Anton Webern: Schnbergs Music

The artist does nothing that others deem beautiful, but rather only what to him is a necessity.
Arnold Schnberg, Harmonielehre
Arnold Schnberg is an autodidact. For a short time he received instruction in composition from
Alexander von Zemlinsky, but not so much by way of lessons as by friendly discussions.
Nevertheless his works demonstrate the phenomenally high level of his ability and, in a
marvelous way, his Harmonielehre proclaims to the world the incredible wealth of his
knowledge.
The virtuosity of his ability has even been acknowledged by his opponents. They have spoken
about his works as if they were theoretical speculations. They have called him a theoretician.
The unprecedented art of his counterpoint has even been the subject of reproach.
But theory does not bring you any closer to his works. There is only one thing that is necessary:
your heart must remain open. Schnbergs work should be listened to without inhibition or
prejudice of any kind. Put theory and philosophy aside. In Schnbergs work there is purely
music, music as in the case of Beethoven and Mahler. The experiences of his heart become
tones. Schnbergs relationship to art is rooted exclusively in the necessity for expression. His
emotion is that of scorching flames; it creates completely new standards of expression, thus it
needs entirely new means of expression. Content and form are inseparable.
The first-large scale work that Schnberg gave the world is the String Sextet Op. 4, Verklrte
Nacht. The poem by Richard Dehmel precedes the score. Schnberg is one of the few who
turned to chamber music at a time when Wagners music dramas served almost exclusively as
a model for German composers, and almost everyone sought to express himself in the form of
opera and larger orchestral works. However, he trod this ground not by following the classical
path of Johannes Brahms, but rather by way of Richard Wagner.
The sextet is in one movement, the form of the movement freely improvised. The excessive
wealth of themes and their variations immediately reveal Schnbergs great art. In the brevity of
its themes, the unrestricted way they succceed one another, and the free structure that results,
the Sextet anticipates Schnbergs works today. Its new tonal and harmonic effects surpass
anything written at the time. It is a miracle of sound and without prototype in chamber music. I
will cite from it a theme that already contains the seed of all the features so characteristic of
Schnbergs tonality.
Der Knstler tut nichts, was andere fr schn halten, sondern nur, was ihm notwendig ist.
Arnold Schnberg, Harmonielehre.

1 / 18

Anton Webern: Schnbergs Music

2 / 18

Anton Webern: Schnbergs Music

Nonharmonic
and
there
Sextet
been
ultimately
given
is
was
the
played
repeated
freely
tones,
complete
suspended
for
chromatic
performances
the
separation
first
rhythm
time
progressions
from
in
for
cities
which
tonality,
around
clearly
by
the
the
as
barline
Germany
point
Arnold
in
Schnbergs
in
is
Rose
the
of
absolutely
direction
Quartet.
Austria.
recent
of
no
Since
works.
ever-progressing,
consequence.
then
In
addition,
it songs
has
The
Similarly
Levetzow,
Schnbergs
the
astonishingly
style
of
revolutionary
Dehmel,
Schubert,
songs
expressive
Schlaf,
are
Schumann,
are
far
melodic
the
removed
Keller;
songs
style.
or
Jacobsen,
from
Mahler,
that
precede
declamatory
and
Lingg,
are
the
and
thoroughly
Sextet,
from
pictorial
the
Opp.
imbued
1,
intention.
2,
and
Wunderhorn.
3,
Schnbergs
They
with
poems
inIt
Closely
breaks
four-part
preceding
up
following
mens
into
final
three
choruses,
chorus
completely
Sextet
and,
there
are
at
self-contained
the
is
the
an
Gurrelieder
conclusion
episode
parts
after
melodrama
of
the
and
poems
work,
is
for
by
with
aand
large
mixed
J.
aKnaben
P.
speaker.
orchestra,
Jacobsen.
In
soloists,
The
addition,
work
three
Gurrelieder
clarinets,
drums,
several
5the
bassoons
isdemands,
scored
timpani,
for
(contrabassoon),
4performed
the
harps,
following
celesta,
forces:
10
and
horns
8as
large
(Wagner
(piccolos),
aand
string
tubas),
section
5
and,
oboes
as
in
(English
possible.
addition,
horns),
6are
kettle
7 by
Schnberg
those
makes
instance?
first
who
great
part
are
wrote
alone
in
athe
this
position
was
work
but
in
similar
to
1900
do
so,
tasks
in
and
to
Vienna
see
to
have
date
to
in
been
itof
itflutes
1909
that
has
accomplished
this
(!)
not
with
work
been
piano
be
given
given
before;
(!!).
achorus.
complete
It
awith
is
worthy
why
the
not
foremost
performance.
performance.
in
this
duty
of
The
of
symphonic
individual
interludes
songs
of
each
which
section
lead
into
are
one
self
another.
contained
compositions,
but
are
connected
by
way
Imelodic
will
cite
style:
a
theme
from
the
Gurrelieder
in
order
to
pursue
further
the
path
of
Schnbergs
top

Especially
noticeable
are
the
wide
intervals
so
prevalent
in
Schnbergs
music.
simultaneously
The
remarkably
which
Schnberg
orchestra
point
this
of
with
choral
four
first
an
concludes
the
and
songs
recites
entry
as
elaborate
mixed
second
follows:
entering
ofisbeauty.
the
Waldemars
indescribable.
chorus
work,
poem
soprano,
and
After
themes
As
use
takes
is
inaharmonic
entitled
alonger
entirely
alto
men
slow,
are
over
The
and
in
the
orchestral
The
singing
from
chorus
the
Support
novel
half
following:
Summer
third
the
of
sound
intonation
which
the
speaker
a
section,
interlude,
wonderfully
first
Winds
effects.
then
tenors,
with
sung
until
follows
aWild
The
speaker
eight
the
expressive
by
execute
Hunt.
poem
three
words
and
insertions
accompanied
concludes
Itmale
following
aSee
was
double
male
choruses,
the
of
shaped
chorus
See!
sun!;
the
canon.
by
last
work
The
by
from
the
together
are
The
of
effect
isthese,
this
one
twoof
topoverwhelming

In
possibly
the
first
shut
quarter
himself
of
the
off
from
second
the
measure
beauty
of
the
this
second
music!
alto
and
the
first
tenor
enter.
Who
could
This
imitative
part
passage
is
of
extreme
small
group
for
of
all
individual
the
choral
voices.
forces.
Itand
is
followed
by
an
entirely
canonic,
apparatus
The
sensitivity
instrumentation
to
ofperformed
sound
this
orchestra
as
of
expressed
Gurrelieder
to
get
an
in
creates
idea
of
the
the
most
grandeur
Sextet
colossal
carried
and
richness
over
One
into
of4
the
this
enormous
instrumentation.
only
imagine
Gurrelieder
Maurice
oboes
contrabasstuba,
(English
Maeterlinck
are
horn),
followed
timpani,
(composed
4
bassoons
by
2aexception
harps,
the
symphonic
in
32
(contrabassoon),
Berlin
violins,
in
poem
1902).
12
each
Pelleas
8
of
horns,
instrumentation:
violas
and
4effect.
Melisande,
and
trumpets,
Cellos,
5need
hased
flutes
8trombones,
contrabasses.
(piccolos),
an
the
drama
4
structure
improvisational
are
most
instrumental
artfully
quite

manipulated.
free.
with
work
the
Itby
by
has
Schnberg
arapture
gigantic
of
isa
number
also
scherzo-like
in
of
one
themes.
movement.
theme
They
ItEach
are
alasts
long,
for
almost
the
spunout
most
one
part
Adagio
hour.
short
Its

and
thousand
richness
shapes.
of
these
of
The
this
modulations
work
range
is
of
of
interpretation
athe
wonderful
and
variations
pathos
in
Schnbergs
isThe
boundless.
and
full
of
art
heretofore
is
immeasurable.
theme
unknown
shows
The
itself
colors.
inand
atheof
Iinstrumentation
and
background.
will
melody,
cite
two
and
themes
how
from
very
Pelleas,
much
inSchnbergs
tonal
order
element
to
show
of
how
this
new
music
they
has
are
slipped
with
regard
into
the
to
harmony
top

3 / 18

Anton Webern: Schnbergs Music

based
In
on it. ISchnberg
cite a section
is one
where
of the
these
firstare
to utilize
represented
the whole-tone
in a series
scale
of major
and the
thirds.
chords that are
top"Pelleas",

4 / 18

Anton Webern: Schnbergs Music

shape
Now
nothing
measures,
uses
relate
for
other
the
do
later
afirst
than
we
fact
infind
time.
that
his
theone
immediate
Chamber
shows
of the
how
Symphony,
fourth
inspiration:
Schnberg
chords
Op.
inaccomplishes
(indicated
only
9, where
one instance
by
they
*his
inwere
the
harmonic
in example)
Pelleas,
recently
conquests
in
given
that
theSchnberg
following
conscious
following
two
top Imuch

5 / 18

Anton Webern: Schnbergs Music

"Pelleas"
conducting,
and
himself
up-to-now
will
was
conduct
at
performed
aAnd
last
concert
Performance
itthe
in
Prague
of
for
the
the
Society
in
first
inaccompaniment
October
time
of
in
Creative
Vienna
1910,
1912.
in
Composers.
in
Berlin,
January
under
1905,
The
Oskar
work
with
Fried.
was
Schnberg
Schnberg
its
second
After
improvisational
classical
Chamber
latter
Pelleas
leads
quartet
Symphony
directly
follow
character
and
into
in
symphony.
E
the
of
Major,
style
his
earlier
Op.
works
These
of
Schnbergs
9;
works,
in
and
are:
which
the
the
has
Second
First
Schnberg,
present
created
String
String
creations.
a
Quartet
new
turning
Quartet
form
in
from
harkening
Dthe
in
Minor,
the
F#
Minor,
freely
Op.
back
Op.
7;
to
the
10.
the
The
Between
poems
thematic
by
structure
Pelleas
Hart,
others
and
forms
the
from
awhich
First
transition
the
Quartet
Knaben
to
are
the
Wunderhorn,
the
works
Six
Orchestral
follow.
and
the
Songs,
sonnets
Op.
of
Petrarch.
8.
They
are
set
strict,
toOp.
In
into
The
seems
secondary
followed
themes
that
between
extended
could
the
ais
of
development
consider
single
First
one
like
of
by
by
which
theme
the
String
large
the
large
first
the
main
the
Adagio,
Adagio,
are
movement
development
Quartet,
and
is
movement
rondo
movement
modifications
the
the
internal
finale
scherzo
Schnberg
repetition
of
whose
a
and
in
comes
of
bond
sonata.
this
aFebruary
of
(with
the
sonata,
central
the
of
case
fuses
between
restatement
trio);
the
this
The
preceding
to
secondary
section
with
fusion.
scherzo
following
be
the
individual
athat
long
broadly
sections.
of
main
Preceding
assumes
and
the
itso
theme,
fugato
comes
theme
secondary
movement
the
expanded
Basically
the
large
between
this
and
the
and
role
section
at
reprise
development
the
theme,
types
coda.
the
of
secondary
end
large
form
is
of
of
main
and
the
the
agiven
of
rondo
classical
development.
part
the
theme
are
main
this
theme.
reprise
inserted
that
finale,
quartet
theme,
and
quartet
One
isthe
is
Like
7.
how
main
doesnt
Johannes
It
his
he
sections.
amazing
become
introduces
awareness
Brahms.
how
thematic.
the
itinstrumental
of
he
is
form,
themes,
all
builds
This
done
an
is
how
artistry
thematically!
unprecedented.
he
of
conceives
Schnbergs
There
Most
figure
of
is,
the
themes
likely
out
connections
to
of
say,
this
the
is
is
no
also
smallest
still
note
between
greatly
athe
connection
in
part
this
intensified
the
of
work
individual
aTheir
motive,
to
that
in
Through
the
art
of
thematic
development
Schnbergs
quartet
becomes
aa
work
of
outstanding
Ipolyphony.
introduce
a
theme
from
the
Adagio
as
an
example
of
Schnbergs
melodic
style
in
this
work:
top

6 / 18

Anton Webern: Schnbergs Music

The
new
utilization
mutes,
instrumental
expressiveness
sounds
sonic
melodic
playing
of
of
effect
the
new
effects
and
strings
an
of
of
sonic
harmonic
the
this
this
here.
and
bridge,
music.
possibilities
quartet
their
These
style
col
To
different
isVienna
of
new
legno,
completely
this
the
developed
must
means
themes.
ranges.
harmonics,
be
new.
of
added
in
sound
But
the
etc.
then
string
the
are
has
There
most
itthe
born
also
section
an
wonderful
internal
is
has
as
no
a
ofalso
an
question
result
the
reason
external
utilization
modern
of
of
the
first
reason
external
orchestra:
of
ofnow
all:
the
is
the
the
This
Thirty-Third
unperformable.
quartet
Composers
had
its
premiere
Festival
in
Dresden,
by
after
Rose
the
Quartet.
resident
It1are
was
Petri
Quartet
played
by
rejected
them
at
itone
the
as
was
Then
work
the
completely
Wind
also
of
follows
chamber
performed
Instruments
the
solistic
Chamber
music.
without
Association
quality
At
Symphony
its
and
conductor.
first
treatment
and
[Blservereinigung]
in
E
Major,
(!)
of
performance
the
Op.
instruments,
9.
of
Schnberg
in
Vienna
Vienna
which
chose
by
give
the
itthe
Opera
Rose
the
title
character
Orchestra,
Quartet
because
of
and
ofita
English
bassoon,
contrabass.
multiples:
instrumentation
horn),
1
(6,6,4,4,3).
contrabassoon,
Schnberg
one
D
isis
(also
as
adds:
follows:
Eb)
2a
horns,
Should
clarinet,
1
flute
one
itonly
1
be
(alternating
first
Athe
necessary,
(also
and
Bb)
one
with
clarinet,
second
the
piccolo),
strings
violin,
bass
can
1
oboe
1Court
clarinet
also
viola,
(alternating
be
1had
(A
violoncello,
increased
and
Bb,
with
1
in
similar
Chamber
comparison
in
something
of
the
fourths.
form
same
to
that
of
Symphony
The
quite
this
to
manner
of
the
beginning
work
the
new:
First
First
with
is
the
in
Quartet,
also
fifteen
String
of
fourth
essence
the
ain
fusion
Quartet.
work
instruments.
harmonies
the
shorter.
thematic
of
shows
the
But
Itand
classical
both:
the
Harmonically
is
artistry
of
the
relationships
aThis
melodic
lighter
movement
is
intensified,
and
phrases
thoroughly
melodically
types
completely
since
stemming
whose
Schnberg
lively
sequence
different
work
from
character.
introduces
the
here.
series
works
In
The
top

7 / 18

Anton Webern: Schnbergs Music

In
significance.
addition,
the
whole-tone
scale
and
theand
harmonies
develop
it achieve
Still
strived
greater
but
artistry
now
is
only
found
in
paraphrases
in Schnbergs
oppositions.
ofoftonality.
is major.
clearly
present
whenever
Ibelong
use
asfor,
toanany
example
key
and
the
yet
secondary
gives
the
theme
distinct
oftreatment
impression
the firstthat
main
being
part; while
inItfrom
A
unfolding,
itenormous
seems
not to
top

8 / 18

Anton Webern: Schnbergs Music

9 / 18

Anton Webern: Schnbergs Music

The
top theme of the slow part offers something similar:

But
which
these
isat
completely
examples
undermined
show
very
clearly
by
the
how
whole-tone
Schnbergs
scale,
music
fourth
chords
itself
and
away
this
type
from
offollows
tonality,
melody.
The
approximately
revolutionary
Fight
poems
Songs,
are
ideas
the
by
Op.
same
Hart,
of
the
6,
Dehmel,
time
also
larger
partake
as
works.
the
Remer,
First
of
The
all
Quartet.
Conradi,
these
songs
principles.
Often
Keller,
Op.
6
Schnbergs
confront
Mackay,
They
the
were
Aram,
problem
songs
composed
and
are
Nietzsche.
ofeight-part
studies
piano
at
style.
for
the
Between
chorus
wonderful
December
written
a
cappella
the
this
tonal
1911
Chamber
time
effect,
in
[Friede
were
Vienna
and
Symphony
the
auf
under
sublimest
Two
Erden,
Ballads
the
direction
Op.
expression.
the
for
13],
Second
Voice
aof
work
Franz
The
and
String
of
First
Piano
Schreker
the
Quartet
Performance
most
[Op.
(Philharmonic
artful
is
12].
a
piece
polyphony,
this
for
Chorus).
chorus
most
was
Also
mixed
in
Now
to
the
Second
String
Quartet
(F
Minor),
with
voice
in
the
third
and
fourth
movements.
First
by
Stefan
movement,
George.
Entrckung.
moderate;
The
second
poems
movement,
for
the
movements
very
fast;
third
with
voice
movement,
are
from
Litanei;
Der
siebente
fourth
Ring
As
Opp.
a
movements.
variation
previously
7part
and
movement,
9:
mentioned,
Here
there
the
is
in
theme
also
spite
amajor,
ofand
large,
which
its
four
developmental
is
movements
a
combination
this
section
of
quartet
motives
after
has
from
aof
Scherzo,
formal
the
first
relationship
Litanei.
and
second
Ittois
vocal
movement,
the
instrumental
poem
model
freely.
introduces
Entrckung,
of
introduction
the
With
large
new
its
development
fragmentary
already
has
motives,
no
prepares
connection
which
quality
in
the
are
the
Chamber
and
to
developed
way
any
rich
for
recognizable
alternation
Symphony
Schnbergs
together
of
instrumental
in
motives,
later
similarly
the
variations.
works.
the
constructed.
form.
long
The
ItAthe
last
The
This
showed
Minor
harmony
although
change
from
quartet
the
Quartet
into
itself
fourth
belonging
of
this
never-before-heard
brings
in
with
movement
the
work
the
something
mainly
conciseness
to
division
the
is
in
complete
as
FR
new
into
follows:
harmonies
of
to
four
the
abandonment
Schnbergs
Chamber
shorter
has
that
no
signature.
movements.
are
Symphony
creative
free
of
key.
from
Through
However,
output:
It
and
any
isforces
but
is
tonal
alteration
brevity.
clearly
athe
the
small
relationship.
last
evident
This
step
the
movement,
quality
fourth
in
the
theme
first
chords
F#
top

10 / 18

Anton Webern: Schnbergs Music

Aehnlich
Die
Satz
folgt
dem
Gesangsstimme
frei
reichen
Entrckung
dem
baute
Wechsel
Gedichte.
Schnberg
hat
bringt
ihrer
keinen
Die
das
neue
Motive
lange
Zusammenhang
Modell
Motive,
instrumentale
bereits
die
der
dieSchnbergs
ingrossen
Art
den
mit
Einleitung
der
Variationen
irgendeiner
letzten
Durchfhrung
bereitet
Werke
mitverarbeitet
bekannten
in
Schnbergs
inmehr.
ihrer
der
Kammersymphonie.
Instrumentalform.
Aufgelstheit
werden.
vor.
Der
und
letzte
Beziehung
Dieses
in
deutlich
nur
obwohl
werden
der
ein
Knappheit
Quartett
kleiner
der
die
in
dessen
sind.
Hauptsache
Quartenakkorde
Schritt
bringt
Ein
der
Gliederung
Thema
Kammersymphonie
mehr
ein
nach
neues
zur
aus
zuFis-dur
in
vollstndigen
noch
dem
vier
Moment
krzere
nie
angehrig,
IV. gehrten
Satze:
angekndigt
in
Aufgabe
Stze
keine
Harmonien,
aus.
und
der
Vorzeichnung
Von
Schaffen:
Tonart.
spricht
der
die
Harmonik
sich
Der
frei
die
von
letzte
im
Krze.
Fis-moll-Quartett
jeder
dieses
Durch
Satz
Estonalen
hat
hat
Alteration
Werkes
sich
auch,
schon
istEr
top

11 / 18

Anton Webern: Schnbergs Music

12 / 18

Anton Webern: Schnbergs Music

Atop
development
harmony,
exclusive
comparison
components
broad
of
Schnbergs
of
these
and
this
previously
melodies.
melody
of
this
melodic
with
melody.
Chromaticism,
unusual
the
style
musical
intervals
has
now
example
notes
(eg.
taken.
that
the
from
The
are
major
the
dissonant
inner
Sextet
seventh)
ear
feels
reveals
with
the
these
the
accompanying
deeper
are
sort
the
of
This
quartet
also
given
its
Premiere
by
Arnold
Rose,
in
December
1908.
All
Hanging
this
leads
Gardens
directly
by
to
Stefan
style
George.
of
the
next
work,
to
the
fifteen
songs
from
The
of
the
In
sponsored
George-Lieder,
program:
January
1910,
the
and
when
performances
the
the
Piano
Society
Pieces
of
for
Part
Op.
Art
1from
11,
and
of
Gurrelieder,
Schnberg
Culture
[Verein
wrote
wich
fr
piano
Kunst
following
accompaniment,
und
Kultur]
preface
in
in
Vienna
the
the
I
time
heterogeneous
particular
composed
between
persons
the
perhaps
works
Gurrelieder
will,
within
justifies
it,
too,
the
early
perhaps
their
confines
in
great
1900,
needs
of
difference
the
atheir
a
single
George
word
in
concert
of
style.
songs
justification.
Since
and
striking
piano
the
combination
pieces
expression
in
1908.
of
such
one
The
With
and
to
of
which
resistance
revolt,
acknowledge
make
having
form
the
Iand
am
itGeorge
which
broken
ato
Iutterly
suspect
striving
shall
reality.
the
has
songs
through
have
necessary
appears
But
that
been
to
now
Ishort.
even
have
overcome;
every
in
to
my
that
nature
those
me
for
restriction
mind
Ithe
have
a
of
who
certain
Irichness
for
first
feel
this
set
have
years.
time
of
how
development.
out
one,
aimmediately
so
bygone
succeeded
hotly
along
Until
Ithe
far
am,
believed
even
now,
this
nonetheless,
aesthetic;
path
the
Ionly
in
lacked
approaching
in
least
once
me
and
the
of
will
and
though
temperaments
strength
not
for
an
want
all,
feeling
ideal
the
and
IBook
am
to
goal
of
the
confidence
conscious
will
expression
towards
rise
So
were
because
other
is
natural
stronger
itpiece,
seemed
friendless,
things
one
my
than
to
the
invention
me,
good
any
prevailing
but
is
today
upbringing:
stronger
thing
or
technique
have
aesthetics
to
point
friends
that
out,
my
is
demand,
inadequate,
am
artistic
enough
by
obeying
performing
education.
but

that
nor
the
that
Iformative
because
IEvery
am
am
Gurrelieder
being
obeying
Ithe
process
am
forced
uninformed
an

which
inner
in
which,
this
compulsion,
eight
direction
being
about
years
the
all
not
ago
the
which
relationship
created
also
achieves
a
wholly
is
a
not
marvelous
congruent,
thematic;
have
to
wealth
be
yet
highly
perfrmed
an
of
expressive
inner
tonal
architectonic
in
effects
melodic
totality
for
the
design
style,
and
piano.
ideally
in
can
immediate
clearly
suited
be
to
succession.
felt.
vocal
Schnberg
recitation.
Their
has
specifically
completely
harmonic
George-Lieder
style.
disappeared.
been
prepared
were
But
created
for
an
harmonically
absolutely
in
part
before
compelling
by
the
the
works
Second
necessity
immediately
Quartet.
keeps
They
preceding
watch
fulfilled
over
them:
what
this
key
had
has
writes
about
this
in
his
Harmonielehre:
In
tells
necessity,
an
present
proof
formal
generally
inexorable
composing
the
me
considerations,
here,
harmonies
this
what
spoiled
Iwas
a
can
Ia
too,
but
Ifirst
must
necessity
make
the
unconscious
cite
at
present
write;
least
idea.
the
decisions
to
of
which
fact
as
everything
This
in
my
much
itthan
that
logic
urge
the
are
proves
only
corrections
alert
so
components
to
in
according
else
as
the
expression;
to
consciousness
in
me
is
harmonic
the
excluded.
that
of
to
previously
of
the
feeling,
the
perhaps,
structure.
inspiration,
idea
idea,
is
according
cultivated
was
in
however,
chord
Ia
which
too
obligatory,
am
the
often
firmly
Ialready
idea
to
fields
put
one
also
the
disposed,
down
(Einfall),
may
convinced
that
of
feeling
to
harmony.
the
change
itwhat
corresponds
had
necessity
out
for
have
that
necessity,
form.
of
nothing.
And
external
logic
This
of
as
toin
is
a
The
Three
Pieces,
Op.
11,
follow
the
songs
based
on
George.
heretofore
Each
three-part
repeated
Schnberg
succession
everything
first
that
are
of
completely
these
again
lied
which
itPiano
abandons
of
has
notes
pieces
form.
and
to
gives
neglected
say.
oppositional,
then
The
is
is
motivic
immediately
an
Again
short
are
idea
sound
spun
working.
The
motives
something
of
the
out
first
effect
repeated.
individuality
further.
No
which
and
new
motive
second
Once
of
But
the
has
this
is
of
piano,
even
to
have
established,
developed
these
piano
follow.
this
a
its
detach
themes,
writing,
slight
harmonic
fetter
Iis
demonstrate
further;
the
relationship
from
is
and,
the
removed
theme
tones.
one
at
combination
moreover,
a
another
expresses
section
formally
most,
in
the
the
a
are
third
of
from
short
to
use
motives
the
piece.
the
of
aHe

After
die
Pieces
Schnberg
composed
Five
Pieces
for
Orchestra.
The
Erwartung
is
could
harmonic
forms.
music
nothemes
trace
vouches
Here
style
did
oftoo
ofany
Schnberg
speak
these
in
for
an
the
kind
it.
adherence
pieces
passage
of
of
atraditional
kind
achieve
are
quoted
to
ofsuccinct
theoretical
musical
the
form
above
abandonment
in
but
prose
the
principles
undergo
from
Orchestra
here.
Harmonielehre
of
What
elaboration.
holds
allPieces.
thematic
Schnberg
sway.
pertains
The
Only
The
work
form
said
convincing
infor
the
as
iswith
the
well
entirely
monodrama
first
reference
topower
time.
these
free.of
There
One
tothis
his
Here
isperhaps
aPiano
therne
from
the
second
piece:
top

13 / 18

Anton Webern: Schnbergs Music

How
This
the
monodrama.
section
infinitely
chord
also
delicate
isoffers
scored.
provides
the
More
expression
glimpse
aboutoriginal
this
intoofin
the
this
conjunction
instrumental
theme,
how
with
miracle
marvelous
the orchestration
of this
thescore.
linking
ofHow
the
of the
remarkably
voices.
third
piece
aiscompletely
sound
effect.
The
initial
measures
are
asafollows:
top first

Schnberg
entering
coloration.
instruments
remarks:
The
is
noticeable;
chord
changes
the
changes
have
to
should
be
soregisters
perceptible
gently
that
no
only
accentuation
through
the
different
the
Due
characteristically
ever-changing
to
the
variation
impressions
shimmering
color
of
of
sound
color
the
chords,
in
results,
a
moderately
which
comparable,
extends
agitated
as
throughout
sea
surface.
says,
entire
to
piece,
the
aof
Immediately
Erwartung,
event
in
throughout
the
presented
evening
the
a
monodrama
by
night,
in
the
ain
series
and
edge
the
at
orchestral
by
of
last
Marie
aone-half
short
forest,
finds
Pappenheim.
transformations
pieces,
ahour.
woman
killed
Schnberg
next
awaits
Aoccur
woman
connected
to
the
her
wrote
highway
lover,
isSchnberg
the
his
searches
sole
first
brief
work
party
musical
for
responsible
him
the
interludes.
dawns.
stage,
in
the
for
forest
Late
an
work
lasts
approximately
What
brevity
here,
even
in
aformal
theater
work!
been
expression.
score
of
this
there
monodrama
is
always
is
something
an
unprecedented
new,
presented
event.
with
All
traditional
the
most
rapidly
principles
shifting
have
An
This
There
The
utilized
example:
treatment
issevered;
isalso
with
no
true
measure
afollowing
marvelous
of
of
the
the
instruments
in
orchestration:
the
sense
score
of
is
that
timbre.
entirely
ahim
doesnt
continuous
Schnberg
soloistic.
demonstrate
succession
The
scores
a
chords
completely
ofby
sounds
ofas
inthe
the
amorning
completely
new
never
instruments
sound
heard
new
pattern.
are
before.
way.
fully
top

14 / 18

Anton Webern: Schnbergs Music

Observe
note,
muted
interwoven
different
solistically,
dynamics,
then
horn
timbral
closely
the
aeleven
unbroken.
into
with
sonic
solo
the
family.
the
cello,
whole
singular
fifth
But
There
results
note.
below
since
isstyle
the
compositional
isInnevertheless.
that
each
absolutely
sound
thethis
the
second
isof
selected
oboe
the
no
technique:
measure
vocal
(!),
blended
the
that
muted
the
the
sound
no
Each
contrabass
muted
note
trombone
here;
color
overpowers
trumpet
each
derives
with
given
the
afrom
the
sixth
resounds
the
next
annote.
highest
entirely
and
in Finally,
the
eleven-part
The
constructs
chord:
and
unity
melodic
and
occasionally
of
even
work
twelve-part
is
of so
anpart.
unimagined
chords.
Here
richness.
isadds
ancolor
example
In
itfourth,
Schnberg
of
an
top harmonic

15 / 18

Anton Webern: Schnbergs Music

combines
What
example
said
order
before
to illustrate
concerning
the melodic
die instrumentation
style of this work
pertains
and here
the manner
as well.inI cite
which
theSchnberg
following
top wasinthemes:

16 / 18

Anton Webern: Schnbergs Music

17 / 18

Anton Webern: Schnbergs Music

both.
approaching
by
forms
hidden
the
melody
In
entrance
and
faintest
fifth
of
with
a
the
speaking
of
measure
second
the
stirrings
Oboe
an
violin
of
in
orchestral
injournal
emotion.
the
ones,
its
is[Op.
taken
fourth
expression,
breaking
chord
over
measure.
closes
by
up
continues
that
recitative
Thus
off
of
the
these
this
the
forms,
flute;
music
sixteenth
melodic
the
giving
flows
vocal
phrases;
note
expression
by,
line
movement
catches
the
vocal
bound
to
the
begun
hold
part,
most
of'
Now
with
music.
follow
six
new
piano
pieces
19]
and
the
second
stagework,
Glckliche
Hand,
drama
The
you
still
year)
incomplete.
will
new
of
about
the
piano
Viennese
it,
pieces
The
itdisintegrating
all
poem
is
musical
are
mere
ofbeyond
lipservice
this
short,
work
unbelievably
Der
is
inrealm
by
light
Merker,
Schnberg
of
this
devoted
delicate
music.
himself.
to
and
The
Schnberg.
expressive
It1912,
music
appeared
of
Glckliche
structures.
intightly
volume
Hand
Say
17
(2nd
what
is
What
creative
Ialong
have
work
attempted
is
accomplished.
to
show
is
the
relentless
necessity
with
which
everything
in
Schnbergs
Those
envy
impede
no
harm
and
who
the
can
ill-will
devote
influence
come
could
themselves
to
of
speak
it:
Schnbergs
ittone
isvery
of
sensationalism
lovingly
the
work,
to
this
they
work
of
mania
must
time.
must
be
and
eradicated.
recognize
the
like.
this.
Since
But
Only
as
such
for
those
the
assertions
work
blinded
itself,
by
Arnold
Schnberg.
Mit
Beitrgen
von
Alban
Berg
et
al.
Mnchen
2248

18 / 18