e t i m e d i s t a n c e
The
of f i v e q u a r t e r
notes.
two v o i c e s , h o w e v e r , a r e p a s s e d among a l l f o u r
lines.
There a r e t h r e e
choral
s t a t e m e n t s of t h e O r i g i n a l form
o f t h e row u s e d i n e a c h o f t h e c a n o n i c
v o i c e s and t h e s e
are
technique
interconnected
by t h e n o w - f a m i l i a r
of tone-
H i l d e g a r d J o n e , "A C a n t a t a " i n d i e R e i h e , ( e d . ) H e r b e r t
E i m e r t and K a r l h e i n z S t o c k h a u s e n . ( B r y n Mawr: T h e o d o r e
P r e s s e r Company, 1 9 5 8 ) , v o l . I I , p. 7.
A n t o n Webern, L e t t e r s ... , p. 39.
row
serialization.
The s e c o n d c h o r a l s e c t i o n ,
a t measure t h i r t y - n i n e a g a i n
starts
beginning
o u t as. a two v o i c e
canon, o n l y t h i s t i m e t h e e n t r i e s a r e an e i g h t h
apart
note
and b o t h t h e O r i g i n a l and I n v e r s i o n f o r m s a r e u s e d .
I n measure f o r t y - n i n e t h e c a n o n e x p a n d s t o f o u r v o i c e s b u t
continues
t o e m p l o y t h e same r o w - f o r m s and t i m e
The
c h o r a l part begins
third
fifty-seven.
a s a s o p r a n o s o l o i n measure
T h i s l e a d s t o a f o u r v o i c e c a n o n i n measure
sixty-four that i s patterned
forty-nine.
interval.
a f t e r t h e one i n measure
A t measure s i x t y - f i v e and s i x t y - s i x t h e r e i s
a f o u r v o i c e homorhythmic p a r t i n which f o u r t r a n s p o s i t i o n s
o f t h e t o n e - r o w ( t w o O r i g i n a l and t w o I n v e r s i o n )
simultaneously,
resulting
proceed
i n t h e same c o n t r o l l e d v e r t i c a l
a g g r e g a t e s t h a t were f o u n d i n t h e f i r s t
movement ( S e e
example t h i r t y - t w o ) .
The
instrumental
a c c o m p a n i m e n t i s much more c l o s e l y
i n t e g r a t e d w i t h t h e c h o r a l p a r t i n t h i s movement t h a n i n
the
other two, w i t h t h e v o c a l l i n e s doubled i n a l l but t h e
final
nine measures.
I t i s interesting
t o note t h a t i n a l l
of h i s c h o r a l p i e c e s t h a t c o n t a i n t h e c o n t r o l l e d v e r t i c a l
aggregates,
Webern p r e s e n t s
the vocal doubling
them unaccompanied.
p r e v i o u s l y mentioned, there
Besides
i s one
s t a t e m e n t o f t h e row w h i c h i s c o n f i n e d t o t h e i n s t r u m e n t a l
lines.
As i n t h e other
c h o r a l works t h a t have accompani-
ments, t h e f u n c t i o n of t h e i n s t r u m e n t s
h e r e i s t o add
a n o t h e r d i m e n s i o n t o t h e sound,
and t o v e r t i c a l l y
b y o c t a v e s t h e shape o f t h e v o c a l l i n e .
extend
The i n s t r u m e n t a l
t e x t u r e i s much t h i c k e r i n t h e p r e s e n t movement t h a n i t
was i n t h e p r e v i o u s t w o , w i t h t h e e m p h a s i s on t h e u n u s u a l
and
unique
c o m b i n a t i o n s of t i m b r e s .
n o t e c h o r d i n measure t w e n t y - s e v e n
c l a r i n e t , trombone, c e l e s t a
The
F o r example, a s i x i s p l a y e d by a bass-
(two n o t e s ) , v i o l i n
t e c h n i q u e of K l a n g f a r b e n m e l o d i e
i s carried to
new h e i g h t s i n t h i s movement a s w e l l ; t h e v o c a l
doublings a r e passed
and c e l l o .
line
among a l l t h e i n s t r u m e n t s , e a c h o f
w h i c h n e v e r h a s more t h a n s i x n o t e s o f t h e s e r i e s .
single
The
s e r i e s t h a t i s c o n f i n e d t o t h e o r c h e s t r a i s passed
among t h e i n s t r u m e n t s e v e n more
freely.
A s i n t h e p r e v i o u s t w o movements, t h e r h y t h m
t e x t i s t o Webern a most i m p o r t a n t a s p e c t .
limited
of t h e
Because of t h e
number o f m e l o d i c i n t e r v a l s , m o s t l y s e c o n d s and
s e v e n t h s , t h e n a t u r a l v o c a l i n f l e c t i o n i s somewhat
exaggerated
melodic
and a t t i m e s e n t i r e l y d e s t r o y e d b y t h e a n g u l a r
line.
E x a m p l e 40
Op.
No.3
mm
f8-t>0
It
i s the author's opinion
t h a t Webern was more
interested
i n t h e p a r t i c u l a r sound o f t h e moment, t h e e x p r e s s i o n i s t i e
ideal
of r e p r e s e n t i n g
following
than i n
t h e sound o f t h e s p o k e n word w h i c h i n t r i g u e d h i m
in his earlier
exploited
r e a l i t y beneath the surface,
choral
t o the f u l l
composition.
works.
This s h i f t
i n emphasis i s
i n h i s n e x t and l a s t
choral
CHAPTER V
Second C a n t a t a
The l a s t
Cantata
in
Op.
Op.
31
c o m p l e t e d work b y Webern, t h e S e c o n d
3 1 , was b e g u n i n 1941 and f i n i s h e d
i n 1943.
t h i s work t h e r e a r e s e v e r a l c h a r a c t e r i s t i c s w h i c h a r e
not p r e s e n t
i n h i s e a r l i e r works.
l o n g e s t of h i s c h o r a l p i e c e s . ^
First,
i t i s the
Second, i t i s t h e o n l y
work of h i s e n t i r e c o m p o s i t i o n a l c a r e e r t h a t c a l l s f o r
t h e male v o i c e as s o l o .
s p e c i f i e s a women's
While
working
T h i r d , i t i s t h e o n l y work w h i c h
chorus.
on t h i s c o m p o s i t i o n ,
some r e s p e c t s r e p r e s e n t s a d i s t i l l a t i o n
accumulated
a piece that i n
of a l l p r e v i o u s l y
s t y l i s t i c i n n o v a t i o n s , t h e composer wrote
r e p e a t e d l y t o b o t h H i l d e g a r d J o n e and D r . W i l l i
Reich
about h i s p r o g r e s s .
2nd. March
1941,
In a l e t t e r t o Jone, dated
t h e r e i s a n i n d i c a t i o n t h a t Webern was a b o u t t o
b e g i n a new c h o r a l p i e c e and a l s o a s t a t e m e n t
criteria
over
of t h e
upon w h i c h he b a s e s h i s c h o i c e o f a c h o r a l work
any o t h e r m u s i c a l
medium.
I n a l e t t e r t o W i l l i R e i c h d a t e d 2 2 n d . F e b r u a r y 1944,
Webern m e n t i o n s " D u r a t i o n - h a l f a n h o u r " .
The i n d i c a t i o n
i n t h e score i s f o r a d u r a t i o n of s i x t e e n minutes.
The
R o b e r t C r a f t r e c o r d i n g i s a b o u t t e n and o n e - h a l f m i n u t e s
in length.
P l e a s e u n d e r s t a n d me c o r r e c t l y : I h a v e n e v e r gone
out l o o k i n g ( a s i t w e r e ) f o r a ' t e x t ' w i t h t h e
i n t e n t i o n of w r i t i n g something v o c a l (a song, a
choral piece etc.).
I t was n e v e r t h u s ; t h e t e x t
was a l w a y s p r o v i d e d f i r s t !
G i v e n a t e x t , t h e n of
c o u r s e , s o m e t h i n g v o c a l s h o u l d r e s u l t ... t h e
F e l d p o s t p a c k e n had a r r i v e d and w i t h t h a t , much
was a l r e a d y d e c i d e d .
So when I s a y I c a n ' t w a i t
t o see y o u r new w o r k , t h a t i s p u r e l y f o r t h e s a k e
of y o u r work and f o r no o t h e r r e a s o n .
Then, of
c o u r s e , how b e a u t i f u l i t i s when t h i n g s t u r n o u t
r i g h t onee more; b u t t h a t c a n n o t and must n o t be
t h e d e t e r m i n i n g f a c t o r f r o m t h e word g o , and i t i s
n o t ! ... B u t I have t o a d m i t : I v e r i l y b e l i e v e t h a t
y o u r poem ' F r e u n d s e l i g i s t d a s W o r t ' ( ' C h a r i t y i s
t h e word') i s once more s o m e t h i n g f o r me.2
Many more o f Webern's
letters talk
work and i t i s i n t e r e s t i n g
of t h e p r o g r e s s
t o n o t e t h a t he composed t h e
movements i n r e v e r s e o r d e r , t h u s , t h e f i n a l
f o r m r e m a i n e d n e b u l o u s f o r some t i m e .
reached
of t h e
H i l d e g a r d J o n e on t h e 2 8 t h
completed
News o f
of J a n u a r y
completion
1944.
Now I h a v e t o r e v e a l t o y o u t h e f o l l o w i n g :
I was
w o r k i n g v e r y i n t e n s i v e l y on ' K l e i n e r s i n d G o t t e r
g e r w o r d e n ...' ('Gods h a v e g o t s m a l l e r ' ) - I t o l d
you r e c e n t l y t h a t t h i s was t o be t h e n e x t p i e c e ,
t h e f o u n d a t i o n s w e r e a l r e a d y l a i d - when s u d d e n l y
I f e l t w i t h a b s o l u t e c e r t a i n t y - f a i n t h i n t s of i t
had b e e n e v i d e n t a c o u p l e o f t i m e s b e f o r e - t h a t
t h i s w o r k was m u s i c a l l y c o m p l e t e i n t h e s i x f i n i s h e d
pieces!
I was s t i l l h e s i t a n t , b u t I q u i c k l y a r r i v e d
at a f i n a l d e c i s i o n t o group these f i n i s h e d p i e c e s
together i n t o a 'Cantata'.
A l l t h a t was n e c e s s a r y
was a s l i g h t r e p o s i t i o n i n g ( a s a g a i n s t t h e o r d e r
o r i g i n a l l y planned) - f o r musical reasons, but a l s o
f o r r e a s o n s c o n n e c t e d w i t h t h e d i s p o s i t i o n of t h e
text.
The r e s u l t s a t i s f i e s me i n a l l r e s p e c t s .
Now l o o k a t t h e o r d e r ; i s n ' t i t b a s i c a l l y a ' M i s s a
Brevis'?
A n t o n W e b e r n , L e t t e r s ...
, p. 4 3 .
1)
'Schweight such d i e Welt ...'
(Though i t i s s t i l l ' )
(Bass S o l o ) , I s n ' t
that a Kyrie?
2)
'Sehr t i e f v e r h a l t e n '
(Deep down the inner l i f e ' )
(Bass Solo) : the 'Gloria
i n e x c e l s i s deo' of the
q u i t e around the beehive
at home!
3)
'Schopfen aus Brunnen des
Himmels ...'
(Drawing the Word's most
f r e s h water')
(Female chorus w i t h
soprano solo.) I s n ' t
that a Credo?
4)
' L e i c h t e s t e Burden der Baume'
(Bearing the t r e e ' s l i g h t e s t
burdens')
(Soprano Solo)
and
5)
' F r e u n d s e l i g i s t das Wort'
('-Charity i s the Word')
(Soprano Solo and mixed
chorus) a 'Benedictus
qui v e n i t i n nomine
domine' and 'Sanctus'?
Is not t h a t 'blessed' which the wind bears through the
'spaces': the ' f r a g r a n c e s ' , the 'gentle shape'? And
h o l y , h o l y i s 'the word' which knows of ' a l l t h a t i s
thine'?
Holy, h o l y : 'doch wenn es wieder a u f k l i n g t i n
der Morgenfruhe' ('and y e t i t sounds out i n the dawn
again') f i n a l l y :
6)
'Gelockert aus dem Schosse ...' Chorus: 'Agnus d e i '
('It was a womb t h a t bore him') the 'Lamb of God.'
I r e a l l y b e l i e v e that my s e l e c t i o n d i s p l a y s
The
the
cohesion...
3
above i n d i c a t e s t h a t the Mass i s the b a s i s f o r
ordering
of movements.
In a l l t h e movements, formal
d i d i n the F i r s t Cantata,
of t h e tone-row.
cohesion
r e s u l t s , as i t
from the overlapping
qualities
Whereas i n the previous Cantata
where
s e r i a l i z a t i o n of tone-rows y i e l d s c y c l e s of f o u r rows, i n
I b i d , p. 52.
t h i s p i e c e t h e s e r i a l i z a t i o n b y t h e same t w o - n o t e
y i e l d s f o u r c y c l e s of t w e l v e rows.^
particular
this
s e r i a l i z a t i o n p r i n c i p l e as t h e b a s i s f o r t h e
s e c o n d and t h i r d
of
Webern u s e s
overlap
the f i f t h ,
and
movements.
In the f i r s t ,
fourth,
parts
s i x t h movements, a s e r i a l i z a t i o n
of
rows by t h e o v e r l a p of a s i n g l e note a p p e a r s , r e m i n i s c e n t
of
t h e t e c h n i q u e u s e d i n Das A u g e n l i c h t .
of
the f i f t h
the
of
In other sections
movement, an o v e r l a p of t h r e e n o t e s o c c u r s i n
c o n n e c t i o n of t h e soprano s o l o l i n e t o t h e soprano
the chorus.
In
the f i r s t
movement, w h i c h f o l l o w s no
pre-defined
f o r m and w h i c h u s e s o n l y t h e t w e l f t h t r a n s p o s i t i o n
of
of e a c h
t h e f o u r r o w - f o r m s , Webern u s e s a u n i q u e method o f
variation.
ted
line
A l l t h e m e l o d i c and h a r m o n i c
i n the f i r s t
t w e l v e measures.
elements are presen-
They t h e n u n d e r g o
two
s e p a r a t e r h y t h m i c v a r i a t i o n s i n measures t w e l v e t o twentyf i v e and t w e n t y - s i x t o f o r t y - f o u r .
The c o d a , m e a s u r e s
f o r t y - f i v e to forty-eight, presents a single
the
i n i t i a l m e l o d i c and h a r m o n i c m a t e r i a l
Melodically,
realization
minor
the f i r s t
s t a t e m e n t of
of each
movement d e p e n d s on a
variation.
linear
o f a t w e l v e - n o t e row w h i c h c o n s i s t s o f f o u r
s e c o n d s , two m i n o r t h i r d s and f i v e m a j o r
thirds.
The s e q u e n c e o f t o n e - r o w s i s a s f o l l o w s : 0-1, R I - 7 , 0-5,
RI-3,
0-9, R I - 6 , 0-12, R I - 1 1 , 0-10, R I - 8 , 0-4, R I - 2 .
0-2,
R I - 4 , 0-8.
R I - 1 0 , 0 - 1 1 , R I - 1 2 , 0-6, R I - 9 , 0-3, R I - 5 , 0-7,
RI-1.
I t i s n o t i c e d t h a t t h e second sequence i s t h e backwards i n v e r s i o n of t h e f i r s t .
The same s e q u e n c e s o c c u r
b e t w e e n t h e c o r r e s p o n d i n g t r a n s p o s i t i o n s of t h e I n v e r s i o n
and R e t r o g r a d e f o r m s .
The
s o l o v o c a l l i n e p r o c e e d s w i t h i t s own
of t h e t o n e - r o w and
realization
and
instruments.
of t h o s e
use
of t h e
homorhythmic
Cantata.
The
series.
The
s i x and
exception
nine, are
of s i x
t o s i x or seven t o
effect i s similar to
s e c t i o n s of Das
exceptions
aggregates i n the
s t r u c t u r e s , w i t h the
e i t h e r t h e t o n e s one
s t r u c t u r e t o each
Example
vertical
f o u n d a t measures f i v e ,
n o t e s and
twelve
i s a c c o m p a n i e d by b o t h h o r i z o n t a l
recurring vertical
The
transpositions
Auqenlicht
and
the
m e n t i o n e d above a r e
the
First
identical
in
other.
41
In the
a c c o m p a n i m e n t , o n l y one
a t any
one
time,
pointillistic
resulting
texture.
The
twelve-note
i n an e x t r e m e l y
instrumentation
s t r u c t u r e s i s always d i f f e r e n t ,
exploiting
s e r i e s i s used
thin
and
of t h e
new
vertical
possibilities
of the K l a n g f a r b e n m e l o d i e
principle.
As w i t h the
previous
c h o r a l p i e c e s , Webern p a y s p a r t i c u l a r a t t e n t i o n t o
n a t u r a l r h y t h m of t h e
l i k e Das
Auqenlicht
inflection
spoken work i n s e t t i n g
and
the F i r s t Cantata,
o f t h e w o r d s has
possibilities
been r e p l a c e d
of c e r t a i n v o c a l
the
the t e x t ,
the
but
natural
by t h e
timbral
sounds i n p a r t i c u l a r
registers.
Example
42
Op. 31
No. I,
mm
With regard
an a r i a
9,
\0
t o the
f o r solo bass,
description in a letter
s t r u c t u r e of t h e
s e c o n d movement,
t h e f o l l o w i n g i s Webern's
t o Dr.
own
Reich:
I have h a r d l y stopped w o r k i n g .
A g a i n a p i e c e has
b e e n c o m p l e t e d w i t h i n t h e f r a m e w o r k o f t h e p l a n of
w h i c h I have r e p e a t e d l y spoken: a b a s s a r i a .
This
h a s become s t r i c t e r and, as a r e s u l t , f r e e r .
That
means t o s a y , I am m o v i n g on t h e b a s i s of a ' p e r p e t u a l
double canon i n i n v e r s i o n ' i n complete freedom.
Through v a r i a t i o n s , d i m i n u t i o n s , e t c . - something l i k e
B a c h d o e s w i t h h i s theme i n t h e ' A r t of t h e f u g u e . '
But i n i t s form the a r i a i s i n t h r e e s e c t i o n s w i t h a
theme o f a p p r o x i m a t e l y t h i r t y - t w o b a r s i n p e r i o d i c
f o r m : t h u s a g a i n , t h e c l o s e s t i n t e r l i n k i n g of t h e two
f o r m s of p r e s e n t a t i o n .
I n c h a r a c t e r , a k i n d o f hymn:
D i e S t i l l e urn den B i e n e n k o r b i n d e r H e i m a t ' (The q u i e t
a r o u n d t h e b e e h i v e a t home').^
A n t o n Webern, The P a t h t o t h e New M u s i c , ( e d . ) W i l l i
( B r y n Mawr: T h e o d o r e P r e s s e r Company, 1 9 6 3 ) , p. 64.
J
Reich.
The
'perpetual
d o u b l e c a n o n i n i n v e r s i o n ' o f w h i c h Webern
speaks b e g i n s i n the harp
(0-8
and 1-12)
a n s w e r e d a t a h a l f - n o t e d i s t a n c e by 1-11
respectively.
Exajfrnole 4 3
w i t h the
and
0-12
voices
R e f e r r i n g back t o the o u t l i n e
of tone-row
( f o o t n o t e f o u r ) i t c a n be s e e n t h a t e a c h
of a d i f f e r e n t
when" e a c h
1
sequence.
sequences
entry i s part
The c o n s t r u c t i o n i s s u c h t h a t
of t h e s e q u e n c e s h a s b e e n c o m p l e t e d , t h e
movement i s f i n i s h e d .
F u r t h e r , by employing
this
t e c h n i q u e , Webern h a s a v o i d e d u s i n g a n y t r a n s p o s i t i o n o f
any
row f o r m more t h a n
The
once.
f r e e d o m o f w h i c h he s p e a k s
rhythmic aspect
imitation.^
of t h e canon w h i c h
The v o c a l l i n e ,
i s found
i n the
i s not always
i n strict
and c o n s e q u e n t l y t h e
accompaniment, as t h e canon i s m a i n t a i n e d t h r o u g h o u t t h e
movement, i s d i v i d e d
i n t o t h r e e s e c t i o n s each c o n t a i n i n g
an e q u a l p a r t of t h e s e r i e s .
The c o n n e c t i n g o f t h e s e
s e c t i o n s o c c u r s t h r o u g h t h e row s e r i a l i z a t i o n
principle
previously discussed.
Like the vocal l i n e ,
is realized
entirely horizontally;
so c o n s p i c u o u s
entirely.
t h e i n s t r u m e n t a l accompaniment
the v e r t i c a l
aggregates
i n t h e p r e v i o u s movement a r e o m i t t e d
However, t h e i n s t r u m e n t a l t e x t u r e , because of
t h e h o r i z o n t a l t r e a t m e n t , i s much more u n i f o r m now
i n movement
prominent,
one.
principle i s
w i t h t h e to'ne-row ( w h i c h i n t h i s movement i s
a l s o the melodic
fragments
The K l a n q f a r b e n m e l o d i e
than
l i n e ) passed
i n o n e , two o r t h r e e - n o t e
among t h e i n s t r u m e n t s .
With
r e g a r d t o t h e t e x t , Webern a g a i n b a s e s h i s
Compare, i n e x a m p l e 4 3 , t o n e s
the four v o i c e s .
seven t o n i n e i n each of
setting
on t h e n a t u r a l r h y t h m of t h e s p o k e n w o r d and i n
a n o w - f a m i l i a r manner e x t e n d s t h e n a t u r a l c o n t o u r o f t h e
words t o o b t a i n t h e unique t i m b r a l q u a l i t i e s t h a t
come t o c h a r a c t e r i z e h i s c h o r a l w r i t i n g s .
An
have
interesting
c o m p a r i s o n m i g h t be made b e t w e e n t h e s k e t c h o f t h e
f e w m e a s u r e s o f t h i s movement, f o u n d i n a l e t t e r
c o m p o s e r t o t h e p o e t , and t h e f i r s t
published
Example
first
from the
few m e a s u r e s o f t h e
edition.
44
cU~ fait
£a$a - 3e/o
A l t h o u g h t h e p i t c h e s have r e m a i n e d i d e n t i c a l
the
i n both
cases
rhythm i n t h e l a t t e r has been q u a d r u p l e d .
Details
on t h e c o m p o s i t i o n o f t h e t h i r d
r e a c h e d H i l d e g a r d J o n e on a l e t t e r
movement
d a t e d 1 1 t h O c t o b e r 1943
... I h a v e b e e n w o r k i n g u n i n t e r r u p t e d l y : my new p i e c e
s h o u l d s o o n be f i n i s h e d .
I t i s : 'Schopfen aus Brunnen
d e s H i m m e l s . ..' ('Drawing t h e w o r d ' s most f r e s h
w a t e r ...') f o r t h r e e p a r t f e m a l e c h o r u s a n d s o p r a n o
solo (with orchestra).
Following after ' S t i l l e die
M i t t e r n a c h t ' ( ' Q u i e t o f m i d n i g h t ' ) i t w i l l be a veryanimated p i e c e .
Y e t n o t so much s o m e t h i n g e x c i t i n g a s
(to express myself i n Goethe's s p i r i t )
'representing
s o m e t h i n g e x c i t i n g ' — o r so I hope a t l e a s t .
So i t
w i l l be i n t h e s p i r i t o f y o u r w o n d e r f u l poem 'Sturml a u t e n muss nun d i e L i e b e
('Now l o v e must sound t h e
a l a r m ' ) ... N o t e a l s o t h e c h o i c e o f f o u r f e m a l e
v o i c e s ...7
1
S t r u c t u r a l l y , the present
the
movement b e g i n s
almost
same a s movement t w o , a s a d o u b l e c a n o n ( n o t ,
as a ' p e r p e t u a l
four voices
series'
double canon i n i n v e r s i o n ' ) .
uses t h e R e t r o g r a d e - i n v e r s i o n
however,
Each of t h e
- O r i g i n a l row
and t h e t r a n s p o s i t i o n s c h o s e n a t t h e b e g i n n i n g
are
Q
a h a l f s e r i e s d i s t a n t from each o t h e r .
maintained
The p a t t e r n i s
f o r three, twelve-note statements.
t h i r t e e n , t h e two R e t r o g r a d e - i n v e r s i o n
series are
a l s o f o r three, twelve-note statements.
five,
the Retrograde-inversion
with the f i n a l
The
formal
three
division
to the previous
I n measure
I n measure
presented,
forty-
- Original series' return
rows i n e a c h h a l f o f t h e two s e r i e s .
of t h e t h i r d
movement t h e n ,
i s similar
movement e x c e p t t h a t e a c h s e c t i o n i s t h r e e
tone-rows i n length
as opposed t o f o u r i n t h e second.
A n t o n Webern, L e t t e r s ... , p. 5 1 .
R I - 2 i s f o l l o w e d by RI-6; RI-1 by RI-12.
f o u r f o r complete sequences.
8
See
footnote
The
has.four
three
first
c a n o n , f r o m m e a s u r e s one
fourteen,
v o i c e s , each o c c u r r i n g a t a time d i s t a n c e
eighth notes.
A l l parts maintain
s e p a r a t i o n even though the note v a l u e s
altered.
to
t h i s time
are
of
distance
somewhat
Example 4 5
Op. 31 NO 3
st
mm 1- 5*
*
™
1
-^e
i r r ~ — \
for^
:
W
'
W
jf-H
x
kJ
^ i
t h'J
1
*t
\RI-U
ZV^ l b * — T hJ
* — i
7. M —
« — *
[J
l
8
-3
* '
[
3L_
1
'f
V
-
-g
,1
'^V^H
hi
4
V
/ n
f
/
7
:
7
7
4 +
—I
1
'«!)•'
^
—*—p—f—
X—-
-4
•/—ifr^r—?
7
1
7 —
?
V
|—-Wrf-
L_
-f I
#S
*=1
The
s e c o n d c a n o n w h i c h i s more c o r r e c t l y c a l l e d a p i t c h
c a n o n b e g i n s a t measure t h i r t e e n .
drastically altered
accompaniment.
i n t h e t h r e e v o i c e s t h a t a r e used as
The f i r s t
f o u r t o n e s of each
entry are presented as a v e r t i c a l
c a n be s e e n a g a i n b e t w e e n
rhythmic a c a p e l l a
The r h y t h m i s
aggregate.
instrumental
Similarity
t h e s e s t r u c t u r e s and t h e homo-
s e c t i o n s o f t h e p r e c e d i n g two w o r k s .
Example 4 6
Op.31 NO.3 mm l 4 - ~ i V
fie.I rv,m * 0
Op. 2*
rn
m
I n t h i s movement f o u r t o n e s o f one t r a n s p o s i t i o n a r e u s e d ,
whereas
i n t h e p r e c e d i n g examples
t h e s t r u c t u r e i s made up
H2
|
of one
pitch
nine
tone from f o u r t r a n s p o s i t i o n s .
canon m a i n t a i n s
at the
p o i n t , the
entry
pitch
At
i t s irregularity
of t h e t h r e e
measure t h i r t y - s i x , t h e r e
canon w h i c h b e g i n s the
L i k e the
preceding
third
movement a r e t h e
parts
of t h e
lines
again
b a s e d on t h e
i n the
i s a r e t u r n of t h e
s e c t i o n of t h i s
rhythm of t h e
c h o r a l and
unique
movement.
instrumental
Again,
special
There i s
l i n e ; the
a new
technique
dimension to
movement, as
the
i t i s i n the
In t h i s
regard,
these
u n i q u e i n Webern's c h o r a l w r i t i n g s . 9
I n a l e t t e r t o Dr.
Reich,
b a s i s of t h i s
third
Webern d i s c u s s e s
the
movement.
I was t o t a l l y a b s o r b e d by my w o r k ( S e c o n d C a n t a t a )
and s t i l l am.
The f i r s t movementlO of t h i s c h o r a l
See
footnote
1 of C h a p t e r
of
individual
spoken word.
solo l i n e s .
movement of t h e F i r s t C a n t a t a .
compositional
alter-
of a h o r i z o n t a l r e a l i z a t i o n
t h e v o c a l l i n e t o add
movements a r e
voice
i s expanded v e r t i c a l l y f o r
sound i s a l s o e m p l o y e d i n t h i s
two
third
this
f i r s t - s o p r a n o chorus
r h y t h m of t h e
f u r t h e r expansion i n the
third
From
movement, t h e v o c a l p a r t s i n t h e
tone-row, w i t h the
effect
of d o u b l i n g
second
result
n a t u r a l word i n f l e c t i o n
timbral
chorus p a r t s .
s o p r a n o s o l o and
this
u n t i l measure t w e n t y -
r e g u l a r canon r e t u r n s w i t h the
n a t i n g between the
part.
Rhythmically,
1.
i ^ T h e movements w e r e s u b s e q u e n t l y r e a r r a n g e d .
present l e t t e r i t would appear t h a t the t h i r d
was composed f i r s t .
From t h e
movement
w o r k w i t h s o l o i s t s and o r c h e s t r a - i t w i l l p r o b a b l y
go b e y o n d t h e s c o p e of a C a n t a t a - a t l e a s t t h a t i s
my p l a n - t h i s f i r s t movement i s f i n i s h e d and a l r e a d y
scored.
I s h o u l d l i k e t o t e l l you s o m e t h i n g a b o u t
i t : i n f o r m , i t i s an i n t r o d u c t i o n , a r e c i t a t i v e , b u t
b a s i c a l l y i t i s b u i l t on a s t r u c t u r e n e v e r p e r h a p s
b e f o r e i m a g i n e d by a ' N e t h e r l a n d e r " . H
Perhaps i t
was t h e most d i f f i c u l t t a s k ( i n t h i s r e s p e c t ) w h i c h I
have e v e r had t o u n d e r t a k e .
The b a s i s i s a c a n o n i n
f o u r p a r t s of t h e most c o m p l i c a t e d k i n d .
I t s execut i o n t a t l e a s t I b e l i e v e so) was p o s s i b l e o n l y on t h e
b a s i s of t h e s e r i a l law, w h i c h here i s q u i t e p a r t i c u l a r l y i n e v i d e n c e : i n d e e d , i t s i d e a has become p e r h a p s
f u l l y expressed f o r the f i r s t time.
I read i n P l a t o
t h a t 'Nomos' ( l a w ) was i d e n t i c a l w i t h ' t u n e ' ( m e l o d y ) .
Now t h e m e l o d y t h a t t h e s o p r a n o s i n g s i n my p i e c e as
an i n t r o d u c t i o n ( r e c i t a t i v e ) , t h i s may be t h e l a w
(nomos) f o r a l l t h a t f o l l o w s .
I n t h e s e n s e of
G o e t h e ' s ' p r i m e v a l p l a n t ' : w i t h t h i s m o d e l and i t s k e y ,
i t w i l l be p o s s i b l e t o i n v e n t an i n f i n i t e number o f
p l a n t s ... t h e same l a w i s a p p l i c a b l e t o a l l e l s e t h a t
is living.
I s n o t t h i s b a s i c a l l y t h e e s s e n c e of our
s e r i a l law?12
The
f o u r t h movement, a c c o r d i n g
connected t o the
different
Written
and
t o W e b e r n , was
f i f t h , e v e n though they are
will
be
treated
f o r s o p r a n o s o l o and
separately
orchestra,
i s twenty-two measures i n l e n g t h , the
be
musically
in this
the
to
paper.
f o u r t h movement
shortest
of t h e
Cantata.
- F o o t n o t e f r o m F r i e d r i c h W i l d g a n s , A n t o n Webern, ( L o n d o n :
C a l d e r and B o y a r s , 1 9 6 6 ) , p. 156 r e a d s : "one of t h e F l e m i s h
c o m p o s e r s o f t h e 1 6 t h c e n t u r y who u s e d c o m p l i c a t e d
contrapuntal structures."
I J
- ^ F r i e d r i c h W i l d g a n s , A n t o n Webern. ( L o n d o n : C a l d e r
B o y a r s , 1 9 6 6 ) , p.
156.
13
See
letter
q u o t e d on page 67 of t h i s
paper.
and
The movement
takes the c e n t r a l p o s i t i o n i n the f i v e
employ t h e c a n o n i c
the
p r i n c i p l e and i s c o n s t r u c t e d
row a r r a n g e m e n t o f t h e s e c o n d h a l f
of t h e f i r s t .
through
so t h a t
i s a mirror inversion
W i t h i n t h i s m i r r o r f o r m , made p o s s i b l e
the choice
of only t h e f i r s t
t r a n s p o s i t i o n of t h e
f o u r row-forms, t h e r e a r e two canons p r e s e n t
the
which
a s shown b y
following chart:
Example 47
i—voice
In
*
l-i
t h e e x a m p l e a b o v e , t h e numbers r e p r e s e n t
entry order
and t h e b r a c k e t s , t h e t w o v o i c e s t h a t a r e i n
canon w i t h each o t h e r .
Further
the
note v a l u e s
and
four are exactly twice
investigation
of t h e canon between v o i c e
first.
I n both
shows t h a t
e n t r i e s one
as l a r g e as those
C o m p o s i t i o n a l l y , t h i s movement
the
the voice
i s very
cases a s i n g l e vocal l i n e
of t h e other.
similar to
appears w i t h
its
own
s e q u e n c e of t o n e - r o w s .
of the v e r t i c a l
t o n e s of t h e
aggregates,
series.
Also there
constructed
is a
from
recurrence
consecutive
B o t h movements a r e composed
entirely
f r o m a s i n g l e t r a n s p o s i t i o n of t h e f o u r r o w - f o r m s ; i n t h i s
movement, t h e f i r s t
the t w e l f t h .
As
i n the
here a 'perpetual
uses these
t r a n s p o s i t i o n and
i n the
first
s e c o n d movement, Webern e m p l o y s
double canon i n i n v e r s i o n . '
canonic
movement,
However,
he
p r i n c i p l e s much more f r e e l y i n t h e
f o u r t h movement.
The
canonic
Its
only voice that i s w r i t t e n i n a
f a s h i o n i s the v o c a l l i n e which i s the t h i r d
expanded c o u n t e r p a r t ,
as v o i c e number one
in
shown i n t h e p r e c e d i n g
i s again
a c o m b i n e d h o r i z o n t a l and
measure two,
device
entry.
example
a p i t c h canon t h a t i s r e a l i z e d
vertical
four tone-row v o i c e , beginning
tional
traditional
manner.
w i t h the f l u t e
The
and
other
oboe i n
i s a l s o w r i t t e n as a p i t c h c a n o n , a c o m p o s i p o s s i b l e " o n l y on t h e b a s i s o f t h e
serial
law.
The
rhythmic
again
i n the
first
time
is
b a s i s f o r t h i s movement i s f o u n d
n a t u r a l r h y t h m of t h e
s i n c e E n t f l i e h t auf
a repetition
spoken word.
For
l e i c h t e n K a h n e n ...
of an e x t e n d e d r h y t h m i c
once
the
, there
f i g u r e , found i n
m e a s u r e s one t o f o u r and t w e l v e t o f i f t e e n
of t h e v o c a l
line.
E x a m p l e 48
O p 31. No4
1-4
mrh
4 • >,JL| J
T
U
T TTlUlEapi
l*\
12-
3
The n a t u r a l i n f l e c t i o n o f t h e w o r d s i s a g a i n
by t h e i n d i v i d u a l
ingly
important
overshadowed
v o c a l s o u n d s w h i c h have become i n c r e a s -
i n these
lines after
Das A u q e n l i c h t .
The a c c o m p a n y i n g l i n e s a r e much more t r a n s p a r e n t
i n t h i s movement t h a n t h e i r
spite
of a s i m i l a r
f o u r notes
occur
same i n s t r u m e n t s
counterparts i n the f i r s t , i n
compositional style.
s i m u l t a n e o u s l y and t h e s e
and i n t h e same s p a t i a l
N e v e r more
occur
order.
E x a m p l e 49
m
Op. 31 No. 4
o*
mm l , 2 ,
§
*4
S" , l l ,
k
12
than
i n the
The
Klanqfarbenmelodie
p r i n c i p l e i s r e f i n e d t o the
t h a t even though s i m i l a r t i m b r e s
p a r t s of d i f f e r e n t m e l o d i c
lines,
occur, they
do
point
so
r e g u l a t e d by t h e
as
serial
technique.
In a l e t t e r
Webern m e n t i o n s t h e
become t h e f i f t h
dated
3 r d J u n e 1942,
structural
principle
movement of t h e S e c o n d
to Hildegard
of what was
Jone,
to
Cantata.
The s c o r e of ' F r e u n d s e l i g i s t das W o r t ' ( ' C h a r i t y
i s t h e Word') i s now a b o u t f i n i s h e d ... I t ' s t o be
an a r i a f o r s o p r a n o s o l o w i t h c h o r u s and o r c h e s t r a .
I n i t I h a v e managed - I b e l i e v e - t o a c h i e v e a
c o m p l e t e l y new s t y l e of r e p r e s e n t a t i o n ; on a p u r e l y
p o l y p h o n i c b a s i s I a r r i v e d a t t h e most o p p o s i t e
s o r t of r e p r e s e n t a t i o n i m a g i n a b l e . 1 5
L a t e r , i n J u l y of t h e
same y e a r , he
wrote:
The s c o r e of ' F r e u n d s e l i g i s t das W o r t ' i s f i n i s h e d .
The q u e s t i o n of economy of i n s t r u m e n t a t i o n - and
some o t h e r c o m p o s i t i o n a l t h i n g s - h e l d me up l o n g e r
than I imagined.
I t i s l i k e an a r i a f o r soprano'
s o l o , c h o r u s and o b l i g a t o s o l o v i o l i n ( i . e . t h i s
s o l o r u n s r i g h t t h r o u g h t h e p i e c e ) and o r c h e s t r a .
You a s k a b o u t t h e s h a p e : a t t h e c e n t r e a r e t h e w o r d s :
' W e i l e r am K r e u z v e r s t u m m e , mussen w i r ihm n a c h , i n
a l i e n E r n s t d e r B i t t e r n i s , ihm f o l g e t u n s e r H a u c h '
('Because he f e l l s i l e n t on t h e c r o s s , we must go
a f t e r h i m , i n a l l s e r i o u s n e s s of b i t t e r n e s s , o u r
b r e a t h f o l l o w s him')'.
What went b e f o r e i s now
repeated backwards. 'Repeated' : ' A l l shapes are
s i m i l a r and none a r e t h e same; t h u s t h e " c h o r u s p o i n t s
t o a secretc..law, t o a h o l y r i d d l e ' . . . B u t t h e f a c t
t h a t i t was j u s t t h e s e w o r d s t h a t c o n s t i t u t e t h e
c e n t r e of t h e m u s i c a l shape came a b o u t of i t s own
a c c o r d - i n d e e d i t c o u l d n o t be o t h e r w i s e
...1°
' i b i d . , p.
47.
The
fifth
reminiscent
movement, w i t h i t s m i r r o r
of t h e
fourth, contains
most i n t r i c a t e w r i t i n g .
(both t r a d i t i o n a l
the
usual
and
i n the
in
nature
p i t c h canons are p r e s e n t )
e n t r i e s vary
in
with
distance
a c a p e l l a homorhythmic s e c t i o n s t o s i x
b e a t s i n m e a s u r e s t w e n t y - o n e and
twenty-two.
a c a p e l l a homorhythmic s e c t i o n s are
tion to their
some of Webern's
B a s i c a l l y canonic
f o u r v o i c e s , the
from zero
form
counterparts
i n Das
similar
These
in
Auqenlicht
construc-
and
the
F i r s t Cantata;
that i s a simultaneous r e a l i z a t i o n
transpositions
of t h e t w e l v e - n o t e s e r i e s .
ment, t h e
same f o r m o f t h e
s e c t i o n s are
By
using
now
most o p p o s i t e
purely polyphonic
technique
The
pitch-canon
features
s e r i e s i s u s e d so t h a t
Webern h a s
finally
movethese
o n l y one
b a s i s f o r the
...
on
noted t h a t
this
time i s the
of t h e t o n e r o w s as
a
compositional
Webern c o n s t r u c t s h i s
vertical
same t o n e o f f o u r t r a n s p o s i t i o n s
from four consecutive
a
e n t i r e movement.
of t h e most r e m a r k a b l e
o f t h i s movement.
aggregates from the
be
r o w - f o r m a t one
i n t r i c a t e manipulation
i s one
a r r i v e d at
s o r t of r e p r e s e n t a t i o n
b a s i s . I t should
of u s i n g
compositional
In t h i s
four
h o m o p h o n i c i n s t e a d of m e r e l y h o m o r h y t h m i c .
t h i s technique,
"about the
of
t o n e s of one t r a n s p o s i t i o n .
and
Example
50
31
Op.
In the
order
latter
m*r»
No.S"
c o n s t r u c t i o n he
as w e l l as t h e
homophonic f e e l i n g
Webern h a s
1/83.
preserves the
same
same t o n e numbers so t h a t
i s maintained.
chosen the
intervals
As
the
previously
of h i s b a s i c
spatial
set
mentioned,
so
that
0
tone-row s e r i a l i z a t i o n
two
or t h r e e
I n the
For
contrapuntal
p o s s i b l e from h i s already
u s e s s i n g l e n o t e s as p a r t
overlap
t o n e 4,
R-7
the
last
R-4
tone
5.
one,
movement.
transparent
of a l l f o u r v o i c e s ,
t o n e 3 and
of
to eliminate
of more t h a n one
e x a m p l e , a t measure f i f t y - o n e ,
R-6
the
s e c t i o n s , i n order
soprano sings i s p a r t
9,
o c c u r by
n o t e s , a l l of w h i c h a p p e a r i n t h i s
many n o t e s as
he
can
as
texture,
canonic
note t h a t
i n t u r n , R-2
voice.
the
tone
I n t h i s movement, Webern e l i m i n a t e s t h e t r a d i t i o n a l
i n t e r p r e t a t i o n o f the term
the twelve-note
" c a n o n " and r e l i e s e n t i r e l y on
series t o maintain the necessary
s i m i l a r v o i c e s of h i s p i t c h canons.
t o vary almost
every compositional aspect
r h y t h m , and m e l o d i c
lines while s t i l l
The f o l l o w i n g
will
outline
3-T^a
| s o l o & accompaniment
~ja c a p e l l a
- - s o l o &, a c c o m p a n i m e n t
--a c a p e l l a
^
^.J?-solo & a c c o m p a n i m e n t
$_p-a c a p e l l a
] s o l o & accompaniment
T-a c a p e l l a
*-
'ja
accompaniment
capella
}solo &
jja
:^a
accompaniment
capella
0 l
clt
&
P
ell a
C
C 0 r n
P
a n i m e n t
i s o l o & accompaniment
; ^a c a p e l l a
(the entries,
p r e s e r v i n g t h e "canon."
form i s determined.
capella
;olo &
s o , he manages
of t h e a l t e r n a t i n g t e x t u r e s
show how t h e r e v e r s i n g
E x a m p l e 51
By d o i n g
s e p a r a t e and
The
p o i n t o f r e v e r s a l t h a t was i n d i c a t e d
previous l e t t e r
is
determined
within this
i n the
t o J o n e o c c u r s i n measure t w e n t y - e i g h t and
b y t h e number o f t w e l v e - n o t e
entire
statements
section.
W i t h i n t h e homophonic s e c t i o n s of t h e f i f t h
Webern e m p l o y s t w o m e l o d i c
f r o m t h e same f o r m
I n t h e above mentioned
and a l t o
example, which i s
s e c t i o n s o f t h i s movement,
s h a r e one m e l o d i c l i n e
m i n o r s e v e n t h s w h i l e t h e t e n o r and b a s s
p a r a l l e l major, s e v e n t h s .
separate
of t h e octave p o s i t i o n of t h e t o n e s
r e p r e s e n t a t i v e of a l l t h e c h o r a l
the soprano
Although they are obtained
of t h e s e r i e s , they achieve t h e i r
q u a l i t i e s by t h e a l t e r i n g
(see example 4 9 ) .
lines.
movement
The i n t e r v a l
i n parallel
share t h e other i n
relationship
v o i c e s i s c o n s t a n t , e i t h e r e x a c t l y or by i n t e r v a l
of t h e
inversion.
A t t h e same t i m e , t h e t i m b r a l and e x p r e s s i v e q u a l i t i e s o f
the chords
of
change w i t h g r e a t f l e x i b i l i t y
due t o t h e s p a c i n g
t h e l i n e s and t h e c h a n g e s o f r e g i s t e r .
The
rhythm of t h e v o c a l l i n e s ,
a s now e x p e c t e d , i s
d e r i v e d from t h e rhythm of t h e spoken word.
A l s o , the
momentary t i m b r e o f t h e v o c a l sound c o n t i n u e s t o t a k e
precedence
over t h e a p p r o x i m a t i o n , e i t h e r e x a c t l y or by
augmentation,
of t h e n a t u r a l v o c a l i n f l e c t i o n .
the f l e x i b i l i t y
and c o m b i n a t i v e q u a l i t i e s
t r a n s p o s i t i o n s , Webern h a s no d i f f i c u l t y
b l a n k - v e r s e poem t o h i s m u s i c .
Because of
of the tone-row
i n fitting
a
Most of t h e rhythm f o r t h e i n s t r u m e n t a l
extracted
from t h e s o l o soprano l i n e .
the
result i s a strict
for
t h e same t o n e number.
accompaniment i s
When t h i s
occurs
c a n o n w i t h t h e same n o t e v a l u e
used
E x a m p l e 52
Op.
As
31
MO.*"
r*srr>
i n a l l o f Webern's l a t e r
horizontal
-
T4
o r c h e s t r a l accompaniments, t h e
l i n e i s d i v i d e d up among t h e i n s t r u m e n t s so t h a t
e a c h makes a s m a l l c o n t r i b u t i o n .
Also, this results i n a
m e l o d i c c o n t o u r t h a t i s g r e a t l y expanded t h r o u g h t h e u s e o f
o c t a v e t r a n s p o s i t i o n and i n t e r v a l
In t h e f i n a l
inversion.
movement o f t h i s S e c o n d C a n t a t a ,
there
i s a c o n s o l i d a t i o n o f many o f Webern's c h o r a l w r i t i n g
techniques.
The movement i s b a s e d on t h e same t r a d i t i o n a l
canonic i m i t a t i o n that appears i n the contrapuntal
sections
t h r e e v e r s e s and f o r t h e f i r s t
time i n any of h i s c h o r a l
18
w o r k s , Webern u s e s t h e same m u s i c f o r e a c h v e r s e .
of t h e v o c a l
l i n e s i s d o u b l e d b y i t s own g r o u p o f i n s t r u -
ments w h i c h a l t e r n a t e w i t h e a c h o t h e r .
basically
Each
The " C h o r a l e " i s
a f o u r - p a r t canon w i t h e x a c t r h y t h m i c and
m e l o d i c i m i t a t i o n i n two sequences w h i c h a l s o r e s u l t s i n
a double canon.
F u r t h e r , by moving
t h e t o n e s back under-
n e a t h one a n o t h e r , i t i s n o t i c e d t h a t w i t h t h e f o l l o w i n g
pairings,
i t i s a most a m a z i n g c a n o n
indeed.
Example 53
Op, ? l
No. 6
F * A F e & * 0 < 6 B B O C ^ C e 6 B QAC* F E G * G F * 8 A C* C * F C 6" e 8 D
8 C
C A * C*A F
F * 0 & C B t f t # A B* F * & ^ E ^ f c t f f F D
b
k
b
b
b
b
K
D
F
o
B
P°C e B
cF
6*6
f*&A A*
c * 4 6*r*»s
C
c*«r
B> € * 6 0
FC*A
D
F*Fd> £ C
B
^
C
b
0
F* F> 4 A
C»A*»C
C * O ^ 6 6 «
I 1 LJdlJ I
I n E n t f l i e h t a u f l e i c h t e n Kahnen ..., t h e o p e n i n g
m a t e r i a l r e t u r n s , as d i c t a t e d by t h e t e r n a r y f o r m , b u t
o n l y f o r t h r e e m e a s u r e s ( 1 7 , 18 a n d 1 9 ) .
g
Q
F
/IF*
*«
f l
B e t w e e n t h e s o p r a n o and a l t o
and t h e t e n o r
and b a s s , t h e
same two p i t c h e s a r e a l w a y s p a i r e d t o g e t h e r ;
D - E b , G#-G#, C-E, G-A and F#-Bb.
b
all
Further,
t h e n o t e s t h a t now o c c u r v e r t i c a l l y ,
results.
D-D,
F-B,
by c o m b i n i n g
a mirror
pattern
F r o m t h e example one c a n n o t i c e t h a t t h e s o p r a n o
line
i s a retrograde
line
a retrograde
o f t h e b a s s and s i m i l a r l y ,
of t h e t e n o r .
Thus t h e r e
the alto
i s not only a
forward
canon b u t a l s o a p i t c h canon i n r e t r o g r a d e .
himself
s p o k e o f t h i s movement i n a l e t t e r t o W i l l i
Webern
Reich.
M e a n w h i l e , I have c o m p l e t e d a n o t h e r p i e c e .
It's to
f o r m t h e f i r s t p a r t of t h e p l a n n e d ' o r a t o r i o ' ,
t o g e t h e r w i t h t h e p r e c e d i n g ones.
It's f o r choir
and o r c h e s t r a , c o n c e i v e d r a t h e r a s a c h o r a l e . B u t
a g a i n t h o s e r e l a t i o n s h i p s - t h e second p a r t ( a l t o )
sings t h e notes of the f i r s t (tenor) backwards, t h e
t h i r d ( s o p r a n o ) h a s t h e i n v e r s i o n o f t h e s e c o n d and
the f o u r t h ( b a s s ) i s t h e i n v e r s i o n of t h e f i r s t , b u t
moreover s i n g s t h e notes of t h e t h i r d backwards! So, a d o u b l e i n t e r l i n k i n g , one and f o u r , t w o and
t h r e e ( b y i n v e r s i o n ) , a l s o one and t w o , t h r e e and
f o u r ( c a n c r i z a n ) . I t h i n k t h e look of t h e score w i l l
amaze y p u . L o n g n o t e v a l u e s b u t a v e r y f l o w i n g
tempo.1"
One s u r p r i z i n g f e a t u r e
the
o f t h i s movement i s t h e r e t u r n t o
spoken word as t h e b a s i s f o r t h e c o n t o u r of t h e m e l o d i c
line,
a f e a t u r e t h a t was p r o g r e s s i v e l y a b a n d o n e d i n f a v o u r
of t h e t i m b r a l p o s s i b i l i t i e s
a f t e r the Zwei
Lieder.
of t h e i n d i v i d u a l v o c a l
sounds
Example 5 4
Op.3l
Mo <o
mm
3-4
Gtf -
lok
—
Ov$
Kerf
Se Mo
d*n*
^—
T h e r e i s no r e g u l a r m e t e r i n t h i s movement,
i n n o v a t i o n o f Webern i n h i s c h o r a l m u s i c .
£c
another
Although
each of
t h e f o u r l i n e s h a s t h e same s e q u e n c e o f m e t e r s w i t h t h e
stresses c o i n c i d i n g with the natural s y l l a b i c
s t r e s s of t h e
words, t h i s m e t r i c a l sequence i s a l s o a r r a n g e d
canonically.
The c h o r a l e n t r i e s a r e so o r d e r e d
sounding,
that with a l l four
t h e s t r e s s e s may be h e a r d i n d e p e n d e n t l y .
the i n f l u e n c e of t h e t e x t i n d e t e r m i n i n g
voices
Thus
compositional
p r o c e d u r e i s n e v e r g r e a t e r i n Webern's w r i t i n g s t h a n i n
this
movement.
As p r e v i o u s l y mentioned, each of t h e f o u r l i n e s i s
d o u b l e d b y i t s own g r o u p o f i n s t r u m e n t s ,
similar
t o t h e t h i r d movement
of the F i r s t Cantata.
ever, while there are a l s o separate
the F i r s t Cantata,
Second.
i n a manner
instrumental lines i n
t h e r e a r e none i n t h i s movement
The s o p r a n o i s d o u b l e d b y t h e f i r s t
oboe, t h e a l t o
of t h e
v i o l i n and
by t h e t r u m p e t , second v i o l i n and
the t e n o r by t h e saxophone, F r e n c h
How-
h o r n and v i o l a
clarinet,
and t h e
b a s s by t h e b a s s - c l a r i n e t , t r o m b o n e and
cello.
The
i n s t r u m e n t a l t i m b r e s , chosen f o r t h e i r a s s o c i a t i o n
a p a r t i c u l a r v o i c e r a n g e , a l t e r n a t e and
the
same manner as t h e y do
cantata.
any
c h a n g e much
i n o t h e r movements of
This i s the f i r s t
with
in
this
t i m e , however t h a t t h e r e i s
r e s t r i c t i o n w h a t s o e v e r on t h e use
of i n s t r u m e n t s i n
the c h o r a l accompaniments.
The
tion
Second C a n t a t a , i n c o n c l u s i o n , marks a c o n s o l i d a -
of Webern's c h o r a l t e c h n i q u e s - h i s t r e a t m e n t
poem, c a n o n i c
He
p r i n c i p l e s and
the twelve-tone
r e p l a c e s the Romantic t e n d e n c i e s
of
the
technique.
of r e p e t i t i o n
( w i t h the
e x c e p t i o n o f t h e l a s t movement) by v a r i a t i o n ,
the i n v e n t i o n
of the v e r t i c a l
of
v o i c e o r p i t c h c a n o n , t h e use
Klangfarbenmelodie
and
an e x t r e m e l y t h i n t e x t u r e .
CONCLUSION
From t h e
the
preceding
compositional
study,
techniques
c o n s o l i d a t i o n of f i v e b a s i c
a c o n t i n u a l metamorphosis
elements: form, t e x t , melody,
model i s u s e d as t h e b a s i s f o r Op.
i n Op.
19 b y
d i v i s i o n of t h e
text.
a s t r u c t u r e b a s e d on t h e
In the
f o r m i s d e p e n d e n t on t h e
dodecaphonic
l a s t three
musical
2 and
Op.
19.
As
t e x t u a l aspects
a t t e n t i o n s t o the
e x p a n d s on t h e i r
pieces,
i n the
singling
inherent
rhythms
he
relies less
f o r guidance.
verse
out
A f t e r the
poems and
extremes occurs
i n the
Zwei
his
of p a r t i c u l a r w o r d s
and
t i m b r a l and
Vertical
and
shifts
l e i c h t e n KShnen ..."
i n h i s melodic l i n e s .
are
Webern's c o n t r o l o v e r h i s
musical
m e l o d i c c o n t o u r s Webern p e r c e i v e d
" E n t f l i e h t auf
to vocal
simple
becomes more s e c u r e ,
L i e d e r Webern c h o o s e s b l a n k
The
and
technique.
resources
l e s s on t h e
2
length
choral
p o s s i b i l i t i e s inherent
T e x t s w i t h r e g u l a r m e t e r s and
u s e d i n Op.
and
instrumentation.
A classical
followed
that
i n A n t o n Webern's c h o r a l
m u s i c a r e b a s e d p r i m a r i l y on
harmony and
the author concludes
qualities.
i n the
poem
are f o l l o w e d c l o s e l y
e x p a n s i o n by
regular
stages
succeeding works r e t u r n i n g ,
i n the
final
movement of Op.
and
poetic
considerations
Op.
2.
the
last four
The
31
t o the
gentle
contours
t h a t were c h a r a c t e r i s t i c of
m e l o d i c v a r i a t i o n s p o k e n of i n c o n n e c t i o n
manipulation
choral pieces
of a f o u r - n o t e
composer's " s i g n a t u r e
with
o c c u r s as a r e s u l t of Webern's
m o t i v e w h i c h as been as
the
phrase."^
I n h i s e a r l y m u s i c , Webern's a p p r o a c h t o harmony
i s c l e a r l y b a s e d on r o m a n t i c m o d e l s e v e n t h o u g h most
the
vertical
s t r u c t u r e s of Op.
interpretations.
As
2 have m u l t i p l e
h i s command o v e r t h e
tonal
twelve-tone
t e c h n i q u e becomes more r e f i n e d , so do h i s v e r t i c a l
evolving
f r o m a random o r d e r i n g
r h y t h m i c r e a l i z a t i o n of f o u r
one
structures,
s e r i e s t o a homo-
s e r i e s w i t h i n the
framework
of
o r more p i t c h c a n o n s .
The
a c c o m p a n i m e n t s t o Webern's c h o r a l
more c o r r e c t l y i n s t r u m e n t a l
between the
vocal
a p a r t i c u l a r mood.
and
of one
of
the
interludes to provide
s e c t i o n s and
The
choral
c o m p o s e r p r e f e r s t o use
canon w i t h the
Instruments are
t i m b r e and
pieces
to introduce,
s e c t i o n s are
the
are
continuity
continue
or
end
r a r e l y accompanied
i n s t r u m e n t s as v o i c e s
in
s o l o l i n e s r a t h e r t h a n accompaniments.
chosen u s u a l l y f o r t h e i r p r o x i m i t y
f o r their percussive
qualities.
The
use
to
vocal
of
K l a n g f a r b e n m e l o d i e o r m e l o d y o f t i m b r e s becomes i n c r e a s i n g l y
evident
t h r o u g h o u t Webern's c o m p o s i t i o n a l
career.
The
o r c h e s t r a t i o n o f Op. 31 i s a m a s t e r p i e c e
w i t h the tone-rows (melodic l i n e s )
i n transparency
passed
i n very
brief
s e g m e n t s among t h e i n s t r u m e n t s .
I n c o n c l u s i o n , i t i s seen t h a t t h e s e f i v e a s p e c t s ,
combined i n v a r y i n g degrees
composer r e s u l t
musical history,
by t h e m u s i c a l g e n i u s of t h e
i n f i v e compositions which
a r e unique i n
w o r k s t h a t a r e a t t h e same t i m e i n t r i c a t e ,
e c o n o m i c and t r a n s p a r e n t .
The a u t h o r h o p e s f i n a l l y t h a t
t h e a b o v e s t u d y h a s p r o v i d e d a measure o f a p p r o a c h a b i l i t y
and
u n d e r s t a n d i n g t o t h e c h o r a l m u s i c o f A n t o n Webern.
APPENDIX
Serial
Op.
26 and Op.
a n a l y s i s row-form
31 i l l u s t r a t i n g
as used t h r o u g h o u t t h i s
paper.
charts
of Op.
transposition
19,
numbering
Zwei L i e d e r
SERIAL
ANALYSIS
ROW-FORM
CHART
(I)
1
2
3
^
5
6
7
8
9
10
11
F
#
F
£
E
b
D
C
G
F#
E
B
C
G#
G
F
B
B
B
D
B
A
G
C#
C
F
F
6
F
G#
E
D
G
F#
B
C
7
F
#
A
F
E
D
G
G
C
C
#
B
8
C#
E
C
B
A
E
D
G
G#
F
B
B
B
D
C#
F
G
E
#
D
C#
B
F
E.
A
C#
A
G#
G
b
C
B
E
F
C#
C
B
b
E
E
5
6
1
G
B
2
E
G
3
G#
B
h
A
5
E
9
b
10
E
11
B
12
D
F
b
1
2
b
b
3
*
b
+
#
b
b
D
A
b
b
A
G#
C#
F#
E
B
b
A
#
b
7
(RI)
b
D
b
D
b
E
b
8
b
E
#
A
b
E
9
B
E
C
1
G#
C#
A
2
C
F
C#
3
C#
F
D
h
E
5
E
b
A
#
A
b
B
D
b
b
6
B
7
F#
8
A
F
9
G
C
G#
10
F
D
G
E
11
A
F#
B
G
B
b
#
12
b
b
10
E
b
11
b
12
12
SERIAL
ANALYSIS
ROW-FORM
CHART
(I)
1
2
h
3
5
6
D
F#
G
1
A
C#
D
B
D#
C
E
F
2
D
D#
C
E
C#
F
F#
3
B
C
A
C#
B
D
D#
1»
C
D
D
B
£
E
5
G#
A
F#
B
G
B
C
6
G
G#
F
A
F#
B
B
7
B
G#
C
A
C#
D
8
F#
G
E
G#
F
A
B
F
A
B
G
B
G#
C
C#
10
D
C#
F
F#
D#
G
E
G#
A
11
C#
C
E
F
D
F#
E
G
G#
12
A
C
2
G
b
A
b
G
B
3
G
A
G#
B
B
it
E
F#
F
G#
G
5
F
G
G
A
A
D
D
D
F
E
7
C
D
C#
E
E
F
E
G
F#
B
C
D#
D
#
E
b
9
B
C#
10
D
E
E
11
B
C
B
12
A
B
B
b
1
2
b
b
3
12
F
b
8
11
C#
B
b
10
E
b
E
9
D#
A
b
8
B
1
b
7
F
b
It
b
b
b
5
b
6
(RI)
b
b
7
B
b
8
b
9
b
b
10
b
b
11
b
12
9
I. Kantate
SERIAL
ANALYSIS
ROW-FORM
CHART
(I)
1
2
1
D#
B
2
G
E
3
E
It
3
5
h
6
D
C#
F
E
F#
F
A
A
C
D#
D
F#
F
F
C#
E
E
G
G
5
C#
A
C
B
D#
D
6
D
B
C#
C
E
E
7
B
G
B
A
C#
8
C
G#
B
B
D
9
G#
E
G
p#
B
10
A
F
G#
G
B
B
11
F#
D
F
E
G#
12
B
F#
A
G#
C
b
1
b
b
2
b
3
b
b
f
!
b
5
b
b
7
8
9
1
G
F#
B
B
B
b
G#
G
A
A
F
b
0
1112
D
C#
E
C
2
B
B
C#
A
3
C
B
D
B
G
B
G
#
F
A
A
C
D#
D
F#
C#
E
E
G
A
C
B
E
C#
C
E
E
G
B
A
C#
C
B
D
C#
F
E
b
F
6
b
7
(RI)
b
8
1
C
E
b
b
A
b
#
b
9
b
b
A
b
F
b
#
5
B
G
6
F
G#
E
7
p#
A
F
8
D
F
c
b
10
#
9
F
#
D
10
E
b
B
11
G
11
E
b
12
12
II.
SERIAL
Kantate
ANALYSIS
ROW-FORM
CHART
(I)
1
#
2
3
1
F
2
D
3
G'
Bb
F
It
G#
B
G
5
E
G
E
6
A
7
1»
5
6
7
8
9
F
E
G#
D#
G
B \
B
D
C#
F
C
E
G#
F
A
E
G#
F#
B
F
b
D
F
C
G#
G
F
G#
E
E
8
C#
E
C
B
E
9
D
F
c#
C
E
B
E
C#
A
G#
C
.0
B
E
B
A
C#
G#
C
E
E
D
A
C
F
E
A
#
b
F
#
10
B
11
B
D
12
C
E
1
b
2
#
b
B
fi
3
b
b
It
10
11
12
C
1
A
2
C#
3
D
U
D
D
G
B
B
C
B
D#
D
A
C#
C
E
E
C#
F
A
G#
C
B
B
B
F#
B
b
D
c
#
F
E
D#
6
G
D
F
#
Bb
A
#
C
B
7
b
#
b
5
B
D
b
6
(RI)
F
b
#
7'
#
G
b
8
b
c
b
b
b
b
5
F
b
A
G#
G
8
F
#
Bb
A
G#
9
D
F#
F
E ' 10
G
F#
F
11
G#
G
F
#
12
b
9
10
11
12
A u s t i n , W i l l i a m W., M u s i c i n t h e 2 0 t h C e n t u r y , New
W. W. N o r t o n and Company, 1966.
York;
B a s a r t , Ann P h i l l i p s , S e r i a l M u s i c : A C l a s s i f i e d B i b l i o g r a p h y o f W r i t i n g s on T w e l v e - t o n e and E l e c t r o n i c M u s i c ,
B e r k e l e y and L o s A n g e l e s ; U n i v e r s i t y of C a l i f o r n i a
P r e s s , 1961.
B r a d s h a w , M e r r i l l K., T o n a l S t r u c t u r e i n t h e E a r l y Works
of A n t o n Webern
Ph.D. t h e s i s , U n i v e r s i t y o f I l l i n o i s ,
1962.
U n i v e r s i t y M i c r o f i l m s No. 6 2 - 6 1 0 6 .
C o l l e a r , P a u l . " A r n o l d S c h o e n b e r g , A n t o n Webern and A l b a n
B e r g , " i n A H i s t o r y of M o d e r n M u s i c , C l e v e l a n d ; W o r l d
P u b l i s h i n g Company, 1961.
H a m i l t o n , I a i n , " A l b a n B e r g and A n t o n Webern," i n E u r o p e a n
M u s i c t h e T w e n t i e t h C e n t u r y , ed. Howard H a r t o g , L o n d o n ;
R o u t l e d g e and K e g a n P a u l , 1957.
H o d i e r , A n d r e , " A n t o n Webern" i n S i n c e D e b u s s y : A V i e w of
C o n t e m p o r a r y M u s i c , t r a n s . N o e l B u r c h , New Y o r k ; G r o v e
P r e s s , 1961.
K o l n e d e r , W a l t e r , A n t o n Webern: An I n t r o d u c t i o n t o H i s
Works. B e r k e l e y and L o s A n g e l e s ; U n i v e r s i t y o f C a l i f o r n i a
P r e s s , 1968.
M c K e n z i e , W a l l a c e C., J r . , The M u s i c o f A n t o n Webern, Ph.D.
T h e s i s , N o r t h T e x a s S t a t e C o l l e g e , 1960.
University
M i c r o f i l m s No. 6 0 - 2 7 9 2 .
Moldenhauer, Hans, ed.
A n t o n Webern: P e r s p e c t i v e s .
and L o n d o n ; U n i v e r s i t y o f W a s h i n g t o n P r e s s , 1966.
Seattle
P e r l e , G e o r g e , S e r i a l C o m p o s i t i o n and A t o n a l i t y : An I n t r o d u c t i o n t o t h e M u s i c of S c h o e n b e r g . B e r g and Webern.
B e r k e l e y and L o s A n g e l e s ; U n i v e r s i t y o f C a l i f o r n i a P r e s s ,
1962.
S p i n n e r , L e o p o l d . " A n t o n Webern's K a n t a t e N r . 2, Opus 3 1 ;
d i e F o r m p r i n z i p i e n der k a n o n i s c h e n D a r s t e l l u n g " i n
S c h w e i z e r i s c h e M u s i k z e i t u n g . 1961.
Webern, A n t o n , L e t t e r s t o H i l d e a a r d J o n e and J o s e p h
H u m p l i k , e d . J o s e p h P o l n a u e r , B r y n Mawr, P e n n s y l v a n i a ;
T h e o d o r e P r e s s e r Company, 1 9 6 7 .
, The P a t h t o t h e New M u s i c , e d . W i l l i R e i c h .
B r y n Mawr, P e n n s y l v a n i a ; T h e o d o r e P r e s s e r Company, 1 9 6 3 .
W i l d g a n s , F r i e d r i c h , A n t o n Webern. t r a n s . E d i t h R o b e r t s
and Humphrey S e a r l e .
L o n d o n ; C a l d e r and B o y a r s , 1966.