WINTLE-Analysis-and-Performance-Webern-s-Concerto-Op-24-II.pdf

Analysis and Performance: Webern's Concerto Op.24/II Author(s): Christopher Wintle Source: Music Analysis, Vol. 1, No. 1 (Mar., 1982), pp. 73-99 Published by: Blackwell Publishing Stable URL: http://www.jstor.org/stable/853992 Accessed: 21/06/2010 16:05 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=black. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].

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CHRISTOPHER WINTLE

ANALYSIS AND PERFORMANCE: WEBERN'S CONCERTO OP.24/II

Introducing his Second Symphony recently to a London audience, Peter Maxwell Davies accountedfor the broadmovementof pitches at the opening of the Sonata-Allegroin terms derived from Heinrich Schenker: a principalpitch (Kopfton)was reachedby way of an ascent (Anstieg),and, later in the work, was led to a full closure of the line, in the mannerof an Urlinie.This renewed interest in tonal procedures - and especially in those enveloped in a 'hierarchic'mystique - is, of course, rapidly becoming the fashion. But if it answers to a widely-felt need to offer listeners clearly-articulatedauralsignposts once again,then it raises other questions that, for the time being at least, are less easy to answer: how do these tonal featuresintegratewith the serially-derivedtransformationalprocesses that generateso much of the music's surface?Is there a dichotomyhere? If so, should it worry us? But even these are familiarquestions, as may be seen from a recent issue of the 3'ournalof the ArnoldSchoenberg Institute. Challenging Hans Keller's identification of tonalities in Schoenberg's twelve-note music- tonalities that others have seen amplified through step-wisevoice-leading- ArnoldWhittallhas asked: 'If "the foregroundis atonal" but "the backgroundisn't", where are the demonstrationsof the nature of those backgrounds,and of the precise relationshipbetween foreground and background?'1 There is another side to this matter too. In a well-known polemic published in 1958,2 Peter Stadlen directed his attack against twelve-note music, not primarily from a composer's viewpoint, but from a performer's.What was the point, he asked, of invokingtraditionalperforming practices, when the language of Webern's music did not seem to suggest intrinsically - as tonal language had certainly done- the shaping demanded of it? But how fair was the criticism? Certainly,diagnosesof just this kind of dichotomy in the music of the Second Viennese School were a hallmarkof the time. And insofar as the purging of traditionalfeatures from 'advanced'serial music of the day led to no new body of literature concerned with interpretative(as opposed to executive) issues, Stadlen's scepticism touched upon real difficulties. On the other hand, was it really (B) MUSIC ANALYSIS 1: l, 1982

73

CHRISTOPHERWINTLE

true to claim that there was nothing traditionalto respondto in the of a prolonged languageof Webern'smusic?Or wouldthe demonstration 'background'of the kind that Whittallhas calledfor - whetherwith a tonal or twelve-notebasis - vindicatethe applicationof traditionalinterpretativemeans, at the same time easing the sense of internaldiscontinuitiesthat has alwaysattacheditself criticallyto the laterworkof ? theseViennesecomposers It is the last of these questionsthat I shall attemptto answerin this paper,3not leastbecauseit is once againso topical.And to do so, I shall turnbackto the veryworkthatprovedso seminalfor serialcomposersof the Fortiesand Fifties,Webern'sConcertofor Nine Instruments,Op.24. Here, however,I shall be concentrating,not on the first, but on the secondmovement,which has attractedso much less attention(the third has been almostentirelyignored),even thoughof the threemovementsit is muchthe most engagingexpressively.I shallprefacemy analysiswith an accountof Vienneseperformingpracticesas they were interpretedin the first part of this century.These will be shownto determinein part someof the large-scalefeaturesof the music,as well as someof the minutiae. In turningto the pitch-structureof the work, I shall necessarily invokemorecomplexideasof syntaxthanhas often been the case in discussing serial music, in order to separate'foregrounds'from 'backgrounds',and to describepreciselythe mechanismby which these are linked. I hope that this paper,which addressesitself to two issues, will have two kindsof usefulness:on the one hand,in helpingconductorsto shape of the movement;and,on the other,in pointingto a 'classic' performances sourcefor the kindof integrated,hierarchictwelve-notemusicthatis now of such concernto composers,theorists,and, not least of all perhaps,to listeners. 1: Performing

In his Handbookof Conducting,4HermannScherchen,whomWebernconsidered'the best conductorfor his works',5defined'the alphaand omega of conducting'as 'thecapacityto conceivean absolutelyidealperformance in the imagination'.Everything,he declared,was to be subordinateto this: 'the executivetechnique... must obey the preconceptionwhichthe conductorhas formedof the work'.And the preparationfor this 'ideal he went on to explain,lay throughanalysis:the conductor performance', 'must learnto determinein each workthe inner dynamicsaccordingto From areco-ordinated'. whichmelody,harmony,rhythmandarchitecture one point of view, Webern'sattitudeswerevery similar:as the foremost of his day, he also preparedhimself'in the Austriancomposer-conductor most carefulmanner,throughminute,but also time-consumingstudyof the text andstructureof eachsinglework',insistingalongwith Scherchen MUSIC ANALYSIS 1: 1, 1982

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WEBERN'S CONCERTOOP.241II

wereonlymeansto an end, andthatthe important thatthesepreparations goalwas the senseof occasionand enhanced'spirituality'thatthe concert was to generate:reports of Webern'sconcerts, indeed, allude to an emotionalintensityborderingon fanaticism. Fromanotherpointof view, Webem'sinsistencethat, at leastas far as his own music was concerned,'audiencesand even performersdid not need to knowthe technicalprocessesby whichtwelve-tonemusicis constructed'has suggestedto some musiciansa separationof means and ends,an implicationof doublestandardsin the music.This is ratherwhat Stadlenhad in mind, in writingof Webern's'dualattitudeto music: on the one hand his urge to expressextra-musicalcontentswas carriedto such extremesthatthe noteshadbecomealmostincidentalandwereonly regardedas carriersof expression;at the sametimehe stroveto freemusic fromthis bondageand so restoreit to thatautonomousstructuralsenseit had tended to lose during the romanticperiod'.6 This account of by otherreis corroborated Webern'sexpressiveflexibility,furthermore, ports. SteuermannrecordedthatWebern'played[Op.24,No.1] so freely (adding,it that I couldhardlyfollowthe music,but it was extraordinary' must also be said, that when he conductedhe 'was not so free'); and KlempererrememberedWebernplaying'everynote [of the Symphony, Op.21]withenormousintensityandfanaticism'.But for all thatthe music wasto be 'shapedwithan enormousamountof rubato',with (in the Piano Variations,Op.27)definitechangesof tempoeveryfew barsto markthe start of 'new sentences',other accountshave suggestedthat there was nothingarbitraryin this flexibility,and, indeed,that it emanatedfroma single, unified interpretativevision. Accordingto Lehrigstein,Webern 'felt so surethattherealwayswas,at leastin music,justone wayof doing things.He couldmakeno concessionsof anykindandhe felt quitecertain that only the Schoenbergschool knew the right way of understanding, andperhapsevencomposingmusic.' performing, of both The sourceof the vision- andone centralto the understanding the performanceand the compositionof this music - lay in the lateRomanticview of Beethoven,which Scherchendescribedin termsredolentof all the grandiosefervourof a RomainRolland:Beethovenwastorn, he said,between'his own creativeautocracyandhis desireto sinkhimself in universalhumanity'.7Webernsharedthis view: 'everysolutionto a problemwas supportedby the ethic of an artisticattitudethat had its deepestrootsin Beethoven'sidealof humanity'.This madeitselfmanifest in his teachingof composition('no matterwherewe mightwanderin our analysesanddiscussions,we alwaysreturnedto the sonatasandsymphonies of Beethoven')andin his teachingof conducting(justas in Scherchen's Handbook, the principalanalysiswas of the First Symphony,so too Webern'scourse'beganwith the First Symphonyand culminatedin Fidelio').

But if the compositionaleffects of Webern's BeethovenianneoMUSIC ANALYSIS 1: l, 1982

75

CHRISTOPHERWINTLE

classicismhave alreadybeen aired by analysts- and will certainlybe considered afresh later in this paper- then the influenceupon the music of an implicit Beethovenianperformingpractice can also be demonstratedin a numberof ways. First of all, Ex. 1 shows the Concerto movement reproducedas a short EX.1

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score in a piano performingversion.This is not simply a practicalor pedagogicconvenience,as might be the case, for example,with a Karl Klindworthreductionof a WagnerMusic Drama,but revealssomething intrinsicto the music. The piece fits perfectlyunderthe fingersof two handswithoutalterationor omissionof anykind(thesameis - just! - true of the othertwo movements),and couldwell be playedas a pianointerMusrc ANALYSIS 1: l, 1982

77

CHRISTOPHERWINTLE

mezzo (although the keyboardrange might feel a bit limited). It is a restriction, furthermore,that affects the strategy of the composition. Here the simple homophonic circumstance of tune and accompaniment,coloured by what Wildgans has describedas a 'pointilliste' instrumentation8 (a more appropriateterm than Klangfarbenmelodie), is adheredto throughout: in the hands of another composer, the situation whereby several instrumentsarticulatea single line might well have given way to one where several lines are each articulatedby single instrumentswith a consequent contrapuntalelaborationof texture. There are plenty of biographicalaccounts of Webern's own use of the piano to suggest reasonsfor this restriction.Throughout his life, he made piano reductionsof his own music (Opp.1, 8, 13, 14, 15, 19, 29 and 31) as well as that of Schoenberg,Wagner-Regeny,Schoeck, Casellaand others. That some of this was enforced labour should not disguise the fact that these reductionsmet the demandsof the times, not only for rehearsalpurposes, but also for concert ones (in our own timbre-conscioustimes, the arrangementper se has fared extraordinarilybadly). Apart from this, he introduced new works to his friends at the piano, taught analysis at the piano, played student exercises at the piano, and- most pertinently perhaps - coached conductors from the piano. To meet the last of these needs, therefore,the layout of the Concertocould hardly be more suitably arranged. On the other hand, the caveatsthat Scherchenissued regardingthe interpretativelimitationsinherent in a keyboardtrainingraise another, and important, practical consideration: that of the articulation of line. He writes in the Handbook: The piano as an instrumentused in the home has acted on music as a plague and wrought terrible havoc. Even in orchestras,people are to be encounteredwhose musical traininghas taught them to decompose melodic relationshipsinto small parts. Just as the guileless pianist conceives a bass which merely signifies a harmonicdisplacementas a division of structuralarticulation,so do other players hack periods in 4 into half bars, and partition live melodic entities into metric fragments.9

In his book, this issue is pursued in more detail than can be entered into here, though one comparisonwill demonstratewhat it is that Scherchen has in mind. Ex. 2 shows the famous melody from Weber's DerFreischutz Ex.2 a.

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78

MUSIC ANALYSIS 1: l, 1982

WEBERN S CONCERTOOP. 241 II

overture,first in the 'hack'version (a), and then in the preferredform (b): is one of Scherchen's central concepts, used to the term tension-crescendo with little or no 'real increase in indicate 'only the illusion' of a crescendo, the loudness of the tone': The harmonicmotion is effected in the fourth bar. In the first three, the Eb-majorchord rises in a melodic pattern consisting of turns and of real notes; and then - when the dominant harmonyhas entered sinks with the suspensionC-Bb, backto its startingpoint.10

Just how importantthis sense of the shaping of line was to Webern also is conveyed by Steuermann's description of his conducting of Bach: 'he combined a projection of the motivic structure, which made the music vibrant with inner life, witha senseof thegreatline,always supported by simple and clear dynamics' (my italics). However much Baroque performing practice may have evolved over the last forty years or so, these remarks are especially illuminating about Webern's compositional priorities. Ex. 3 shows, through a basic formal analysis, how the various sections of the Concertomovement are all in effect articulationsof the great line spanning the entire 78 bars, and how each section is itself delineated by 'simple and clear dynamics'. The formal partitioning shows, within the context of a binary-ternay form, the 'Beethovenian',classical scheme. The divisions of Part 1 follow those of Leopold Skinner11 (who in turn respondedto the teaching in this matter of Webern and Schoenberg)in describinga period, comprisingan antecedent (in two sections), a consequent (in two sections with an extension), and a prolongationof the consequent which leads the period from its climax to its conclusion. Each of these three parts concludes with, and is articulatedby, a tapering, calandophrase. For Part 2, Webern invokes the classical Model and Sequence principal,offering seven versions of the Model, which itself comprises three elements: a sehrgetragenopening, invariably marked pp; a temposection; and - as in Part 1 - a calando conclusion, articulatedhere, as there, by a fall in dynamics.Three of these (Schoenberg'spreferredterm for models are allotted to the Durchfuhrung the Development), whose 28 bars balance the 28 bars of Part 1: three to the Recapitulation(which, as will be explained in due course, is not seen as synonymous with the recapitulationof the sets of Part 1, which return at b. 452); and one to the Coda, where the calandoconclusion is replaced by the more all-embracinginstruction,morendo. As far as the dynamics are concerned, it is striking that the scale on excludes the degree mf. This is also the which they range,f-mp-p-pp-ppp, case in the other movements (both of which include the only other dynamic degree X). The reason for this exclusion is probably as much biographicalas it is musical. Webern, always so anxious to please his teacher, would have been only too aware that Schoenberg (the dedicatee of the work) discouragedstudents from using this indication,on the groundsthat MUSIC ANALYSIS 1: 1, 1982

79

CHRISTOPHERWINTLE

Ex. 3

D YNAMICS

FORM Part 1 Exposition

Antecedent of the Period: 1. of the Period: 2. Consequent of the Period: 1. OfthePeriod: 2. (extended:) 3. Prolongation of the 1. Consequent:

(a)

(b)

(c)

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BARS

mp p mp p

PP

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-5 6

1

ll2_ 16 17 - 211 212 _ 231

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232 _ 28

Part 2 Durchfuhrung

Model 1: Model 2: (extended:) Model 3:

PP+ PP+ pp+

mp mp mp f mp

p* p* p* p*

29 - 33 34 _ 39 392 _ 432 _ 56 57 - 63 64 - 68 69 - 73 74 - 78

Recapitulation

Model 4: Model 5: Model 6:

pp+ pp+

p p

p* pp* pp(-)

pp+

pp/m

ppp/m

pp+

mp

Coda

Model 7:

Key * denotes a phraseending calando + denotes a phraseplayedsehrgetragen m indicatesa generalinstructionmorendo (-) indicatesthat there is no calandoat the close of Model 6, i.e. in column (c). This may be an omission, but it probablyreflectsthe attenuationof the music at this point, where only a single piano chord would be subsumed underthis indication. In line 3 of the consequentof the period, the two dynamicvalues subsume and replacethe expecteddynamicvalue in column (c) of line 2.

it lackedidentity.A progression,therefore,suchas occursbetweenbs 232 and 28, f-mp-p-pp, would seem to representa regularlyterraceddiminuendo,withouta sharpdropfromf to mp. The shapingof the firstfive barsof the movementoffersa paradigmfor every subsequentsection. A pp opening(only at the beginningof the 80

MUSIC ANALYSIS 1: 1, 1982

WEBERN S CONCERTOOP.24/II

consequent is this p): a move to a higher dynamic (here, p); with a falling away to a lesser one, sometimes (as here, with the pp) to that with which the phrase opened. As we have already seen, it is this paradigmthat assumes an even more concrete form in the Models of Part 2 of the piece. Subsidiary phrases (the second parts of the antecedent and consequent, the extensions and prolongations)use only the second and third elements of this paradigm.And the general shape of the movement can be observed by comparingthe second elements of each line of the example (in other, words, by reading down column (b)): a growth in Part 1 from p through mp to a brief moment of f at the beginning of the prolongation of the consequent,with an immediatefall back to mpand p before the calandopp close. In the Durchfuhrung of Part 2, the central column shows a growth from mpin Models 1 and 2, to an extended climacticf in Model 3. This 'works out' the f dynamic level, and in the recapitulation and coda, Models 4 to 7 show a gradualfall in the column: mpto p and finally pp, mirroringthe gradual dispersal of energy and increasedfragmentationof ne 1nt l1S SeCtlOn. Indeed, the compositionaltension in the work resides in the opposition between extended linear arches on the one hand, and the fragmentationof the instrumentationthrough which the arches reveal themselves on the other. These kinds of melody, Scherchen said, 'cannot be performedcorrectly unless each player mentally sings the whole of them as they are played, and contributeshis share in accordancewith the conceptionof the whole thus formed'. 'To sing', he explained, 'is the life function of music... all singing is concentration and release.'12 A singing quality could be achieved not merely through the use of surreptitiouscrescendi and diminuendi, and by sustaining notes with tension-crescendi, but by introducinga sense of the 'onwardurge' - for 'the correctdeterminationand achievement of this onward impetus is the whole secret of good performance'.But if the general shaping of each section, and, indeed, of the whole piece, is indicated by the dynamics, an 'onwardurge' presupposes motion to and from specificmusical goals. What are these goals? And how are they articulated?These questions bring us back to our opening ones, and demand that the issues of performance now become those of analysis.13 But first, some preliminaries. *

*

*

t

2: Analyticpreliminaries Accordingto Hans Moldenhauer,this movementwas composedat the end of July 1934, in 'less than one week'.14In March of that year, Webernhad completedthe Three Songs, Op.23, for voice and piano to texts of Hildegarde Jone. These texts show how a sense of grace may be achieved in a number of ways: through contemplating the dependence of life upon death; by arrivingat a self-denying awarenessof nature; and through recognising what it is that nature has to offer man. That he was still involved MUSIC ANALYSIS 1: 1, 1982 81

CHRISTOPHERWINTLE

in Jone's imaginativeworld during the composition of Op.24 - much of which was concurrentwith that of Op.23 - is shown not only by his intention at one stage to include a text of Jone in the first movement, but also by his likening of the second movement to one of her paintings of a 'harvest-wagon'(in one of the earliest sketches, furthermore,this movement was inscribedwith the name Schwabegg,the burial ground of one of his parents). These, of course, are private, biographicalobservations.But in its clarity of diction, Webern's music retains something of the straightforward, unashamedpiety of Jone's writing. Indeed, his is a studied simplicity: the tempo (minim=40) is sehr langsam(originally ruXig,but now perhaps a little too slow to prevent the central section, bs 29-56, from sounding slightly strainedif there is not a fairly marked'onwardrush' at this point); the durationalvalues are limited to crotchets and minims, an austere restriction that neverthelesspermits a suppleness of motion, as well as providing a striking contrast with the mixed rationaland irrationalvalues of the first movement; there are only two forms of attack- the slurred note and the weighted note- both being articulationswithin an implicit, overall legato (and both being linked in the sehrgetragensections, where weighted crotchets are slurred together over an intervening rest); the 'pointilliste' instrumentation,as we have alreadyobserved, is maintainedwithout variation or contrast; and the eight melody instrumentsplay well within their compasses, with no exploitationof their individual characteristicsbeyond the use of mutes by the brassand strings. However, it is not so much these kinds of featurethat have attractedthe attentionof previous commentators,but rathersome of the distinctive operationswith the pitch sets. In what was, by the standardsof Webern criticism generally,a relativelyearly article,15Leopold Skinner describedand designatedthe row forms in the first 28 bars, demonstratinghow some of the more unusualmanipulationsserved to articulatethe broaderaspects of the period structure. He did not, however, offer a sustained rationaleto account for the successions of the sets, nor did he pursue the issue into Part 2 of the movement. On the other hand, some of his remarksabout motivic continuities are attractiveand suggestive, although his failure to take account of the dynamicarticulationsled him to designatefive phrases in the antecedent, rather than two larger ones, which in turn led him to overlook the pervasively paradigmaticnature of the 5-bar unit in the movement as a whole. Just how one unit - or a pair of units - leads from one to another is shown in Exs 4(a) to (c). These substantiate Skinner's general point, that it is an important aspect of Webern's classical legacy that the rhythmic profile of these units primarilydetermines the recomposition - whether varied or unchanging - and that to a considerable extent the recurrencesare independentof pitch repetitions. In Ex. 4(a), the division of the antecedentinto 5-bar units (the second is extended by half a bar) shows an importantinternal development. In the 82

MUSIC ANALYSIS 1: 1, 1982

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WEBERN S CONCERTOOP. 241 II

EXPOSITION

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firstof these,eachtrichordspansa totaldurationof fourcrotchets,andis dividedinto 1 + 2 pitches(or 2 + 1 in the case of the second).Two trichordsare also presentin the next unit, but dividedinto threetwo-note units,eachspanningthreebeats,creatinga sub-metriceffect.These three units total nine, and not ten beats.The unit thereforeis completed,and extendedby a beat,througha pianoecho (we shallsee in due coursehow importantthese echoesare). All these observationsput into perspective DURCHFUHRUNG

Ex.4b

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CHRISTOPHERWINTLE

Skinner's observation about the opening of the consequent. This opens with a two-note unit, spanningthree beats (as in part ii of the antecedent), and continues with two three-note groups (not this time subdivided)each spanningfour beats (as in part i of the antecendent). The prolongationof the consequentin Ex. 4(a) shows a further important connection. The second and third pitches of the second trichord (A and F) are placed on the weak beats of the bar, and are presented registrally as a falling 'major third'. By invoking the classical rhetoricalprinciple of anadiplosis, this close becomes the opening of the model that forms the paradigmfor the remainderof the piece, as may be seen from Ex. 4(b). (In Ex. 4(a), it is also worth noting that the first trichordof the prolongation section, Eb-B-C, derives both its rhythm and pitches from bs 7-9 of the antecedent, as well as comprising, climactically, a span of five crotchets). The expansion of the (b) sections of the models in Ex. 4(b) answers proportionaldemands.The 28 bars are first divided into two groups of 14 (M1/M2 + M3), which are then furthersubdivided5(M1)/5 + 4(M2)/5 + 4 +3 + 2(M3). Some of these divisions are blurredby the shifting of strongbeat configurationsonto weak beats and vice-versa(indicatedin the example). These shifts, which are most readilyapparentin the (a) column, have their own significance,which will be discussed later. The dissolution of musical momentumin the Recapitulationis effectedthrough a more intricate pattern of cross-referencewith respect to the various rhythmic cells, as is shown in Ex. 4(c). Here the cells in the piano part (enclosed in brackex.4c RECAPITULATION M4 a) [b

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ets throughout the examples) participatemore prominently than before, whilst the individuality of the three parts of the model (a, b and c) is dissolved as the 'falling majorthird' figure characterisesnot only column (a), but, increasingly,columns (b) and (c) too. In showing how the structureof these lines integrateswith that of the piece's source set, analysts16have designatedWebern'suse of melodic 'ex84

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WEBERN S CONCERTOOP.24/ II

Ex.5

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(SECONDARY)

traction'as their startingpoint. Ex. 5 shows the familiaranalysisof the PO form of the set (with respect to this movement) in terms of its generating (014) trichord,which is deployed in four versions, P-RI-R-I to form what Milton Babbitt has described as a trichordally-derivedset.17 This (014) trichordis also matchedby the first, fourth and seventh pitches of the set, as well as by the fourth, seventh and eleventh. The two principles of construction invoked here have both been developed independently in a number of compositions, notably by Babbitt himself (derivation)and by Peter Westergaard(extraction).Yet how they are integratedin this composition, and especiallyhow they are 'developed'- for regularextractionis not maintainedbeyond the first 28 bars - has not yet been demonstrated, any more than has been shown their integrationinto a largeridea of form within the music. As far as this last point is concerned,it is worth recallingWebern'sown thoughts, outlined during the course of the lectures he gave at the time of the Concerto'scomposition: Considerationsof symmetryare now to the fore, as againstthe emphasis formerly laid on the principal intervals- dominant, subdominant, mediant, etc. For this reason, the middle of the octave - the diminished fifth- is now the most important. For the rest one works as before. The original form and pitch of the row occupy a position akin to that of the 'main key' in earlier music; the recapitulationwill naturally returnto it. We 'end in the same key' ! This analogywith earlier formal construction is quite consciously fostered; here we find the path that will leadus againto extendedforms.18

Of course, it is very easy to demonstratejust these features in Webern's later music. One need look no furtherthan the last movement of the Piano Variations,Op.27 to see how the Eb that opens the antecedentand consequent of the period, and which also closes the prolongationof the consequent, cedes, in the penultimatevariation,to the climactic reiteratedA's, only to return as a 'tonic' pedal-point in the concluding variation.And in the movement from the Concerto, Op.24 under discussion, the opening form of the row (PO) returns with the recapitulationof the sets at b. 46, and comprises the coda at b. 74. These observations may seem selfevident. But the points of contentionthat Webern's statementhas raisedMUSIC ANALYSIS 1: l, 1982

85

CHRISTOPHERWINTLE

whether contextual emphasis on a single pitch can create an equivalence for a tonal centre, whether the return of an original set form carries the same aural conviction as the return of a tonic, or whether, indeed, the status of comparisonsbetween twelve-note and tonal languagesis anything other than that of a metaphor- have not themselves been adequatelyanswered. Webern is, after all, proposinga kind of hierarchicview of pitch organization.How extensive are the ramificationsof this hierarchy?How does it help us to listen to and perform this music? And how may we formalizethe pitch-syntaxof this music? It is these questionswhich we must now attemptto answer. 3: Analysis We have seen so far how the large-scalemelody, or great line, of the music may be brokendown into smallerphrases, each with its own rhythmicand dynamiccontour.We have now to demonstratehow, both on the largeand the small scale, these divisions are articulatedby the pitch material, and how Webern's hierarchisationof pitches, especially at the openings of phrases, creates the sense of directed motion which can, in turnnform an interpretativefoundationfor the performer. (a) Theantecedentof theperiod. Webern's terms of analyticreferenceare all essentiallypresent in the first 11 bars of the movement. The sets for the passageare laid out in Ex. 6(a), with the melodically extractedtrichords that overlap successive set forms indicated by the beams. The underlyingstructure,by which the four sets move through an augmentedtriad, is shown in Ex. 6(b). Ex. 6(c) explains how, in an abstractway, transpositionthrough an augmentedtriad reveals properties intrinsic to the set: with each successive transpositionby four semitones, the pitch content of each hexacordof the set is preserved.This is due to the fact, as Ex. 6(d) demonstrates,that each hexachordis divisible into two augmentedtriads. The cycle of transpositionpresentedin (c) - so familiarin kind to analysts of the String Quartet,Op.28 - creates its own functional area within a composition, and may obviously be complementedby three other such cycles beginning on P1, P2 and P3. Of course, the actual succession of sets in Ex. 6(a) differsfrom its 'background' representation in (c). Webern does not write PO-PSP8-PO (where O=G, 1 =Gt etc. throughout the movement), but PO-ISP8RI9. Both I4 and RI9, however, can be shown to be substitutions. I4 replaces P4, since, as Ex. 6(e) demonstrates,the succession POP4 would have led to an over!appingextracted (015) trichord, rather an (014) one. RI9 in effect reverses the order of hexachords in PO (thereby invoking Milton Babbitt'ssecondaryset property,henceforth designated as (s)), an interpretationupheld by the musical context, where the consequentbegins only with its second hexachord. 86

MUSIC ANALYSIS 1: l, 1982

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Ex.6 (014) ANTECEDENT

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The augmented triads that lie, therefore, in the 'background'of the music are also representedon the surface of the music in two ways. The first is through registration.In Ex. 7(a), the four melodic (viz. extracted) trichordsof the antecedentare shown as chords, each containedwithin the span of the 'majorseventh'. This matchesthe arrangementof the figures in the accompanimentin the first 28 bars (Ex. 7(b)). Ex. 7(c) shows these trichordsdisposedregistrally,with notes commonto each trichordplacedat the same level. The 'echo' phrase in the piano that rounds off the antecedent (bs 10-11) lays out the first hexachordof RI9 as three pairsof 'major seventh' dyads, with the uppermostpitches (E-C-G$) outlininga regularly spaced augmented triad. This may be seen in Ex. 7(d) where the dotted lines relate these pitches to those in the melody which they echo. Comparably, Ex. 7(e) shows how the other pitches may also be grouped into regularlyspacedaugmentedchords (note that the Bb is only implied within this scheme: it occurs, in fact, as the uppermostpitch of the octave band within which all of the piano accompanimentis cast, with the exception of the echo phrases at bs 10, 21 and 28, for the entire first section of the movement:see Ex. 7(f)). Secondly, and more importantly,the opening pitches of the antecedent (G), the consequent(G and Eb) and the prolongationof the consequent(Eb MUSIC ANALYSIS 1: l, 1982

87

CHRISTOPHERWINTLE

Ex.7

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124 part of the (014) trichordEb-B-C). The tension between slowly unfolding 'background'events and relatively rapid, though different, 'foreground'events creates the sense of directed motion in the music following b. 28. And ratherthan pursue any further detailsof the Expositionat this stage, we shall at once follow the large-scale events in the Durchfuhrung and Recapitulation. (b) Thebackgroundto bs 2F56. To arrive at the backgroundstrategy for the Durchfuhrungsection of this 88

MUSIC ANALYSIS 1: 1, 1982

57

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tiv)

WEBERN S CONCERTOOP.24/II

piece, Schoenberg'saccountof how themes 'whichhave not modulated are now gefuhrt durch(led through)contrastingregionsin a modulatory procedure'19 must be allied with Webern'saccountof tritone relationships, as well as with my own accountof the backgroundimportanceof augmentedtrichords,and the role that the (04) dyad has in mediating between'foreground'and 'background'sets. The fruits of this alliance point to a furtherpropertyof the set, thatthe pitch contentof its second hexachordis relatedto that of the firsthexachordby transpositionat the tritone(see Ex. 5). Webern'sidea of Durchfuhrungis to leadthroughthe secondhexachord(disposedinto the two augmentedtrichordsE-C-G and A-C$-F) back to the first, in which the augmentedtrichord D-Bb-F$, has a secondarystatus,actingas an approachto the augmented trichordG-Eb-B, which,as we havealreadyseen,actsas the 'tonic'of the movement.The functionof the Recapitulationis to stabilizethe first hexachordgenerally,andthe 'tonic'augmentedtrichordin particular;that of the Codais to summarizethe entirecourseof the music. simplyin Ex. 9, whichreproducesthe openings All this is demonstrated (the sehr getragen sections) of the three Models that comprise the Ex.9 DURCHFUHRUNG ..

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Durchfuhrung, and of the first Model that establishes the Recapitulation. The two systems below the music examples show how the 'major third' figures (derived, it will be remembered,from the close of the exposition cf. Ex. 4(a)) have a presence both in the augmentedchords that comprise the two hexachords of the source set (PO), and in the more immediate (014)-based set-successions of the 'foreground'. It is important to see that, whereasin the first three of these sections there are just four pitches, in the fourth, the 'goal' of the directed motion, there are six, comprising the first hexachordof PO, the 'source set'. The rhythmic articulationhere is also significant. In the first three sections, the 'major third' figure is placed alternatelyon weak, strong and weak beats. In the fourth section, MUSIC ANALYSIS 1: l, 1982

89

CHRISTOPHERWINTLE

there are two such figures:the SEb (from the 'primary'augmented chord)on the strongbeats,the Bb-Ft on the weakbeats(completingthe secondary augmentedtrichordbegunin the previoussectionwith D and Bb). Therearetwo furtherparallelshere.First,the A andCt placeclon the strongbeatsof bs 34 and35 stand,as a dyad,in tritonerelationshipto the G and Eb placedon the strongbeatsof bs 57 and 58. This is a juxtaposition that will be crystallizedin the Coda.The registralpositioningof both this A-Ct dyadand the E-C dyadthat opensthe Durchfuhrung (bs 29-30) havebeen foreshadowed in the Exposition(see Ex. 10), since the extractedmelodicpitchesof the firstfull set of the consequentare E, C, C andA. Ex.10

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Ex. 11 showshow, in the threemodelsof the Recapitulation (bs 57-73), the dispersalof energy and increasedfragmentationof the line are matchedby an evermoreemphaticstabilizationof the pitchesof the primaryhexachordof PO, disposedinto the two augmentedtriadsSEb-B (Ex. ll(b)) and D-Bb-F (Ex. ll(c)). Indeed, in the second and third modelsof this section(frombs 64 and69 respectively),the melodyinstrumentsplay only pitchesfromthis hexachord.Since these pitchesare the same melodic(extracted)pitchesas occurredin the expositionfrom bs Ex.11

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MUSIC ANALYSIS 1: l, 1982

,

WEBERN'S CONCERTOOP.24/ II

2s24, and since, as we have alreadyseen, the pitches E, C, Ct and A at bs 13-15 foreshadow the functionally more significant unfolding of the secondaryhexachordof PO (at bs 29-30 and 3s35), we may, with hindsight, listen to the entire exposition afresh: the pitches either confirmthe PO primaryhexachord(G-Eb-B/F$-D-Bb) or move away to the secondary hexachord(E-C-Ab/F-C$-A). In the light of the entire piece, as we shall see, such a readingwould seem to articulatethe passageharmonically n a s1gn1ncantway. All this is summed up in the Coda (Ex. 12). The marcato pitches in the .

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trumpet (weak beats this time) are answered,ppp, by the marcatopitches in the piano (also weak beats), with the Db-A now placed in the lowest register, where, indeed, the A sounds the lowest point of the entire movement. In the first hexachordthe piano accompanimentfigure lies, by comparison with the opening, at a lower octave level, thereby expanding the idea of 'registral band' by an octave, and is rhythmically augmented, thereby enhancingthe effect of a general dispersalof momentum; and the second hexachord preserves the kind of division into three 'major sevenths', whose upper three - and hence, whose lower three - pitches outline the augmentedtrichord.

(d) Harmonyandextraction. The three preceding sections of analysis have laid out the 'background' structure of the music, indicating the goals that are being pursued, and how, more locally, they are prefiguredand, in the Coda, summed up. An awareness of these articulations is essential to a properly balanced interpretationof the movement. But before turning to some of the minutiae of the 'foreground', we must consider one other area in which form is articulatedon the large-scale,that of harmony. We have already designated b. 57 as the point at which the Recapitulation begins, since this is the point at which the tonic augmentedtrichord - and by extension, the first hexachordof the source set - is stabilized. It is also the point where the process of extractingthe first, fourth, seventh MUSIC ANALYSIS 1: l, 1982

91

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CHRISTOPHERWINTLE

and tenth pitches of each set to form the melodic trichords - a process replaced by different principles in the Durchfahrung-is restored: this means, of course, that the melodic pitches found between bs 57 and 73 are the same as those found in the Exposition between bs 11 and 24. On the other hand, we have also said that the Recapitulationof the set-forms of the opening begins earlier than this, on the second beat of b. 46. These two observationsare not necessarilyopposed. It is by no means an axiom analyticallythat in Classicalmusic the return to the opening thematicmaterial must at once be supported by a return to the tonic tonality, or vice versa. Nevertheless, the return of PO at b. 46 does have its own articulation, one that needs to be seen in the context of the harmonic organlzatlonot tne entlre movement. Let us look at the figures found throughout in the piano accompaniment. In the Exposition, all the figures connect a 'majorseventh' dyad with a 'majorthird' dyad by means of a slur (Ex. 13(a)). The only exceptions are Ex.13 a

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the piano 'echo' phrases that terminate the antecedent, the consequent, and the prolongationof the consequent, which comprise 'majorsevenths' only. In the Durchfuhrung, however, these two intervals - 'sevenths' and 'thirds' - are isolated and developed separately.From bs 29 to 46, there are only 'major sevenths', which are presented either singly, or slurred (Ex. 13(b)). The figure at b. 46 that heralds the return of PO (Ex. 13(c)) has a further function: as it unites a 'majorseventh' with a 'majorthird' dyad, it connects the preceding 'major seventh' area (bs 2946) with the succeeding 'majorthird' one (bs 47-51): see Ex. 13 (d). This is also the function of the figure at bs 51-52, whose slurred 'majorthird'/'majorseventh' (Ex. 13(e)) leads the music back from the 'major third' area to a resume (bs 53-56) of the 'major sevenths' of bs 4143(Ex. 13 (f)). (Note that the F-Db of b. 51 not only recalls the registrationof this dyad at b. 48, but confirms a position this dyad had taken at b. 17, and which it resumesat b. 63, and takes againat b. 71.) The Recapitulationdoes not simply reproducethe piano figures as they were found in the Exposition, but, Classically,extends the processesof the 92

MUSIC ANALYSIS 1: 1, 1982

o 1s i J o.

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L-

WEBERN S CONCERTOOP.24/ II

Durchfahrung. Following the sehrgetragenof bs 57-58, the dyads are now regrouped, so that, roughly speaking, pairs of 'majorthirds' and pairs of 'majorsevenths' alternate(Ex. 13(g)). These means of articulatinglarger musical areas of the piece harmonically - so simple, yet so telling - would seem to have determined the patternof melodic extractionin the Durchfahrung. Ex. 14(b) from the next section shows that this pattern differs from one set to the next, and that with the melodically extracted pitches (stemmed notes) new intervals emerge that had not been heard in the Exposition. This is redolent of EXPOSITION

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Key: Unstemmed note-heads relate to the piano part; stemmed and beamed notes relateto the melodicallyextractedpitches; double beams designatethe (04) dyads that are part of the sehrgetragensections. E denotes an elision between the terminal pitch(es) of one set and the initial pitch(es)of the next. * denotes those extracteddyads and trichordsthat do not belong to classes (01), (04) or (014). (s) denotes a secondaryset formation (e.g. PO(s) is equivalent to PO, with the successionof the two hexachordsreversed:this form is equivalentto RI9). MUSIC ANALYSIS 1: 1, 1982 94

WEBERN S CONCERTOOP.24/II

Baroqueand Classicalbinary-ternaryforms, where the leading-throughof tonalities in the second part of the composition is often accompaniedby the introductionof new kinds of harmonicformation,notably diminished harmonies.

(e) Theforeground sets,bs1-29. In section (a) of the Analysis,the 'background'network of augmented trichords was shown to derive in part from the 'cycle' of transpositions PO-I4-P8-PO(s) which provided the structure of the antecedent, and in part from the intrinsic propertiesof the set. In section (b), the sehrgetragen dyads E-C (bs 29-30) and A-Ct (bs 34-35), themselves implicitly members of augmented trichords, were then shown to derive registrally from bs 13-15. Although these dyads were said to foreshadowthe 'modulation' to the tritone area at the opening of the Durchfahrung, the overall context of the Exposition was seen to be determined by the opening pitches of the three principalphrases (G, SEb, Eb-B respectively)which outlined the 'tonic' augmentedtrichord (see Ex. 4 (a)). We may now see how this structure is reflected in, and supported by, the organizationof the 'foreground'sets, which are laid out in Ex. 14(a). The following plan shows the strategystandingbehind this Example: ANTECEDENT CONSEQUENT PROLONGATION (048): PO-I4-P8-PO(s)hi/hii(159) P9-P1P5-P9(s) (37.11): P7-P 11(s)hi-P 11By following the second hexachord of PO(s) by P9, Webern ensures, as Skinner observes, that the first four melodically extracted pitches of the antecedent (GEb-E-C) are reproduced at the beginning of the consequent. He also effects a shift to a new 'cycle' of set transpositions,P9-P1P5-P(s). As before, this cycle (the first pitches of which are E-G$-C-E) ends with a secondaryset form (equivalentto RI6). This means that the first hexachordof P9, by following the second hexachord,comparablyinauguratesa new section, in this case the Durchfahrung. Ex. 15(b) shows how this overlapping of the P9 cycle into the Durchfahrung gives substance to the assertionthat the E and C of b. 13 prefigurethe structurally more significantE and C of bs 29-30: for both dyads stand at either end of this cycle. (Cf. also the layout of the dyads Ab-G and SEb in bs 13-14 and 30-32.) The plan also shows that the P9 cycle, unlike that of the antecedent, is extended through the interpolationof elements of a third cycle, based on the succession P3-P7-P11 (the first pitches of which are Bb, D and FS respectively), though only the P7 and P11 forms are used. P11 in fact occurs twice: first as a secondaryset, markingthe end of the consequent with an 'echo phrase' in the piano; and then in its proper form, as a short MUSIC ANALYSIS 1: l, 1982

95

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(3

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CHRISTOPHERWINTLE

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extension of the consequent (its first hexachordis elided with the second hexachordof P1 l(s), as shown in Ex. 14(a)).The significanceof this interpolation is shown in Ex. 15 (a). The Pll forms give a special emphasis to the 'tonic' augmented trichord, GB-Eb, both in the 'echo phrase' of bs 21-22, which picks up the B-G in the violin of b. 20, and in the Eb-B of the trumpet in bs 2924. (The extension to the consequent, in bs 22- 23, which is based on the first hexachordof P11 proper brings the Ft and D in the trombone: these pitches, which also belong to the primary hexachord of the 'source set' PO, also preceded the Eb and B at b. 6.) All this, then, serves to anchorand aff1rmtonic qualitiesat this point. The corollary to this is shown in Ex. 15(b). The remaining extracted pitches of bs 13-30 (which mark the beginning and end of the P9 cycle) belong to the secondaryhexachordof the 'source set' PO. This is not fortuitous. Just as the primaryand secondaryhexachordsof PO are relatedat the tritone, so too do the sets that are interpolatedinto the P9-P1-P5 cycle stand in a tritone relation to the sets they adjoin. In other words, P7 96

MUSIC ANALYSIS 1: 1. 1982

WEBERN S CONCERTOOP.24/II

standsin tritonerelationshipto P1, just as does P11 in relationto P5. What is importanthere is that the interpolatedsets (P7 and P11) ensure, through the surface articulation,that the prevailing ('tonic') augmented trichord G-Eb-B emerges as prevalent with respect to the 'background,' and that the pitches of the P9 'cycle', E-G$-C, are still at this stage subordinate. Only at the beginning of the Durchfahrung,as the 'cycle' completes itself, do they achievetheir own prominence. The division of melodically extracted pitches into those that affirm either the primary or the secondary hexachords of the 'source set' also helps to explain the foreshorteningof the Recapitulation.For, from b. 46 onwards, all the sets of the Exposition recur, up to and including Pll (affirmingthe 'primary'hexachord).But at b. 74. Webern does not move from Pll to P5 (which would affirm the 'secondary'area), but goes at once back to PO. This confirmsthe 'tonic area' in which Pll moves, by virtue of its extractedpitches FS, D, Eb and B. (f) Theforegroundsets,bs 2F56. We have alreadyseen how the strategy of the Durchfahrungis defined by its 'background',whereby the pitches of the sehrgetragensections - the 'goals' of musical motion - lead us from the secondaryhexachordof PO, i.e. E-C-(G$)/A-C$-(F), back to those of the primaryhexachord,which is stabilizedat b. 57. Since these tsro hexachordsare related at the tritone in the 'source set', the overall effect is of a 'modulation'back to the tonic area from the tritone-relatedone. Once again, we can see how the 'foreground' sets, laid out in Ex. 14(b), supportthis strategy. The first full set, following the completion of P9(s), is the retrogradeof P6 (so designatedbecause the extractedsehrgetragenpitches are uniquely the last, and not the first, of their respective trichords, and because nowhere else in the movementdo retrogradeforms play a part). Through the elision of terminalpitches, P6 leads at once to I6, establishingat this level the tritone-relatedarea. The sets then move in pairs, I6/P4 and I9/P7. Each pair is internally linked, as before, through the elision of terminal pitches. If, however, this 'sequence'had been continued, the next set (following I6 and I9) would have been IO. But Webern adroitly substitutes PO for IO. For, at the end of the first of these pairs, P4 links to the beginning of the second of these pairs, I9, through the elision of terminal trichords. But at the end of the second of these pairs, P7 elides its final trichordnot with the first of the following set (which would then have had to be IO), but with the first extractedtrichord of PO. This substitutioIl defines the connection, central to so many aspects of the analysis of the movement,between extractedpitches and foregroundsets. There is a syntacticnicety here, too. The first pitches of the succession I6-I9-PO define a diminished harmony, C$-E-G. Since each pitch of a 'diminishedseventh' belongs necessarilyto a differentaugmentedchord, a MUSIC ANALYSIS 1: 1, 1982

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further means of linking the augmented-trichord and tritone-related worlds of this movementis pointed to. Finally, and more concretely, it should be noticed that the recapitulation of sets at b. 46 marksa furtherdivision, since the new formationsin the melody - the (02) dyads and the (016) trichords, both of which occur twice- arise only before this point, and not after. All other formationsare (01) or (04) dyads, and (014) trichords.20

Conclusion This analysis could, of course, be extended to take in further details of melodic structure, registration and (especially) instrumentation. But it should by now be clear that, while Webern deploys the twelve notes in regularrotationto achieve a formalizedatonality,the twelve notes are not, from a larger point of view, related equally to one another at all. On the other hand, the designation of a tonal centre, of a 'tonic' augmented trichord, and of primaryand secondaryhexachordswithin the 'source set,' does not in itself imply that Schenkeriantonal operationsneed be invoked. While there is a parallel here between the larger deployment of a single hexachord to embrace an entire section, and the concept of Stufen,and while there is also a pattern of (set-)substitutions, there is more significantly no sense of motion towards a cadenceper se, no Auskomponierung, and no voice-leadingby stepwise movement. And it is part of the aesthetic of Webern's twelve-note music that the expressivepower is achieved precisely by denying the assurancesthat these conventionaltonalmeansoffer. It may still be the case that a conductorneed not acquire all the information assembled in this paper before lifting his baton. Nevetheless, it is striking that in the available commercialrecordings of the Concerto, so little comprehensionof structureis evinced. Dynamics are ignored, phrasing is under-articulated,tempo gradationsare over-ridden,and the whole deprivedof the sense of directedmotion that alone can bring this music to life. Instead, we are offered too often that which is chic, clean, inorganic and dead. If this analysis can do anything to reverse this state of affairs, then it will have achievedsomethingof its purpose. It will have achieved another part of its purpose if it helps composers and historians of contemporarymusic to re-assess their attitudes to the neo-classical aspects of Viennese twelve-note music. It is quite apparent from this account that the various dimensions of structure are all highly integrated,and that there are no discontinuities: the trichords of the set, the extractedtrichords,the pivotal natureof (04) dyads between (014) and (048) trichords, the hexachordalstructure that embraces (014) and (048) trichords alike, the tritone-relatednesswithin the sets, the deployment of larger tritonally- related areas in the melodic dimension, the transpositions of sets either through 'cycles' of augmented chords, or from a tritone area to a tonic area: all these things are extraordinarilyenmeshed. 98

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They find their differentiation, and hierarchisation, on the other hand, preciselythroughtheir formalarticulation.And it is the opportunityfor differentiationand hierarchisationthat the traditionalformal context offers,as much as the opportunityfor alternativekinds of repetitionof material.Whatalso emergesfrom this is a differentlyconceivedidea of whatthe universeof an atonalmusicallanguagemightcomprise. Who knows,our currentlyfashionableretrenchmentmight well be a caseof reculerpourmieuxsauter.... ! NOTES 1. Arnold Whittall, 'Schoenbergand the English',gournalof the ArnoldSchoenbergInstitute,Vol.4, No. 1,June 1980, p. 29. 2. Peter Stadlen,'SerialismReconsidered',TheScore,No.22, February1958. 3. The material for this paper was first presented to a colloquium at King's College London, December7th, 1977. 4. Hermann Scherchen, Lehrbuchdes Dirigierens(Leipzig: 1929), translatedas Handbookof Conductingby M. D. Calvocoressi(London: OUP, 1933). 5. Unless otherwise indicated, the accounts of Webern's attitudes to performanceare takenfrom: Hans Moldenhauer,Anton von Webern:A Chronicle of his Life and Work(London: Gollancz, 1978). 6. Stadlen,op. cit. 7. Scherchen,op. cit., p. 19. 8. Friedrich Wildgans, Anton Webern,trans. E. T. Roberts and H. Searle (London: Calder, 1966),p. 144. 9. Scherchen,op. cit., p. 28. 10. Scherchen,op. cit., pp. 29-30. 11. Leopold Skinner,'Analysisof a Period', Die ReWhe, Vol. 2, pp. 46-50. 12. Scherchen,op. cit., p. 29. 13. Mr Paul Bankshas drawnmy attentionto the fact that at the Vienna Conservatoire in the late part of the nineteenth century the conductors' and composers' courseswere one. 14. The points concerningthe genesis of Webern's Op.24 are taken from Moldenhauer,Op. Cit., pp. 431-438. 15. cf. note 11. 16. For example, Peter Westergaard,'Towards a Twelve-tone Polyphony', Perspectivesof New Music,Vol. 4, 1966, p. 90ff. 17. Milton Babbitt, 'Some Aspects of Twelve-tone Composition',The Score,No. 12, June 1955, pp. 55-61. 18. Anton Webern, The Path to the New Music (Vienna: Universal, 1960), trans. Leo Black(Pennsylvania:Theodore Presser, 1963), p. 54. 19. Arnold Schoenberg, StructuralFunctionsof Harmony,rev. ed. by L. Stein (New York: Norton, 1969),p. 145. 20. There is the exception of the maverick (015) trichord at bs 6(}62, which parallelsa comparabletrichordat bs 15-16. In both cases, the trichordarises by Webern'sfollowing of P9 by P1 (as opposed to I1, had the exampleof the antecedentbeen followed, cf. Ex. 6(e)): this succession,however,was necessary to ensure the tritone-relatedpairs of sets P1-P7, and P11-P5. MUSIC ANALYSIS 1: l, 1982

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