Composition and Context in Twelve-Note Music of Anton Webern Author(s): Christopher F. Hasty Source: Music Analysis, Vol. 7, No.

3 (Oct., 1988), pp. 281-312 Published by: Blackwell Publishing Stable URL: http://www.jstor.org/stable/854084 Accessed: 25/11/2009 07:52
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F. HASTY CHRISTOPHER

IN TWELVE-NOTE AND CONTEXT COMPOSITION OF ANTONWEBERN MUSIC

it would compositions, twelve-note ofanyofWebern's ananalysis Inattempting the variousrow forms and to proceedby identifying seem appropriate The vast that arisefrom their combination. the relationships considering majorityof publishedanalyseshave employedthis strategy,and with of row followed, andthedisplay is strictly Theseries justification. considerable in Webern, symmetries. andregistral temporal in striking formsoftenresults importance fundamental attaches of hismusic,clearly writing on thestructure procedures andthecanonic serial forms, thatrelate theoperations to theseries, methodological On purely of rowforms.1 usedin the deployment frequently to be gainedfrombasingan advantage thereis also considerable grounds, for we can therebyaccount of this music on serialorganization, analysis tothe anappeal Without of thecomposition. pitchclass forevery systematically 'free'atonal pre-serial, as we arein Webern's serieswe wouldbe confronted, pitches music,with the morecomplexand less securetaskof interpreting detail. of compositional upona wealth thatarecontingent to contexts according wearefreed structure, basis ofmusical therowastheautonomous Byregarding of contextual andthevagaries of segmentation extent fromproblems to a large which maybeseenasanover-simplification Andyetthissimplification analysis. of autonomy andthestructural method analytic conventional callsintoquestion therow. method havebeen analytic of prevailing assumptions many crucial Although and with the expansion concerned by theorists withoutcriticism accepted themore ofpitchrelations, fortheanalysis procedures of systematic refinement the functionof the row and the relationof generalquestionconcerning This of controversy. haslongbeena subject andpre-composition composition of is theroworthearrangement Inwhat sense asfollows: maybestated question as a basisfor the to be understood in the composition rowformsemployed it maybe usefulto moresharply, to definetheproblem In order composition? be might sense,acomposition Intheweakest a range ofinterpretations. propose anuninterpreted toprovide therowunderstood ontherowwere saidto bebased thatarenot according tocriteria bythecomposer fashioned fundofpitchclasses
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CHRISTOPHER F. HASTY

determined byserial procedures, thuscreating a musical structure which is not contingent uponthepurported structural properties of therow.Inthestrongest sense,a composition mightbe saidto bebased ontherowif it weremaintained that the choiceand presentation of row formsfully determine the musical structure as a whole.Now, it couldbe imagined thatparticular compositions might correspond to either of theseextremes, making it impossible to draw any generalconclusion regarding the functionof the row. However,it seems implausible thateither of theseextreme situations couldconceivably obtain. A systematic determination of the sequenceof pitch classes,even if freely interpreted, can hardlyleave the musicalstructureof the composition untouched. On the otherhand, such a determination is open to limitless interpretations andmayonlyin a veryabstract and(asI shalllaterattempt to show) limited sensebe saidto determine thestructure of themusical whole. Theassumption thatserial procedures strongly determine musical structure is, I believe, implicit in mostanalyses of twelve-note compositions, particularly in analyses of Webern's music.Foranexplicit contradiction of thisassumption we mayturnto an article published thirtyyearsagoin whichPeterStadlen (1958a), reflecting onWebern's Piano Vartations, presented a detailed criticism of twelve-note method.Takinga position closelycorresponding to the weak senseof serial organization sketched above,Stadlen argued (toquotea second article whichhe wroteshortly afterwards to clarify his position) that 'serial manipulation - insofar as it is non-thematic - is meaningless andirrelevant. Since theeffect ofserial activity exists merely inthecomposer's imagination, his compositional freedom is de facto restored'(1958b: 68). 'Far from overdetermining composition - the charge usually levelled against thetwelvenotesystem-itdetermines it solittleastobecompletely irrelevant' (1958a: 25). Stadlen nevertheless grants that'alldodecaphonic works arebound to contain a number ofdecisions which thecomposer hastaken notonaesthetic butonserial grounds' (:27).Hethensuggests that'acertain indeterminacy ofpitchin atonal thinking' allows theworka degree of immunity 'against the measure of serial irrelevancy it does,after all,contain' (:27). Stadlen's essayelicited fromWalter Piston(1958),Roberto Gerhard (1958) and RogerSessions(1958)a predictably vehement defenceof twelve-note technique. It should benoted thatnoneofthesecomposers argued fora 'strong' senseof serial determinacy. Sessions' position is representative of theiropinion onthismatter:
Once the initial choice has been made, the series will determinethe composer's vocabulary; but once the vocabulary has been so determined, the largerquestionsof tonalorganization remain.My own strongfeelingis that,whilethesequestions mustcertainly be answered in termsnot aliento the natureof the series,it is not serialism as such thatcan everbe madeto accountfor them. I do not meanat all thatI am opposedin principle to the ideaof basingthestructure entirely on the seriesitself,asWebern andothers havetriedto do. WhatI am sayingis that even in structures so based,the
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COMPOSITION AND CONTEXT IN WEBERN'S TWELVE-NOTE MUSIC

acousticaleffect seems to me to derive in the last analysisnot from the betweennotes, of the seriesassuch,butfromtherelationships manipulation hasby thesemeansset themup (:63). as the composer

of this to reviewin detailthe arguments it wouldbe rewarding Although thathis in his rebuttal, pointout, as doesStadlen debate,I shallheresimply of the row'sprecise question the central to address unwilling criticsappear asirrelevant thequestion to dismiss rather, preferring, significance, structural andSessions ForGerhard andlistener. ofbothcomposer concerns to theproper whois in no way of thecomposer, thebusiness is exclusively procedure serial of thetheorist: perspective by thenarrow bound
is meaningless. To me, as a composer,the questionof 'serialsignificance' from thatcomposers, technique.It appears is a composer's Serialtechnique havefoundserialtechniquepositivelyusefulin to Stravinsky, Schoenberg your by whicha pieceof musicis made.If youarenota composer the process - from of serialmanipulation' or 'audibility enquiryinto the 'significance' arise- is morethanpointless.... In the whichso manypseudo-problems mayby chancehavebeenmade work,reasonandpoeticimagination artist's why should you wish to undo the to fuse, at some high temperature; 1958:51) (Gerhard compound?

all theseessaysthattheoryand through running Thereis an assumption The technique. to theplaneof twelve-tone be limited willnecessarily analysis feltby allparties, forthedisparity, of blame on anassignment centres dispute From betweenthe musicalresultand what is takento be the technique. produces theory compositional ofthecritic, pointofview,theposition Stadlen's in asheis engaged who,'insofar onthepartof thecomposer, self-mystification is' (1958a:26). he thinks what he producing not is the series, manipulating and intuition, knowledge Takinga morepositiveview of the composer's to the and Sessionsinsist that analytictheory,being restricted Gerhard and the datumof the series,can neverhopeto of technique rationalization to music It is not permitted of the composer. freedom the creative approach makes actually thecomposer ofwhat toadetermination thatit mayaspire theory of theseries:
as he hasbeenableto gain is reducedto weighingsuch 'evidence' [Stadlen] from analysisof twelve-notemusic againstthe 'letter'of the rules, as he is boundto be them. In otherwords,his approach readsand understands one-sidedlytheoreticaland speculative.I should like to assurehim that whichmereanalyzingthereis hereaninterval betweentheoryandpractice thanhis - cannotpossibly andmoreaccurate evenif it werebetterinformed workon evidently imagination mindandcreative hopeto bridge.Analytical of the aboutthe potentialities The vital information differentwavelengths. serial technique is not availableexcept on the wave-lengthof creative
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CHRISTOPHER F. HASTY

experience. (Gerhard 1958:54) Musical theory,whichis by nature abstract, andmusic,by nature concrete, areincommensurable, and neithercan be validated,or the reverse,by the other.(Sessions1958:58)

Attempting to drawsomeconclusion fromwhatseemeda rather fruitless exchange, George Perle (1959) raised anissuecrucial to suchcontroversies inan essay appropriately entitled 'Theory andPractice inTwelve-Tone Music'. Perle perceived thattheopportunity foraproductive debate hadbeenmissed because of a failure to ground the dispute in a closeandunbiased analysis of musical works. He concluded thatthequestion of 'therelation between thesetandthe effective (audible) features of the music"based" uponit' is a question that cannot simply bedismissed, andthatanadequate answer mustproceed from an analysis of themusic moresophisticated thanthecustomary tracing of rows:
If thereis a meaningful connexionbetweenthe assumedserialbasisof the workandthe apparently non-serial elementsthatonedoes 'detectandfollow in audition,'then this impliesthe existenceof certainassumptions thatare not statedamongthe givenpostulates of set-structure. In this . . . caseit is the responsibilityof the analyst to attempt to describe these unstated assumptions and theirrelationto the given postulates.Anythingless than this is an irrelevant activityon his own part(:60).

In the threedecadesthat separate us fromthe Stadlen debate,analytic techniques havecertainly become moresophisticated, butlittlelighthasbeen shedontheproblematic relation oftheseries tothecomposition 'based' uponit. Indeed,among theorists theproblem hasbeenlargely ignored. Sinceanalytic method hasfollowed compositional theoryin concentrating attention on the structural properties of sets,it is notsurprising thatanalysts have found twelvenote theorysufficientfor the description of musicalstructure.2 And yet numerous statements fromcomposers of twelve-note music,likethosequoted above,pointto a realm of musical creation thatcannot be rationalized by the abstractions of current twelve-note theory. Certainly analysis cannever exhaust theimrneasurable richness ofitsobject. Butevenif 'analytic mind' and'creative imagination' occupyseparate planes,our attempts at mediation demand an openness to musical features 'thatonedoes "detect andfollowin audition"' whether or not thesefeatures conform to ourpresent understanding of serial procedures. In the hopeof facilitating sucha mediation, I shallpresent an approach to Webern's music thatavoids thea przort of structural determination bytheseries. I seekananalytic method thatbegins from a position of neutrality regarding the structural function of the series,a pointoutsidetwelve-note theory thatcouldallowus to testassumptions of conventional analysis andto discover the extentto whichWebern's pre-compositional ordering of pitch classes determines musical structure. Thisundertaking willnecessarily involve
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by twelve-note of pitchrelations afforded a reassessment of theinterpretation theory. is detached therelation of pitches orpitchclasses Under serial interpretation pulse,contour and suchasduration, accent, orabstracted fromother domains ofthemusic are ustoaskhowtheseother features timbre. Thisabstraction leads structure. If an to the pitch-class organized andhow they mightbe related the pitchstructure of the work,we might analysis of rowformshasrevealed Suchan analysing eachindividually. thenturnourattention to otherdomains, takenmany in manyrespects to the position analytic approach corresponds withthisapproach Thedifficulty years agobyproponents of totalserialisation. a changein one are not structurally independent; is that musicaldomains If the various of the othersuntouched. domain will not leavethe structure howcanwe go about areso inextricably related, features of themusical object which wecanorder someArchimedian pointfrom analysing thewhole? Is there theory, pitchorpitch In conventional analytic thewholeof musical structure? relations perse domain. Andyet pitch-class classhasserved as thisprivileged Meticulously organization. offerus little insightinto the totalityof musical canrarely be accent,contour andinstrumentation crafted details of duration, byanalysts, they andwhentheyaretreated rationalized by theserial structure, curiously detached surface' - a surface aregenerally relegated to the 'musical lackof connection in In viewof the frequent fromthe serial'background'.3 the deployment of rowformsandthe articulations Webern's musicbetween seemto function of alldomains, sucha surface would created bytheinteraction of thework. to conceal thetruestructure I hopemayprove to present what Arguing fora different pointofview,I shall regarding anydomain tothismusic.Rather than beamore productive approach of theinteraction focusourattention ontheresult asprivileged, wemayinstead articulation or issueof musical of all domains, thatis, on the moregeneral therelations of of theterm.From thisperspective, rhythm inthebroadest sense these relations according tothefunctions pitches ordurations canbeinterpreted apparent as gesture andform. Aswillbecome perform in thecreation ofmusical is problematic. In of formandstructural function we proceed, thedescription of contextual of serialstructure for an analysis exchanging the simplicity complexity and with far greater structural formations, we are confronted of Webern's understanding ambiguity. In return we mayhopeto gaina better toooftenignored in analysis. profound lyricism, a quality I raise concerning the theoutset thatthequestions I wishtomake it clear from have nobearing onthe fortheanalysis ofmusic usefulness oftwelve-note theory thesisof this theory.A central valueof twelve-note theoryas compositional hasbeenhindered of thetwelve-note literature essay is thatourunderstanding these and analytic theory.I shalladdress by a confusion of compositional theopening examination of portions of twoworks: questions through a detailed andthefirstsection oftheOp.30Varzations phrase oftheQuartet, Op.22(1930), of will provide the basisfor a discussion for Orchestra (1940).The Quartet generalmethodological issues. With Op.30, I shall proposea larger-scale
MUSIC ANALYSIS

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or

>

CHRISTOPHER F. HASTY

of thatdiscussion. theresults incorporating analysis, Inthe of tworowforms. asEx. 1, is composed of Op.22,shown Theopening indicatethe pitchesof the row labelledP1; numerals example,uncircled registral inversion of Ill. Ill is a precise thepitches indicate numerals encircled ofinversionally Each pair trichordally. aresegmented ofP1,andbothrowforms differences, ofrhythmic yet,because inimitation; trichords is presented related the rowform foreach Figure 1tabulates acanon. donotform thetworowforms comes. Within voiceandduxversus versus lower upper of qualities: opposition Ex. 1 pJ'+_Itte

Fig. 1
imitation: Trichordal P1 lower-Dux upper-Comes lower-Comes upper-Dux

I 11 upper-Comes

lower-Dux

> =S

upper-Dux

lower-Comes

of thesequalitative the fourcombinations exhaust eachrowform,trichords the two rowformsas percepiible obscures greatly distsciions. This pattern a Ex. 2 presents twovoicesin thispassage, If we wishto identify constituents. from Upperandlowervoicesmix trichords segmentation. morecompelling The division of the phrase. suggesta bipartite bothrowformsandtogether anda groupings of instrumental by a repetition is marked pointof division setclass, a different of thefourunitsconstitutes ofduxandcomes. Each reversal set foundas a to an unordered onlyone of which(setclass5-1)is equivalent linearsegmentof the row.4Since these four units are the most obvious thetwolinesthat audible than clearly more - certainly ofthephrase consiituents - I shallbeginby of timbre rhythm andchanges by the variable arebroken theseunits.The thatconnector segregate factors the rhythmic considering the andmake division bipariite thesimple in Ex. 3 contradict shown groupings As of Ex. 2 mightsuggest. symmetry static morefluidthantherather passage this pulse.Unit2 annihilates a crotchet thefirstunitestablishes Ex.3 indicates, pulse, a quaver beatandestablishing strong on a perceptually beginliing pulse: of unit1, thepitchEb. No afterthelastconstituent fivesemiquavers it enters
286
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COMPOSITION AND CONTEXT IN WEBERN'S TWELVE-NOTE MUSIC

Ex. 2
rwO VOKeS

2p.cs sharecl

2p.cs sharecl

Vl. (11 l) upper-Comes (Pl) lower-Dux Sax

I

Pno. (Pl) upper-Comes (Ill)lower-Dux Pno.

Vl. (11 l) upper-Dux (Pl) lower-Comes Sax

[

Pno. (Pl) upper-Dux (Ill)lower-Comes Pno.

2p.cs sharecl

2p.cs sharecl
I

Unit

'

Unit

Unit

'

Unit

(Unit

5)

4 3

Pno. /

&

<\

PrioZ

Pno. ?

4<1

t2f9b\("28

#;v8

tD

A(S

Pno

p S

SZ4 7-1

5-8

<

5-1 7-8-

6-Z23

(literal complements)

such discontinuity separatesunits 2 and 3. Unit 3 begins as a continuation of the quaver pulse of unit 2. Like units 1 and 2, units 3 and 4 are not connected by a pulse that interprets the semiquaver chronosprotos. Note in support of this segmentation that units 1, 2 and 4 are articulatedby beginningforte-piano;unit 3 begins piano. Another segmentation, shown in Ex. 3, points to a process of acceleration, which draws together the first three units. In unit 1, the violin imitates the saxophone at the distance of a crotchet, initiating the crotchet pulse. In unit 2, the delay is equal to a quaver, initiating a quaver pulse. This acceleration is continued in unit 3, where the delay is further reduced to a semiquaver. In the first part of unit 3 (=3a) the conflict between the duple grouping of each imitative voice and the semiquaver delay between the voices creates sufficient metrical ambiguity for the semiquaver to take on the character of an unmeasured pulse. This progressive compression of events is intensified by the effect of the previous segmentation. Thus, although unit 2 enters a semiquaver late in the pulse of unit 1, unit 3 enters directly, without a break in the pulse of unit 2. These observations lead us to the repeated F," in unit 3b. This figure, played by the clarinet, disrupts the impression of imitation and seems to function as a sort of punctuation, closing the first three units as a whole. Note that F,"completes the chromatic and is the centre pitch of the (precompositional) inversional symmetry. Unit 4 is rhythmically detached from the first three units as a group. Brian Fennelly (1966:307) has called this fourth unit 'cadential' appropriately, in the sense that variations of the unit are used throughout the
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it

4vi}7

c-at

ffi

Asto

btt'9(nf7

vasst

"@

l-

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CHRISTOPHER F. HASTY

Ex. 3
acocl.

Pulse: Delay:

J J
Unit ] Unit 2

?(>)

A(=>,
n .3h
linit 4

rn

Units Sa

Unit 5

Ji7

pp
l l

,}97
l

P
|

' PP
s

Ji7
|

13}s

6}s

4}s

7* J

L _ _ _ _ J X . 5}s

X7

7}s

7*#2

movement tomark primary sections. Andyetthefigure herefunciions alsoasan opening ontothefollowing seciion. Asbothending andbeginning, unit4 elides thetwosections through pitch-class repetition. Theseconnections areindicated in Ex. 4. Units3a and 5 present the samerhythmic-contour pattern. This pattern is notshared byunit4 butis usedthroughout thesecond section (bs615) as the accompaniment figure to the saxophone Hauptstimme. The connection of units3a and5 is obscured by differences in register, order and instrumentation. Unit 4 mediates thesedifferences by preseniing the pitch classes of the dyadsof 3a in the sametemporal order andlinking thesepitch classes to unit5 through identiiies of register andtimbre. Ex.4
- p.c. order - register - timbre + rhythm, + contour
l

(4C)
Unit 5

Unit 3a Vl.

Unit

^ fiL;

+ 4; p:

AS-G

S rf
X
EF

Pno.

#J >G A;
^>
e

t_/6^ G / Pno.

AS

F
[E

er + p.c. ordz -register -timbre

Vt

- p.c. order + register + timbre

288

MUSIC ANALYSIS

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tr

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COMPOSITION AND CONTEXT IN WEBERN'S TWELVE-NOTE MUSIC

analysis has beencarried out, for the mostpart, The foregoing rhythmic briefly the difficult I shallnowconsider without reference to pitchstructure. posedby unit 1. exploring problems of analysis question of pitchrelations, from this setsthatcanbeextracted Example 5aindicates someof thepitch-class of intervallic I meanto showthevariety unit.By pointing to thesecollections, whatI wishto I should firstexplain relations contained in this briefgesture. thesefirstsixpitches labels.Rather thanregarding represent by theseset-class wemayview autonomous pitches orpitchclasses, asanarrangement of discrete, specific eachof theseas a tone, that is to say, a pitchwhichhas assumed its combination withotherpitches.In thissense, intervallic qualities through of thosepitch defined bytheintervallic qualities setclassis a tonaldesignation 3-3inviolin (b.2)is thetrichord classes which compose theset.Thustoindicate to maintain that the secondpitch D, for example,assumesthe sonorous in this class1, or, morespecifically qualiiies of interval class3 andinterval Eb. Ifwesaythatthe B andaminor ninth below instance, of aminor third above mustbe somesense of setclass3-3,there pitches of theviolinformaninstance above thisstructure thewhole stepthatEbsounds in which wecanexclude from pitch,A, forms with thatthelowest thefirstpitchofthepiece,Db, orthetritone to B, D andEbin thesame Eb. Thus,forexample, if thepitchA wererelated nolonger be arerelated to oneanother, we should waythatthesethreepitches imply that structure 3-3,since to dosowould justified in labelling theintervallic subsets of 6-Z4 by allthethirty-five possible theintervallic relations presented would If thiswerethecase,there couldbeundifferentiated in theirrelatedness. astones,foronce subsets orin regarding pitches seemlittlepointin identifying wouldceaseto be a intervallic quality all twelvepitchclasses areintroduced, associations. would have identical intervallic distinctive feature: allpitchclasses Ex. 5 a)
, 2-3
g

3-3 r 2-3 l 1
>

b)
1 1 2-3 l 1 2 2-3
l

3 ^inc.

3-3 5-3 1 I

1 1 4-Z15 1 , 3-3 l

SZ4

differentiated astones in Ex.5 arequalitatively Theassumption thatthepitches

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CHRISTOPHER F. HASTY

by a variety of intervallic engagements raisestwo fundamental quesiions for analysis. First,howaresuchqualities determined? And,second, what formal or rhythmic funciion might theyserve? Inthecaseofproperly 'tonal' music, these questions have,in general, beenanswered to thesatisfaction ofmostmusicians. Intervallic qualities determine scaledegreeandareinterpreted by the fixed categoriesof consonance and dissonance.Complexes of such qualities participate in the creaiion of a variety of connections andarticulations - the analytic objects we callcadences, prolongational lines,phrases, sections, etc. In the caseof post-tonal music,wherethereis not a fixeddistinction of consonance anddissonance, intervallic qualities per se cannot determine tonal relations. Wemusttherefore looktoother domains forsucha determination. In fact, all the sets listedin Ex. 5a aredifferentiated in various domains. For instance, thepitches thatformthesonority labelled 3-7atthebeginning of b.2 (A,B andD) areassociated temporally andregistrally. Likewise, theinstance of setclass3-7formed bythefirsttwopitches, Db andBW, andthelastpitch,Eb, arises outof an association of register. Thesegmentation thatis mostobvious fromthe scorepresents us with two imitative components: the initial3-3 trichords of the two row forms. Althoughseveraldomainssupportthis segmentation, therearefactors thatsubvert theapparent symmetry. Notethat thethird pitchof eachtrichord (AandEW ) is isolated fromthefirsttwopitches bothrhythmically andregistrally. For this reason, the passage caneasilybe heardto comprise threepartsestablishing a crotchet pulseand containing, respectively, twonotes,three notesandonenote.Thissegmentation is marked aboveEx. 5b. The secondof these constituents, at the beginning of b.2, introduces a useful ambiguity. Here the saxophone's line, DW-BW-A, is challenged by the connection of the two dyadsDW -BW andB-D. Qualities of register, interval andrhythmic pattern interact to associate thislatter group of four pitches.The line DW-BW-B-D (set class4-3) presents an ordering of intervals identical to a formof thefirsttetrachord of therow.Asis shown atthe end of Ex. 7 (unit5), a clearreference to the firstunit andthe firstexplicit statement of therow's initial tetrachord appears atthebeginning of thesecond section in the saxophone, whichplayswhatmaybe described as a transposed retrograde inversion of thisline:C#-E-F-D. Returning to Ex. 5b (b.2),we see thatthe statement of set class3-3by the violinis clearer thanthatof thesaxophone, sincetheconnection of D andESis not complicated by immediate voicecrossing. Withthe entrance of EW, the trichordal imitation becomes apparent andthepitchA canbe assimilated into thisnewstructure. ThusEW closes theunitandata single stroke elides thethree partsas an overlapping of twoparts.Nevertheless, if we canspeakof elision here,ourperception ofthethree-part structure is notannihiliated. Although the two-partstructureis closed, the three-part structureremainsopen or incomplete, in the sense that the thirdevent, the singlepizzicato EW, is incommensurate withthefirsttwoevents, each ofwhich clearly exposes a dyad: theminor third. It is thuspossible forthefollowing pitch,C, shown in Ex.6, to participate in anelision of units1 and2, if we canhearthecontinuation of the
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MUSIC ANALYSIS

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COMPOSITION AND CONTEXT IN WEBERN'S TWELVE-NOTE MUSIC

initial pattern of thirds: DW -BW, B-D,EW -C.Inthisway,theunmeasured pause between thetwounitsis filledwiththeenergy ofa delayed connection, thepitch Centering a semiquaver latein thecrotchet pulseof unit1.Notethatthepitchintervallic relations we havejustconsidered arefunctional, thatis to say,they playaroleindetermining thekinetic shape ofthemusic. Andyettheserelations arethemselves determined by therhythmic interaction of many qualities other thanpitch.Evena cursory examination of thefirstfewbarsof theQuartet may allow us to pursue thedialectic a bitfurther. Ex. 6
sax.
6

Unit I

Unit 2

vn a

4-3

s;J,J I v^0 1 iCw

4-3 (RI) P: 1 2 I}: 1 2 3

fl
4

Intervallic relations in this musicareextraordinarily complex and subtle. Theserelations arehighly sensitive to thestructural effects of theother musical domains andseemcapable ofsustaining multiple interpretations. ThusI believe thata widevariety of intervallic interpretations, suchasthoseshown in Ex. 5a, cancoexist as latent possibilities to be brought intoaction orleftunrealized as the pieceunfolds. If the available sketches areevidence of Webern's working procedures, it canbeassumed thatoncehehadselected hispitch-class material, thecomposer gavemeticulous attention to thefunction of allthesedomains in thecreation of theactual musical structure. Forexample, in thesketches fora movement that was to havebeen included in Op.22, Webern arrived at a finishedversionof the first sevenbarsaftermorethana hundred changes involving everydomain exceptpitchclass(Smalley 1975).I suggest thatsuch changes do notleavethequalities andfunctions of pitches astonesuntouched and, consequently, thatthe initialordering of pitchclassesprovides not an actual structure but rather innumerable structural possibilities. To showthe openness of thepitch-class material tostructural formation, I take theliberty, in Ex.7a,of altering unit3, changing theregisters of twopitches anddelaying the entrance of the secondvoice by a semiquaver. I have takencarein these recompositions, labelled3X and 3Y, not to violatethe pre-compositional registral symmetry of thetworowforms. InWebern's third unittheinstance of setclassa 3 bears littleresemblance to thethematic statement of 4-3in unit1. Ontheother hand,3Xmakes thisrepetition explicit byexposing thetwominor
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CHRISTOPHER F. HASTY

thirds (set class 2-3) Ak-F and G-E. Unit 3X also revivesthe registral segmentation, which exposes twoforms of3-7- EW -AW -Fintreble andA-G-E in bass- a segmentation of unit1 thatWebern didnotchoose to bring intoplay. Note that the correspondences of these trichords are relatedas ordered collections. Intheupper voice,thesecond instance of 3-7,beginning onEW, is a retrograde inversion of the firstinstance in unit 1, whichendson EW . In the lower voice,thetwoforms of 3-7arerelated byinversion. In3YI havechanged the registers of all sourpitches.As a result,the trichords formed by registral connection withunit 2 areinstances of set class3-3, the set classof the two imitativecomponents of unit 1. Unit 3Y presentsa stronger intervallic connection tounit1than does3X,since inunit1andinunit3Ythepitches ofset 4-3 aredisplayed in the sameregistral order.(A registral comparison of these tetrachords is givenin Ex. 7b.) Ex. 7 a)
l l

Unit 1 4-3 (2-3 + 2-3)

1 I

Unit2

1 I

Unit3x 4-3 (2-3 + 2-3)

/ Unit 3y 4 3 "-3 + 2-3)

Unit 5

->

';

hN

6-Z4 (3-7 + 3-7)

6-Z4 (3-7 + 3-7)

6-Z4 (3-3 + 3-3)

w (3-3 * 3-3)

23

53

4-3

4-3

4-3

I hopeto revive twoearlier points withthisexperiment in recomposition, the firstbeingthatpitchrelations arehighlydependent uponthe interaction of many domains; andthesecond, thatsuchrelations arenotanendin themselves butaremusically significant through thefunctions theyperform in thecreation of thework's rhythmictformal organization. Thusthechanges I introduced in the hypothetical component 3Y produce manymoreconnections with the preceding unitsbutat thesametimeradically alter(fortheworse,I think) the formof themusic.Forinstance, in myversion, unit3 produces closure; it fails to continue the acceleration of pulse,andit weakens the articulation of the second section byanticipating thereturn ofthethematic statement ofsetclass 43 in unit5. Webern's unit3 hasquitea different function frommine:it is the focusof theintroduction; butrather thanbeingdirected towards closure, it is directed towards thesecond section, providing theorigin oftheaccompaniment to the saxophone Hauptstimme. In Ex. 4 I indicatethe beginning of this development. Because thereseemto be fewerinterpretations, the analysis of rhythmic
292
MUSIC ANALYSIS

7:3, 1988

COMPOSITION AND CONTEXT IN WEBERN'S TWELVE-NOTE MUSIC

of pitch than the analysis we beganwith was less problematic groupings in thismusicare of pitches therelations If, as I havebeenarguing, functions. contour andtimbral uponrhythmic, dependent andlargely highlyambiguous customarily the valuethatanalysis perhaps we shouldreconsider structures, found wehave socalled, music,properly ascribes to pitch.Inthecaseof 'tonal' such relations because onpitch ourattention andproductive tocentre it possible provide qualities in themselves relations areclosed,in thesensethatintervallic domains certainly Although other of pitches. fortheinterpretation thecontext of consonant intervals autonomy therelative to thisinterpretation, contribute music of tonal thestructure muchabout allows us to discover andscaledegree of suchfactorsas an explicitanalysis that we undertake withoutrequiring for extent be taken canto a large Thesedomains andtimbre. contour, duration is not of pitchandinterval withthe domains granted, sincetheirinteraction In contrast, of tonalstructure. reinterpretation likelyto call fortha radical no in thatthere of pitches, presents anopenfieldfortherelation 'atonal' music of the combinations restricting limitations intervallic longerexist inherent of unit.Theemancipation together as a 'harmonic' pitches thatmaybe heard of thedistinction of consonance: is atthesame timeanemancipation dissonance of fixedintervallic is removed fromthe domain anddissonance consonance domain. withintheintervallic determined primarily relations andis no longer that,in our of pitchesdemands givento the association This new freedom we of theserelations, andthe functions pitchrelations attempt to understand Thisis notto saythatpitch of alldomains. to theinteraction turnourattention to butsimply 'more important', andother domains 'lessimportant' hasbecome of theseother to takethe structure we canless afford suggest thatin analysis of wemaynotethatthefirstexamples Inthisconnection, domains forgranted. high degreeof rhythmic exhibiteda relatively the new style immediately field of pitch ambiguous an inherently in orderto articulate discontinuity previously for the loss of articulation to compensate relations or, conversely, of structures harmonic-contrapuntal by the moreautonomous madepossible techniquedoes not, I believe, offer a tonality.Twelve-note major/minor us with a closedworldof intervallic for tonalityby presenting substitute of of therowandof combinations properties Certainly theintervallic relations. these open to the composer,but possibilities row forms will determine structures. variety of musical in a countless maybe realized possibilities of light onproblems not shed much in itself does the serial structure Although arises ofOp.22,there ofthefirstmovement intheopening form orpitchfunction planand thepre-compositional between littlecontradiction herecomparatively in Webern's instances However, therearenumerous structure. compositional in the second do arise,as, for example, musicwheresharpcontradictions the likenowto turnto oneof theseinstances, of op.22.5 I should movement for first twentybarsor what Weberncalledthe 'theme'of his Vanations howthesebarsas a whole to understand Op.30.SinceI amunable Orchestra, of I shalltaketheliberty as thethemeof a setof variations, couldbe regarded asthefirstvariation.6 referring to thissection
MUSIC ANALYSIS

7:3, 1988

293

i3

Ef

CHRISTOPHER F. HASTY

Tracing the display of rowforms,we canfinda clearly pre-compositional symmetry which encompasses thefirsttwenty bars. Thefour rows shown inEx. 8, andlabelled System I, aredisposed in sucha waythatthefirsttwenty-four pitches aremirrored in precise retrograde inversion by theremaining twentyfour pitches. This structure duplicates on a largerscale the retrograde inversional symmetry of thepitchclasses of therowitself.Itwould betempting to regard this perfect intervallic symmetry as the structural basisof the first variation. Wemightthenseethissection of thepiecein binary form,witheach halfsubdivided intotwostatements of therow.Thethree remaining rowforms shown in Ex. 8, andlabelled System II, donotfitintothissymmetrical scheme andindeed introduce pitches inthe'wrong' registers, contradicting theregistral symmetry of the pitchesof SystemI. Neitherdo these threerow forms themselves form a symmetrical structure. Acknowledging thedisparity ofthese Ex. 8
Pn

49

}= 112
4

__

l.

Ws

>

System I

ffi =

160

ffi =

160

>

(g
i p C -

r
_ _ pp

in
f C

i, \
\ e

m
ff =

RIg

@"2

\e

System 11 f
-

number of voicz

l es:

#2 j7

+
@

\(Plo)

wte
' f ff

" f
e

Wo)

>r
p

-,r W;'
pp

tr

Lf

294

MUSIC ANALYSIS

7:3, 1988

1 \ ;}

8 :#J e

;\

f 7

i 3 1

COMPOSITION AND CONTEXT IN WEBERN'S TWELVE-NOTE MUSIC

thebasic, I constitutes thatSystem of rows,we maystillmaintain twosystems of System pitches which the against firmus of cantus a sort structure, governing II System scale, large On the part. as a subsidiary II are counterpointed I: the of System articulation binary the asymmetrically, albeit reinforces, of SystemI. Binary secondrow of SystemII, Iv, entersat the midpoint two (oneversus in texture by a pattern alsoseemsto be supported articulation asweshall although, of thetwosystems, from thecombination resulting voices) ofthis significance thestructural questions oftexture analysis acloser seebelow, restson the thisanalysis of theformof the passage, As a description pattern. - that constituents as musical arearticulated thattheserowforms assumption as theircombination I andII survive as Systems linesshown the simultaneous of groups of successive andthateachlineis composed entities distinct relatively Ex. 8 cont.
;= 112

# (i)
}J

W7
\

Rs

;= 160

;= 112

'

8-

SSerm--

ot
p I : @ \ f

)
e

I.0

"

PP

PP

bR
PP

MUSIC ANALYSIS

7:3, 1988

295

Ef

CHRISTOPHER F. HASTY

I impliesa in System inversion the retrograde twelvepitches.Furthermore, suchthat,forexample, pitches related of inversionally correspondence chiastic to waycorrespond orin some relationship a special pitch,C,willbear thefourth . pitchfromtheend,F," thefourth in thatit correspond description to askof a structural It seemsreasonable that I thinkit unlikely of thework.Although perception somewayto ouraural in Ex.8, shown andrelations therowforms register could consciously a listener andso inform subliminally areperceived thattheserelations it is conceivable doestake perception If suchsubliminal of thepassage. interpretation ouraural However, I introspection. of it through evidence place,we willnotfinddirect of serial in the correspondence maybe sought evidence thatindirect suggest to direct of the workthat are moreaccessible to otherfeatures structure we organization, werethebasisof musical If the serialstructure observation. that andrelations in thearticulations to be reflected thisstructure might expect eschews characteristically AndyetWebern perceived. immediately canbemore fairly clear ofOp.30,three Inthecaseofthefirstvariation suchcorrespondence. to the rowstructure. thatdo not correspond canbe heard- phrases phrases these in Ex. 8, by solidlines. We mayconstrue aremarked, Thesephrases to eliderow whichfunction features of meresurface to be theproduct phrases a formof denigration, surface' is, of course, 'mere Theexpression statements. moreinclusive to a deeper, is subordinate a purely localeffectwhich implying indicates a I think,invariably of a phrase, Andyet the perception structure. or solelyon immediate anddoesnot depend organization inclusive coherent, of register, discontinuities the immediate For instance, localdiscontinuity.7 tempo,texture,timbre,etc. that markthe end of the firstphraseandthe within thatoccur thanthediscontinuities arenogreater ofthesecond beginning canbe bs 3 and4 (seeEx. 9). If thesephrases thatis, between thefirstphrase, Ex. 9
PHRASE1 }= 160
>

PHRASE1 ;= 160

PHRASE2 ;= 112 vn.#:

;= 112 bs b vi ;

>^

Vla.

Tbn

z<

296

MUSIC ANALYSIS

7:3, 1988

Pg RIg(Plo) ^ 1

e1

3 Ig(RI(X) O 1

W R9

COMPOSITION AND CONTEXT IN WEBERN'S TWELVE-NOTE MUSIC

regarded as primary structural unitsof the composition, aninvestigation into theirconstitution and theirrelation to one another commends itself as an obvious analytic approach. Before embarking onsuchananalysis, I shall return to the pre-compositional realm,whichsuppliesthe constituent elements of phrases. IntrueBauhaus spirit, Webern devises alimited number ofmodules based on a few elementary distinctions. The row shownin Ex. 10 contains only two interval classes formed by adjacent pitchclasses: interval classes 1 and3. The tetrachordal segmentation oftherowyields twosetclasses: twoforms of setclass 4-3,related asordered collections bytheoperation of retrograde inversion; and one formof 4-17,a retrograde inversion of itself.Excluding retrogrades, two rowforms areemployed producing sixdistinct tetrachordal collections, labelled A, B, C, D, E andF in Ex. 10.Although I believe there is reason toquestion the Ex. 10
4-3 4- 17 4-3

pc

lXo bo

b..

{,

(4-3)
pitch

(4 3)

'

S
pc

16

;,

W.

1:) w

ttl

iwoso!
s
b.

DE

W!Wsb
+ ,F
be

pitch

autonomy of rowforms on perceptual grounds, thesesixtetrachords canoften be heard asrelatively clear constituents of thecomposition. Detached fromthe row,theycanbe regarded asbeinggenerated by a series of binary oppositions, shown in Fig. 2. Similarly, binarism pervades theconstruction of tetrachordal modules in the domains of rhythm andcontour. Two alternating tempiare employed: ;>) = 160and;>) = 112.There aretwobasic,asymmetrical patterns of relative duration: long-long-short-long andlong-short-long-long. Twogeneral metrical patterns aredistinguished: a syncopated figureanda dottedfigure, associated withset classes 4-3 and4-17respectively (seeEx. 8, tetrachords A1 andB1).The vocabulary of contours is givenin Fig. 3. Fromthe elementary distinction down-up andup-down, Webern constructs fourcontour patterns.8 It is interesting to notethatin orderto differentiate the fourrelated contour forms - prime,retrograde, inverse andretrograde inverse - Webern employs the minimum number of pitchesand the minimum number of changes in direction: fourpitches andonechange of direction. Through thecombination
MUSIC ANALYSIS

7:3, 1988

297

'

CHRISTOPHER F. HASTY

Fig. 2 2 successiveintervals: intervalclasses 1 and 3

<-3-1)

/\
I C F
B

4-17 (3-1-3)

1} A D

(P= I) E

lnversion
Transposltlon

A ArD Dr C CrF Fr B Br E Er Fig. 3

Contours:

At

At

Retrograde

I +

RI

of set class,contour andduration pattern, eachof the twelvetetrachords of SystemI in Ex. 8 is givena uniqueformandcan be associated with other tetrachords onthebasis ofalimited range ofcharacteristics. There aretwoother pre-compositional decisions worthpointing out, bothconcerning register. In Ex. 11,thepotentially symmetrical tetrachords aredisplayed asymmetrically in register.
298
MUSIC ANALYSIS

7:3, 1988

b o

&Q

<

>|_w1
p

ho

COMPOSITION AND CONTEXT IN WEBERN'S TWELVE-NOTE MUSIC

Ex.

11
not

a)

b)
3 L , Lo

[p S
A 1l(+ 126-J C)

'J

]
(A) 3

a]
/

notd)

,_, 3(+ 12)

(A)

v Ds Bs

(D) Bs (cf. (i)

Ds *,variation 2

e)
rs

12 tj

Sr I W} j
13

(A) 13(+12) (cf.(i) *)

andon withinthetetrachord Thisarrangement hasan effecton segmentation set class4-3 Weretetrachordal segmental associations betweentetrachords. upintotwodyads. As break displayed in theformof Ex. 1lb, theseunitswould the the registral asymmetry alsohelpsto obscure Exs. 1lc and1ld illustrate, A and D (andlikewisebetween pitch-class invariants betweentetrachords withinthe thematic alsoprevents articulation tetrachords C andF). Webern 13 registral interval 11rather than13. Theinterval tetrachords by employing creating the aural expanded motion by semitone, canfunction as a registrally heard in displacement. Thiseffectcanbeclearly impression of a stepwise linear segmentation, by C. By minimising internal Ex. 11e,whereDb is displaced and the two autonomy of the tetrachords Webernstrengthens the relative it shouldbe clearthat tetrachordal set classes.From these few examples of pitchclasses. Like farbeyond theordering Webern's constructivism extends butrather function donotgenerate structure thechoice of rows,suchdecisions ofthesepossibilities possibilities. What is made to narrow thefseld of structural address. is thequestion I shallnext letters A-Flabelthesixtetrachord Phrase 1 is givenin Ex. 12.Theencircled Asterisks mark identify particular instances. collections andnumeric subscripts ordering ofthe to thepredominant registral thoseinstances thatdonotconform 1, whereI have appear in phrase tetrachords 4-3 and4-17.All six tetrachords in the phrase discontinuity marked fiveconstituent units.The mostextreme thefirsttetrachord as inpart toisolate separates thefirsttwounitsandfunctions and,as we shallsee, playsa a mottoforthe piece.Unit2 is quitedisruptive B1 firstvariation. Inunit2, tetrachords generative rolein theformof theentire bound together.Grouping and rhythmare very and D1 are inextricably I shalldiscuss oneof many possible interpretations. ambiguous hereandadmit
MUSIC ANALYSIS

7:3, 1988

299

Cb
P

itt

rt

PP

Vla.solo *

;#} Ibp

Vlc

CHRISTOPHER F. HASTY

Ex. 12
Unit I
7

|||

Unit 2

i||
-pulse

Unit 3

| Unit 4

1 Unit 5

-pulse

ffi

= 1128

;=

160

Ob.3

}=

Vl.,

@*

-.

ff

I
l l l
l

1
l l

@v

|
l

'

T l

fl

'

bJ
-

L:

SJ

8 7

r
Pslse:

- 8

j r ^
ac el

+ll

-"
3-3 (

+11

6d

;
P Cb.

( J) n
f Tbn.

rit.

J ; =
f --P B.CI.

thesepossibilities. Belowthe repeated pitchesB andD, one canheara line movingin successive semiquavers: Bb, EW, GS, C,".The most prominent interval exposed hereis interval class5- BS-ESandGS -CX . Interval class 5 does notappear among anyof thepitches ofunits1or3. However, thecontour ofthis line- up-up-down - is thecontour of unit3. Thehighpoints of theselines- GS in unit2 andGin unit3- form a strong connection bysemitone. TheC#ending unit2 mayalsobelinked to unit3, if wecanhear a repetition in thelineC," -F-E of a registral segmentation of unit 1, A-Db-C.This possibility is illustrated beneath theexample. What I wishto showbytheseobservations is thatunit2 is notconnected to unit1butis connected tounit3. Unit1is, ofcourse, similar to unit3:botharerepresentatives ofsetclass 4-3,andeach is related totheother by the operation of retrograde inversion. But, although such transformational operations can for somepurposes be usefulabstractions, they oftenhavea
300
MUSIC ANALYSIS

7:3, 1988

COMPOSITION AND CONTEXT IN WEBERN'S TWELVE-NOTE MUSIC

rhythm and matters whencomplicated bycontour, dubious status inperceptual to sayin whatperceptual sensethelowBbof unit1 context. Thusit is diff1cult a correspondence corresponds to thehighGin unit3. Maywenothear,rather,
l il I e l

thelastthree notesof unit1, BS-DS-C,andthe in rhythm andcontour between minor third Oragain, having heard theascending firstthreeof unit3, F-E-G? theconnection ofunit1,A-C,willwethenhear between thef1rst andlastpitches minor third? inversion orasanother rising in unit3, F-Ab,asa retrograde obviously a relations aside,unit3, although The complexities of intervallic forte rather intensified: it is a fifthhigher, variation of unit1, is by comparison rather thanthe thanpiano, twiceas fastas unit 1, andplayedby trombone response tothe Thisintensification is afitting comparatively diffuse contrabass. an impetusfor the highlyenergetic unit 2. In fact unit 2 seemsto provide by introducing a breach,whichis progressively development of the phrase separating unit1from ofpulse andthefermati healed. Incontrast tothechanges quaver bya continuous unit2 andunit2 from unit3, units3, 4 and5 areunited theline to unit4 by thewholetoneG-A,continuing pulse.Unit3 is connected ofC1. F1andE1, F1is atransposed retrograde begun onGbinunit2. Tetrachord contour. Units4 and setclasses, havethesame while representatives ofdifferent E2. by therhythmic elision of E1andits retrograde 5 aremostobviously joined unitwereit notfor to identify E2asa separate Infact,there would be noreason opposing to units 1 and 3. E2mediates its specialfunctional relationships setclass,E2sounds Though ofadifferent qualities A1andC1 to closethephrase. pattern. The contour, register andduration verysimilar to C1,having thesame (Apiano; Cforte), A1andC1weredynamics moststriking differences between opposedto speed (C moves twice as fast as A) and timbre(trombone byintroducing a ofpiano; it creates a ritard contrabass). E2returns to a dynamic and,played by intothe prevailing duplegrouping; triplegrouping of quavers of contrabass and mediates thetimbral opposition bassclarinet, E2excellently in A1,andat to themiddle C, sustained by fermata trombone. Also,E2returns theascending minor thirdES-Canswers theendof thephrase thedescending thirdA-Cin unit1. of unit2, respects a simplification Unit4, withwhichE2is elided,is in many two this gesture into the phrase.Unit 4 contains functioning to incorporate the samecontour by register andhaving imitative components differentiated mighthavebeen heardin unit 2 had the and rhythmic pattern.Imitation The two figures B1and D1 havethe same components not beenso tangled. by and are relatedin contour rhythmic pattern,delayedby a semiquaver, retrograde inversion. D. This is the first Phrase2, given as Ex. 13, beginswith tetrachord in register). of D (D1in phrase 1wasaberrant registrally canonical appearance phrase 1 in analogous to A1,whichopened Except forregister, D2is strongly thefirstthree unitsof phrase 2 resemble contrabass. Although thethreeelided arein (inverting thetotalcontour), thetwophrases unitsof phrase 1 in gesture
MUSIC ANALYSIS

7:3, 1988

301

}=

112

(Unit

1)

>

(Unit2)

Unit

3)

>

CHRISTOPHER F. HASTY

Ex. 13
PHRASE 2

VnSolo

1>

1*b=l6()
\

#S;;
w.w. ff

(e
str.

J-7

Cb

Vcl.

1-3 I palten:

*
T " ^W

PHRASE 3

_ **W
(E)(4-3)

many respects highly dissimilar. Bycomparison phrase 2 is quitechaotic. Pulse is lostandconstituents arenot clearly articulated; otherthanD2,tetrachords breakdownthrough fragmentation and elision.The pointof disintegration ironically takesplaceat the midpoint of pre-compositional symmetry. I shall offera few comments aboutthis particular disorder. In a newtexture, D2is accompanied byF2,which is registrally anomalous andsplitbetween twoquite dissimilar instruments - harp andcontrabass. Likeunit2 inphrase 1, D2andF2 stronglyprojectintervals foreignto the rulingtetrachord sonorities, here interval classes 5 and6. F3initiates anewirregularity: notonlyis register further distorted, but a new contour is introduced - up-down-up. This pattern is continued intoB2.Because of thispattern, therhythm andtherepeated pitches, it is possible to heara tetrachord beginning on F in the bass:F repeated-FX repeated asGS -ES -D (up-down-up). Thesepitches form aninstance of setclass 4-3 but, as it were, an accidental or false versionof the set, otherwise represented as one of the collections A, D, C or F. The functionof this connection is todetach from tetrachord B2thefinal pitch,B. Webern's phrasing supports thishearing; noticethe dotoverD andthesforsando marking on B. The newformof 4-3, marked Z belowthe example, is usedonlyoncein this variation. Thesimultaneity E3is alsoananomaly. Since thehighB continues its crescendo pastthischord, itsfailure topunctuate theending ofthephrase leaves thismusicquiteurgently open.There is onetetrachord of thesixmissing from thisseciion: tetrachord A. Phrase 3, shown in Ex. 14a,begins withareturn oftetrachord A, nowintuba. Asin phrase 2, themottoortheme is accompanied, in thiscaseby a version of tetrachord D splitbetween harpandviola.D3revives the newcontour of the
302
MUSIC ANALYSIS

7:3, 1988

COMPOSITION AND CONTEXT IN WEBERN'S TWELVE-NOTE MUSIC

Ex. 14

i
X
cs u)

I_
I C ._ I >

dZ .-

51

I
I

X
l

iD
il

-N
t

m) - @

)X;
10

MUSIC ANALYSIS

7:3, 1988

303

CHRISTOPHER F. HASTY

Z: up one previousphraseand continuesthe intervallicpatternof tetrachord there is no semitone, down three, up eleven. Between the two tetrachords class5 ishidden. The of interval class6, andthe oneinstance instanceof interval of the thematic D3 now emergesin unit 2 as a prefiguration accompanying of A (A3), by a verticalization statementD4, which in turn is accompanied begunin brassto the tuba. Unit 3 revivesa development addingthe remaining imitation.Rhythmandtheinversional a cleartwo-voice phrase1, by presenting B andE combineto producea greatvariety of tetrachords symmexcry pitch-class with of imitativeconnections.Thus B3and E4can be relatedby transposition, inversion,orby theretrograde inverted,by retrograde the firstandlastintervals to the twoearlier intervals.In Fig. 4 thisfigureis compared of threeconsecutive attemptsat imitationin phrase1. Strict(albeitcomplex)imitationis now made strikingare the possible by the use of the same set class, 4-17. Particularly timbralreferencesto phrase 1. B1 and B3 (oboe), E2 and E4 (bass clarinet) representthe only cases in this variationin which the same tetrachordal by the sameinstrument,a featurefurtherdistinguished collectionis performed by the fact that solo oboe and solo bass clarinetare not used elsewherein this appearin the samerhythm,a variation.Note also that these four tetrachords takenup in set class4-17(afigure'mistakenly' dottedfigurewhichcharacterizes of F1).This imitation E1 in by phrase1 by D1in imitationof B1,andabrogated to the a reference 3 of phrase unit 3 in to hear featuremakesit possible rhythmic quite is also 3 of phrase 2 unit Since last segmentof the open phrase2 (B2-E3). first to the way, in a different (and, 2 of phrase relatedto the lastsegment clearly 2 and units to connect helps lineage common this my ear 2), to of phrase segment 3 in phrase3. Fig. 4 Imitative units: Phrase 1 Unit 2
4 17 Bl-Oboe 4-3 *Dl-Vla. 4-3

Phrase 3 Unit 4 & 5 Unit 3

| 4 17 B3-Oboe 4-1 7 E4-B.Cl.

Fl-Vl.

(unit5)

4-1 7 El-Vcl.+E2-B.Cl.

to involvedin ourattempts pointto newcomplexities The aboveobservations phrase3. If, as I believeto be the case, phrase3 functionsto closethe interpret previous first variationas a whole, it does this by reconcilingor synthesizing musical developments. I suggested earlier, in connection with intervallic to be cancoexistas latentpossibilities relations,thata varietyof interpretations
304
MUSIC ANALYSIS

7:3, 1988

COMPOSITION

AND CONTEXT

IN WEBERN'S

TWELVE-NOTE

MUSIC

realized as larger contexts unfold.Thishypothesis of structural formation, or therelation of part to whole,canbebroadened to cover complex events suchas phrase constituent (unit), phrase orphrase group. Chronologically later eventsif theyareto cohere withearlier eventsandthusavoidtheappearance of 'one damned thing afteranother' - will carryan increasingly heavycontextual burden. Thereseemto be limitson howmuchmusiccanbe successfully held together,and I believethat the sevenvariations of Op.30, although often elegantly elided,represent suchlimits.I shall nowconsider someof theways in whichphrase3 interprets, and is interpreted by, phrases1 and 2, firstby indicating individual correspondences andthenbyspeculating onthesynthesis of thesection asa whole. Thefirsttwounitsof phrase 3, though presenting different sets,canbeheard as a compression and simplification of phrase2 (units 1 and 3), omitting references to thedisruptive middle segment. Similarities between thesepairs of unitscaneasilybe ascertained by the reader. (Differences willbe considered later, in connection withother structures.) Although thereturn to tetrachord A atthebeginning of phrase 3 is anobvious invocation of phrase 1, units2, 3 and 4 of phrase 3 alsorevive phrase 1 through theirsimilarity to thefirstthree units of thatphrase. Theconnection of phrase 3, unit3 andphrase 1, unit2 hasbeen discussedabove (and indicatedschematically in Fig. 4). The remaining correspondences are very strong:in virtuallyall respects- allowingthe inversion of duration pattern anddynamics - in phrase 1, A1(unit1) is to C1 (unit3) what,in phrase 3, D4(unit2) is to F4(unit4). Likeunits1 and3 of phrase 1, thecorresponding units2 and4 of phrase 3 present setsof the same class(set class6-1), displayed in the sameregistral ordering, and similarly exclude the interval of the tritone. Note, however, thattimbral opposition in phrase 1 (contrabasses piano,trombone forte)is nota feature ofphrase 3, which combines strings andbrass(tuttiviolinsandbrass forte,soloviolinandmuted brass piano).The differences herearealsosignificant. Unit3 in phrase 3 is a clarification of thecorresponding unitin phrase 1 andis nowincorporated into thethree-unit group, in partby register. As opposed to phrase 1, D4andF4in phrase 3 appear in thehighest register - theregister of phrase 2 (D2andB2).D4 andF4arealsodistinguished fromtheir counterparts in phrase 1(A1 andC1) by the accompaniment of lower punctuating chords (A3 and C3), again a development initiated in phrase 2. Thethree-unit group thatopensphrase 1 emerges asa central gesture of the variation.9 Theschema - monophonic statement piano,disruptive polyphonic outburst forte, intensified monophonic statement forte- can be heard(with registers inverted) in the threeelidedunitsof phrase 2. Although phrase 2 repeats thisgesture, phrase 2 doesnothing toclarify orcontinue thestructure of phrase1. The juxtaposition of phrase 2 to the relatively closedphrase1 is a rupture in theform.Phrase 3 in many wayshealsthisrupture andat thesame timejoinsthethreeunitsintoa continuous line,inverting theinitial gesture of opening (crescendo,accelerando) into a gesture of repose (diminuendo, ritardando). (Thislasteffect mayaccount fortheanomalous dynamic levelofD4,
MUSIC ANALYSIS

7:3, 1988

305

'

'

(D)(A)

>

Vl.solo

CHRISTOPHER F. HASTY

of therealm beyond theanalogy Attheriskof pressing in Ex. 15below.) shown this initial reenact I suggestthat the threephrases the audiblyverifiable, thegesture 3 wouldnotonlyrepeat phrase thisinterpretation, Under gesture. may be mademore revealthe whole. This conclusion but simultaneously sets. of 'themaiic' by a consideration plausible to have somewhat set classes4-3 and 4-17 appear The two tetrachordal by B andE, seems (seenote9). Setclass4-17,represented functions different (Thisis, of counterpoint. of a two-voice untangling in a progressive involved to close sinceE2alsofunctions of an oversimplification, course,something a 2 andto provoke to openphrase withE3funciions 1, andB2together phrase of Ofthefourrepresentaiives variation.) willleadto thesecond which reaciion areplaced A andD, which totetrachords is given prominence 4-3,clear setclass of this 3. A summary 1 and2 andunitedin phrase in phrases in opposition B andD, tetrachords 1,unit2, comprising in Fig.5. Inphrase is given structure too,thatD hereis theonlyregistrally (Remember, evenanarchic. is disruptive, The phrasecloses,but withoutfully in the phrase.) tetrachord anomalous units1, 3, 4 and5. involve of closure thatis, elements thisfigure; absorbing 1. It is highly of unit2 of phrase as an outgrowth 2 maybe construed Phrase of D, andit is abandoned statement themaiic except fortheiniiial disorganized the of B. Phrase3 organizes statement ambiguous by way of a somewhat of A and D. statements 2 andunitesthemaiic of phrase elements disparate restricted ofA andD. Intllehighly thesefourstatements 15compares Example 1 and2 are,except A andD in phrases tetrachords hascreated, Webern world Withphrase3, the totalconfiguration dissimilar. maximally for dynamics, marks Noiicethattheonlyexpression similarity. A andD intomaximum brings 3. 2 andA in phrase aregivento D in phrase in thisvariation to appear Fig. S Var.I Phrase 3 Phrase 1 Phrase 2 Vla. V1. W.W. Ob. A +D B A [B-D] D
Cb. Vl.solo Tb.

r--t |

Var.II

l
|

(F)
C

| VI.tutti

Vl.solo Vl.II(consord.) B C

306

MUSIC ANALYSIS

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pP

11).

solo

''

i,:;

WP

,!jf

COMPOSITION AND CONTEXT IN WEBERN'S TWELVE-NOTE MUSIC

Ex. 15
-Contour,-Tempo,-Interval -Pitch, Succession, + Dynamic, -Duratifn Pattern.

Phrase 1

Phrase 2
J8= 112 I.es5op#r. t

Phrase 3
})= 112 2)= 160 #

I
J8= 160
g

Vl.tutti
8

w
Cb.tutti

,i,
^

@
sehr zart

e
^

tr

hr

+ Contour, + Tempo, + Interval Succession, + Dynamic, + Texture (accompanied)

+ Contour, + Tempo, + Interval Succession, - Dynamic* A'-A2:+ Pitch, + Duration Pattern (LLSL) D2 _ D3:+ Pitch, + Duration Pattern (LSLL) *D4of Phrase 3 and B2of Phrase 2: + Contour + Duration of Pattern + Dynamic + Texture

3, theimmediate by phrase effected consolidation In spiteof theremarkable than thatproduced weaker 3 is considerably attheendofphrase ofclosure sense ofthetwosections theelision 14a indicates 1. Example bythelastunitofphrase the of minorthirdsshownbeneath pattern unit 4. The ascending through and to thesenseof continuity to contribute in unit3, seems beginning example, Ex. 14b, we see that this in the elision. Consulting thus to participate was by whichclosure means of the to one related deviceis closely transitional of axis the registral Op.22, 1 of to phrase contrast 1. (In phrase in achieved as a focalpitch.)As wasintimated herethe pitchEb, is obscured symmetry, earlier. considerably wasinitiated variation intothesecond thetransition above, hasgradually Webern transformation, andmasterful unexpected In anentirely 2, a failed at the end of phrase simultaneity unpromising turnedthe rather The figurefor the secondvariation. into the accompaniment punctuation, we have articulations the structural of thesethreeunitsmatches connection 5-3inEx. labelled hereonlythatthesonorities Itneedbenoted above. observed and bothintervallically in sound, similar units2 and4, arestrikingly 14a,below us intothenewsection. andthushelpto direct timbrally,
MUSIC ANALYSIS

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307

Pc

CHRISTOPHER F. HASTY

idea.In structural andhighlyimaginative a unique presents Eachvariation formsa different whereeach pitch of a tetrachord the secondvariation, andregister contour setclasscanreplace withtheaccompaniment, pentachord transposed the continuously device.In this secondvariation, as an ordering would structure is notstatic,astheserial rowsegments of overlapping pattern 6. inphrase inaclimax culminating intensified, gradually butbecomes suggest, to thecompletion correspond of a phrase doesthearticulation nowhere Again, thestructural doesnotcontinue variation the second of a rowform.Although the and it doesdevelop clarify in thefirstsection, wehaveexamined formations 2 phrase of middle the in thefirstvariation thatwasleastassimilated material 27(bs pattern linear ofanewcomposite (Ex.13).InEx. 16,thefirstoccurrence 2 of thefirst to phrase of A andD) is compared the restatement 31, following twoRIvariation second the in 2 of thefirstvariation, As in phrase variation. The 6-Z13. class set form to overlapped relatedformsof set class4-3 are variation first the in 2 phrase by introduced (up-down-up) contour anomalous to It is interesting of the secondvariation. feature a characteristic becomes are row the of tetrachords three the variation observehow in the second in the is embedded thisstructure Although intoa singlehexachord. collapsed by constituted is 13 6-Z of instances these of none 10), Ex. (see hexachord central row. the of a form of 4-9 numbers order Ex. 16
RI
Rl

4-3

/\
4-17 6-Z13

4-3

4-3

/\l D

4-3

s (g,f
l Plo: 9 10 Var.2, phrase 2 (bs 27-31 )

S
1 12 2 3 4

G
1 Is: I

X
2

C9#uU
6-Z13 3 Rs,:4 4 5 fi 7

11 P7: 1

2 1, phrase Var.
I
I FS

Z
I

_e

e f |-

1- rSl:j lt

t#t(7)
djfc

(see also phrases 4, 6 and 8)

} Ct,'N
MUSIC ANALYSIS

308

7:3, 1988

COMPOSITION AND CONTEXT IN WEBERN'S TWELVE-NOTE MUSIC

of insight, I hope- to questions us- withgreater analysis returns Theabove period I have of the three-phrase the formation Certainly serialdeterminacy. to the similar to thatascribed a taskof unification accomplishes outlined above symmetry of SystemI (Ex. 8), even thoughthe meansdiffer retrograde 3 tothefirstthree unitsofphrase ofthelastthree radically. Thecorrespondence RIs(phrase oftherowforms in thecorrespondence 1is mirrored unitsof phrase canbe seen wenotedabove many of thefeatures 1),although 3) andPs(phrase in On the otherhand,the coincidence relationship. to subvert the retrograde a more relatedrow forms,P1o(perhaps phrase3 of two transpositionally germane labelhere than RIs)and Ps, is crucialto manyof the contextual and to that analysis Also conforming presented by our analysis. structures symmetry of SystemI are the two inversional the retrograde contradicting (D4, (C2,B2,A2)andIs (F1,E2,D2)-RIg Ps (A1,B1,C1)-R9 pitchretrogrades, hadthe mighthavebeenmademorepalpable E4,F4).The pitchretrogrades intheretrograde forexample, ashappens, alsobeenreversed, duration patterns These row by E2 (long-short-long-long). of E1 (long-long-short-long) nevertheless althoughcuttingacrossphraseboundaries, correspondences, A1andA2withD2andD4, andin several tetrachords associate the thematic thata Onemayargue analysis. of ourcontextual to results other waysconform thebasisof, later andthusforms precedes, of therowstructure determination of the chronology is to confuse To argue in this way,however, refinements. whole,for,asI havetriedto show of themusical withthecreation composition only throughthe above, the row structureitself becomes determined Thisdialectic contained in theseries. of a fewof thepossibilities composing-out If, 'in (1958): withGerhard leads usto askagain anddetermining of determined beenmade to fuse may. . . have imagination work,reason andpoetic theartist's whyshould [we]wishto undothecompound?' at somehightemperature, on the contextualat the expense of the 'preI have concentrated in whatI viewasanimbalance I wantto redress in partbecause compositional' contextual relations because I regard andinpart ofWebern's music, theanalysis the blurring such as thosetracedaboveas a fusionof planand execution, I suggest thatan In conclusion, of 'reason andpoeticimagination'. distinction intothe context offers uslittleinsight from ofrowforms abstracted examination and aesthetic manyof the analytic musicand obscures formof Webern's bothinplanand resources, structural questions posedbythismusic.Webern's a to encompass of pitchclasses the ordering extendfarbeyond in execution, with may concur domains. We musical varietyof mutuallyconditioned ... question of tonalorganization (1958)that'thelarger Sessions's judgment in termsnot aliento the natureof the series', be answered must certainly of the series to be opento limitless thatit is thenature provided we alsogrant of rowformsisolated the disposition Fromthis perspective, interpretation. undetermined domains maybe seenas a largely of musical fromthe totality onlyat thecostof and,as such,canbe reified possibilities matrix of structural music. of twelve-note ourunderstanding severely limiting

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CHRISTOPHER F. HASTY

NOTES of understanding of Webern's examination 1. For a detailedandhighlyilluminating a Zuber(1984).In this essayZuberundertakes the natureof the row, see Barbara close analysisof Webern'swritingsin the contextof his readingof Goetheand Plato. in very criticised frequently Adorno 2. Thereare,of course,somenotableexceptions. generalterms the tendencyto reify twelve-notetechnique.Among analystsof Kramer and ArnoldWhittallhavecalledinto question musicJonathan Webern's hegemonyof the series by drawingattentionto the disparityin the structural structure of the rowandthatof Webern'scanonicwritingbetweenthe intervallic 1987). Whittall (Kramer 1971; the resultingsimultaneities therearemany 3. WhileWebern'smusicis rarelytreatedwith such sophistication, musicthattakeinto accounta twelve-note recentanalyticstudiesof Schoenberg's thesewith domainsotherthan coordinating varietyof complexserialprocedures, pitch (see, for example,Peles 1983-4and Samet1985). However,I submitthat these studies too are limited by the technology of compositional(or preareinvokedonly for segmentation theoryin thatnon-pitchcriteria compositional) These serialprocedures. to the extentthey can be used to confirmthe purported pitch wouldreveala host of non-prescribed used withoutprejudice samecriteria andoften audiblestructures excludes manyimmediately relations.Suchselectivity status. of dubiousperceptual resultsin interpretations foundin AllenForte(1973),pp.l79-81 numbersfollowthe classification 4. Set-class (Appendix1). by BrianFennelly(1966)in his analysis areindicated 5. Manyofthese contradictions I, anelegant, to [movement] Fennellywritesthat'incomparison of thismovement. Insteadof II is unrestrained. carefullywroughtprecisionorganism,[movement] [i.e. series], ofthe substructure the cleanformaldivisionsandanalogies preserving of in the realization organization of the substructural blurring thereis intentional (:315). While Fennellyshows a sensitivityto contextrarely the superstructure' found among commentatorson Webern's twelve-note music, I believe he in the first and 'superstructure' the congruenceof 'substructure' overestimates movement.For example,in the secondsectionof movementI (bs 6-15), Fennelly identifies two phrases on the basis of row completion.However, an analysis formed abovewill revealthreephrases alongthe linesI haveproposed undertaken myposition,I shouldpoint of alldomains.LestI riskoverstating by theinteraction music,in rarein Webern's theyarerelatively out thatthereareinstances,although to musicalform.See, moresignificantly contribute of rowstructure whichfeatures for example,JohnRahn'ssensitiveanalysisof the theme(bs 1-11)of the second movement of the Symphony, Op.21 (1980:4-17). Rahn discusses (:11-12) problemsinvolved in an attempt to generalizesome of the discoveriesof his analysis. 'Thema' on the formof thispiece, givingthe designation comments 6. ForWebern's to the first section, see his letter to HildegardJone, 13 August 1941 (Webern 17). 1959:
310
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COMPOSITION AND CONTEXT IN WEBERN'S TWELVE-NOTE MUSIC

7. Elsewhere(Hasty 1984)I have discussedthe generalissue of phrasestructure in post-tonal musicin greater detail. 8. Althoughcontourpatternin Fig. 3 is regarded simplyas a sequenceof directions, it is possibleto represent contourmorespecifically as a registral ordering by taking into account the registralposition of each pitch vis-a-visthe remainingthree pitches. Michael Friedmann(1985) has proposedsuch a representation in his conceptof 'contourclass'. From this perspective,the registralanomaliesof all thosetetrachords thatpresentnormative directional contours canbe accounted for throughthe operations of retrograde, inversion andretrograde inversion.Thus D1 canbe regarded as a registral inversionof D in Ex. 10, F2as a retrograde of F, and A3(see Ex. 14a)as a retrograde inversionof A. 9. Webern(1960:68)writesto WilliReich, 3 May 1941: Everything thattakesplacein this piecerestson the two ideaspresented in the firstandsecondbars (contrabass andoboe)!Butthiscanbereduced even further,forthe secondfigure(oboe)is itselfalready a retrograde: the second two tonesarethe retrograde of the firsttwo, but in rhythmic augmentation. The first figure (contrabass) returnsonce againin the trombone,but in diminution! Andthe motiveandintervals returnin retrograde. Thatis how I haveconstructed myrow- presented by thesethreegroupsof fourtones. But the unfoldingof motivesalso participates in the retrograde, though employing augmentationand diminution! [Here Webern may also be referring to the retrograde (inversional) relationship of the twohexachords, a retrograde not entirelycoordinated with durational values.]These two typesof variation leadalmostexclusively to the actualideasof the variation, that is, a variationof motives proceeds, by and large, only within this framework. Andyet through allkindsof shiftsin thecentreof gravity within the two figures, somethingnew in metre, character,etc. is continually emerging.- Justcompare the firstrepetition of the firstfigurewithits first form (tromboneand contrabass, respectively)! And so it goes throughout the entirepiece:in the first twelvetones, and hencein the row, the entire contentof the pieceis germinally present!In prototype! !!- And,in bs 1and 2, bothtempi(observe the metronome markings !)of the pieceas well!!! [my translation] REFERENCES Fennelly,Brian,1966:' Structure andProcessin Webern's Opus22', Tournal ofMusic Theory, Vol. 10, pp.300-28. Forte,Allen,1973:TheStructure ofAtonalMusic (NewHaven:YaleUniversity Press). Friedmann,Michael, 1985: 'A Methodologyfor the Discussion of Contour:Its Application to Schoenberg's Music',ZournalofMusic Theory, Vol.29, pp.223-47. Gerhard, Roberto,1958:'Apropos Mr Stadlen',TheScore,No. 23, pp.50-7. Hasty,Christopher F., 1984:'Phrase Formation in Post-Tonal Music',TournalofMusic
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CHRISTOPHER F. HASTY

Theory, Vol. 28, pp.167-89. Kramer, Jonathan, 1971: 'The Row as Structural Background and Audible Foreground: The First Movementof Webern'sFirst Cantata', 3rournal of Music Theory, Vol. 15, pp.l58-81. Peles, Stephen,1983-4:'Interpretation of Sets in MultipleDimensions:Notes on the SecondMovement of ArnoldSchoenberg's StringQuartetNo. 3', Perspectives of New Music,Vol. 22, Nos 1 and2, pp.303-52. Perle, George, 1959: 'Theory and Practice in Twelve-Tone Music (Stadlen Reconsidered)', TheScore,No. 25, pp. 58-64. Piston,Walter,1958:'MoreViewson Serialism', TheScore,No. 23, pp. 46-9. Rahn,John, 1980:BasicAtonalTheory (New York:Longman). Samet,SidneyBruce, 1985:'Hearing Aggregates' (Diss., Princeton University). Sessions,Roger, 1958:'To the Editor',TheScore,No. 23, pp.58-64. Smalley,Roger, 1975:'Webern's Sketches(II)', Tempo, No. 113,pp.29-40. Stadlen,Peter, 1958a:'Serialism Reconsidered', TheScore,No. 22, pp. 12-27. -1958b: "'No RealCasualties"?', TheScore,No. 24, pp.65-8. Webern,Anton, 1959: BriefeanHildegard3rone und 3rosef Humplik (Vienna: Universal). -1960: Wege zurneuen Musik,ed. WilliReich(Vienna:Universal). Whittall, Arnold, 1987: 'Webernand Multiple Meaning',MusicAnalysis,Vol. 6, pp.333-53. Zuber, Barbara, 1984: 'Reihe, Gesetz, Urpflanze, Nomos', Musik-Konzepte Sonderband: AntonWebern II (Munich:EditionText + Kritik),pp.304-36.

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