The Genesis of A Specific Twelve-Tone System in The Works of Varèse

The Genesis of a Specific Twelve-Tone System in the Works of Varse
Author(s): Andrs Wilheim

Source: Studia Musicologica Academiae Scientiarum Hungaricae, T. 19, Fasc. 1/4 (1977), pp.
203-226
Published by: Akadmiai Kiad
Stable URL: http://www.jstor.org/stable/901798
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The Genesis of a Specific Twelve-tone

System in the Works of Var se
by
Andris WILHEIM
The phenomenon according to which the composer considers it a

basic and decisive question how to interpret the existence of the tw
tempered semitones and how to formulate his position and relations
with this tonal structure can be first observed at the time around the tu
of the century. This question seems to have been the main composition
problem of the first third of the 20th century, but it has remained, a
basic issue - further enriched by the experiences of the following year
and modified by the examination of other musical parameters - a
unavoidable consideration in the theoretical and historical examination
of Western art music to the present day. Although the endeavours aimed
at abandoning the traditional restrictions of the twelve-tone system are
not part of a single, unbroken line in music history and indeed, the sug-
gested manners of solution are widely differing, these often contradictory trends stem from a common source. All of them have experienced
the insufficiency of the twelve-tone system and a sort of exhaustion of its
possibilities, having recognized the possibility of creating tone-structures
artificially; and parallel with all this a false notion has also taken root
according to which the restricting, stiffening tendencies of European art
music traditions are essential features inherent in the tonal system itself.
Even the slightest differences in the attitudes to the twelve-tone system
have produced significant and far-reaching consequences in compositional
practice to such an extent that in many cases their only feature in common is the twelve-tone system as a mutual point of reference. Even so,
it is perhaps safe to say that the most important single development in
music at the turn of the century is the simultaneous resurrection of these
endeavours. Supplemented with certain other musical phenomena (e.g.

metrics, form etc.), it may be considered an epoch-making element, a
historical dividing line.
Studia Musicologica Academiae Scientiarum Hungaricae 19, 1977
204 A. Wilheim: Specific Twelve-tone System
The various attitudes to the twelve-tone system can be divid

two, often overlapping groups. The first one can be explained
point of view of the theory of the tone row; this group arri
twelve-tone system in the course of a gradual complementati
tatony, with the methodological incorporation of originally only
tones, in other words, this is the process which seems to be just
the course of music history. Although the second group doe
the experiences of historical development, it questions the p
of the equal-tempered twelve-tone system, primarily on theore
logical considerations. It understands the twelve-tone system
situation, and employs it either as one of the countless possibili
on its analogy tries to create tonal structures of other systems
tries to ban the concept of the scale as a superfluous restriction
own musical practice, and finally: although admitting the ex
competence of the two above types of solution still accepts t
tone system as a potentiality, but attempts to apply it in a new
Music theory has long since worked out the method of tr
complementing of the tone system and the emergence of the tw
system from its functional and tonal basis. The examination
pansion and developing modifications of the traditional shools o
promises to be the most effective along this road; it is an extrem
and irrefutable argumentation which can draw up an unbro

development ranging from the classical concept of tonality
Bart6k's total functionality to Schoenberg's atonality which
traditional functions. This line of development might paralle
most contradictory creative attitude and trends: for examp
analysis can prove philologically even, the numerous related
the intellectual systems of Schoenberg, Bart6k, the futuristic m
and Busoni, as far as the twelve-tone tempered system is c
In the final analysis, the examination of the theoretical issues h

all cases to the idea of the necessity to transcend the traditiona
tone scale. Even if in their own works the given composers hav
remained within the possibilities offered by the twelve temper

tones, theoretically they have considered the further division o
structure, its substitution or even expansion.
In recent years, theoretical and musicological research ha

light on another approach to the twelve-tone system, which
significant at the beginning of the century. This approach reco
existence of the tempered twelve-tone system as a potentiality,
to make use of it in such a new manner that, finally, every wo
A. WVilheim: Specific Twelve-tone System 205
not only a new, autotelic functionality, but also a new tone-system. Th

main characteristic of this type of solution is that it segments fixed int
val-relations from the twelve-tone scale and treats them as being ve

cally determined. This group includes the synthetic chord, observed
Zofia Lissa in Scriabin's late works, which she calls a centre of sound
(Klangzentrum) ;1 similar features of the works of Golishev and Rozlave

are known from Gojowy's research;2 while with regard to the work of t
masters of the new Viennese school, the row-technique of the late Webe
compositions, also arranged according to register, represent the en
deavours to symmetrialize the tone structure.3

The most important principle of the new type prearrangement of t
tempered twelve-tone system is symmetry and distantial division, whic
stem precisely from the equal tone division. The tempered twelve-to
system, and in a similar manner, the quarter-, sixth-, etc. scales, are als
of a distantial structure, and are symmetrical with regard to any of th
tones. Of course, additional equal tone rows can also be formed within t
twelve-tone system; these simple distance rows arise from the theoretically infinite grading of a single distance (interval). With the except
of the octave and its multiples, every interval in the tonal system
suitable to form a distance row out of it.
One of the theoretical problems of twentieth century music lies in t
fact that these distance phenomena have been employed not as specu
tive constructions arising from the tonal structure, but have been appli
to enrich and colour the inherited tonal system. The use of "diminis
fourths", for example, gives rise to very strong tonal associations, t

"augmented third" - although in itself also distantial - applied outs
the structure is nothing but an ornament, structually, however, it
also represent a very strong tonal relationship. It is a basic paradox of t

whole-tone scale that it is unable to function precisely as a scale, since t
scale is the theoretical arrangement and summation of a functional orde
and no functional order can be formed from a pure whole-tone syst
The basis of functional tonality built on the major and minor system
the asymmetry of scales, but the whole-tone scale has no point of asym
metry. If the whole-tone scale is joined - even for a single moment - by
1 Z. Lissa, Geschichtliche Vorform der Zwlftontechnik. Acta Musicologica 7

1935. pp. 15-21, and Z. Lissa, Zur Genesis der )Prometheischen Akkords<< bei A. N
Skrjabin. In: Musik des Ostens 2, Kassel etc., 1963, BiTrenreiter, pp. 170--1
2 D. Gojowy, Nikolay Andreevic Roslavec, ein friher Zwlftonlcomponis
Die Musikforschung 22, 1969, pp. 22-38.

a Cf. C. Wolff, Kontrollierte Bewegung. die reihe 2 - Anton Webern. Wien
1955. Universal Edition. pp. 66- 68., and H. Deppert, Studien zur Kompositions-
technik im instrumentalen Spdtuwerk Anton Weberns. Darmstadt, 1972, Tonos. pass

the other possible theoretically given whole-tone system (or on

of its tones), asymmetry has been achieved, but the distantial
has ceased to exist.
Consequently, the simple (homogeneous) distance rows hav
assigned only a restricted role in the history of new music, and i

they can be regarded more as the concomitants of a higher organ
It was Yuri Holopov's study which recently collected a great m

amples on the spread of scales arranged around the distantial p
division of the twelve-tone system.4 The scale schemes which he t

symmetrical rows (part of which were first elaborated in Olivier M
book)5 should be interpreted, however, not so much as the comple
of homogeneous distances, but ranged with types of distantial

of a higher order, the double-, triple-, etc. distances.
j.
1:2
1:3
1:4
2:3
2:4
2:5
3:4
3:5
3:6
4:5
4:6
4:7
5:6
5:7
6:7
7:8
5:8
-1
6:8
7:9
1:5
2:6
2:7
3:7
3:8
4:8
5:9
4:9
6:10
7:10
7:11
1:7
1:8
2:8
3:9
2:9
1:9
1:10
2:10
3:10
4:10
5:10
-II
6:9
1:6
1:11
2:11
3:11
4:11
5:11
.~
6:11
8:19 8:10 8:11
9:10 9:11
A--_L-_ii -:
J. Cholopov, Symmetrische Leitern in der russischen Musik. Die Musik-
forschung 28, 1975. pp. 379--407.
A. Wilheim: Specific Twelve-tone System 207
Owing to their clear structure, musical practice usually app
distance rows. These double distances - to use Ern5 Lendvai'

ogy - are characterized by being "closed, symmetry scales"
about by "the periodical infinite repeats of a certain ratio".' In

tone system (taking into account intervals less than one octave)
distances may occur, of which only 30 are structurally indepen
the further 25 already to be interpreted as inversions.
The number of tones making up each of the periods alte

regular order. The sum of the two figures of the ratio deter
distance indicates - counting in minor seconds - the size of one unit of
the distance, and it is the homogeneous distance characteristics of this
interval that determine the number of tones of the double distance
row:
- - 1 , I , - - --l ,
2:3 2:4 2:5 2:6 2:7 2.8 2:9 2:10
3:4 3:5 3:6 3;7 3:8 3:9
4:5
4:6
4:7
4:8
5:6 5:7
The
&
11
profusion
5/
of
(12)
the
system
to offer only theoretically app

plicability, as borne out by the
We can find double distance ro
ena, or random coincidences in
most often only the secondar

principle of arrangement. The
melodic
"stylistic
marks"
in
5 Cf. O. Messiaen, Technique de mon language musical. Paris, 1944. Leduc.
6 E. Lendvai, Bartdk e's Koddly harm6niavildga (The Harmonic Realm of
Bart6k and Kodaly), Budapest, 1975, Zenemfikiad6. p. 106.

Studia
Musicologica
Academiae
works of Ern6 Lendvai,7 similar phenomena encountered in

been analyzed by Zolt~n G~rdonyis and Lajos Birdos,9 and t
mentioned article by Holopov1o quotes relevant examples fro
music. In these cases, however, it is remarkable that they are r

to a narrow group of distance rows, to models 1 : 2, 1 : 3 and 1
include the minor second as well. A common characteristic of the minor
second, minor third and fourth models is that their individual periods
not exceed the octave, and "in this manner the scale is repeated in ever
octave - encountering itself, and thus creating a closed system."" S
these model scales incorporate only eight (1 : 2), six (1 : 3) and four (1
tones of the twelve tones, respectively, it is obvious that a style requi
the equal treatment of the twelve tones cannot be built on any of the
exclusively. These model scales can only be surface phenomena, sup
ments, or possible only interpreters of a material articulated on the b

of some other principle of arrangement, which are really made to fit d
caphony and not independent structural principles, summarizing syste
(The manner in which these distance scales are built on Bart6k's funct
ality, and on Stravinsky's technique, which very often also empl
sound centres, would require a more extensive elaboration; similarly, t

secondary arrangement of certain sections of some Webern works, wi
their occasional occurrence of distance models, is also illuminating.)
For the same reason, most of the distance scales in the example (th
number of rows embracing 2, 4, 6 and 8 tones is 16) have never played
important role in musical practice, because of their partial use of
twelve tones. The applicability of the larger periods (with 12 and 24 to
respectively) is also strongly restricted. Two (2 :8, 4 :6) of the twe

tone lines (4 in all) mark only six different tones, that is, they em
only one of the whole-tone systems; the other two possibilities (1 : 9; 3
offer the sounding of the two whole-tone systems in pairs - thus
problems involved here would belong rather to the homogeneous dista

rows. The 24 tone rows embrace all the twelve pitches. Owing to the s
of their intervals (the span of each units) they encompass several octa
and only some of their segments, or their transformation to a sm
7 Its latest summary in English: E. Lendvai, Bela Bartdk. An Analysi
his Music. London, 1971, Kahn & Averill.
8 Z. Gardonyi, Distancia-elvi2 jelensegek Liszt zendjdben (Distance Principle

Phenomena in the Music of Liszt), Zenetudomanyi Tanulmanyok (Musicologi
Studies) III. Budapest, 1955, Akademiai Kiad6. pp. 91-100.
SL. Bardos, Liszt Ferenc, a jiv6 zendsze (Ferenc Liszt, the Musician of the
Future), Budapest, 1976. Akademiai Kiad6.
10 See Note 2
1 E. Lendvai, Bart6k 4s Koddly harmdniavildga. Op.cit. (Note 6) p. 106.

Studia Musicologica Academiae Scientiarumn Hungaricae 19, 1977
span, can be practically applied. This diminished form, however, con
the distantial character of the scale in the rows containing the
second or third and their inversions, and gives rise to a sound eithe
ing diatonic associations, or a pentatonic sound almost without semit
After sifting out these type of distances, we are left altogether
two distance patterns which will satisfy our point of view requiring
full employment, and a new type of arrangement of the availabl
of tones:
3.
1:6
--
5:6
b-,
',
..
Yo
"
..
..
These two distance rows, h

an inversion row, too, sinc
acterized by a ratio of 7 :6
series of fourths and tri

features in common, and
new
type
these three distance scales.
distantial
tone
The three distance rows are by far not of equal rank, and the possibilities inherent in them are not of equal value. Namely, the minor secon
tritone row (1 :6) - although speculatively being the permutation w
an inner transposition of the 7:6 model - awakens in its soundi
reality very strong functional reminiscences, and its principle of arrang

ment also proves to be rather the joining of two circles of fifths separate
by the distance of a minor second, and not the continuous succession
the ratio of 1: 6.
The distantial characteristics of the 7/6 model, on the other hand, ar

much more forceful and firm. As a model, this too, is made up of severa
series, which in themselves are also distantial. A characteristic feature of
its continuity is the two series of minor seconds and ninths, which a
developed by linking every second note, and embracing all the twelv
tones:
4. r'
14 Studia Musicologica Academiae Scientiarum Hungaricae 19, 1977

Linking the tones by pairs, either two circles of fifths at a distance of a
minor ninth:
5.
or
trito
be observed:
6.
The
complete
twice,
but
on
continuous
se
nificance.
Co
positions
or
quality
of
position,
the
how
progressing
by
scale,
but
rep
appears
only
7. r " r
(Performing the same operation w
the 12th tone, since the tritone
The problem arising here offers t

it demonstrates that a repeated
plete range of tones is not alien to
part of it; on the other hand place of a hypothetic composit
arranged around a single tone, not

tone of outstanding significance.
Studia Musicologica Academiae Scientiarum H
The distance row - or rather tonal system - outlined here wa
described by Ivan Wyschnegradsky.12 According to his interpre

this tonal system belongs among the "fields of a non-octave str
to regions 11 and 13 respectively, representing in each of them the

fect series.'3 Wyschnegradsky's theory, of course, is decisively cut
meet the requirements of his own compositional work, but still it is
noting that he is the only one in musicological literature to consid
distantial series of a fifth-tritone structure as a tone system, and
this consideration with examples,'4 however few. According to Wy
gradsky this structural element was first used by Scriabin,15 true, in
restricted manner, at most as a four-tone chord. The four-tone app
is also rather rare, but as a three-tone chord the basic formula fre
appears in this works after op. 60.
In his brief list of examples Wyschnegradsky understandably did
and could not aim at completeness. Nevertheless, it is inexplica
in his references he never once mentions the name of Edgar Varese
composer whose almost complete life's work was - as can be cl

demonstrated - aimed at the deepest and widest possible applica
this scale model, this tonal system.
It is impossible to follow step by step Varese's attempts at c
a tone system, because his compositions dating from before 1918 hav
lost, or he himself destroyed them.16 Written data referring to hi

works convey nothing from a technical point of view,"1 and thus a
valuable to us now. And the only early Varese composition wh
been found recently (Un grand sommeil noir, 1906)18 offers in act
no documentary material. (I was unable to obtain access to the

the complete composition, and thus could work only from the e
12 I. Wyschnegradsky, L'ultrachromatisme et les espaces non-oftaviants. La
Revue musicale, No 290-291. Paris, 1972, pp. 71-141.Passage quoted: 108-113
and passim.
13 The perfect series namely consists of intervals arising at the exact acoustic
halving of the major seventh and the minor ninth.
14 Wyschnegradsky, op.cit. p. 113.
5is Ibid. p. 112.
16 0. Vivier, Edgard Var~se: Esquisses et oeuvres ddtruites. La Revue musicale,
Paris, 1969. pp. 31-36.

17 G. Schuller, Conversation with Varase. Perspectives of New Music 3/1,
Spring-Summer 1965, pp. 32-37.
is L. Stempel, Not Even Varkse Can Be an Orphan. The Musical Quarterly 60,
1974. pp. 46-60.
14" Studia Musicologica Academiae Scientiarum Hungaricae 19, 1977
quoted.) We should not overestimate this work's significan
striking that the opening - even if with a strong tonal-harmon

- employs structures of fifths and tritones, omitting the prim
third:
8. Mod6r6ment lent
pp et sombre mf
)
We cannot venture any further than this statement; alth

Stempel, in his above quoted article, attempts to interpret
excerpt from the point of view of the interval-structures
Varbse works,19 his statements and parallels carry no real conc
The earliest Varbse composition of significance is his
written in 1920-21 and revised in 1927.20 A sequence of chord

tritone character or chords of this type can be found in the w
9.
9, ---3 ---
-i.._..-
but they are not develo

functional network. Th
colouring and ornamen
the central chords runn
closely
10.
related
133~~1
to
Scriabi
L--3~
19 Stempel, op.cit. pp. 56-57.
20 The rewriting has left most of the musical
most part was restricted to changes in orches

Chou Wen-Chung in the pocket score published
Studia Musicologica Academiae Scientiarum Hungaricae 19,
Thus, finally they function not as structural and scale figuratio

thematic figurations of the linear order of the piece. Basic form
similar type also appear in the music of Offrandes composed

later, not only as a simultaneous group of sound, but also as
break-down:
S Offrandes l/
les sin - ges du p6 - le sont al - bi - nos am- bre et nei - ge et sau- tent v4 - tus
ro - re bo - r - a - "- le
However, their use cont

each of these formulae
more their structural
the complete range of t
A decisive change in V
Hyperprism, in spite of
be identified as pure for
obvious in the light of h
recognized theoreticall
compositional method
are now distantially o
its pure form:
12.
"~?
Studia Musicologica Academiae Scientiarum Hungaricae 19, 197?
and indeed, Varbse discovered one of the perfect equal tone for
non-tempered intervals in accordance with Wyschnegradsky
system:
~3I.
Perhaps
it
is
here
that
Var
in
this
mann
use
in
Hyperp
holding
toget
than
it
was
i
suitable
to
il
continuation
opening
of
preted
on
the
tone
system
much
more
s
14.
, 3 - --
11
The arrangement of the tone material of Octand

what differing qualities. Here the tone material is re
tone unit, with a clear and strict inner tone structu
ever, is essentially not distantial, or more exactl

the four tones each according to fourth- and fifth tritones is ch

only of certain local centres:
15.
a)
tl
~5~1~88~7~8 ??b) b
3
The
four-to
twelve
tone
tones, but this rule does not affect the full tone structure.
The break-down of the twelve tones into segments of a few tones,

and the work with the tonal groups thus arrived at - consisting of juxtaposed minor seconds - (both linearly and chordally) is present in the
music of Intdgrales in a much more refined manner than in Octandre.
Although Varkse's works - according to this own statement - were
given their titles only after their completion, they have no really close
connection with the composition, but in the case of Integrales the title
very exactly characterizes the method of composition. Every structural
unit of the work constitutes a different type of integration of the twelve
tones. The integrations recall the method employed in Octandre, although
the common features of all the integrations verify structural principles
that are valid for this piece alone. The range of integrations also includes
the scale model followed so far, which here for the first time, is a means
of organizing a greater number of tones and embracing a larger unit. It

also appears as one of the inner elements of integrations with different
principles, in the form of triads built of fourth-tritones and fifth-tritones:
16.
IJZ.
r31
~---4
,
b
.
ill.
5~
the organization of five tones can even be governed by thi

1'7.
32.
8ZzzI~iz~I
and in fact, the range may even be expanded to nine tones:
18.3
(62.)
j',,I . ,_-r ": : + .
,-
In the last two examples we have defined in a seemingly arbit
the manner and order of the joining of tones, since it seems as if t

(octave registers) did not reinforce the position of the various ton
19.
185.
..
~J--jSig 4r
r h
190.
L3 -7
188.
ft~
us. This, however, is only a seeming contradiction, because th

fic distribution of the structures unerringly marks the relat
ers, and the order of their performance for the most part al
position they occupy on the pillar of fifth-tritones. The mod
able for linking several structures, the first example for a use
is also to be found in Integrales.
The range of tones becomes gradually supplemented, th
of a new tone always becomes justified only after formation

structure, or in the light of the complete tonal order. The ex
strongly disposed notes c and f in bar 187 of the tonal structu
two directions, does not result from the antecedents, but

the emphasis given to these two notes which reverses the dir
structure towards the f sharp-c sharp-g-(d) formation in
accentuated c note of the previous bar allows for the figurat

of c here, and the nature of the figuration helps the appearan
flat in the following bars, which structurally can only be poor
20. 186-187. -9190. 191.
I85...-.. , , -
The tone structures of Arcana, completed

the technique developed in Integrales. A su
analysis of the work is that while the m

orchestra results in an unbelievably vers
the tones of the structures - probably due

the huge instrumental ensemble - is much
vious pieces. While the tones of the struct
could very often be given many various ex
of the tones could also be depicted in var
clear development of the structures which
almost pattern-like structural units are en

in place of the minutely developed interrela
works. Here the individual sections are link
The fifth-tritone scale model has been a
in the music of Arcana, because the centra
twelve-tone structures are very often bu

This model appears as a purely motific
Studia Musicologica Academiae Scientiarum

ready the opening bars of the work refer to this possibility):
21.
The motifically exposed model can also take the form of a solid structure:
22.
145.
146.
3
.Pc
The structural principle of a lengthier formal unit
model, interpreted as a chordal formation, and justify

arrangement also as an acoustic reality:
23. 226.
etc.
Studia Musicologica Academiae Scientiarum lHungaricae 19, 1977
The three Varese compositions known from the 'thirtie

continue in such a consistent manner the tonal structure research which
was evident in the pieces of the 'twenties, developed work by w

These three works (lonisation; Equatorial; Density 21.5) do not show
a homogeneous stylistic period, also showing an inner developm
the former ones; instead, they are rather occasional episodes, and at
same time important documents ofVarese's radically changing co
tional approach. The change is primarily a conceptual one, or rat
consequence of the individual choice of instruments in the three w
which naturally determined the manner of composition, too.
Among the metric-rhythmic structures of lonisation only t

(the closing 17 bars of the work) contains tones which fit into the
tional tonal system. The pattern consisting of five consecutive

comprises all the twelve tones:
24.
__:
.Iz
9:i
and
i
rang
25.
4-
~-
the structure of the chor

according to the tritone-f
26.
tt
According to this intepretation the simultaneous C sharp-d do not make
up an independent chord, but only the incomplete anticipation of the

following six-tone chord, while the structurally "alien" b-c, by leavi
open one of the regions of the model, already reveal a perspective of th

other region.
Contrary to the aphoristically formulated, closed pattern of lonisatio
the structures of Equatorial are much more relaxed and expanded, a

only rarely encompass all the twelve tones simultaneously. The decis
role of the fifth-tritone model is evident in a considerable part of the wo
because it frequently appears both as a melodic formula covering thr

to four tones, and as a chord.
27.
30.
~e
c3;
/ etc.
136. .---3--I, etc.
The model, however, provides a loose framework rather than a firm

skeleton for the structures linked to each other like beads. A similar
guiding function is given to the central chord which runs thro

piece and is often featured also as a melodic formula:
28.
79.- r--3--- ---3---i [
229.
and here, for the first time in Varbse's oeuvre appear the single tone isola-
tions of an unmistakably structural significance and position. The tonal

order of Equatorial can be analyzed only by taking these factors jointly
Studia Musicologica Academiae Scientiarumrn Hungaricae 19, 1977
into consideration, and accordingly, the tonal order of the

assessed rather as an almost random series of central tones (to
and not as a logically developed model.
The fifth-tritone structures appearing in the tonal system of Density
21.5, perhaps with the exception of a single short excerpt
293
do not strictly belong to the above series

sequence of the work's tonal system, b
mentals" and are not part of the model
system as a whole.
The more scarce and less accentuated occurrence of the distance row
of structures of fifths-tritones in the works of VarBse's middle per
mainly indicate the modification of the composer's sphere of int
The controlled use of noise in lonisation, the experiments with electr

instruments in Equatorial, as well as the arrangements indicating int
acoustic research, which can be observed both here and in Density

have raised different compositional problems than the works o
'twenties, by seeking new sound possibilities with traditional instrum

and new types of combinations of the twelve-tone system. We kn
no completed Varese compositions from the period between 193
1954, and the sketches of the planned works are for the time being
cessible. On the basis of the data and writings published so far, it can
be exactly concluded how the stylistic development of the nearly 15period is related with the music of Diserts which broke the silenc
instrumental sections of Diserts were written between the summer of
1950 and the end of 1952,21 although according to another source Varb
had begun work on the composition earlier.22 Varbse's method of deve
ing a tonal system unfolds to the fullest extent in this work: the techni
of pitch arrangement is here at its most varied and at the same time i
simplest.
Although it may not explain every note of the work, the fifth-tritone
model becomes the most important system of interrelationships. The

great form constitutes a series of positioned single tones embracing longer
formal units, and the approach towards the positioned tones, their intro21 F. Ouellette: Edgard Varkse. Paris, 1966, Seghers. p. 188.
22 Chou Wen-Chung, Varkse : A Sketch of the Man and his Music. The Musical
Quarterly 52, 1966, p. 170.
duction and abandonment occurs either through letting the mo

matically take its course, or by setting them into a fixed chord
or into an asymmetrical interval formulation.
The tones of the first structure of the work are arranged s
cally, every newly appearing pair of tones or tone forms the
tone or symmetrical pair of tones of the line of major secon
out from the contracted minor second centre:
30. ____
bT
Thus the fifth chord of the opening bars,
be regarded as a single chord, since its t

significance. The texture in fifths offers
cording to which the newly heard b flat a
of the system and at the same time also th
sibilities that can be built between f and e
31.
Lu( w
In this arrangement the c sharp tone of bar 17 is a structurally alien

unanticipated tone which becomes explained only at the formation of the
model comprising bars 21- 29.

The structure developing in bars 30--31 supplements the model to twelve
tones, thus completing one layer of the model period of 24 tones, and then,
without the exposition of c sharp, also shows the possibility of the other
layer, representing it by four tones:
32.
b',
Studia
33.
Musicologica
The tones of the structures built of the models become arranged for
most part only subsequently, when all the tones of the excerpt are he
3'
32.
35.
3.
38.
40.
57.
,-. j .J8
The fifth-tritone model also summarizes

like figuration which is created by the log
35.
- i,...
-Z
To lead on the tone positione

summarized subsequently, so
cally different logic develops (

becomes stable as one of the f
360.
----
,,, . 1 r 3
r--3 -- L__)__ etc.
L,
,i
When
pair
sounded,
of
four
it
tone
StudiaMusicologic
and then, by fixing two tones at a tritone distance as a com
the new tones gradually enter from the other period of the m
in a full series:
37.
106-109
110-114
S 91. 94-99. 100- 1O1. 102-104. ? bV
115_-17. 7
( .) -
(?)i - w'"
- -.--
The model segment consisting of four tones is joined by an
which will be given justification only in the following structu

383.j
+3. 16 3
A motif formed of model tones whose interval structure i

structure of the basic chord, while its position is determ
metry:
S 156. 157. _
S-8
The examples detailed he

an analysis of the work.
pretation
the
provides
formulae
Studia
we
Musicologica
only
have
Academiae
en
Sci
ferent manner as well. The quotations taken from earlier works, howe
are expected to constitute sufficient proof for the fact that the reason
according to the fifth-tritone model is not a special characteristic
only for the music of Diserts, but a stylistic mark running through t
oeuvre of VarBse, and unfolding ever more perfectly.
The two compositions left unmentioned so far, the last works of
Varese, although not disproving the above argumentations with regard

to the tonal structure, still should be treated from this respect with proper
caution. Podme de'lectronique is a tape composition, and even though structures built of the scale model can be clearly heard in certain sections, the
work as a whole nevertheless requires a different analytical approach.

In the music of the unfinished Nocturnal, however, the scale model can
be demonstrated in many places:

q~O
'40. 3
and although we know that 97 of its bars constitute an independent work,

which was performed in Varbse's life-time, nevertheless, because of the
torso form of the piece, and without being familiar with the original manuscript and the sketches, it would be a risky undertaking even to aim at
valid statements.23
It would be a mistake to consider the path we have taken here as

the only possible explanation of Varese's "development". The parallel
works and theoretical manifestations of other twentieth century composers, however, bear out the fact that distantial thinking results from the
substance of the tempered tonal system, and its discussion in this context is clearly justifiable. It was through the recognition of this theoretical
possibility that VarBse, too, reached the model discussed here, which is
so frequent in his music. It is of great significance to music history that
he elaborated the possibilities inherent in the model perhaps in the most
consistent manner. The modes of using the model that can be reconstructedfrom his works are naturally not didactic applications of the theoretical possibilities taken in abstracto, but formal traits of the given works,
that is, stylistic elements which are characteristic only of the music of
Varbse.
On the other hand, the fact cannot be disregarded that Varbse accepted the tempered twelve-tone system only as a compromise. Even his
23 Cf. Ouellette, op. cit. pp. 224-225, and the preface to the pocket
published by Colfranc (C: 1973, 1969).
15 Studia Musicologica Academiae Scientiarum Hungaricae 19, 1977
earliest writings set the aim of conquering the whole audible

and using it as compositional raw material,24 and it was alwa
narrow limits of the technical possibilities that compelled
with traditional instruments and think within the traditional tonal
structure. In the traditional tonal structure, however, he found the most
neutral tone pattern which can be applied in the most novel way -
7 : 6 model, and through the use of this he developed his free twelve-t
style. Varese's way of thinking and his composing method presen

twelve-tone technique in which the model usually determines the t
jectory of the tones. Since this model is symmetrical with regard to an

of its tones, or joins the system from its third tone onwards as an analog
any of its tones can be endowed with a special functional significance a

member of a system of communication.
The other branch of Varbse's research, manifested in the extensive
use of percussion, sirens, electronic instruments and later, in the 'fift
of tape recording, has the same roots as his application of the twe
tone technique which followed from his examination of the qualitie
temperament, but it turns in a different direction - and it can be s
not so much from the illusion of "enriching" the tone-system, but on

basis of the evaluation and criticism of the concept of form and music
process in Varese's works.
24 Cf. e.g. Var8se, Que la musique sonne. 391 No 5, 1917, 2.

25 That is the determination of three tones suffices for fixing the system.

The Genesis of A Specific Twelve-Tone System in The Works of Varèse

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The Genesis of a Specific Twelve-Tone System in the Works of Varse

Author(s): Andrs Wilheim

The Genesis of a Specific Twelve-tone

The phenomenon according to which the composer considers it a

and modified by the examination of other musical parameters - a

unavoidable consideration in the theoretical and historical examination

endeavours. Supplemented with certain other musical phenomena (e.g.

historical dividing line.

Studia Musicologica Academiae Scientiarum Hungaricae 19, 1977

204 A. Wilheim: Specific Twelve-tone System

The various attitudes to the twelve-tone system can be divid

promises to be the most effective along this road; it is an extrem

and irrefutable argumentation which can draw up an unbro

the intellectual systems of Schoenberg, Bart6k, the futuristic m

and Busoni, as far as the twelve-tone tempered system is c

In the final analysis, the examination of the theoretical issues h

remained within the possibilities offered by the twelve temper

In recent years, theoretical and musicological research ha

A. WVilheim: Specific Twelve-tone System 205

not only a new, autotelic functionality, but also a new tone-system. Th

val-relations from the twelve-tone scale and treats them as being ve

(Klangzentrum) ;1 similar features of the works of Golishev and Rozlave

compositions, also arranged according to register, represent the en

deavours to symmetrialize the tone structure.3

One of the theoretical problems of twentieth century music lies in t

fourths", for example, gives rise to very strong tonal associations, t

also represent a very strong tonal relationship. It is a basic paradox of t

1 Z. Lissa, Geschichtliche Vorform der Zwlftontechnik. Acta Musicologica 7

Die Musikforschung 22, 1969, pp. 22-38.

technik im instrumentalen Spdtuwerk Anton Weberns. Darmstadt, 1972, Tonos. pass

206 A. Wilheim: Specific Twelve-tone System

the other possible theoretically given whole-tone system (or on

Consequently, the simple (homogeneous) distance rows hav

assigned only a restricted role in the history of new music, and i

It was Yuri Holopov's study which recently collected a great m

division of the twelve-tone system.4 The scale schemes which he t

of homogeneous distances, but ranged with types of distantial

8:19 8:10 8:11

J. Cholopov, Symmetrische Leitern in der russischen Musik. Die Musik-

forschung 28, 1975. pp. 379--407.

Studia Musicologica Academiae Scientiarum Hungaricae 19, 1977

A. Wilheim: Specific Twelve-tone System 207

Owing to their clear structure, musical practice usually app

distance rows. These double distances - to use Ern5 Lendvai'

about by "the periodical infinite repeats of a certain ratio".' In

The number of tones making up each of the periods alte

to offer only theoretically app

most often only the secondar

5 Cf. O. Messiaen, Technique de mon language musical. Paris, 1944. Leduc.

6 E. Lendvai, Bartdk e's Koddly harm6niavildga (The Harmonic Realm of

Bart6k and Kodaly), Budapest, 1975, Zenemfikiad6. p. 106.

208 A. Wilheim: Specific Twelve-tone System

works of Ern6 Lendvai,7 similar phenomena encountered in

music. In these cases, however, it is remarkable that they are r

octave - encountering itself, and thus creating a closed system."" S

exclusively. These model scales can only be surface phenomena, sup

ments, or possible only interpreters of a material articulated on the b

ality, and on Stravinsky's technique, which very often also empl

sound centres, would require a more extensive elaboration; similarly, t

important role in musical practice, because of their partial use of

twelve tones. The applicability of the larger periods (with 12 and 24 to

respectively) is also strongly restricted. Two (2 :8, 4 :6) of the twe

offer the sounding of the two whole-tone systems in pairs - thus