COMPREHENSIBILITY AND FUNCTION IN WEBERN'S SIX PIECES FOR ORCHESTRA OPUS 61.pdf

COMPREHENSIBILITY AND FUNCTION IN WEBERN'S S...

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Comprehensibility and Function in Webern's Six 61

Pieces for Orchestra

opus

Jeri Kotani

Introduction Anton Webern's Six Pieces for Orchestra, Opus 6, provides an interesting compositional insight into style as manifested in Webern's work during the Atonal Period. It is my conjecture that these manife manifesta statio tions ns of of styl style e devel developed oped,, in part, from c omposi tiona l solu tions that Webern engine ered to eas e the conflict between between his growing preoccupation preoccupation with 'comprehensibilit 'comprehensibility', y', i.e., structural structural coherence, and his compositional choice of avoiding thematic repetition in the the Six Pieces for Orchestra. In his published lecture notes, The Path to the New Music, Webern Webern directs directs all disc ussio n concerning his perspective on evolution of musical language to the general aesthetic principle of comprehensibility. Although the Six Pieces (1909) antedates the presentation made in The Path to the New Music (193 (1932) 2),, Webern's Webern's observations on p rinciples effecting comprehensibility are still 2

applicable appli cable to the Six Pieces. Webern made the following apt remarks: The ultimate principle in all presentation of an idea is the law of comprehensibility. 3 What is th e easi est way t o ens ure co mprehens ibilit y? Repe tition . All formal cons constr truc ucti tion on is buil builtt up up on on it, all musical forms are based on this principle.4 principle .4

The principle of repetition as a structural device is inherent in the construction of tradi tiona l fo rms such as thos e i n a n AB A, A BACABA forma t, i.e., sona sonata ta form form,, ron rondo do.. Thi This s is is not not to disreg disregard ard the princi principle ple of differ different entiat iation ion which which is an int egr al con cer n o f f orm al des ign . R epe tit ion however, is the major practice that helps to establish relatedness. 5

The fact that the Six Pieces for Orchestra "represent short song forms" i.e., general ternary (ABA) structure, structure, should imply an adherence to a traditional traditional structural mode l that normally depends on thematic repetition repetition for formal parallels, yet, an interesting conflict ensues when Webern 6

explicitly states that he avoided any thematic connection between or within the Six Pieces. A Major contradiction exists between the requirements of structure and the compositional intent. A pe rt in en t qu es ti on th er ef or e is : "H ow di d We be rn ma in ta in hi s ae st he ti c co nc er n fo r comprehensibility comprehensibility without without sacrificing sacrificing the integrity of one requirement for ano ther?" In my opinion , We be rn su cc es sf ul ly re so lv ed th is questi question on throug through h the the use of the follow following ing strate strategie gies: s: 1) Elucidat Elucidating ing formal formal design design accor according ding to the the functions functions necess necessary ary to create create str uc tu re (i .e ., it s r e q u i r e m e n t s ) r a t h e r t h a n a d e p e n d e n c e u p o n i d en en t if if i ca ca t io io n t h ro ro u gh gh lili t er er a l t h em em a ti ti c r e pe pe t it it i on on or or upon key relationships according to tonal, harmonic ordering. 2) Treating intervallic content (the order and aggregate), timbral succession (e.g., klangfarbenm elodie), and conditions or circums tances ari sing from the juxtapos juxtaposition ition of elements elements or events (linear, and vertical), as major musical constructs that supercede pitch succession as a means of

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Comprehensibility Comprehensibility and Function The instability of musical syntax, due to a waning interest in the traditional tonal system, fostered an added awareness of structure and function in Webern's early "atonal" music. However, However, because function was never taken out of the context of the traditional forms within which it flou flo uri rish shed e d,, the th ey y pro provi vide d ed d a stab le refe renc e t hrou g gh h wh which ich Web Weber er n coul d e exerc xe rc ise his concern for comprehensibility. The notion of 'comprehensibility' encircles the general desire to be understood, to be intelligible. The method of presentation, whether in a musical sense or otherwise, must manifest coh es ion an d o rga ni za tio n, i.e ., str uc tur e. Ant on Weber Webern n term termed ed this this "uni "unity" ty" and define defined d itit as as foll follows ows:: Unity, to be very general, is the establishment of the utmost relatedness between all component parts. So in music .... the aim is to make as clear as possible the relationship relationship between the parts of the unity; in short to show how one thing leads to another. 7

The preceding quote relates, of course, to Webern's interest in twelve-tone technique. technique. However, However, it is relevant to the Six Pieces for Orchestra because , though the techniques used in the atonal and the serial periods vary, Webern's Webern's musical goals remain similar. One can argue that "the relationship between the parts" and the clause "how one thing leads to another" involves function. Function may be thought of as the the role that a musical musical component component plays within a g iven frame work. The supp ositi on is made here that cert ain preexisti preexisting ng form forms s (e. (e.g. g.,, son sonat ata, a, rondo rondo), ), through through extensive extensive use, use, have establis established hed an associated s et of structura l expec tations. For exa mple, one expects thematic statement, development, repetition, and a concluding section. Normally, Normally, functions are categorized according to the level of analytic perspective that is in primary focus, i.e., i.e., pitch, rhythm, texture, etc. However, the term function, as I will use it, involves consideration of the composite of various and interdependent musical parameters. Such consideration aims at identifying major constructs of the form from a broader perspective than is generally taken. Henceforth, in the detailed analysis, all references to function should be understood as implying composite consideration. There are two ways in which one can view function in relation to form. On the one hand, a progression of discrete functions (of arbitrary arrangement arrangement and number) may engender the formal design design of a composi compositio tion. n. On On the the other other hand, hand, a pre -ex ist ing for mal des ign may impl y a p partic artic ular set o f fun ctions . In We eb ber ern' n's s Six Pieces for Orchestra, a general adherence to a triparti tripartite te constru construction ction of the s ong form pre sented a pre-existing mo del for the composer. Therefore, the ensuing explanation of functions and of the different types encountered in the Six Pieces is based on the traditional handling of three-part structure structures. s.

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Comprehensibility Comprehensibility and Function The instability of musical syntax, due to a waning interest in the traditional tonal system, fostered an added awareness of structure and function in Webern's early "atonal" music. However, However, because function was never taken out of the context of the traditional forms within which it flou flo uri rish shed e d,, the th ey y pro provi vide d ed d a stab le refe renc e t hrou g gh h wh which ich Web Weber er n coul d e exerc xe rc ise his concern for comprehensibility. The notion of 'comprehensibility' encircles the general desire to be understood, to be intelligible. The method of presentation, whether in a musical sense or otherwise, must manifest coh es ion an d o rga ni za tio n, i.e ., str uc tur e. Ant on Weber Webern n term termed ed this this "uni "unity" ty" and define defined d itit as as foll follows ows:: Unity, to be very general, is the establishment of the utmost relatedness between all component parts. So in music .... the aim is to make as clear as possible the relationship relationship between the parts of the unity; in short to show how one thing leads to another. 7

The preceding quote relates, of course, to Webern's interest in twelve-tone technique. technique. However, However, it is relevant to the Six Pieces for Orchestra because , though the techniques used in the atonal and the serial periods vary, Webern's Webern's musical goals remain similar. One can argue that "the relationship between the parts" and the clause "how one thing leads to another" involves function. Function may be thought of as the the role that a musical musical component component plays within a g iven frame work. The supp ositi on is made here that cert ain preexisti preexisting ng form forms s (e. (e.g. g.,, son sonat ata, a, rondo rondo), ), through through extensive extensive use, use, have establis established hed an associated s et of structura l expec tations. For exa mple, one expects thematic statement, development, repetition, and a concluding section. Normally, Normally, functions are categorized according to the level of analytic perspective that is in primary focus, i.e., i.e., pitch, rhythm, texture, etc. However, the term function, as I will use it, involves consideration of the composite of various and interdependent musical parameters. Such consideration aims at identifying major constructs of the form from a broader perspective than is generally taken. Henceforth, in the detailed analysis, all references to function should be understood as implying composite consideration. There are two ways in which one can view function in relation to form. On the one hand, a progression of discrete functions (of arbitrary arrangement arrangement and number) may engender the formal design design of a composi compositio tion. n. On On the the other other hand, hand, a pre -ex ist ing for mal des ign may impl y a p partic artic ular set o f fun ctions . In We eb ber ern' n's s Six Pieces for Orchestra, a general adherence to a triparti tripartite te constru construction ction of the s ong form pre sented a pre-existing mo del for the composer. Therefore, the ensuing explanation of functions and of the different types encountered in the Six Pieces is based on the traditional handling of three-part structure structures. s.

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delin eators of maj or for ma l di vi si ons - thematic, developmental, referential, and cadential functions; functions; and 2) Subsidiary Subsidiary or secondary func tions that suppo rt, link, or otherwise lead on or prog ress to the cause of the piece, (i.e., pairing, is implicit) implicit) - pre - pre parat pa rat ory, dir ectiv ec tiv e (propulsory), accompanimental, and connective functions. In the following commentary, the definition of each function will be presented along with the approp riate discu ssion as to the effectiv e m anifes tations tations that that Webe Webern rn devi devise sed. d. Primary Functions Thematic function designates material that presents major musical ideas, e.g., a primary thread (line), that assumes a distinct a nd dynamic expressive role by virtue virtue of its motion motion (duration (duration and rhythm), rhythm), and contour contour (pitch (pitch and and inter intervall vall ic s ucc ess ion) . Trad itio nal ly, the mati c ma teri al 8

provided the "point of departure for a musical composition". This meant that thematic material was subject to variation or transformation as a means of generating related materials. However, because of the avoidance of thematic connections between a nd within the movements of Webern's Webern's Opus 6 (and the imposed condition of brevity), there can be no assumption that the identity identity of thematic function function is based on the amount of reiteration. Thematic function will therefore be used only to identify a coherent musical statement that establishes a sectional identity. Development should be discussed as process rather than fun ction. However, However, due to self-imposed constraints, the term will be used in reference to a general type of formal function whereby a section is characterized not by the uniqueness or relatedness of its thematic materials, but by the process(es) or procedure(s) that are applied to its materials. Material that fulfills a referential function involves the recurrence of particular material that is attributable to a previous section of the structure. A referential function implies the establishment establishment of formal parallels through a condition of similarity. similarity. However, Webern remains consistent in avoiding thematic reiteration by using indirect reference, i.e., allusion. Materials, therefore, that fulfill fulfill a referential function, allude to previous sections by reta ining some of the general characteristics of their original presentation. Such gross characteristics may include include timbral qualities qualities (e.g., instrument instrumental al color and registral color), general c ontour, and texture. Ho wev er, th e al lu si on never refers refers to the the complete complete identity identity,, i.e., never never includes includes the the complete complete array array of characteristics of the original musical idea. In essence, what Webern did to illustrat illustrate e formal formal parallels parallels by way of referential referential functions was was to supplant repetitive repetitive themat ic id entifi cation with timbral , gestur al, dynami c, and/or regist ral iden identi tifi fica cati tion on.. Through referen tial material, a feelin g or sensation o f "relatedness " is made manife manifest. st. The concluding section of Movement I provides an appropriate example. This section (see measures 14 19 in the the sco score re)) all allud udes es to the the ope opening ning s ecti on of the mov emen t ( meas ures 1 - 2) by recr eati ng a similar succesion of gestural events: ascending gesture-arrival point-chordal punctuation/ descending gesture-arrival point-chordal punctuation (see Examples 1 and 2). (The closing section is longer than the opening section due to a cadential extension.) Cadential function refers to a section or unit of a musical structure that "conveys" "conveys" the

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did thi s c omp ose r e xe cut e cad en tia l f unc tio ns? Con sider the following remarks by Webern: . . . finally we came to a situation where the ear no longer found it indispensible to refer to a tonic. When is one keenest to return to the tonic? At the end, of course. Then one can say, "the piece is in this or that key." But things of this kind (ambiguity of key, slow dissolution of tonalit y) piled up more and more, and one day it was possible t o do without the relationship to the tonic ... The ear was satisfied with this suspended state, too; nothing was missing when one had ended "in the air" — one felt still the flow of the complex as a whole was sufficient and satisfying. 11

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Example 2: Movement I, measures 14-19 Allusion to succession of events within measures 1-3. All exce rpt s fr om We ber n's Six Pieces for Orchestra are reproduced hero with permissio n from Universal Editions and European American Music Distributors as follows: Copyright 1 961 by Universal Edition, A. G. Wien, used by permission of European American Distributors Corporation, sole U.S. Agent for Universal Edition.

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From Webern's commentary, one is impressed with the notion that other unifying conditions or factor a sense of ca dential fulfill ment and repose. From observations of caden tial treatment within the Six noted: 1) Creating a condition where a dynamic, active state of accumulating tension leads to a s tat ic sta te of rep ose. is gen erally equal t o the length of t he st atic p hase (i .e., cadential extension. See Example 4). 2) Articulat ing the cadence through repetition, which is a form of extension and affirmation. (Example 3) All mo with the exce ptio n of III , end with cadential extensions.

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Example 4: Movement 1I, mess. 14-27. Accumulating tension drive to final cadence.

Subsidiary Functions Functions that are categorized as subsidiary or secondary in s trength are so designated due to their subordinate relationship to other, primary functions. The importanc e of subsidia ry functions should n ot be dis regarded , howeve r, since they help to maintain continuity of movement in the total flow of events. Their structural weight is generally dependent on, even propo rtiona l to, the length and breadth of expression assumed by their corresponding primary functions.

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Preparatory function designates a distinct group of musical elements that operates as an introduction to, or anticipation of, a forthcoming unit or section in which a primary function, (usually thematic), is dominant. Material fulfilling a preparatory function may have a distinct identity of its own yet assumes a subsidiary rol e by v irtue of its struct ural r espon sibili ty to a nothe r fu nc ti on . Preparatory material is often used to set the mood of a piece as in the introduction and interludes of Movement IV. Directive function is similar to preparatory function in that it serves as a preparation for another function. However, its main purpose is to maintain the movement within an expressive line. In general, the directive function pairs with the cadential one. Therefore, in the Six Pieces, the directive function is identified with a singular, propulsive orientation towards a cadential po in t. (Example 5a) Musical elements performing a connective function engender a continuity of presentation from one discrete musical unit of expression to the next. Events may be connected through a common point of reference, e.g., common pitch or group of pitches, which acts as a pivot between two adjoining units of material (see Example 6). Connective elements may also be similar in form to a link (as in a chain), where a distinct element is used to join two separate entities (Example 5b).

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Example 5 a and b: Movement III: Directive functions (m. 3 - 9). Connective functions ((m. 4-6)

Accompani mental function refers to a part or parts within a musical texture that o pera te as auxiliary support for other more substantive parts. Relatively speaking, material th at func tions as ac comp anime nt la cks t he d ynam ic co ntinuity and thrust of a primary unit of expression, i.e., thematic ideas. This subsidiary material may serve as harmonic support present in the form of static, held chords, or assume more rhythmic focus by disjunct or repetitive articulation. Al th ou gh ac co mp an im en t ma te ri al is co ns id er ed su bs id ia ry in fu nc ti on , it s im po rt an ce sh ou ld not be diminished. The way in which we perceive a particular line or melody is greatly influenced b the context created b its accom animent. A ma or case in oint is found in Movement V of the 10 de 31

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Example 6 a and b: Movement V: Connective functions (pivot m. 4 - 7) Accompaniment (m. 1-4)


Detailed Analysis of Movement III The following detailed analysis of Movement III from the Six Pieces for Orchestra will demonstrate the compositional procedures of Anton Webern and the unprecedented perspectives

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was only alte rati on, exte nsio n, abbr evia tion ; but the forms remained, even in Schoenberg! 13

And also in Web ern! Movement Ill r eflects the ternary structure of a s hort so ng form wit hin which the presentation of musical events follows an ordering similar to the canonic procedure of retrograde. However, as a result of the composer's interest in exploring the possible alternatives to tonality and its system of key relationships (tonal dissolution), his aim for "an always changing mode 14 of expression," and the "avoidance of (traditional) thematic connections," 15 substanti al modifications of the organizational models used are noticeable. Nevertheless, Webern's aesthetic concerns are never compromised. Movement III is in ternary form with a palindrome-like construction. This movement is not an exact note-by-note account of a true palindrome. However, it manifests such construction strongly. The design of the movement may be represented as follows: Section: event:

A

B

a b c

d

measure: 1 2 3-4

5-6

C c 1 b 1 a 1 7

8 9-11

As in an y pa li nd ro me, th er e is a pi vo t po in t afte r wh ich th e reve rs al of the ma te ria l begin s (beg inni ng m irro r-li ke p aral lels betw een even ts). Take for example the sentence: Madam I'm Adam The pivot point in the palindrome abo ve is "I". In Movement III, the middle section (measures 5-6) is analogous to the "I" and serves a similar pivotal function within the design of the movement. However, not only does Section B fulfill this pivotal function in the context of the macro-form but its linear configurations (both labeled "thematic" because they establish the identity of this sectio n) form a note-by-note account of a palindrome, whose internal groupings are also palindro mic. As such, the basic motive of th e B section is an alogous to th e basic word "madam" of the sentence "Madam, I'm Adam" (Example 7) .

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Example 7: Mvt. III Section 3. meas. 5 - 8

This tier construction with palindromes adds to the symmetrical continuity of the formal design, deepening the function that the B section fulfills. It a lso distinguishes measures 5 and 6 as a complete formal unit whose identity, by virtue of the nature of its organization, remains distinct from that of the outer two sections. Webern, however, derives the working materials and the palindromic organization for this B section from the opening A section. There is no new material at this point. The extent of relat edne ss be tween Secti ons B and A may be measured by viewing the material, but not the func tion , of Sect ion B a s an elab oration on material from measure 1,

Section A. Measure 1 contains two events, the antecedent phrase of the thematic event and the accompan imental chordal event. The an teceden t phra se is characterized by: 1) a group of three articulations and two elements, 2) a symmetrical contour in which the outer ele ments are identical, and 3) a movement by uniform whole steps, one up and one down (see Example 8). The c horda l event, on the other hand, is static and its identity as a unit is based on its intervallic + 14 de 31

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Example 8: Movement II, Meas. 1

The thematic content of Section B consists of two linear configurations which are constructed from the basic characteristics of the original antecedent phras e liste d abov e. Webern takes the number of articulations (3) and the number of elements (2) and employs their combination as the basis for grouping events in the new section. Hen ce, each lin e in Section B is composed of three motivic groups of which two are un ique. Each group, in turn, is composed of three articulations. The controlling number of elements (2) within a group also extends to its vertical components. Therefore, the intervallic distance between simultaneous events alternates between a minor 3rd and a minor 2nd.

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Example 9: Grouping. Sect. B. Movement III, meas. 5-6 (m3 is the contracted transportation of the original dim.7th interval)

Secondly, the characteristic symmetry of the thematic motive in me asure 1 becomes the pervasive structural concern in Section B. A symmetrical contour s sys tem ati cal ly mai nta ine d in bot h lin e and motivic group by the repetition of all outer components, e.g. pitches in a group, pitches sounding simultaneously, groups in a line. The compos ite thematic structure built on similar symmetrical figures forms a palindromic identity. Such symmetry may be viewed as a form of vertical mirroring. The condition of symmetry also extends to the relationship betwee n the two simultaneous lines of Section B whereby the complementary configuration is derived from the primary configuration through inversion, a hoizontal mirroring technique. Thirdly, the thematic configuration designated as "primary" in Section B is given such distinction because it outlines a transposed version (up a minor 3rd) of t he ori gin al the mat ic mot ive , e17-f-e replacin g c-d-c respectively. This motive may be traced in the primary configuration by considering the pitches that share a common means of emphasis through repetition, i.e., th e ou te r members of each motivic group. (Example 10)

Example 10: Outline of original motive. Sect. B, meas. 5-6

The inner members of each motivic group, the pivotal pitches c-c#-c, are by no means inconsequential. They duplicate the major pitch elements and contour of the complete antec eden t-co nseq uent thema tic stat ement of meas ures 1 and 2 (see Example 11).

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Example 11: Duplication of original theme in skeletal form. Section B, Mvt. III

These pitch elements respectively begin the theme's three motivic groups and are we ighted through repetition (the pitch c) or by its position within the intervallic outline (c# is the lower member of the major 3rd interval). These pitch elements, c-c#-c, also form a very similar but distinct contour to the opening motive of measure 1, differing only in the intervallic distance between its elements (half-step difference). The c-c#-c movement may be considered to provide the skeletal c ontour of the thematic statement in Section A. However, the situation in Section B is such that a representation of this contour is overlapped bene ath the mag nif ied contour representation of the antecedent phrase of measure 1, therefore assuming a more 1

subdued p osition. It re-emerges in Section A (transposed to g) as the concluding thematic statement. The accompanimentat chordal figure in Section B which is an exact transposition of the original figure in measure 1 (down a half-step), complements the upward transposition of the higher figure, and also retains a similar static disposit ion . T her efo re, it doe s n ot inte rfe re with the symmetrical nature of the thematic event. (Example 12) At th e on se t of meas ur e 5, the ch or da l un it is in co mple te . The bo ttom -mos t pi tc h, fo rm in g th e tritone base of the chordal unit, does not appear until measure 6, at the end of Section B. Webern not only separates this pitch (A flat ) from the composite unit but also gives it added emphasis by presenting it as a very high harmonic (violin I), inverting the original bass position of this element. However, the major significance of the heightened emphasis on the A flat lies in th e dual function that this pitch element carries out within Section B. It completes the ch or da l ev en t (accompanimenta l function) a nd also se rves as th e leading tone to the cadence on the pitch a (directive function, lea ding to a primary function) . Yet another function of the A flat is fulfilled in relation to the rest of the movement. It serves a 1

connective function, linking Section B to the closing Section A , by exten ding into the closing sec tio n. One cou ld v iew the a a s a lin k within a chain of sections comprising the movement. The Bass Drum pedal trill is the mirror-like counterpart to the A flat . It is the lowest pitch element as the a harmonic is the highest one and fulfills a similar connective function, linking the opening Section A, to Section B (Example 5). The A flat also creates anticipation for th e A contain ed in the con cl uding themat ic event in Secti on A 12).

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1

by i ts extension so far into this final section (Example

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Example 12: Accompanying event, its completion at m. 5, significance of a harmonic Section B, Movement V

The articulation on the pitch a (harp) concludes Section B. However, this element is not an extension of previous thematic or accompanimental material from Section A, but appropriately re it er at es an im po rt an t co mp on en t of th e cadential chord from the previous section (Example 12). There are two focal pitches within the cadential event of measure 4, f and a. The pitch f is the resolution or arrival point of the linear movement within the section and a is the root of t he vertic al ca dentia l son ority (a-c#- e-g#) . The order of arrival should be noted, F preceding A, because the reversal of its order (A preceding F) indicates the beginning of the corresponding half of the mirror image within the palindromic design of Movement Ill (measure 7). Section B's 1

cadence on A , immediately preceding the a in measure 7 (Section A ), anticipates this retracing of material and events.

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to t he l arge palin dromic design of the movement. It is by virtue of its mirrored treatment of musical 1

materials that Section B is distinct from Section A and Section A . In general, Webern succeeds in achieving his aesthetic concern for comprehensibility in Se ction B thr ough an e xtreme ly h igh degre e of relate dness to material from the opening Section A, yet still achieves a different and distinct mode of exp res sio n thr ou gh the pe rva siv e and com ple te ex pl or at io n of sy mmetry. However, the composer's remark regarding the lack of "thematic connec ti on s betwee n a nd within moveme nts" is contra dictor y h ere unles s o ne considers the following aspects of design and intent: 1) Thematic reiteration as a means of establishing formal parallels is relevant to the outer A sections of a ternary song form. However, it is not equally relevant to the middle section. This B section is based on the principle of contrast and differentiation either in t he form of new t hematic material or dist ingui shed by t he p roce ss(e s) o r p roce dure s t hat are appl ied to prev ious material, e.g., development. 16

2) Webern considered Movement III to be an introduction to Movement IV (Funeral March). Thus, one could po ss ibl y vi ew Mov em ent II I as th e magnification of a single musical statement providing the introductory clause to Movement IV.

The outer sections, A and A . are complementary units in the palindromic design of 1

Movement Ill. A is not an exa ct note-by-note mirror duplicatio n of Section A, in that it contains certain permutations of elements and materials. Nevertheless, the basis of its orga nizat ion is t he retro grad ing of even ts and conditions found in the opening A section. There are four major events in Section A that fulfill four distinct functions: thematic, accompan imental , directive , and cadenti al (see Example 13). Although these events in Section A will generally be referred to by the functions they fulfill, it should be kept in mind that 1

the retrograde of these events, in permuted form, in Se ction A does not necessarily conserve their original functions.

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Example 13: Event and their functions Sect. A Meas. 1-4

The events of section A have particular characteristics and circumstances. First of all, in measures 1 an d 2, a p air ed relation ship exists between the thematic event (composed of antecedent and consequent statements) and the chordal accompan imental eve nt. (The accompaniment, in essence, fulfills a subsidiary or auxiliary function to the primary thematic func tion. ) Th is s imultaneous overlay of theme and accompaniment may also be thought of as a kind of dynamic state balanced against a static one. Secondly, in measure 3, the directive event is observed to be a singular, unidirectional figure (high to low). This also fulfills a subsidiary function which ultimately leads or points to mat er ial mai nta ini ng a pri mar y fun cti on. In thi s instance, it directs the listener's attention to the cadential event. The material of this descending configuration of measure 3 is based primarily on the intervallic components of the previous conseq uent phrase in measure 2. As su ch, this directive

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1

Section A (measures 7-11)pr esents the r etrogra de order of the four events i n Section A, wi th cert ai n mo di fi ca ti ons . Fu nda me nt all y, th e op eni ng Se ct io n (m ea su re s 1- 4) ha s tw o 1

types of configurations: chordal and linear. In the closing A section, all configurations are linear. 1

It is possible to maintain a palindromic correspondence between A and A because the 1

accompanimental chordal event in A is transformed into linear events within A (i.e., vertical to horizontal alignment of the intervallic composition of the chordal event, measures 7 and 9). It is conjectured that any distortion of the general ABA design is triggered by the linearization of the accompanimental chordal event as Webern converts its original static state into a dynamic one (ie., more movement and articulation in the transformed version). This alteration makes it impossible for the now linear configuration to appear in its original temporal disposition as event 2 superimposed upon event 1, without negating the original condition of a 1

static state balanced against a dynamic one. Consequently, in the closing A section, Webern alters the original vertical alignment of Events 1 and 2 to a horizontal succes sion of even ts such that material from Event 2 (measures 7 and 9) always precedes material from Event 1 (meas ures 8, 1 0-11). Unde r th ese altered circumstances, the original paired relationship bet wee n t he two eve nts is preserved (see Example 14),

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Example 14: Movement III, Section A (m.8-11), retrograde of events 1

Al l ot he r mo dif ic at io ns and ad ju stm en ts in Se ct io n A , affecting the palindromic design of the movement, are carried out to maintain the original circumstances and conditions (but not ne ces sa ril y fu nct ion s) of the fou r ev ent s found in Section A. (See previous discussion, p. 19) The two configurations within measures 7 and 9, derived from material of the accompanimental chordal event of Section A (Event 2), share a common set of characteristics. 1) Unlike the original event, these figures do not function as accompaniment. However, they ful fill a similar subsidiary function, a directive function (Example 4 above). 2) Both figures are also unidirectional, 17

as an ascending or descending gesture, whose arrival points both focus on the pitch F#.

The juxtapositions of intervallic elements within these two related events are distinctly different. Material within measure 7, with the exception of the a harmonic, conforms to a permuted ordering of intervals from the original chordal event. It is the aggregate of intervals from the original chordal event, but not its ordering, which generates the pitch components in the linear configuration of measure 9. (See Example 15) original event

modified recurrences

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Example 15: Original Accompanying chord (m. 1-2) with two midified representation (m. 7, 9)

Within measure 7, Example 15b, the pitch A (harp) and the B flat of the motive B flat-G-A (bassoon) outline the exact major seventh expanse of the original chordal unit. Its outer pitch 18

components are identical.

Although the ba sic discus sio n of materials in measure 7 ha s been directed tow ard s i ts derivation from the chordal accompanimental event of Section A, the importance and relevance of such material is e stablished by th e fun ctions it: elements fulfill and their conformity with the palindromic design of Movement III. The materials of measure 7 may be classified into three separate events which carry out different functions: the connective function of the violin harmonic A batyrak (see previous discussion pg. 18), the reiterative and connective function of the harp A7th sonority (also forming palindromic relations with the closing a of the piece) and the ascending B flat -G-A which mirrors the d escending clarinet figure of me asure 3 and in emphasizing the a provides a tonal reflection of the cadential a in m.4. Continuing the approach of the B flat-G-A motive, discussed above, to the f# apex of the arch-like phrase in the bassoon line (measure 8), is also carefully constructed to form a palindromic unit of intervals, i.e., major 6th (inversion of a minor 3rd), major 2nd, major 6th (minor 3rd). This internal palindrome, built on the vertical intervallic components of the original chordal event, is immediately followed by an counterbalanced with a palindromic set of intervals (measure 8) built on interv allic compo nents of t he c onseq uent phras e of the origin al thematic event

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Example 16: Movement Ill, Section A'(m..7-11)

However, in the second palindromic unit of measure 8, the component pitches are further dispersed among three instruments, displaced in octave position. The bassoon line concludes with the pitches E flat and D (a minor 2nd), drops a minor sixth (th e inve rsion o f a maj or 3rd) to the harp's F# and up a major 7th (the inversion of a minor 2nd) to the horn's F. Al th ou gh each pitch element is derived from the application of a common set of intervallic relationships, they mete out d iffere nt fu nctio ns w hich are clea rly d eline ated by th eir instrumentation and registral separation.

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The repetitive f# in the harp line serves two functions. First of all, it serve s as the preparation for the cadence on pitch f (horn) as an upper leading tone. Seco ndly, this repe titi ve f# figure foreshadows the f# pedal figure in the last two measures of the movement. The cadential point on f (horn) ends the pitch motion within measure 8. It also completes the retrograde mirror presentation of the major cadential pitch components ending Section A, measure 4 (f and a). Although the f measure 8 is not contiguous to the a (measure 7), as in the circumstanc e of measure 4, 1

the general mirror correspondence between Sections A and A remains intact. Reviewing the circumstances in measures 3 and 4 of Section A, it has been no ted that the desce nding co nfiguration to and including the cadential pitch f are cons tructed from intervallic components attributable to the previous thematic event of mea sure 2 (conseq uent phrase, major 3rd, & minor 2nd intervals). As such, this 1

material is an extension of the consequent phrase. (the cadential pitch a is not.) In Section A , measure 7, Webern constructs the retrograde figure corresponding to the descending configuration in measure 3 (clarinet to the bass line) with intervallic components of the chordal accompanimental event (measure 1). The mirroring of material from and including the consequent phrase is accounted for primarily in the following measure 8. Therefore, the placement of the f as a cadential pitch within measure 8 is consistent with its original association and derivation. In addition to the pitch events, generated by the intervallic palindrome, a desce ndi ng, uni dir ect ion al configuration, in the solo Violin II, overlaps and interacts in complement to the phrase ending of the bassoon line (Example 16). This motive represents an intact, reconstruction of the consequent phrase of the original thematic event in measure 2, built with identically ordered intervallic elements. Based on the premise that intervallic content serves as a point of re fere nce from which the iden tity of an even t may be established, the configuration in the solo Violin II (measure 8) represents the mirror counterpart to the consequent phrase of measure 2. However, the general contour of the original event is not preserved in the measure 8 figure due to a slight alteration in the alignment of its intervallic components (major 3rd, perfect 4th, minor 2nd). By inverting the opening interval of a major 3rd to a minor 6th, and inverting its original direction from an ascending to a descending skip, a uniform descending configuration results (Example 17). As a conse quence, no t only doe s the confi guration in the solo Violin 11 line represent an altered mirroring of the thematic consequent phrase of measure 2, bu t al so as su mes th e c on to ur of th e t he ma tic al ly de riv ed de sc en di ng configuration of measure 3.

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Example 17: Reconstruction of the original consequent phrase of the thematic event within Section A' (m.8)

The events and conditions within the concluding three measures, 9 through 11, reassert the circumstances evident in the ope ning measure of the movement, with particular modifications. The bas ic altera tion in the for m and p ositioning of events is the linearization of the chordal accompaniment (measure 9) which now precedes, rather than coincides with the thematic antecedent phrase (measure 10). This change, ho wever, does not ne gate the original conditions. The paired relationship between the two events is still maintained, from a li near rath er t han a vertical perspe ctive. Although the fi gure derived from the chordal event (measure 9) no longer functions as accompaniment, it still maintains a categorically similar, subsidiary function, a directive one. The descending, unidirectional gesture of this configuration propels the movement towards its last pitch element, F#. The original c ircumstance o f a dynamic state (theme) balanced against a static one (accompaniment) is then adequately reproduced by the pro lon ga tio n o f t he F# as a cad en tia l p eda l c on current with the thematic statement in measures 10 and 11. Al th ou gh th e F# is derived from the same array of intervals as the descending configuration of measure 9, it fulfills a different and weightier (i.e., cadential) function. Its separate assignment to the harp highlights the pitch's distinction and is consistent with the instrumental assignment of the previous F# figu re in measure 8.

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1

between events of Sections A and A , the G-A fla t-G motive of measu res 1 0 an d 11 ext ends beyo nd the mere contour representation of its measure 1 counterpart. This statement actually presents the skeletal outline of the complete antecedent-consequent thematic statement encountered in measures 1 and 2 (viola). Moreo ver, by virtue of the durational values of its articulations, the G-A flat-G motive appropriately retraces the points in the outline in retrograde (Example I8). In essence, this concluding thematic event, carried by the trumpet, funct ions as a shor t retrog rade 19

summ ary of the majo r t hem atic stat ement of the movement.

Example18: Section A1, meas. 10-11; Skeletal outline of thoemati statement (meas. 1-2). Retrograde of durations.

The pitch elements of the concluding thematic statement, g and al.., may also be seen to emerge from previous events. The is initially foreshadowed in measures 6 through 9 by the high harmonic pedal carr ied by the solo Violin I. However, in typical Webern fashion, the A flat , is not ,

expressed as a blatant forecast of the at to come. Aurally, the pp p dynamic level and the extreme high range of the at, harmonic focus on and emphasize the timbral color of the element. The pitch G, on the other hand, receives its emphasis by traditional means. The initial preparation for the Gof the concluding thematic motive, occurs in measure 8. The basic activity within this measure is the phrase ending of the arch-like statement begun in the bassoon line (measure 7), and concluding with the interlocking solo Violin 11 figure. The motion of the descending conclusion to the arch-like statement ends temporarily on D (bassoon) and finally on G (violin II), a V - I relationship. It is conjec tured that the G within the final thematic event of measures 10 and 11 acknowledge the tonally weighted movement towards this closing pitch element of the ph rase in measure 8. It is also significant that materials within measure 8 are derived intervallically from the original thematic consequent phrase of measure 2. Webern appropriately maintains the continuity from one thematically derived phrase (measure 8) to the

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Summary The formal design of Movement III strongly asserts the ternary structure associated with song form. Ternary form, or song form, is characterized as a sectional structure, "the sum of 20

three single units, each complete in itself." Within Movement III, Section A provides a complete antecedent-consequent thematic statement and concludes with strong cadential action. Section B provides the necessary contrast that is inherent in a ternary form. However, it provides a contrasting perspective on part of the previous thematic statement from Section A, i.e., its symmetry, rather than providing new material. Nevertheless, by vir tue of the sym metr ica l continuity of the material as a complete palindromic expression, this section maintains its own 1

integrity as a formal unit. The closing A section constructs the complete, but modified, retrograde of events from the opening A section. As a consequence of this backward reference, a formal parallel between A and A 1 is appropriately established without blatant thematic reiteration. Alternative ways of reconstructing events other than pitch order are employed, e.g., intervallic content, its order or array, offering a varied perspective on the original material. The orchestral scheme of Movement Ill is designed to support structural coherence. A major change in function results in a change of instrumental timbres. Sp ecial instr umen tal assignments in th e var ious s ections of the movement (e.g., Section B, glockenspiel) also reinforce large structural distinctions within the ternary form. Brevity is further a noticeable condition. Movement Ill is 11 measures long with an approximate performance time of 50 seconds. 21 There is no unnecessary extension or repeti tion o f func tion o r mate rial. Ho wever, bec ause all necessary functions and requirements of form and procedure are satisfactorily fulfilled, the expressive breadth of the movement is uncompromised and belies the actual duration of the movement. In conclusion, Anton Webern's Six Pieces for Orchestra offers an insight into the recourse taken by the composer to adequ ately accommodate his compositional choice of avoiding thematic repetition without destroying comprehensibility, i.e., structural coherence. The composer's per cep tive ass ess men t of the fundamental structural properties within the classical forms and contrapuntal procedures, enabled him to transcend the dictates of a tonal musical syntax. Intervallic content (the order and aggregate), timbral succession (e.g., klan gfa rbe nme lod ie) , and conditions or circumstances arising from the juxtaposition of elements or events (linear, and vertical), are treated as major musical constructs that supe rcede pitch succession as a mean s of establishing forma l parallels. These constructs do not adhere to the tonal scheme of key relationships (a prescribed orde r of expectations). Webern is thus freed from the constraints of tonality without loss of structural unity.

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377-391. Craft, Robert. "Anton Webern," The Score, XIII (1955), 9-22. Eimert, Herbert. "A Change of Focus," die Reih e, Volume 2 (Second revised edition), 1975, p. 29-36. Isaac, Heinrich. Choralis Constantinus, Part 11. Edited by Anton Webern. Published in Denkmaler der Tonkunst in Osterreich, edited by Guido Adler. Graz: Akademische Druck, U. Verlagsanstalt, 1959. Introduction translated by Else Geissmar, 1979 (unpublished). Kolneder, Walter. Anton Web ern: An Introduc tio n to His Work s. Berkeley & Los Angeles: University of California Press, 1968. Leibowitz, Rene. Schoenberg and His School. Translated from the French by Dika Ne wlin. New York: Da Capo Press (1st paperba ck p rinting, 1975). 305 p. Moldenhauer, Hans, and Rosaleen Moldenhauer. An to n vo n We ber n: A Ch ro nicle of Hi s Life and Work. New York: Alfred A. Knop f, 197 9. 803 p Moldenhauer, Hans, and Demar Irvine. An to n vo n We be rn Pe rs pe ct iv es . Seattle: University of Washington Press, 1966. 191 p. Webern, A nton. " Choralis Constant inus," die Reih e, Vol. 2, 19 58, pp . 22-25. Translated from the German by Leo Black. Webern, Anton. 6 Stücke für Orchester, Opus 6 (Orig inal vers ion, 1909 ). Universal Edition, 1961. 33 p. Webern, Anton. Sechs Stack e fu r Orch este r, Opus 6 (Re vise d ve rsion , 1928). Universal Edition, 1956. 29 p. W e b e r n , A n t o n . T h e P a t h t o t h e N e w M u s i c . Edited by Wi lli Reich, translate d from the Ger man by Leo Bla ck. New Jer sey : Un ive rsa l Edition, 1975. 67 p. Wildgans, Friedrich. An to n We be rn . Translated by Edith Temple Roberts and Humphrey Searle. London: Calder and Boyars, 1966. 185 p.

1 This paper is excerpted from chapters two and three of Jeri Kotani's Master's Thesis

entitled "An Analysis of Anton Webern's Six Pieces for Orchestra Opus 6" 1980 which is avail able thro ugh the UCSD Central Library. 2 Opus 6 was written during the tenuous period of atonal experimentation. By avoiding

tonality and testing new approaches, Webern gained the experience necessary to enable him to formulate the dialectic position advanced in The Path to the New Music. 3 Anton Webern, The Path to the New Music, (Universal Edition, 1960), p. 17. 4 Webern, The Path to the New Music, p. 22. 5

Ant on Web ern , p rog ram n otes ori gin all y pub lis hed i n the Zeitschrift fur Musik. Translated in: Hans Moldenhauer, Ant on Web ern: A Chr on icle of His Life and Wo rk, (Alfred A. Knopf, New York, 1979), p. 128. 6

Ibid.

7 Webern, The Path to the New Music, p. 42.

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COMPREHENSIBILITY AND FUNCTION IN WEBERN'S SIX PIECES FOR ORCHESTRA OPUS 61.pdf

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