Boston University
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Theses & Dissertations
Dissertations and Theses (pre-1964)
1956
Twelve note music as developed by
Arnold Schoenberg with an analysis
of two representative works for
violin.
Gottschalk, Nathan
Boston University
http://hdl.handle.net/2144/8967
Boston University
'IWELVE NOT.6 l,fLJSIC AS DEVELOPED BY PJli'JOLD SCHOENBERG
VITTI-I AN ANALYSIS OF TWO HEPHESE"N"TATIVE
WORKS FOR VIOLIN
A Document
Presented to
the Faculty of the College of 1fusic
Boston University
In Partial Fulfillment
Of the Re quirements for the Degree
Doctor of 1fusical Arts
by
Nathan Gottschalk
June 1956
NATHAN GOTTSCHALK
Mr . Gottschalk deals most competently with his problem
v.rhich he discusses in a clear and interesting manner.
The
doct~ent
proves the candidat&s ability to give a
concise and scholarly treatment to a difficult musical
question .
The document should contain a page f0r the
two readers to sign.
This is, i n my estimation, a most competent and
thoroughly organized exposition of the development of tt-velvetone technic, and a very clear and precise analysis of the
musical works .
However, slightly more attention might have
been given to the more obvious limitations of duodecophonism
to put the 1-vhole disserta tion in proper prospective.
Gardner Read
Approval Sheet
~
.
-----~~~~--------------Professor
of
Music
Professor
of
Music
TABLE OF CONTENTS
CHAPTER
I.
II.
III.
. .... . . ... . . • •
THE DISSOLUTION OF THE MOD1\L AND TONAL SYSTEMS • • •
..
THE TIVELVE NOTE MUSIC OF SCHOENBERG • • • • • • • • • . . .
INTRODUCTION • • • • • • • • • •
Period of Transition • • • • • • • • • • • •
• • • • • •
..
PAGE
1
7
14
14
• •
17
Note Technique • • • • • • • • • • • • • • • • • • • • •
22
Codification of the Tone Row • • • • • • • • • • •
Trends in the Further Development of Twelve
IV.
V.
AJIALYSIS OF TRIPARTITA OF RICHARD
VII.
• •
.....
26
ANALYSIS OF PHANTASY FOR VIOLIN WITH PIANO
ACCOMPAJTIMENT, OPUS
VI.
Homry~
47,
BY ARNOLD SCHOE1IBERG • • • • • •
PERFORUANCE OF CONTEMPORARY MUSIC
CONCLUSION • • • • • • • • • • • • • •
....
... .....
...... ....
.. . ... • •
..................
..
APPENDIX A • • . • •
APPENDIX B • •
BIBLIOGRAPHY
..... ....
•
• ••••••• • •
•
33
41
43
45
53
67
LIST OF FIGURES
FIGURE
1.
PAGE
Example of Theme Consi sting of Twelve Notes of a Tone Rovr.
Measure 73, first movement, Violin
/
Bela
2.
;'
B~rtok
Concer t~
by
• • . • • • . . . . • . . . . • • • . • . • . •
1
Example of Theme Utilizing T\1relve Notes of the Chromatic
Scale in Serial Technique.
Measure 79, first movement,
Violin Concert~ by Bela Bartok •••• • • • • • • • • • • • •
1
3. Example of Tlvelve Note Technique in Accompaniment.
Measures 76 - 79, first movement, Violin Concerto, by
Bela Bartok.
4.
• •
.• .•
• • •
.
.• • .
Example of Use of Twelve Note Technique.
• • • •
2
35,
Measure
second movement, First Sonata for Violin and Piano, by
/
/
/
Bela Bartok • •
5.
.• ....• ......
... •
• •
2
Thomas by I gor Stravinsky • • • • • • • • • • • • • • • • •
3
•
Example of Original, Inversion, Retrograde, and Retrograde
Inversion as Used in Prelude of In Memoriam Dylan
6.
E~ple
of Superimposing of Fourths as Used in Pelleas
U..'1d l!lelisande by Arnold Schoenberg.
Lei bo1v.itz, Schoenberg and His School
7.
Ex . a, p.
• • • • • • • • • • •
14
Example of Whole Tone Scale in Vertical Form as Used in
Pelleas und Melisande by Arnold Schoenberg.
P• 55, Leibowitz,
8.
5h, Rene
~·
cit.
Ex. b,
• • • • • • • • • • • • • • • •
15
Example of Introduction of All Tvrelve Tones of the
Chromatic Scale Within a Short Space as Used in Finale,
Quartet, Opus 10, in F# minor, by Arnold
Ex. 15, PP• 78- 79, Leibowitz,
~·
Schoe~berg.
cit.. • • • • • • • • •
16
v.
FIGURE
9.
PAGE
Example of Two Notes of a Series That May Form a Major
Third, a Minor Sixth, and a Major Tenth.
10.
Original Example.
19
Example of Original, Inversion, Retrograde, and Retrograde
Inversion of the Tone Row as Used in Violin Concerto by
Arnold Schoenberg.
Ex. 98, p. 106, Humphrey Searle,
Twentieth Century Counterpoint
11.
• • • • • • •. • • • • • • •
Example of Horizontal and Vertical Use of the Tone Rmv
of the Violin Concerto by Arnold Schoenberg • • • • •
12.
...
19
The Tone Rov,r of the Violin Concerto by Alban Berg.
Ex. 89, p. 97, Searle, ~· cit. • • • • • • • • • • • • • •
13.
19
21
The Tone Rm,r _of All e gret to g-lovale of the Lyric Suite by
Alban Berg.
Luigo Rognoni, Espressionismo
P• 130, Ex. 44 ••••••• • •
~
dodecafonia,
...... • • • • • • • •
21
Example of the Realization of the Tone Row of the
Allegretto giovale of the Lyric Suite by Alban Berg.
Ex.
45,
p. 130, Rognoni, ~· cit • • • • • • • • • • • • • •
22
Tone R01'-T of the First :Movement of Trip arti ta for Unaccompanied Violin by Richard Hoffmann • • • • • • • • • • • • •
16.
Tone Row of the Second Movement of Tripartita for
Unaccompanied Violin by Richard Hoffmann
17.
... ... ...
29
Tone Rov,r of the Third Movement of Tripartita for
Unaccomp anied Violin by Richard Hoffmann
18.
27
Tone Rov,r of the Phantasy for Violin
~
Accompaniment ~J Arnold Schoenberg
• • • • • • • • •
31
Piano
• • • • • • • • • • • •
34
CHAPTER
I
INTRODUCTION
Less than half a century has elapsed since Arnold Schoenberg
began to move out of the realm of tonality in his composition and into
the direction of pantonality or twelve note music.
It has been approxi-
mately thirty-five years since he established a kind of organization
for the composition of this music in the twelve note idiom.
Few com-
posers have endured as much controversy, misunderstanding, and abuse-musically and personally--as this man who is the most important figure
in the art of music in the first half of the Twentje t h Century.
There
is hardly a composer of this era who has not been influenced in one way
or another by the theories and musical postulates of this .artist.
Such
important composers as Bela Bart6k and Igor Stravinsky attempted to employ the twelve tone technique.
For example, in Bart~k' s violin concerto,
the following passages are not accidentally in twelve notes, but indicate
a conscious attempt to use the twelve note series:
i
•
FIGURE 1
FIGURE 2
2
In the accompaniment, one can observe a similar example of the use of
the twelve note technique:
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Again, in the second movement of the first of his sonatas for piano and
violin, Bart~k uses the serial technique in the follovdng manner:
FI GURE
4
I gor StravinskY, too, consciously employed the serial technique in
his later works.
There can be little doubt that Stravinsky studied
Schoenberg's Septet, and utilized some of the "row" concepts in his own
Septet of 19.53.
This is particularly evident in the last movement where
he indicated in the score an eight tone row that is used by each instrument .
In 19.54, Stravinsky composed In Memoriam Dylan Thomas, consisting
of a song with an instrumental prelude and postlude.
The instrumental
parts are called "Dirge-Canons", ani in them Stravinsky emplO'J ed a
serial technique in the Original, Inversion, Retrograde, and Retr ograde
3
Inversion forms--a very important feature of twelve note musi c--as
follows:
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FIGURE 5
Another contemporary, Darius Milhaud, was deeply moved by, and
interested in, the music of Schoenberg, although he admitted that he
felt that the t welve note technique did not suit his own mode of expressi on.
On the occasion of Schoenberg 's seventieth birthday, he wrote:
"
• I was especially interested in the freedom shmm towards
tonality. • • • The musical emotion is so taut, so dense, that you can
almost touch it."
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Since Schoenberg's death in 1951, there have been many who have
p r edicted t hat the theories of twelve note music vdll die, and that he
1
Darius Milhaud, "To Arnold Schoenberg on His Seventieth Birthday", Musical Quarterly, XXX (October, 19h4), 380.
. ..... .
I--.
lh
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4
and his music will soon be forgotten.
Half a century is too short a
time in which to evaluate such a prediction.
The music of J.
s.
Bach,
who certainly was not the most popular composer of his time, was soon
forgotten after he died, and it was not until the middle of the Nineteenth
Century that his music was resurrected.
Little needs to be written about
the tremendous influence of the music and the theories of Bach on succeeding generatiops; only
t~ne
will decide whether or not those of Arnold
Schoenberg will endure.
It is an oversimplification to pass off Arnold Schoenberg's musical theories and his music b.y saying that
that his music is not for
supposedly not only
11
11
normal 11 ears.
th~
do not
ma~e
sense, and
Music critics, whose ears are
normal 11 , but also musically trained, have made such
statements, after hearing one of his works, as,
11
Schoenberg 1 s opus is not
merely filled with wrong notes • • • but is itself a fifty-minute long
v~rong
note."
"Is it really honest music or merely a pose?
clined to think the latter.
We are in-
Why, then, should the ears • • • be tor-
tured with scrappy sounds and perpetual di scord?"
2
11
Vague, scrappy, and
incoherent incomprehensible noise", wrote another criti c.
3 These are
just a few of the countless epithets directed at Schoenberg 's
the criticisms have not merely been verbal.
music~
but
Actual riots have taken
place at performances of his works which resulted in propert,y damage and
casualties.
Undaunted
b.1 these criticisms that plagued his entire life,
however, Schoenberg remained true to his artistic inclinations.
2Nicolas Slonimsky, Music ~ 1900, (New York:
Co., Inc., 1949), p. 49.
~erle Armitage (ed.), Schoenberg, (New York:
19.37), P• 2.33.
Coleman-Ross
G. Schirmer, Inc.,
5
After reading many books and articles about him, and after
studying his music, one can not help but admire this man who was a profound thinker in music, lonely, unconpromisingly pursuing his ideals,
and constantly searching for the truth in his art; and, with a little
mental effort, as well as with an open mind, musicians today can find
out for themselves the reasons for the great influence that Schoenberg
has exerted on every composer since the turn of the century.
also discover that music
~~th
They will
twelve notes is not an isolated phenomenon,
but rather, it is an art form which has its roots in the very beginnings
of the history of music--it is actually a logical continuation of the
development of the composition of music from its early art forms.
The
fact that many neither understand this music nor enjoy it, does not in
any way invalidate its worth.
One of the most frequent and most violent criticisms raised against
this music is that it is completely mechanical-too systematized and cerebral.
If this is the case, then does it not follow that the rules or
laws of Palestrina, the rules of fugue, canon, and other contrapuntal
forms, the rules of t h e major and minor scales, and rules established by
other musical theoreticians (all of which are based on a system) are cerebral?
We know that all of the greatest music of all centuries has been a
product of cerebration.
Cerebration is synonymous with technical . mastery,
vmich is a vital and a necessary factor in any artistic creati on.
A com-
poser or a performer must first of all be a good craftsman, he must have
perfect tools with which to work.
To these he must add personality, in-
telligence, inspiration, and creativeness in order for the end product to
turn out to be an important artistic achievement.
My own e:xperience with twelve note music is a comparatively recent
one.
At first it made little or no sense to me; however, the more I
6
studied and played it, the clearer the entire picture became for me, so
that at this present time I am convinced in my own mind that those who
are bewildered by the works viri tten in this idiom are only rationalizing
their prejudices against the unfamiliar in new music.
Those who consider
themselves well rounded musicians are, to my way of thinking, only partJ.y
educated if the,y refuse to open their minds to what seems to me the logical progression in the development of music.
For this reason, I shall attempt to show as clearly as I can that
the composition of music in the twelve note idiom is not the isolated and
complex phenomenon that many musical minds today consider it to be--and,
that only
~J
a technical analysis of the music itself, no different from
the technical analysis employed with a work of Bach or Beethoven, will
it be shown that this music is a great artistic achievement which can be
initially understood only by experienceing it time and time again, just
as we have learned to accept the nmsic of Beethoven and Brahms Ymich,
when introduced, was as· misunderstood and rejected as Schoenberg's is
today.
For my purposes, I shall analyze one of Schoenberg's last
.
4
•~rks,
the Phantasy, Opus
47,
called Tripartita
for unaccompanied violin, by Richard Hoffmann, a
5
for violin with piano accompaniment, and a work
young composer 'Who was for several years a student of Schoenberg, and
Vlho served as his amanuensis until Schoenberg's death.
Opus
47
4Arnold Schoenberg, Phantasy for Violin •T.ith Piano Accompaniment,
(Uevf York: C. F. Peters Corporation) 5Unpublished manuscript.
CI-LllPI'ER II
THE DISSOLUTION OF THE MODAL AND TOl'AL SYSTEMS
The primary problem that has concerned composers in the music
written since about 1900 has been the preoccupation with the abandonment
of tonality.
Along with this, they have continued to deal with the age-
old problem of the unifying principles of music.
The abandonment of
tonali~
is the element in the music of the
Twentieth Century which makes it so difficult for the listener.
It is
true that we have come a long way during the past two decades, witnessed
by the fact that today no one would walk out of a concert in protest
during the performance of Stravinsky's Rites of Spring, or Schoenberg's
Verklarte Nacht, but some years ago, this was a common occurrence.
To-
day, the sounds are less jarring to our ears, and the forms are more clearly understood.
It takes time and experience for the human ear to attune
itself to new and strange sounds, even though the sounds are logically
ordered.
These sounds are actually neither new nor strange.
They have
existed in various stages of the development of music from its beginnings,
but in a different order of arrangement.
To understand this, it is impor-
tant and necessary to trace briefly just what did happen to tones or
1
• over th e cent
'
~n mus~c
ur~es.
soun _s .
d
The fi rst historical evidences of musical sound are to be found in
the exotic forms of the Greeks and Orientals.
This music was monodic, ani
excluded the idea of simultaneity of sound, vdth the exception of what we
1
Ren~ Leibowitz, Schoenberg and His School, Trans. Dika N~;lin
( New York:
Philosophical
L~brary, Ig49~Chaps
I and II.
8
now refer to as heterophony, or the mixture of timbres caused by dii'ferent instruments playing simultaneously.
this music were melody and rhythm.
The only elements realized in
The music of the Greeks, and the music
of the ea rly Christian Church wa s based on too development of the tetrachord into the various Greelc, and later the Church modes.
These were the
scales or la17S of early music, and all nmsical sound was based on the accepted functions of the tones of these modes.
The beginnings of polyphony in the form of organum added a new
dimension to music in the form of harmony.
This, added to the earlier
elements of melody and rhythm, created an inseparable whole which more
and more developed under strict controls.
Octaves, fifths, and fourths
were considered the true consonances based on simple acoustical relationships, and were the only intervals used.
However, this evolution of par-
allel fifths and fourths implied the danger of a dissonant obstacle--that
of the tritone.
Two things were done to avoid this dissonance:
(1)
avoiding the parallel movement of the voices in certain places, and ( 2)
correcting the augmented or diminished interval Qy
lo1~ring
or raising it.
One can see that these two reforms carried out in earliest polyphonic
music resulted in the first real element that paved the way for the later
destruction of the modal system on which it was initiated.
It was not long before the voices of the organum began to
their independence.
assert
One innovation follovred another--the voices began
to cross.; the given liturgical melody became the lower voice ·with a contrapuntally irwented melody above it, resulting in each voice having a
different melody; the rhythm itself began to vary from one voice to the
next; and contrary motion began to be considered important.
took place between about 900 A.D. and 1200 A.D.
All this
In the Twelfth Century,
9
Leonin, and particularly Perotin, opened up new possibilities of polyphonic writing.
Perotin used two and three counterpoints to a given chant,
and beginning with his music, one can observe two important factors which
have played a major part in music up to the present day:
(1)
the unify-
ing principle of a composition, and ( 2) the technique of i.mi tation.
Perotin a chieved this in his four part pieces, which consisted of a Cantus
Firmus vdth the three upper voices exposing three different counterpoints
by utilizing the isorhythmic principle, transpositions, repetitions of
phrases, and imitations.
From Machaut through Lasso and Palestrina, we find the unif'ying
principle and imitation of all varieties in the music.
The imitation is
not only direct imitation, but it is also retrograde and inversion, about
'Which -vie shall hear more when we come to twelve note music.
Any treatment of polyphony implies at once a consideration of its
harmonic aspects--that is, the vertical aspect of the music which is a
result of the horizontal writing.
ment of the tritone.
I have already touched on the treat-
A new problem arose with the introduction of the
Fauxbourdon, Oymel techniques and the addition of the dissonant intervals
of thirds, sixths, seconds, and sevenths.
This alone proves that poly-
phony could not obey only the laws of melody and consonance, but had to
come to terms with changing harmony.
We observe a primary preoccupation
with this harmonic factor which, in turn, led directly to the overthrovr
of the antiquated modal sy stem which could not contain the requirements
of the newer harmonic tendencies.
At that time, the modes became altered
and instead of the large number of special modes, two principal types remained:
(1) the major (Ionian, Lydian, Mixolydian), and (2) minor
( Aeolian and Dorian).
The diatonic system of seven tones then grew into
twelve notes by the additional use of five remaining sharps or flats,
10
through the principle of musica ficta and other alterations of tones and
intervals.
All of this showed a profound effect on voice leading, which
often became chromatic instead of diatonic.
The next step in the transition from modal music to tonal music
was to group the now available twelve tones in a coherent way, a practise
which was first successfully accomplished by Rameau who grouped the scales
into two principal
~es--major
and minor--so that each was capable of be-
ing transposed twelve times to the
twelve degrees of the chromatic scale.
Although the essential characteristic of a tonal work based on this new
concept was the key to which it belonged, this new system introduced a
kind of tonal universality, since all keys were created equal, differentiated only by transposition.
It was obvious then that
cr~omaticism,
which was more clearly implied in this tonai universality, was in a position to become more and more important, and could be justified completely
in tonal music.
It was also clear, as it has been previously pointed
out, that this could be a destructive
element--a factor which, when
given free direction, could eventually destroy the tonal system.
An
advanced use of chromaticism can obliterate the contours of a scale to
such a degree that not only every modal element, but every fixed point
of the tonality can be eliminated. We shall soon see that this exactly is
the course it pursued.
Any tonal composition is based principally on harmonic factors,
that is to say, the interrelation o:f chords based on the various degrees
of the scales.
In the works of Palestrina and Gabrieli, and later in
Bach, we can discover that their music was essentially harmonic, even
though the independent voices were worked out contrapuntally.
From this,
we can deduce that the vertical and horizontal aspects of music are not
incompatible, but are all based on the :functions of the tonal system.
ll
Even in the most complex Bach fugues, the counterpoints can be reduced
to typical tonal chords, to harmonic progressions which are realized
under the strictest harmonic functions of tonality.
After Bach, there
was a tendency in the direction of separating harmony and counterpoint,
and counterpoint became the exception rather than the rule.
to have been a good reason for this trend.
There seems
The tonal system from about
the Sixteenth Century on, was created primarily to justify the harmonic
nature of nmsic; therefore it had a tendency to inhibit the development
of melodic voices because of the limitations exerted b,y the chords and
tonal functions.
Bach.
However, counterpoint did live a life of its own after
We know that all of the great succeeding composers li.'k:e Haydn,
Mozart, and Beethoven often felt the need to come to terms with counterpoint.
This is particularly apparent in the perpetuation of the contra-
puntal tradition in chamber music works for string quartet.
As I have stated before, harmonically, tonality is expressed by a.
series of chords built on the different degrees of the scale.
In earlier
music, the third was at first considered a dissonance, later an imperfect
consonance, both of which had to be resolved in the relaxation of the
final unison.
Later, the triad made up of two superimposed thirds was
no longer considered a dissonance, but a pure consonance, and in order
to set up
tension, i.e., dissonance, with respect to the triad, another
third was superimposed on the triad.
This explains the frequent use of
seventh chords and their resolutions.
It is important to note at this
point that superimposing the third served as a basis for consid eration
of tonal harmony, which was justified when one considers that tonal harmony is based on the overtone series.
in the breakdown of the tonal system.
This was to have strong implications
12
Another factor in the consideration of tonal harmony is that of
modulation, which has a tendency to increase tension, and to point out
more vividly the triumph of the original tonality.
At first, only very
simple modulations were used--to closely related keys.
Later , more dis-
tant modulations were made through the introduction of a new chord encountered on ever<J degree of the scale, which can belong to every major
or minor key--the diminished seventh chord.
It is this "troublemaker "
that brought chaos to the entire tonal system.
From Bach through
Bra~~s,
we can observe stronger and stronger ten-
sions being introduced in music t hrough the use of chromaticism, and more
and more distant modulations from the fundamental keys.
Then in the music
of vVagner, harmony became especially complicated through his free use of
chromaticism, and his frequent use of altered and enharmonic chords--one
chord going to another equally vague chord, creating complete tonal chaos.
In addition, the "endless melody" of Wagner had no fixed points, and although tonality did survive in this music,it was clear that something
had to give 1vay under the pressure of the many elements that tended to
destroy the tonal system.
The enrichment of the music by this fr eer use
of chromaticism destroyed, for the most part, the structural functions of
harmony.
This necessitated the use of other elements to replace the uni-
fying factors of the music
of the tonal system.
of the "Leit-motif".
1~ch
was formerly brought about by elements
Wagner accomplished this successfully vdth his use
2
All of the older tonal principles of music and their development
up to that point did not come to a sudden demise.
As in all other phases
2Arnold Schoenberg, Style and Idea, (New York:
Library, 1950), P• 61.
Philosophical
13
of musical history, there was a continuity--not a violent break--in the
transition from one musical system to another.
The newer system did not
evolve from mere speculation, nor did it app ear haphazardly.
It was based
on a theoretical and a philosophical justification of what went before,
with an attempt to bring order to new ideas which grew out of the older
ones.
3 In this attempt, new theories and ideas were developed, and it is
just this development that resulted in what we know today as t welve note
music, or pantonality.u MOst musicians refer to this kind of music as
"atonal", but this term is ill used because it signifies something that
5
is foreign to the nature of tone.
A composition or a group of tones arranged vertically, horizontally, or both will always be tonal because of
the relationship that exists from tone to tone.
Pantonality, on the other
hand, implies an all-embracing orderly succession and arrangement of tones
related only to one another, along with the merging of all tonalities into one larger complex.
3Erwin Stein , Orpheus ~New Guises, (London:
PP• 57
- n.
Rackliff, 1953),
UDika Newlin, Bruckner-Mahler-8choenberg, (New York:
Press, 1947), PP• 26o - 261.
5Armitage, ££• cit., pp. 298 - 299.
King's Crown
CHAPTER
THE
NOTE 1IDSIC OF SCHOENBERG
~~LVE
I.
III
P:ERIOD OF TRAN3 ITION
The early works of Schoenberg and his contemporaries, Mahler, Reger,
Strauss, and others, show a general adherence to the theories and practises of Wagner, but newer jdeas began even then to creep into their
music.
Shorter themes; . more sudden modulations, sharper contrasts, new
orchestral colors, and new chordal combinations were ventured into with
telling effects.
It was Arnold Schoenberg's great historical achievement
that he not only utilized these developments in music, but also that he
did not shirk the consequences that resulted from his gradual abandonment
of tonality as a fonnative and unifying means of composition.
His ear no
longer felt the need of various chordal combinations gravitating to a
tonal center.
Yet, it is important to remember that he did not plunge
directly into tvrelve tone writing.
The tendency was present in all of his
earli er works, but the process was evolutionary.
All of the works com-
posed up until 1908, when he wrote his second string quartet, prove that
Schoenberg could handle traditional musical forms.
In some of these
earlier works there were two important innovations present which tended
to destroy the tonal factor:
the use of chords created by the superposi-
tion of fourths, for example in his Pelleas and Melisande, Opus
·. I
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FIGURE 6
-.....
F. A.
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15
and the introduction of the whole tone scale in the same work.
1
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FIGURE 7
This can also be construed as the superposition of two different augmented
fifth chords.
In general, a careful investigation of Schoenberg's work and the in-
novations of this transitional period indicates that (1) he understood
thoroughly the compositional laws and forms of the past,.: and their effects
on the structure of a composition; (2) tonal relationship existed, but
became much broader, and less binding; (3) he invented his hannonies for
their own sake; and (h) he restored contrapuntal ·writing to an importance
vmich it had not enjoyed since the Nineteenth Centur,y.
Schoenberg was then ready to cross the threshold of a tonality
governed by a central key into the realm of pantonalit,r.
Quartet, Opus 10, in F# minor marks this turning point.
The Second
The Finale
movement introduced for the first time all of the tones of the chromatic
scale used within a short space at the beginning of the movement•
lnebusS,Y used the whole tone scale at about the same time (1903).
With Debussy, however,this device was non-functional, coloristic, etc.,
while with Schoenberg, it was an attempt to expand the tonality in the
traditional manner, but with the primary considerations of the unifying
factors in mind.
16
It seems as if Schoenberg deliberately attached some s.rmbolic value to
this new concept with the use of the text,
Planeten".
11
Ich fuhle Luft ~ Anderen
2
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FIGURE 8
At this time, Schoenberg was still not completely ready to evolve
the practise of composing with 11 rows 11 based on all of the twelve notes.
He first delved deeper into the infinite possibilities of the free use of
the twelve notes he had at his disposal, basing this postulate on the
fact that all twelve notes of the scale actually exist in the natural
overtone series.
The fact that the octave, fifth, fourth, and third are
closer to the fundamental tone does not make them more signigicant than
3
the more distant ones.
Because of this concept, no one of the twelve notes is a tonic-each being equally as important as another--dissonances could now follow
freely their own impulses.
Consonances and dissonances became relative
concepts, and offered the possibility of almost 2000 chords:
2
The composition is for voice and quartet.
other planets blowing."
3Newlin, ~· cit., P• 243.
55
different
"I feel the breath of
-
f
'
17
three-note chords, 165 different four-note chords, 330 five-note chords,
462 six-note and seven-note chords, 330 eight-note chords, 165 nine-note
chords, 55 ten-note chords, 11 eleven-note chords, and one t welve note
chord.
4
Moreover, this opened the way for new possibilities of texture
and spacing, and different harmonic effects.
The one important problem
that remained for Schoenberg to cope with was to discover an organizing
principle--a codification of the implicit laws which had to govern composition after the suspension of the tonal system.
It is clear that
Schoenberg was aware of the fact that without organization, any work of
art disintegrates into anarchy and chaos.
Just as the laws of the tonal
system governed the tones of its music, so would the laws of the tone
rows govern this new concept of composition based on twelve notes.
II.
CODIFICATION OF THE TONE ROW
In 1923, fifteen years after the completion of the Second Quartet,
Schoenberg composed Opus 23.
This work consisted of five piano pieces,
and in the last of them a twelve tone row was used for the first time.
He called this
the method of composing with twelve tones which are re6
lated only with one another"; or, "playing with tones".
This particular
11
piece is in the form of a waltz and utilizes the following r0\"1':
C# A B G Ab Gb Bb
D
E Eb C F
Schoenberg was then not merely concerned with the question of how
to organize the notesinto a logical order, but above all, he was interested
in the creation of the basic shape of a composition which he called
4stein, op. cit., pp. 58 - 59.
5schoenberg, ££• cit., p. 107.
6statement by Richard Hoffmann, persoD~l interview.
18
"Grundgestalt 11 •
The organization of the t welve notes into a row
(Grundreihe) was merely a part of the Grundgestalt.
This concept of
Grundgestalt is the factor that has given composition its shape, form,
and coherence ever since the beginnings of the art of music.
Within this
corrept are contained the laws and original conception of a whole work and
its formulation.
In t onal music, we can state that the tonality or key
with its inherent harmonic, melodic, and rhythmic possibilities, led to
certain formulae of composition.
replace~
In twelve note music, the basic series
to a certain degree, the unifying power of the tonalit,y or key,
and opens up new and just as logical possibilities for its inherent harmonies, melodies, and rhythms.
One particular criticism that is often directed at this kind of
composition is that the lavrn are too strict, and that it is music of the
head and not of the heart. 7 In this connection, it is important to recall that all worthwhile art is based on laws of construction.
The strict
laws of early contrapuntal writing go far beyond what the comp osition
with twelve notes demands.
The observance of laws in any art form, i.e.,
its craftsmanship or its technique, is only a means.
The inspiration,
the love, and the creative imagination that the artist imposes over and
above this technique is what results in a real artistic product.
Feel-
ing and intellect are both functions of human life, and imaginative construction in the use of a technique will result in the greatest freedom
within the strictest laws.
It is only with an open and a curious mind
that one is able to understand, and possibly glean the artistic merits
of this music.
?schoenberg, himself, refutes this criticism vigorously in
Style and Idea, p. 113.
19
The basic series consists of a certain succession of all of the
notes of the chromatic scale.
the entire piece.
This series provides the basic material for
The rhythm of this t welve note series is free, as is
the choice of octave for any note.
For example, hvo notes of t he series
may form a maj or third, a minor sixth, or a major tenth:
i+
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~
L
jtil:., ' :
M'3
•
•
4t;!,
M'O
FIGURE 9
There are four forms of the series that can be used, and the principle
of intervals applies to each form:
(4) Retrograde Inversion.
Retrograde,
11 0
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(1) Original, (2) Inversion, (3)
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FIGURE 10
TONE ROW OF SCHOENBERG 1 S VIOLIN CONCERTO
These forms can be transposed to any pitch, and their notes may be used
horizontally (melodically), and vertically (contrapuntally or chordally):
FIGURE 11
'
.,
T
l
20
The only binding factor in the strictest use of the series is in the
ordering of the notes.
That is, it is customary not to return to a pre-
viously used tone until all of the other tones of the series, or row, have
been used.
The reason for this is to prevent any one tone from attaining
the prominence of a temporary tonic.
This twelve note series is responsi-
ble for the ordering of all of the musical material, and also for the
--- ----·
fonnation of the thematic material in advance.
The intervals built out
of the sequence of notes (horizontally) of the series are unalterable at
all times within the series.
Some of the variations which can take place
within the series are the follovnng: 8
(1)
The previously mentioned transposition of a note into a
higher or lower octave,
(2)
Use of mirror forms and their transpositions,
(3)
Use of the Isorhythmic principle,
(4) Distribution of notes of the series between the horizontal
and vertical dimensions,
(5) Exchange of note groups within the series,
(6)
Overlapping of the groups in their normal or altered
sequence,
(7)
Splitting up of groups and new groupings,
(8)
Exchange of identical groups between two or more series,
(9)
Variation in the repetition of note-groups, and
(10)
Use of the Stimmtausch (exchanging of voices
be~veen
parts.)
Every possible combination of harmonies can arise from the series.
Triads may appear to have the characteristic of a tonality.
They do not
8Josef Rufer, Compositions With Twelve Notes, Trans. Humphrey
Searle (New York: The Yacmillan Company, 1954), Chap. VI.
21
in fact, hovrever, have any relation to tonality, but are simply the re sult
of con.n.ections t hat arise from t he s er i es .
Such an example can be ob-
s erved in the tone row of the Violin Concerto of Alban Berg:
FIGURE
12
Another interesting use of t he tone row 0y Alban Berg can be observed in
t he f irs t movement of his Lyric Suite.
in t he follovrlng ingenious pattern:
Here, the tone r ow was constructed
The Original series is made up of
six natural notes in succession (equivalent to six white notes on the
pia no ) , followed Qy five flat notes, and one natural note at the end.
This results i n an interesting Inversion row--one natur al note, fi ve sharp
notes, f ollowed by six natural notes: 9
I
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.
0
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FIGURE 13
9Luigo Rognoni, Espressionismo e dodecafonia ( Giulio Einaudi
editore, 1954 ), p . 130.
22
This row appears in the first movement in the following form:
FIGURE
10
14
There are many other chordal formations of the series and theF
mirror forms that can result from the part writing with no obligation in
the sense of any harmonic function.
Rhythm plays an all important part in twelve note IInlsic; its func-
tion is no different from the classical concept.
~nth
As used in connection
the isorhythmic principle, however, it assumes a different role and
can appear as (1) an independent rhythmical motif or shape, (2) as an
element in a IInlsical motif (as a motiVic rhythm), and (3) as a means of
phrasing that determines different subdivisions in the course of a
11
melody.
III.
TRENDS IN THE FURTHER DEVELOPMENT
OF TNELVE NOTE TECHNIQUE
In the previous discussion, some of the basic laws that govern
twelve note composition as developed by Schoenberg were pointed out.
After he formula ted these compositional rules, Schoenberg composed several works in which he adhered strictly to these principles.
This so-
called "classic" period of Schoenberg included such works as The Suite
for Piano, Opus 25; Wind Quintet, Opus 26; The Choruses, Opus 27 and
lOibid.
llRufer, ~· cit., P• 131.
23
Opus 28, and other Yrorks.
In 1933, Schoenberg came to live in the United States, and it was
here that while he continued to >v.rite in the strict twelve tone idiom-for example, in the Violin Concerto, Opus 36, and the Fourth Quartet, Opus
37--at the same time,he composed a series of tonal works that brought
forth a great deal of criticism.
In these latter works, he was accused
of retreating and capitulating to tonality.
The very people viho formerly
scolded him for being too aggressive, now called him a
reaction~.
A~
clear thi nking, unbiased person 7dll readily admit to the injustice of
these cr iti cisms.
During all of this, Schoenberg himself was concerned
only with searching for the truth in musical composition.
He often stated
that to meet certain musically artistic needs, he deviated temporarily
from the strict use of the row.
This practise is no different from the
practise of other great compo ser s all through history.
One needs only to
think of the exceptions to the then existing inflexible rules that
Palestrina and Bach made use of in their music.
The fact that Schoenberg,
as the true originator of the method of twelve note vrriting, did
works based exclusively on an "orthodox" use of the series
\~ite
Y~'i thout
dev:ia-
tion, merely proved that such a thing was possible, and that it could pro12
duce an artistic result.
HovJever, from the outset, the t welve note
technique has been rather flexible.
built up a
11
The group of composers today who have
cul t" around vrhat they consider to be the inflexibility in the
use of the tvrel ve tone technique misunderstand completely Schoenberg, his
philosophies, and his theories of music.
Schoenberg himself expressed
the idea that artistic expression is not dependent upon technical tricks,
12schoenberg, ~· cit., PP• 211 - 213.
24
but lies instead in the musical thoughts themselves.
If a composer doesn 1 t vrri te from the heart, he simply can't
produce good music • • • • What can be constructed yfith these twelve
tones depends on one' s inventive faculty. The basic tones vdll not
invent for you. Expression is limited only by the composer's creativeness and his personality • • • • He may be original or moving,
mth old or modern methods. Finally, success depends only on
whet£jr we are touched, exci t ed, made happy, enthusiastic • • • or
not.
It is too early to pass any valid judgement on the direction
~velve
note music will
t~ce.
The trend seems to be toward the integra-
tion of the t welve tone technique ·with tonc.lity.
This does not indicate
that the t vmlve tone technique is declining. As a matter of fact, an increasing number of colll9osers are trying their hands at it.
Their works
show that a wide variety of technical and stylistic procedures are possible ·within the r ealm of the technique.
14
composers is Richard Hoffmann.
One of these successful young
F..ichard Hoffmann seems to understand the true character of the
vrrelve tone technique and its implications.
He points out clearly and
intelli gently the responsibility of the young composer, as
~rell
as that
of the musician who attempts to search out an inflexible formula for
this music:
It is my warm hope that intelligent musicians 1vill not rely too
much on the automatic unity >vhich arises from a series of this kind,
or rely too strongly on the mystical relations between the notes
themselves, in order to increase the value of their compositions.
Composition vJith tvmlve notes is not a profession of faith, but an
13
Armitage, op. cit., p. 256.
-.
--
l4It was my association ·with Richard Hoffmann that instigated my
strong interest in twelve tone music. Before our meeting, my experience
1vith it had been perfunctory, consisting of listening to recordings and
participating in the first performance of Schoenberg's Second Chamber S,ympJ1ol1z, vJith the New Friends of Music Orchestra under Fritz Stiedry in NeW
~ in 1941. This work was started in 1906, but it vms not until 1940
that Schoenberg decided to complete it.
25
art. The composer s hould. not be an apostle who clings stri ctly to
formula e which have been laid dovm in advance; he must be an artist
who shapes his o;vn ideas i~dep endently and underUL~es a risk when he
enter s unknmTil territory.l~
15Rufer, ££•
cit., p. 186.
CHAPTER IV
ANALYSIS OF TRIPARTI TA OF
RI~JUtD HOFFY~1~
With this background of the evolut ion and praxis of music ·with
t -vrelve notes as a technique in mind, I shall attempt an examination and
and analy sis of t wo representative string works in this idiom.
The first
to be consider ed is an unpublished comp osi tion f or unaccompanied violin
1
called Triparti ta composed by Richard Hoffmann in 1950.
This work is one
in which a rather simple, but highl y artistic use of the tone row may be
observed.
2
The piece consists of a group of three contrasting movements.
The
title, Tripartita, results merely from the telescoping of t wo musi cal
terms, tripartite and partita, into one.
In this work, :Mr. Hof fmann fol-
lows r ather closely t wo important featur es of t welve tone music, namely
t he contraction and condensation of musical elements.
These can readily
be compared to the ellipses and aphorisms associated with figures of
speech and phr aseology .
An independent
rm~
i s used for ea ch movement,
and i n this respect, there seems to be no connect ion
be~7een
the movements,
however t he skillful us e of other f actors binds them together .
The pr imary r elati onship that exists between the movements revolves
around t he tripartite-abstraction t hat appears and actual l y permeates
t he entire c omposition:
There are t hree contrasting
move~ent s ;
t here are
t hree tone rmvs; each movement is basi cally in A B A form; the second
1 Richard Hoffmann was born in 1925 in Austria, but he moved at an
early age with his family to Nevr Zealand. For the past nine years, he has
been living in t be United States, and at the time of our as s oci ation, he
was teaching theory and composition at Oberlin College, Oberlin, Ohio.
2
A complete analy sis of the mu sic from the point of vim~ of the
tone rmv is i ncluded in Appendix A.
27
movement employs three staves; and the final movement uses triple rQythm
and meter throughout.
The fundamental tone rm~ and the Inversions, of the first movement are as follows:
.. R
L
'
~
~
·0
.Jt. _._
_f_
.
'.1'6
A
_y_•
.
~~
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7
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7-
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7~
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FIGURE
i
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21"'_.,_
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~
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15
In the use of the rows, Mr . Hoffmann often favors a particular
technique, i.e., he starts in the middle of the row and works toward
both ends in the following manner:
(1 2 3 4 5 6 7 8 9 10 11 12)
The tone row is so constructed that the last f our notes of the
Origi~~l and Inversion, and the first four notes of the Retrograde and
Retrograde Inversion coincide, forming a unirJing motif for the entire
3
movement.
This practise is connnonly referred to as the "linking" technique in twelve tone music.
For example, in this first movement, the
four notes, B D F# G, are used thirteen times as either pickup or cadential figures.
The A#, st~g on the last beat of measure
5
and
3
In the ensuing analysis, I shall use the accepted abbreviations:
0 - Original, I - Inversion, R - Retrograde, and RI - Retrograde Inversion.
28
continuing through measure 6, is a note strange to this particular order
of notes.
The composer uses it here to disguise a feeling of cadence, and
. 1"llllS
. t lC
• reasons. 4
f or VlO
The repetition of the high G in the last beat of measure 12 shows
an interesting musical device often employed in
~velve
tone compositi on.
The repetition of the G after the F# indicates the beginning of a series
of semi-tone relationships which reaches its climax in measures 16 - 18,
where the open A string becomes a prominent note around which semi-tones
revolve.
Another good example of the linking technique is to be found in
measure 13 where the G and the F/1 become the last two notes of the 0
series, and the first two notes of the RI series.
The form of the movement is basically A B A, and can be analyzed
as follows:
Section
1-
A
B
Episode 1
2
3
A
Measure
(In Retrograde)
4
4
9
9 16
16 - 23
23- 26
The episodes of the B section are in contrasting
is indicated by changes of tempi and cadences.
characte~w~ich
The third episode pre-
sents a complete contrast to the others with its cool, non-vibrato, and
colorless quality vT.ith all of the notes revolving around an open A string.
The movement closes
i~th
a direct statement of the first three measures
in Retrograde.
4statemenib by Richard Hoffmann, personal interview.
29
Throughout the movement , r hythmic unity and var iety is achieved by
an interesting use of t hree basic rhythms in diminution and augmentation .
They are as f ollows :
J JJJ JJ),J
The second movement of the Tripartita cons ists of twenty measures
in which the number
signature is
3/ 4;
11
three 11 t akes on part icular significance--the time
the f orm is A B A; and the single mel ody is written on
three different staves, ea ch indicat i ng a characteristic sonority.
The
t op staff is played sul ponticello (close t o the bridge ), t he second
staff is played
~ (~
pizzicato (plucked) .
naturel) , and the third staf f is pl ayed
Single and mul t iple- stopped harmonics add another
col or to the music.
The f ollowing is the fundamental row which governs the bas i c shape
of the piece:
q_~
9#
.
:
~
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tj ,
In
t:ltr
r.>'
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16
Although I have given the four basic versions of the row,
Mr.
Hoffmann uses only the Ori ginal and Retrograde f orms i n this second movement .
It should be noted that t he ent i r e 0 row is used seven times .
l ast six notes of the 0 ser ies are used four time s as a group; and the
The
30
last
sL~
notes of the R series, as a group, are also used four times.
There are two exceptions that should be noted:
(l)
In the second state-
ment of the 0 series, only eleven notes are used, and at measure lh, the
second note of the s eries is omitted .
The A B A form and the t welve tone row are not the only unifying
factors of this piece.
A careful examination of the rhythmic factors
Ydll reveal still another veFf important unifying principle that gives
the piece added coherence.
follows:
Some of the rhythmic relationships are as
In measures l through the second beat of measure h, we observe:
IF;I
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.).
m
~
J •l
~r.
J
-'·
:;1
- ..
..I' 1-- f'
...1 ..f' .1' ...D-.J
)
From the third beat of measure h t hrough measure 8, we discover that the
following
rhytP~s
have a definite r elationship :
..,
t
--:J-
.,IJ )'
I J ~ -' .,f\ .r .1.
c.,
;-'t
j
J
"3
'-
)' .F.\
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,l___.d. . ti i r rr rr
Measures 9 through the first beat of measure 10, and measure 13 have the
following r hythmic pattern in common:
Measures 10,
~1,
and 12 have the follovung augmentation in common:
31
Jv'Ieasures 14 and 1.5 hark back to the initial rhythm, employing the linking
technique:
.,I
r· 1 r
It is perfectly clear that this is no haphazard arrangement, and that the
initial rhythmic motif is carried throughout vdth continued variation,
adding immeasurably to the unity of the movement.
The last movement of the Triparti ta is in the character of a
Viennese Waltz, although it is in 9/8 time.
two forms of the basic row for this piece:
Mr. Hoffmann uses only
The Original and the
Retrograde:
~~----------------------~--~---- >0
FIGURE 17
The entire movement is built on the 0 series alone.
is used only once, in measures 19 through 22.
The R series
Throughout this movement,
the technique of starting from the middle of the series and working toward both ends can be observed.
As in the f irst movement, an important
unifying element is the use of a pickup and cadential figure:
E# F# G# G.
It first appears as a cadence in measure .5, and is repeated in measures
10, 2.5, 29, 37, 40, and 43.
Two startling moments of cadential relief from the brilliant
dance-like rhythms occur at measures 32 and
LQ.
The note G seems to be
predominant, giving the fe eling of a quasi-tonal ending to the piece.
The final note--F--of the series is missing in two statements of the
series starting at measure 30.
This note is finally reached vdth
32
startling eff ect at measure 36 where it overlaps with the first note of
the 0 series.
The piece ends vrith the familiar cadence:
E# F# G# G.
This movement also follows the A B A form, but this time there is
an added episode in the B section.
Section
A
Measure
1 -
B Episode 1
2
3
4
A (Slightly varied)
6
6- 17
17 - 25
25- 33
33- 38
38- 44
CHAPTER V
AJL{LYSIS OF PPJUNTASY FOR VIOLIN w
VITH
PIANO ACCOMPANIMENT, OPUS 47, BY
ARNOLD SCHOENBERG
The Phantasy for Violin "V'r i t h Piano Accompaniment, Opus 47, by
Arnold Schoenberg was one of the last works he completed.
This composi-
tion presents many more complexities than does the Hoffmann Tripartita.
Schoenberg first 1vrote the violin part alone, and later added the piano
part as an accompaniment.
His r eason for this was to maintain the solo1
istic and virtuoso character of the violin part.
The piece is 166 bars
long with an overall one-part structure that has two main subdivisions,
which are separated at bar 85.
2
The first section, from measures 1 to
85, consi sts of changing contrasts. It is full of tension, and the character is predominately dramatic.
The formal coherence arises from the de-
velopment of various secondary shapes out of the basic shape.
ter of the s econd section, from measure
The charac-
85 to measure 136, is scherzo-
lik e, and its three subdivis ions form a definite A B A form.
The A part of the second section consists of two irregular
(5
f
3)
eight-bar phrases extended to 17 bars by lengthening t he last measure (101).
Section B consists of 16 bars, starting at measure 102, and is rather
loosely constructed in contrast to t he A section.
The f irst eight bars
of Section B resolve into a sixteenth-note r hythm for two bars; thi s in
turn, introduces t he subsequent six-bar phr as e.
1
The returning A section
Rufer, £e• cit., P • 157.
2A complete analysis of the music from the point of view of the
tone row is included in Appendix B.
34
starts at measure 117 and goes to measure 133, with an added two measures
that lead into the Coda.
The Coda consists of a seven-bar idea t hat is
repeated and then reduced to motif s of the idea.
Measure 154 is a v aried
and an enlar ged repetition of the basic shape of the work, and leads to a
seven-bar virtuoso cadenza that closes the piece .
The outline analysis of the form and t hematic shapes of the piece,
as sho1vn in the Table on page 35, will help to
clari ~
many points.3
An analysis of the basic shape of the composition f rom the tone rm7
will reveal many interesting f acets in t welve tone vv.ritL~g .
The basic
series and its mirror f orms are as follows :
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!L t..
~
0
,..
....
•
,
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18
Vihat appears to be a complete t welve note series at the beginning
of t his piece, turns out to be a grouping of the f irst six notes of the
0 series plus the first six notes of the I s eries, a fifth lmver.
This
1·ras one of Schoenberg 's favorite devices, and it should be noted that the
notes of t he I group, which he uses here, contain the same notes as the
remaining six notes of the 0 group, but in a different order.
3Rufer, ~· cit., PP• 174 - 175.
Actually,
35
FOR:M AND Tf-fE1vl".ATIC SHAPES OF
PHANTASY FOR VIOLIN WITH PIANO ACCOMPANilmNT
Section 1
Measure
Thematic Shapes
24
Grave
(6
25 -
33
Piu Mosso
4f 2 f 3
34 -
39
Lento
3f 3
40 -
51
Cantabile
5f 5f
Grazioso
4f 4f 3
52 - 62
64 - 81
(A B Al)
82 -
Grave
100 - 101
B 102 - 109
110
f!J
D"
Scherzando
8
f
8
Connection
8
Connection
111 - 116
6
A 117 - 133
8
134 - 135
4
f (4 f
7)
f 3'f! f 4 f IJ (4 f 2'f!
(5
Connection
84
100
f
2
A
Section 2:
85 -
3)
Connection
63
A
L? f 27 f
1-
f 9
Connection
Coda (a) 136 - 153
7
(b) 154 - 166
4
f
f
f
2f
7
4
7
A1
it amounts to the use of t-wo independent si x-note series, ·which somewhat
limits the thematic material to fi gures of shorter length than would be
possible vdth the use of a complewtwelve note series.
This practise is
quite in accord vvith Schoenberg 's theory of condensation and concentration of materials.
Measures three to six are derived from·the last six notes of the
Retrograde form, and the second part of the Original series appears for
the first time in the full statement of the 0 series in Bars 9, 10, and
11.
A careful examination of the composition will reveal how artistically
and ingeniously Schoenberg used the basic tone row with its many variations.
A fevf of the ingenious devices to further the unity and coherence
of the material merit particular attention.
Beginning vdth the third beat in measure 31, up to measure 33,
the basic shape of the 0 series i s presented in its entirety as a variant of the first idea, and in contrasting character.
This leads to a
cantabile passage of six bars, derived from the Origi nal seri es, t ransposed a fourth .
The minor second (Eb - D) which starts this cantabile
passage in bar
34 is a contraction of the preceding Eb, F#, and D which
concludes t he preceding O·series.
By
leaving out the F#, the last notes
of the preceding Orignal series become t he f:ir st notes o.f the new Original series, transposed.
A new method of 11moti vic linking" of each
phrase--the taking up of the last notes of the preceding phrase and carrying it further by transposition--is thus introduced, and in the cour se
of the piece, it occurs several times.
Here, Schoenberg utilizes another
of his favorite devices.
The second half of bar 62, and bar 63--which are the connection
bars--are freely handled from the Retrograde transposed series.
37
Two different thematic i deas from the Inversion series, transposed, occur at (1) measures 40 to 52--a Lento passage which shows close
coherence betvreen short aphoristic phrases, and ( 2) at measures 64 to 72,
a reci t ative idea of dramatic qualitJr•
This passage is t he first section
of a nineteen-bar, three-section episode.
The middle s ection begins in
measure 72, and has t he character of the basic shape .
The third section,
from measure 75, is a gain of sustained dramatic quality.
The Grazioso, starting at measure 52, is in three sections:
the
first is based on the Retrograde Inversion s eries transposed 1-.ri th considerable melodic variation; the second section, based on the R s eries
transposed, contains contrasting rhythms and a rich sonority, resulting
from the use of double stops; the third section is based on a different
transposition of the R series, ancl has the char acter of the f irs t section.
New and interesting phenomena occur in the scherzo-like section
(measures 85 - 1 33).
Measures 110- 112 indicate a complex interlocking
of two f orms of the series--the second half of both t he R and RI series,
transposed, as f ollows :
In measure 110, the alternating notes are seven
and eight from both s eries; then in measure 111, and in measure 112,
there are tvm note groups, nine and te11, t hen, eleven ani t relve of the
t ~m
.
ser~es.
4 Bar s 113 - 116 consist of the second half of the 0 series,
transposed, and the second half of the I series, t r ansposed, combined
vertically .
Beginning with the Coda, a similar pr ocedure can be traced.
In
bars 135 - 143, there is an overlapping of note groups from the 0 and I
series, transposed.
4Rufer 1 s anal ysis of this passage as the first half of the R and
RI series seems to me to be open to question; Rufer, ££· ~., p . 159,
and Appendi x p . XIX.
38
I have analyzed the important and difficult sections of t his >':ork
from the point of view of the basic shap e of the tone series.
The re-
maining sections of the piece can be analyzed in a like manner, and it
can then be seen that they, too, fit into the musi cal ideas of the t otal
. picture.
An analysis of the rhythmic aspect in this composi tion will also
give evidence of an artist at work.
Chara cteristic rhytlmlical motifs
keep reappearing in exact repetition, or in slightly varied form, and
these, combined with the melodic factors, add to the musical coherence
of the whole.
The rhythmical analysis of the first si x-bar basic shape reveals
I
the basis for the thematic development of the entire piece:
r
r
-. 1
..,
_f'-'
m )'..\
~ \
• •
)TI .1
~~'t) .r~)
The similarity in measures 7, 8, and 9 is apparent.
bas ed on a development of the motif,}
at the end of bar 31.
obvious.
.m .1
r
,
JJ
Measures 29 - 30 are
J , which goes over to motif,J J ,
The similarity between bars 56 - 58, and 7 - 9 is
A comparison can also be made of bar 34 vd th 55, and bars 37 -
38 with 58 - 59. Measure 69 clearly prepares for the middle section, bars
72 -
75. These are merely a fmv of the possible rhythmic relationships
that may be observed wfuen a careful study of the
~urk
is made.
As I stat ed previously, the piano accompaniment of this work was
added after the violin part had been compl eted.
Examination of the accom-
paniment will reveal artistic elements similar to those in the violin
part.
In performance, the piano accompaniment is united with the violin
part in such a way that one ca:nplements the other, resulting in added
rhythmical and melodic interest, and unity to the piece as a whole.
As
39
an example of the complementary use of the row vii th the solo part, I have
inserted the notes of the fi:cst bar of the piece that accompanies it, i.e.,
the first six notes of the I series.
An analysis of the remaining piano
part vv.ill reveal relationships similar to those that appear in the first
measure, for throughout this piece, Schoenberg generally accompanies the
violin part with the corresponding Inversion of the violin series.
For
example, if the 0 series is used in the violin part, the I series accompanies it in the piano.
The same plan appears in the transpositions of
any form of the series.
In addition to this device, Schoenberg fr equently employs the techniques of Stimmtausch and imitation between the violin and the piano parts-and within the accompaniment,
and horizontally.
be~Heen
the right and left hands--vertically
Examples of this technique can be observed in measures
26 - 28, and 64 - 82.
An interesting, non-musical aspect of the piece is that SChoenberg,
in munbering the measures, avoided the number 1113 11 • Instead, he numbered
the thirteenth bar, 12a. 5 Schoenberg was a mystic in many respects, and
he was particularly superstitious about the number 13.
for a good part of his life.
It plagued him
He often interrupted his compositions for
one reason or another, and when he found it difficult to resume work, he
observed that he had invariably stopped at a measure numbered 13, or a
multiple of this
magi~
number.
He considered his birth date an evil por-
tent--September 13th--and he thought that he was going to die during the
year follovring his sixty-fifth birthday, because it was a multiple of the
fateful number.
An astrologer friend reassured him, predicting that if
5schoenberg also mark ed measure 39 as 38b. Interestingly enough,
the piece ends on measure 166, the numbers of vrhich added together equal
thirteen.
40
he lived t hrough that year, he
longer .
On
wo~ud
then live at least five or ten years
the occasion of his seventy-sixth birthday, he was
for~Narned,
when another astrologer pointed out t hat the seven and six added up to
thirteen, and that this would be a critical year for him.
This disturbed
him so much that he found it impossible to conclude his Die Jakobsleiter,
because he believed that he was caught at some multiple of the mystical
number.
Actually, Arnold Schoenberg died at quarter to twelve, midnight,
on Friday, the thirteenth of July, 1951, at the a ge of seventy-six.
6
6.\IV"alter H. Rubsamen, tiSchoenberg in America", The Musical Quarterly,
XXXVII (October, 1951), 487 - 488.
CF.APTER VI
PERFOR111A.NCE OF CONTEMPORARY :MUSIC
The performance of music by Stravinsky, Bart6k, Hindemi th, Schoenberg, and other contemporary composers requires no less a craftsmanlike
execution and intelligent i nterpreta tion than does the performance of any
other music.
In a sense, this music requires a more subtle overall exe-
cution becaus e of the rela tively strange i diom which is nm'T to most ears.
The intonation alone taxes the player's ears to the utmost, for dissonances played out of tune sound just as wrong as does a simple triad or arry
1
other consonance played out of tune.
The difficult and subtle rhythms
so often encounter ed in this music must be clearly delineated and understood by the performer, because it is thi s clarity of rhythm that is a
necessary r equisite to the complete understanding of the character of a
phrase .
Each phrase of contemporary music posseses its ovm dynamism in the
form of energy, and in the relative tensions •Vhich depend on the relations
of pit.ch, note values, and gradations of loud and soft.
Although
Schoenberg always indicated clearly the tempi of his comp ositions, he
desired utmost flexibility in its performance.
If the character of a
passage sounded right musically, the tempo was right.
Much of t his music
consists of sudden contras ts and changes of expression and color.
All of
these must be made clear to the performer, and t hrough him, to the
listener.
Often, this is accomplished by shifting emphasis to rests and
caesuras, where ritards or accelerandi are not incicated.
1 stein, ££• cit., pp . 82 -
85
42
Texture is an important consideration in the projection of this
music, just as it is in the field of painting.
In contrapuntal
~~iting,
the counterpoints to fugal subj ects are important and should not recede
to a pianissimo background.
On the other hand, any accompaniment to a
solo part should be subdued so that the important part stands out in bold
relief.
No new string techniques are employed.
stopped note
Double harmonics, a
and a harmonic played simultaneously, intricate multiple
stopping, an assortment of pizzicati, ponticello, and col legno all have
to be prc..ctised and developed more fully.
On the whole, only i f the
performer understands the music and the techniques employed, can he project the musical values and give cohesion of sound to the unity of the
composition.
CHAPTER VII
CONCLUSION
In conclusion, I should like to recapitulate briefly the main
ideas of this paper;
Music compo sed in the t welve tone idiom, as devel-
oped by Arnold Schoenberg, is no more than the continuation of the organic
evolutionary process characteristic to all art forms.
As in all music of
the past, this music possesses unifying principles that give the content
form, cohesion, and shape.
The dissolution of tonality can be traced
from the earliest stages of polyphony.
As soon as the modal system out-
grew itself, the tonal system became better able to serve musical needs;
as soon as the tonal system seemed to restrict the composers of the time,
chromaticism w-as emplo;>red to a point where tonalities ·were no longer
clearly reco gnizable.
In order to avoid chaos and anarchy in music, it
fell to Arnold Schoenberg to evolve a system that would give order and
shape to the more or less free use of the t welve notes of the scale.
result was the codification of the t welve notes into the
11
11
The
tone row" or
series 11 vvi th all of its ramifications.
Whether or not this music will withstand the test of time r emains
to be seen.
There is no doubt in my mind that this phase of the develop-
ment of the art of music is a most important one, and it behooves all
musicians, composers, musicologists, and performers to study it and expose it to the public.
The difficulty encountered in listening to this
music decrea ses in time, if a constant effort is exerted to try to understand it through analysis and frequent and rep eated hearings.
I ·would lik e to conclude vnth two quotations ·which point up
clearly the attitude vmich the performer and the composer should assume
in approaching this new music, and, as a matter of fact, art in general.
The first is from a letter I received from Richard Hoffmann after I had
p erformed his Triparti ta to an enthusiastic audience.
He wrote,
11 It
makes me very happy to think that you have taken my pi ece not only to many
places in the east, but to your heart.
As I al;vays say:
If a C major
scale is beautifully played, the audience ;v.ill swoon and the critics
rave.
The second quotation is taken from the speech of the Archangel
Gabriel in Schoenberg 's own poem
to~
Jakobsleiter.
It sums up the
dut<.r and obligation of one who is searching for the truth in art:
11 0b
rechts, ob links, ob VOI'17~rts oder ruckwa'rts, bergauf oder bergab--~
2
hat weiterzugehen, ohne ~ fragen, ~ ~ oder hinter einem liegt."
1 Letter from Richard Hoffmann, dated November 2,
1955.
2Ri.chard S. Hill, "Schoenberg's Tone-Rows and the Tonal Sy stem of
the Future", The Musical Quarterly, XXXIX (October, 1953), 37.
APPENDIX A
TONE ROW ANALYSIS OF
TRIPARTITA BY RICHARD HOFFMA.N
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TONE ROW ANALYSIS OF
PHANTASY FOR VIOLIN WITH PIANO
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47,
ACCO:MPANllm:J.~T,
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Hoffmann, Richard.
Tripartite:.
(Unpublished ma.nuscript.)
Schoenberg, Arnold. Phantasy for Violin -vd.th Piano Accompaniment, Opus
47. c. F . Peters Corporat~on
---Stravinsky, Igor.
In Memoriam Dylan Thomas.
Stravinsky, Igor.
Septet.
England:
England:
Boosey & HaY1kes, Ltd.
Boosey & Ha-wkes, Ltd., 1953.