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

Comprehensibility and Function in Webern's Six Pieces for Orchestra opus61

Jeri Kotani

Introduction

Anton Webern's Six Pieces for Orchestra, Opus 6, provides an interesting compositional insight intostyle as manifested in Webern's work during the Atonal Period. It is my conjecture that thesemanifestations of style developed, in part, from composit ional solutions that Webern engineeredto ease the conflict between his growing preoccupation with 'comprehensibility', i.e., structuralcoherence, and his compositional choice of avoiding thematic repetition in the Six Pieces for Orchestra.

In his published lecture notes, The Path to the New Music, Webern directs all discussion

concerning his perspective on evolution of musical language to the general aesthetic principle ofcomprehensibility. Although the Six Pieces (1909) antedates the presentation made in The Path to theNew Music (1932), Webern's observations on principles effecting comprehensibility are stillapplicable to the Six Pieces.2 Webern made the following apt remarks:

The ultimate principle in all presentation of an idea is the law of comprehensibility.3What is the easiest way to ensure comprehensibility? Repetition. All formal construction is built up onit, all musical forms are based on this principle.4 The principle of repetition as a structural device is inherent in the construction of

traditional forms such as those in an ABA, ABACABA format, i.e., sonata form, rondo. This is not todisregard the principle of differentiation which is an integral concern of formal design. Repetitionhowever, is the major practice that helps to establish relatedness.

The fact that the Six Pieces for Orchestra "represent short song forms"5 i.e., general ternary(ABA) structure, should imply an adherence to a traditional structural model that normally dependson thematic repetition for formal parallels, yet, an interesting conflict ensues when Webernexplicitly states that he avoided any thematic connection between or within the Six Pieces.6 AMajor contradiction exists between the requirements of structure and the compositional intent.A pertinent question therefore is: "How did Webern maintain his aesthetic concern forcomprehensibility without sacrificing the integrity of one requirement for another?" In my opinion

, Webern successfully resolved this question through the use of the following strategies: 1) Elucidating formal design according to the functions necessary to create s t r u c t u r e ( i . e . , i t 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 identification through literal thematic repetition orupon key relationships according to tonal, harmonic ordering.

2) Treating intervallic content (the order and aggregate), timbral succession (e.g.,

klangfarbenmelodie), and conditions or circumstances arising from the juxtaposition of elements orevents (linear, and vertical), as major musical constructs that supercede pitch succession as a means ofestablishing formal paral lels. These constructs do not adhere to the tonal scheme of key

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Comprehensibility and Function

The instability of musical syntax, due to a waning interest in the traditional tonal system,fostered an added awareness of s t ructure and funct ion in Webern's early "atonal" music.However, because function was never taken out of the context of the traditional forms within whichit flourished, they provided a s tab le re ference th rough wh ich Webern cou ld exerc ise h isconcern fo r comprehensibility.

The notion of 'comprehensibility' encircles the general desire to be understood, to beintelligible. The method of presentation, whether in a musical sense or otherwise, must manifestcohesion and organization, i.e., structure. Anton Webern termed this "unity" and defined it as follows:

Unity, to be very general, is the establishment of the utmost relatedness between all component parts. So inmusic .... the aim is to make as clear as possible the relationship between the parts of the unity; in short to showhow one thing leads to another.7

The preceding quote relates, of course, to Webern's interest in twelve-tone technique.However, it is relevant to the Six Pieces for Orchestra because, though the techniques used inthe atonal and the serial periods vary, 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 role that a musical component plays wi th in a g ivenframework. The supposi t ion is made here that cer ta in preexisting forms (e.g., sonata, rondo),through extensive use, have established an associated set of structural expectations. For example,one expects thematic statement, development, repetition, and a concluding section. Normally,functions are categorized according to the level of analytic perspective that is in primary focus, i.e.,pitch, rhythm, texture, etc. However, the term function, as I will use it, involves consideration of thecomposite of various and interdependent musical parameters. Such consideration aims atidentifying 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 implyingcomposite 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 and number) may engender the formaldesign of a composition. On the other hand, a pre-ex is t ing formal des ign may imply apar t icu lar set o f funct ions. In Webern's Six Pieces for Orchestra, a general adherence to atripartite construction of the song form presented a pre-existing model for the composer.Therefore, the ensuing explanation of functions and of the different types encountered in theSix Pieces is based on the traditional handling of three-part structures.


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del ineators of major formal d iv is ions - thematic, developmental, referential, and cadentialfunctions; and 2) Subsidiary or secondary functions that support, link, or otherwise lead on orprogress to the cause of the piece, (i.e., pairing, is implicit) - preparatory, directive (propulsory),accompanimental, and connective functions.

In the fol lowing commentary, the def in i t ion of each funct ion wi l l be presented along with

the appropriate discussion as to the effective manifestations that Webern devised.

Primary Functions

Thematic function designates material that presents major musical ideas, e.g., a primarythread (line), that assumes a distinct and dynamic expressive role by virtue of its motion (durationand rhythm), and contour (pitch and interval l ic succession). Tradit ional ly, thematic mater ialprovided the "point of departure for a musical composition".8 This meant that thematic materialwas subject to variation or transformation as a means of generating related materials. However,because of the avoidance of thematic connections between and within the movements of Webern'sOpus 6 (and the imposed condition of brevity), there can be no assumption that the identity ofthematic function is based on the amount of reiteration. Thematic function will therefore be usedonly to identify a coherent musical statement that establishes a sectional identity.

Development should be discussed as process rather than function. However, due to

self-imposed constraints, the term will be used in reference to a general type of formal functionwhereby 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

attr ibutable to a previous section of the structure. A referential function implies theestablishment of formal parallels through a condition of similarity. However, Webern remainsconsistent in avoiding thematic reiteration by using indirect reference, i.e., allusion.

Materials, therefore, that fulfill a referential function, allude to previous sections by retainingsome of the general characteristics of their original presentation. Such gross characteristics mayinclude timbral qualities (e.g., instrumental color and registral color), general contour, and texture.However, the allusion never refers to the complete identity, i.e., never includes the complete array ofcharacteristics of the original musical idea. In essence, what Webern did to illustrate formalparallels by way of referential functions was to supplant repetitive thematic identification withtimbral, gestural, dynamic, and/or registral identification.

Through referential material, a feeling or sensation of "relatedness" is made manifest. The

concluding section of Movement I provides an appropriate example. This section (see measures 14 -19 in the score) alludes to the opening section of the movement (measures 1 - 2) by recreating asimilar succesion of gestural events: ascending gesture-arrival point-chordal punctuation/descending gesture-arrival point-chordal punctuation (see Examples 1 and 2). (The closingsection 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" the

impression of a momentary or permanent conclusion.9 Traditionally, the cadential function was


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did this composer execute cadential functions? Consider 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 onekeenest 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 tonality) piled up more and more, and one day itwas possible to 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 wassufficient and satisfying.11


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Example 2: Movement I, measures 14-19 Allusion to succession of events within measures 1-3.All excerpts from Webern's Six Pieces for Orchestra are reproducedhero with permission from Universal Editions and European AmericanMusic 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 factors were intuitively adha sense of cadential fulfillment and repose. From observations of cadential treatment within the Six Pieces for Orchestra, noted: 1) Creating a condition where a dynamic, active state of accumulating tension leads to a static state of repose. This preparatory ph

is generally equal to the length of the static phase (i.e., cadential extension. See Example 4). 2) Articulating the cadence through repetition, which is a form of extension and affirmation. (Example 3) All movements, with the exception 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 strength are so designated dueto their subordinate relationship to other, primary functions. The importance of subsidiaryfunctions should not be disregarded, however, since they help to maintain continuity ofmovement in the total flow of events. Their structural weight is generally dependent on, evenproportional to, the length and breadth of expression assumed by their corresponding primaryfunctions.


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Preparatory function designates a distinct group of musical elements that operates as anintroduction to, or anticipation of, a forthcoming unit or section in which a primary function, (usuallythematic), is dominant. Material fulfilling a preparatory function may have a distinct identity of itsown yet assumes a subsidiary role by v i r tue of i ts structural responsibi l i ty to anotherfunct ion. Preparatory material is often used to set the mood of a piece as in the introduction andinterludes 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, thedirect ive function is identified with a singular, propulsive orientation towards a cadentialpoint. (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 commonpoint of reference, e.g., common pitch or group of pitches, which acts as a pivot between twoadjoining units of material (see Example 6). Connective elements may also be similar in form to alink (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) Accompanimental function refers to a part or parts within a musical texture that operate as

auxiliary support for other more substantive parts. Relatively speaking, material that functionsas accompaniment lacks the dynamic continuity and thrust of a primary unit of expression, i.e.,thematic ideas. This subsidiary material may serve as harmonic support present in the form ofstatic, held chords, or assume more rhythmic focus by disjunct or repetitive articulation.

Although accompaniment material is considered subsidiary in function, its importance should

not be diminished. The way in which we perceive a particular line or melody is greatly influencedby the context created by its accompaniment. A major case in point is found in Movement V of the


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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 willdemonstrate the compositional procedures of Anton Webern and the unprecedented perspectivesthat were taken by the composer with regard to musical materials. The ensuing analyt ical



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was only alteration, extension, abbreviation; but the forms remained, even in Schoenberg!13

And also in Webern! Movement Ill reflects the ternary structure of a short song form within which thepresentation 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 tonalityand its system of key relationships (tonal dissolution), his aim for "an always changing mode

of expression,"14 and the "avoidance of (traditional) thematic connections,"15 substant ia lmodi f icat ions of the organizat ional models used are not iceable. Nevertheless, Webern'saesthetic concerns are never compromised.

Movement III is in ternary form with a palindrome-like construction. This movement is not anexact 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: A B C

event: a b c d c1 b1 a1

m e a s u r e : 1 2 3 - 4 5 - 6 7 8 9 - 11

As in any palindrome, there is a pivot point after which the reversal of the material begins(beginning mirror-l ike parallels between events). Take for example the sentence:

Madam I'm Adam

The pivot point in the palindrome above 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 butits linear configurations (both labeled "thematic" because they establish the identity of thissection) form a note-by-note account of a palindrome, whose internal groupings are alsopalindromic. As such, the basic motive of the B section is analogous to the 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 also distinguishes measures 5 and 6 as acomplete formal unit whose identity, by virtue of the nature of its organization, remains distinctfrom that of the outer two sections.

Webern, however, derives the working materials and the palindromic organization for this Bsection from the opening A section. There is no new material at this point. The extent ofrelatedness between Sections B and A may be measured by viewing the material, but not thefunction, of Section B as an elaboration on material from measure 1,

Section A.

Measure 1 contains two events, the antecedent phrase of the thematic event and theaccompanimental chordal event. The antecedent phrase is characterized by: 1) a group ofthree articulations and two elements, 2) a symmetrical contour in which the outer elements areidentical, and 3) a movement by uniform whole steps, one up and one down (see Example 8).The chordal event, on the other hand, is static and its identity as a unit is based on its intervalliccomponents, ordered from top to bottom, as follows: m3, M2, + 4. (This accompanimental event provides


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Example 8: Movement II, Meas. 1

The thematic content of Section B consists of two l inear configurations which areconstructed from the basic characteristics of the original antecedent phrase l isted above.Webern takes the number of art iculat ions (3) and the number of elements (2) and employstheir combination as the basis for grouping events in the new section. Hence, each line in SectionB is composed of three motivic groups of which two are unique. Each group, in turn, iscomposed of three articulations. The controlling number of elements (2) within a group alsoextends to its vertical components. Therefore, the intervallic distance between simultaneous eventsalternates 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 measure 1 becomes the pervasivestructural concern in Section B. A symmetrical contour s systematically maintained in both line andmotivic group by the repetition of all outer components, e.g. pitches in a group, pitches soundingsimultaneously, groups in a line. The composite thematic structure built on similar symmetricalfigures forms a palindromic identity. Such symmetry may be viewed as a form of verticalmirroring. The condition of symmetry also extends to the relationship between the twosimultaneous lines of Section B whereby the complementary configuration is derived from theprimary configuration through inversion, a hoizontal mirroring technique. Thirdly, the thematic configuration designated as "primary" in Section B is given such distinctionbecause it outlines a transposed version (up a minor 3rd) of the or ig inal themat ic mot ive,e17-f -e replacing c-d-c respect ively. This motive may be traced in the primary configurationby considering the pitches that share a common means of emphasis through repetit ion, i .e.,the outer members of each motivic group. (Example 10)

Example 10: Outline of original motive. Sect. B, meas. 5-6The 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 completeantecedent-consequent thematic statement of measures 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 weightedthrough repetition (the pitch c) or by its position within the intervallic outline (c# is the lowermember of the major 3rd interval). These pitch elements, c-c#-c, also form a very similar butdistinct contour to the opening motive of measure 1, differing only in the intervallic distancebetween its elements (half-step difference). The c-c#-c movement may be considered toprovide the skeletal contour of the thematic statement in Section A. However, the situation inSection B is such that a representation of this contour is overlapped beneath the magnif iedcontour representation of the antecedent phrase of measure 1, therefore assuming a moresubdued position. It re-emerges in Section A1 (transposed to g) as the concluding thematic statement.

The accompanimentat chordal figure in Section B which is an exact transposition of theoriginal figure in measure 1 (down a half-step), complements the upward transposition of thehigher figure, and also retains a similar static disposi t ion. Therefore, i t does not interfere wi ththe symmetr ical nature of the thematic event. (Example 12)

At the onset of measure 5, the chordal unit is incomplete. The bottom-most pitch, forming the

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 addedemphasis by presenting it as a very high harmonic (violin I), inverting the original bass position ofthis element. However, the major significance of the heightened emphasis on the A flat l ies inthe dual function that this pitch element carries out within Section B. It completes the chordal event(accompanimental function) and also serves as the leading tone to the cadence on the pitch a(directive function, leading to a primary function) .

Yet another function of the A flat is fulfilled in relation to the rest of the movement. It serves a

connective function, linking Section B to the closing Section A1, by extending into the c losingsect ion. One could v iew the a as a l ink 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 elementas the a harmonic is the highest one and fulfills a similar connective function, linking the openingSection A, to Section B (Example 5). The A flat also creates anticipation for the A contained inthe concluding thematic event in Sect ion A1 by i ts extension so far into this final section (Example12).



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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 appropriatelyreiterates an important component of the 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 thevertical cadential sonority (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 halfof the mirror image within the palindromic design of Movement Ill (measure 7). Section B'scadence on A , immediately preceding the a in measure 7 (Section A1), anticipates this retracingof material and events.


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to the large palindromic design of the movement. It is by virtue of its mirrored treatment of musicalmaterials that Section B is distinct from Section A and Section A1.

In general , Webern succeeds in achieving his aesthet ic concern for comprehensibility

in Section B through an extremely high degree of relatedness to material from the opening Section A,yet still achieves a different and distinct mode of expression through the pervasive and completeexploration of symmetry. However, the composer's remark regarding the lack of "thematic connectionsbetween and within movements" is contradictory here unless one considers the following aspects ofdesign 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 onthe principle of contrast and differentiation either in the form of new thematic material ordistinguished by the process(es) or procedures that are applied to previous material, e.g., development.

2) Webern considered Movement III to be an introduction to Movement IV (Funeral March).16 Thus, one could

possibly v iew Movement I I I as the magnification of a single musical statement providing the introductory clauseto Movement IV.

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

Movement Il l. A1 is not an exact note-by-note mirror duplication of Section A, in that itcontains certain permutations of elements and materials. Nevertheless, the basis of itsorganization is the retrograding of events and conditions found in the opening A section.

There are four major events in Section A that fulfill four distinct functions: themat ic ,

accompanimenta l , d i rect ive, and cadent ia l (see Example 13) . Although these events inSection A will generally be referred to by the functions they fulfill, it should be kept in mind thatthe retrograde of these events, in permuted form, in Section A1 does not necessarily conservetheir 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 al l , in

measures 1 and 2, a paired relat ionship exists between the thematic event (composed ofantecedent and consequent statements) and the chordal accompanimental event. (Theaccompaniment, in essence, fulfi l ls a subsidiary or auxil iary function to the primary thematicfunction.) This simultaneous overlay of theme and accompaniment may also be thought of as akind 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 ult imately leads or points tomaterial maintaining a primary function. In this instance, it directs the listener's attention to thecadential event. The material of this descending configuration of measure 3 is based primarily on theintervallic components of the previous consequent phrase in measure 2. As such, this directiveevent of measure 3 may also be thought of as an extension of the consequent phrase.


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Sect ion A1 (measures 7-11)presents the retrograde order of the four events in SectionA, with certain modifications. Fundamentally, the opening Section (measures 1-4) has twotypes of configurations: chordal and linear. In the closing A1section, all configurations are linear.It is possible to maintain a palindromic correspondence between A and A1 because theaccompanimental chordal event in A is transformed into linear events within A1 (i.e., vertical tohorizontal 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 intoa dynamic one (ie., more movement and articulation in the transformed version). This alterationmakes it impossible for the now linear configuration to appear in its original temporaldisposition as event 2 superimposed upon event 1, without negating the original condition of astatic state balanced against a dynamic one. Consequently, in the closing A1 section, Webernalters the original vertical alignment of Events 1 and 2 to a horizontal succession of eventssuch that material from Event 2 (measures 7 and 9) always precedes material from Event 1(measures 8, 10-11). Under these altered circumstances, the original paired relationshipbetween the two events is preserved (see Example 14),


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

All other modifications and adjustments in Section A1, affecting the palindromic design ofthe movement, are carried out to maintain the original circumstances and conditions (but notnecessarily functions) of the four events 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 fulfill asimilar subsidiary function, a directive function (Example 4 above). 2) Both figures are also unidirectional,as an ascending or descending gesture, whose arrival points both focus on the pitch F#.17

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 permutedordering of intervals from the original chordal event. It is the aggregate of intervals from the originalchordal event, but not its ordering, which generates the pitch components in the linearconfiguration 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 pitchcomponents are identical.18

Although the basic discussion of materials in measure 7 has been directed towards its

derivation from the chordal accompanimental event of Section A, the importance and relevance ofsuch material is established by the functions it: elements fulfill and their conformity with thepalindromic design of Movement III. The materials of measure 7 may be classified into threeseparate events which carry out different functions: the connective function of the violinharmonic A batyrak (see previous discussion pg. 18), the reiterative and connective function of theharp A7th sonority (also forming palindromic relations with the closing a of the piece) and theascending B flat -G-A which mirrors the descending clarinet figure of measure 3 and in emphasizingthe 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 apalindromic unit of intervals, i.e., major 6th (inversion of a minor 3rd), major 2nd, major 6th (minor3rd). This internal palindrome, built on the vertical intervallic components of the original chordalevent, is immediately followed by an counterbalanced with a palindromic set of intervals (measure8) bui l t on interval l ic components of the consequent phrase of the or ig inal thematic event(measure 2), i.e., minor 2nd, minor 3rd, minor 2nd. (Example 16).


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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 furtherdispersed among three instruments, displaced in octave position. The bassoon line concludeswith the pitches E flat and D (a minor 2nd), drops a minor sixth (the inversion of a major 3rd)to the harp's F# and up a major 7th (the inversion of a minor 2nd) to the horn's F. Althougheach pitch element is derived from the application of a common set of intervallic relationships,they mete out different functions which are clearly delineated by their instrumentation and registralseparation.


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The repetitive f# in the harp line serves two functions. First of all, it serves as the preparation for the

cadence on pitch f (horn) as an upper leading tone. Secondly, this repetitive 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 circumstance of measure 4,

the general mirror correspondence between Sections A and A1remains intact. Reviewing thecircumstances in measures 3 and 4 of Section A, it has been noted that the descending configurationto and including the cadential pitch f are constructed from intervallic components attributable to theprevious thematic event of measure 2 (consequent phrase, major 3rd, & minor 2nd intervals). As such, thismaterial is an extension of the consequent phrase. (the cadential pitch a is not.) In Section A1, measure7, Webern constructs the retrograde figure corresponding to the descending configuration inmeasure 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 primarilyin the following measure 8. Therefore, the placement of the f as a cadential pitch within measure 8 isconsistent with its original association and derivation.

In addition to the pitch events, generated by the intervallic palindrome, a descending, unidirectional

configuration, in the solo Violin II, overlaps and interacts in complement to the phrase ending of thebassoon line (Example 16). This motive represents an intact, reconstruction of the consequent phrase ofthe original thematic event in measure 2, built with identically ordered intervallic elements. Based on thepremise that intervallic content serves as a point of reference from which the identity of an event maybe established, the configuration in the solo Violin II (measure 8) represents the mirror counterpart to theconsequent 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 originaldirection from an ascending to a descending skip, a uniform descending configuration results(Example 17). As a consequence, not only does the configuration in the solo Violin 11 linerepresent an altered mirroring of the thematic consequent phrase of measure 2, bu t a l soassumes the con tour o f the themat i ca l l y de r i ved descend ing 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 opening measure of the movement, with particular modifications.The basic alteration in the form and positioning of events is the linearization of the chordalaccompaniment (measure 9) which now precedes, rather than coincides with the thematicantecedent phrase (measure 10). This change, however, does not negate the original conditions.The paired relationship between the two events is still maintained, from a l inear rather than avertical perspective. Although the figure derived from the chordal event (measure 9) no longerfunctions as accompaniment, it still maintains a categorically similar, subsidiary function, adirective one. The descending, unidirectional gesture of this configuration propels themovement towards its last pitch element, F#. The original circumstance of a dynamic state(theme) balanced against a static one (accompaniment) is then adequately reproduced by theprolongation of the F# as a cadential pedal concurrent with the thematic statement in measures 10 and11.

Although the 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 tothe harp highlights the pitch's distinction and is consistent with the instrumental assignment ofthe previous F# figure in measure 8.


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between events of Sections A and A1, the G-A flat-G motive of measures 10 and 11 extends beyondthe mere contour representation of its measure 1 counterpart. This statement actually presentsthe skeletal outline of the complete antecedent-consequent thematic statement encountered inmeasures 1 and 2 (viola). Moreover, 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). Inessence, this concluding thematic event, carried by the trumpet, functions as a short retrogradesummary of the major thematic statement of the movement.19

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 harmonicpedal carried by the solo Violin I. However, in typical Webern fashion, the A flat, is notexpressed as a blatant forecast of the at, to come. Aurally, the ppp dynamic level and the extremehigh range of the at, harmonic focus on and emphasize the timbral color of the element. Thepitch G , on the other hand, receives i ts emphasis by tradit ional means. The init ialpreparation for the Gof the concluding thematic motive, occurs in measure 8. The basicactivity within this measure is the phrase ending of the arch-like statement begun in the bassoonline (measure 7), and concluding with the interlocking solo Violin 11 figure. The motion of thedescending conclusion to the arch-l ike statement ends temporari ly on D (bassoon) and finallyon G (violin II), a V - I relationship. It is conjectured that the G within the final thematic event ofmeasures 10 and 11 acknowledge the tonally weighted movement towards this closing pitchelement of the phrase in measure 8. It is also significant that materials within measure 8 arederived intervallically from the original thematic consequent phrase of measure 2. Webernappropriately maintains the continuity from one thematically derived phrase (measure 8) to theother (measures 10-11) through a common pitch element. Essentially the motive of measures 10


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Summary

The formal design of Movement III strongly asserts the ternary structure associated withsong form. Ternary form, or song form, is characterized as a sectional structure, "the sum ofthree single units, each complete in itself."20 Within Movement III, Section A provides acomplete antecedent-consequent thematic statement and concludes with strong cadentialaction. Section B provides the necessary contrast that is inherent in a ternary form. However, itprovides a contrasting perspective on part of the previous thematic statement from Section A, i.e.,its symmetry, rather than providing new material. Nevertheless, by virtue of the symmetricalcontinuity of the material as a complete palindromic expression, this section maintains its ownintegrity as a formal unit. The closing A1 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 A1 is appropriately established without blatant thematicreiteration. 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. Special instrumentalassignments in the various sections of the movement (e.g., Section B, glockenspiel) alsoreinforce 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 orrepetit ion of function or material. However, because al l necessary functions and requirementsof form and procedure are satisfactorily fulfilled, the expressive breadth of the movement isuncompromised 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 adequately accommodate his compositional choice of avoiding thematicrepetition without destroying comprehensibility, i.e., structural coherence. The composer'sperceptive assessment of the fundamental structural properties within the classical forms and contrapuntalprocedures, enabled him to transcend the dictates of a tonal musical syntax.

Intervallic content (the order and aggregate), timbral succession (e.g., klangfarbenmelodie), and

conditions or circumstances arising from the juxtaposition of elements or events (linear, andvertical), are treated as major musical constructs that supercede pitch succession as a means ofestablishing formal parallels. These constructs do not adhere to the tonal scheme of keyrelationships (a prescribed order of expectations). Webern is thus freed from the constraints oftonality 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 Reihe, 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: AkademischeDruck, U. Verlagsanstalt, 1959. Introduction translated by Else Geissmar, 1979(unpublished).

Kolneder, Walter. Anton Webern: An Introduction to His Works. Berkeley & Los Angeles:University of California Press, 1968.

Leibowitz, Rene. Schoenberg and His School. Translated from the French by Dika Newlin.New York: Da Capo Press (1st paperback printing, 1975). 305 p.

Moldenhauer, Hans, and Rosaleen Moldenhauer. Anton von Webern: A Chronicle of HisLife and Work. New York: Alfred A. Knopf, 1979. 803 p

Moldenhauer, Hans, and Demar Irvine. Anton von Webern Perspectives. Seattle: Universityof Washington Press, 1966. 191 p.

Webern, Anton. "Choralis Constantinus," die Reihe, Vol. 2, 1958, pp. 22-25. Translated from theGerman by Leo Black.

Webern, Anton. 6 Stücke für Orchester, Opus 6 (Original version, 1909). Universal Edition,1961. 33 p.

Webern, Anton. Sechs Stacke fur Orchester, Opus 6 (Revised version, 1928). UniversalEdition, 1956. 29 p.

Webern, Anton. The Path to the New Music . Edi ted by Wi l l i Re ich, translated fromthe German by Leo Black. New Jersey: Universal Edition, 1975. 67 p.

Wildgans, Friedrich. Anton Webern. Translated by Edith Temple Robertsand Humphrey Searle. London: Calder and Boyars, 1966. 185 p.

1This paper is excerpted from chapters two and three of Jeri Kotani's Master's Thesisentitled "An Analysis of Anton Webern's Six Pieces for Orchestra Opus 6" 1980 which isavailable through the UCSD Central Library.

2 Opus 6 was written during the tenuous period of atonal experimentation. By avoidingtonality and testing new approaches, Webern gained the experience necessary to enable him toformulate 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. 4Webern, The Path to the New Music, p. 22. 5 Anton Webern, program notes originally published in the Zeitschrift fur Musik.

Translated in: Hans Moldenhauer, Anton Webern: A Chronicle of His Life and Work, (Alfred A.Knopf, New York, 1979), p. 128.

6 Ibid. 7 Webern, The Path to the New Music, p. 42. 8 Wili Apel, Harvard Dictionary of Music, (Belknap Press of Harvard University Press,


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11 Webern, The Path to the New Music, p. 39.12 Moldenhauer, Anton WottPrn A Chronicle, p. 1 28.13 Webern, The Path to the New Music, p. 36.14 Moidenhauer, Anton Webern, A Chronicle, p. 128.15 ibid.16 Moldenhauer, Anton Webern, A Chronicle, p. 1 28.17 The f# is a major pitch element in A1 whose function and importance will be presented inlater discussion.18 The linear representation of the inner pitch components, however, differs from the originalmaterial. Webern inverts the order of intervals such that the topmost intervals (minor 3rd, Major2nd) become the bottom-most intervals. Therefore, from the B flat, the motive goes up a major 6th(the inverted form of a minor 3rd), to a G, and up a major 2nd thereafter to A. This pitch amay be said to represent both an inner pitch component (by virtue of its position within theintervallic order) and an outer (topmost) pitch component. It is conjectured that because of thisduplication of positions by the a, the need to incorporate the remaining interval of a tritone,generating another pitch component and position, was not necessary. With A natural, Webern hadarrived at the outer limits of the original chord,

19 Pitch becomes a background nuance which therefore implies rather than directlyasserts or addresses, the importance of the a-flat element. The factor which strengthens theprojection of the a-flat element (measures 6 through 9) is the extreme duration of its pedal figure.

20 ApeI, Harvard Dictionary of Music, p. 95. 21 Moldenhauer, Anton Webern: A Chronicle, p. 129.



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