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ZEMLINSKY'S FRAGMENTARY STRING QUARTET FROM 1927: EDITION, ANALYSIS AND AESTHETICS
Brian Locke Faculty of Music
Submitted in partial fulfilment of the requûements for the degree of Master of Arts
Faculty of Graduate Studies The University of Western Ontario London, Ontario May 1997
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The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni Ia thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT
in his Lifetirne, Aiexander Zemlinsky (187 1- 1942) was a weil-respecteci conductor, tacher and composer of operas, Lieder and chamber music. In spite of a very successful musical career between the two world wars, Zemiinsky's compositional output at the time of his death remained largely unknown and unpubiished. A fifty-page manuscript in the Alexander von Zemiinsky Collection of the Library of Congress Washington, D.C., contains a fiagmentary string quartet, written in 1927; of its six projected movements, oniy two were completed by the composer. The formal breadth and expressive detail of the f?agments in this manuscript raise many questions about Zemiinslqts decision to leave the work unfinished. This thesis seeks to anaiyze Zemlinsky's 1927 fiagmentary string quartet on various formai levels, while providing a comparative fiamework of similar techniques in contemporary quartets. A tùIi chapter is devoted to large-scale formal analy sis, wherein each movement receives individual examination, as does the perceived superstructure of the quartet. Detaiied discussions of the motivic design of the larger movements centre on aspects of Grirzdgestait, developing variation, pitch centricity and referential sononties. Issues regarding the features of expressive string-writing figure prominently in this study: during an era of proto-experirnentalism, Zemlinsky's quartet music contributes to a trend in which articulation markings aid the deheation of form, as well as part individuality and thematic development. Findy, an examination of aesthetic questions aEecting Zernlinsky and his unfinished quartet probes the critical perception of the composer's stance on tonality and progressiveness, in the literature during his lifetime and since his death. A full transcription of the quartet is included in an appendk.
Keywords: Zernhsky, Alexander. String quartets. Transcription. Gnindgestalt. Central Europe. Early Twentieth Century. To Donna 1wish to acknowiedge, first and foremost, my advisor Dr. John Doerksen, for his unfahg support and wisdom; the Alexunder-ZernIzmky-Fond bez der Geseilschafi der Musiweunde in Wien for permission to study the unpublished manuscript; Dr. Sandra Mangsen for her carefiil and thorough reading of the text; my colleague, Richard Hardie, for help in the preparation of my colloquium based on this work; Dr. Stephen McClatchie for advice on handwriting samples; European Arnerican Music Distributors Corporation for permission to use excerpts from the work of Berg, Korngold and Szymanowski; and the staff of the Performing Arts Reading Room at the Library of Congress, Washington, D.C. TABLE OF CONTENTS
Page .. Certificate of examination .ll. . Abstract U1 Acknowledgements v Table of Contents vi List of Figures vul..a List of Musical Examples ix
Chapter One: The Manuscript and its Genesis Introduction 1 Overview of the thesis 3 Biogr aphicai background 5 The Manuscript: Physicai state 9 The Manuscript: Transcription 15
Chapter Two: Large-scale formal analysis Superstructure: Movernent order 18 Movement one 25 Movement two 32 Movement three 38 Movement four 42 Movement five 45 Movement six 48
Chapter Three: Motivic design 53 Movement one 54 Movement two 63 Movement three 68 Movement six 73 Inter-movement motivic relationships 77 Referentid sonorities in the 1927 quartet 80
Chapter Four: Analysis of expressive string-writing techniques 85 Expressive string techniques as a method of variation 88 Expressive string techniques as a method of thematic variation 94 Expressive string techniques as delineators of part individuality or conformity 1O0 The relationship of expressive deMces to form 107 The contribution of specinc expressive features 114 Chapter Five: Aesthetic questions regarding Zemlinsky and his work Introduction Tonality Zemlinsky's critical reception: Progressiveness Critical reception: an oveMew Stylistic traits in the 1927 quartet: a summary The fiagrnentaty quartet: a ha1 examination Conclusion
Appendices Appendix one: The 1927 quartet in fùii transcription Appendk two: The sketch of movement two @p.46/47) Appendk three: Letters of permission
Bibliography
Vita LIST OF FIGURES
Figure Description Page
1.1 Stages of compositional process in the 1927 manuscript 13
Organization of the Fascicles of Box 20, Folder 4, Zemlinsky Collection
Possible orderings for a four-movement scenario
Outline of large-scale form: Movement one
Form of the exposition, Movement one
Form of the recapitulation, Movement one
Form of Movement two
Organization of the A section, Movement two
Form of Movement three
Form of Movement four
Form of Movement five
Form of Movement six
4.1 Linear scale of arco articulation markings
4.2 Expressive divisions in movement six
5.1 Tonal references in Movement one LIST OF MUSICAL EXAMPLES
Example Description (aii excerpts fiom Zemlinslq, 1927 quartet fiagment, Page in full score, unless othenvise stated)
Sketch p.46, mm.6A-9A (Va) 14 Sketch p.46, mm6-9 (Va) 14 Movt. 2, mm.6-8 (Va) 14 Movt. 2, mm.6A-9A (Va) 14
Movt. 1, mm. 1-5 (Vnl) 26 Movt. 1, m. 13 (Va) 26 Movt. 1, rnm.23-27 (Vnl) 27 Movt. 1, rnm.33-35 (Vnl) 27 Movt. 1, rnm.37-43 (Vc) 27 Movt. 1, mm.49-5 1 (Vnl) 27 Movt. 1, mm.73-88 (Vnl) 28 Movt. 2, mm. 1-5 (Vnl) 34 Movt. 2, mm. 16- 19 (Vnl) 34 Movt. 2, mm.27-28 (Vc) 34 Movt. 2, mm.35-37 (Vnl) 34 Movt. 2, mm.50-57 (Vnl) 34 Movt. 3, mm. 1-12 (Vnl) 39 Movt. 3, rnrn.20-23 (Vnl) 39 Movt. 3, mm.32-40 (Vnl) 39 Movt. 3, mm.46-48 (Vc) 39 Movt. 3, mm.58-70 (Vnl) 39 Mov~.3,1nin.70-75 (VC) 40 Movt. 3, mm. 13543 (Va) 40 Movt. 3, mm. 157-62 vnl) 40 Movt. 4, mm. 1-8 (Vnl) 43 Mov~.4, mm. 9- 10 (Vd) 43 Movt. 4, m.1 6-20 (VC) 43 Movt. 4, rnm.26-28 (Vnl) 43 Movt. 5, mm.3-6 (Vnl) 46 Movt. 5, mm. 10-1 3 (Vnl) 46 Movt. 5, mm.21-22 (Vnl) 46 Movt. 6, mm.1-10 (Vnl) 49 Movt. 6, m.30-34 (Vnl) 49 Movt. 6, mm.65-68 (Vnl) 49
Example Description Page
Movt. 3, mm. 14347 (Vn2) Movt. 3, mm. 148-54 (Vnl) Movt. 3, mm. 156-58 (Va) Movt. 3, mm. 157-42 O/n2) Movt. 3, mm.163-65 (Vnl) Movt. 6, m. 1-3 (Vn 1) Movt. 6, m.4-10 (Vnl) Movt. 6, mm. 17- 19 (Vn 1) Movt. 6, rnm.27-45 (Vnl) Movt. 6, mm.55-60 (Vnl) Movt. 6, mrn.55-68 (Vnl) Movt. 6, mm.79-84 (Vnl) Movt. 6, mm.79-80 (Vc) Movt. 6, mm.94-96 (Vnl) Movî. 6, mm.104-16 (Vnl) Movt. 4, m. 11 (VnZ) Movt. 4, mm. 16-1 8 (Vn 1) Movt. 5, mm. 1-3 WC) Movt. 5, m.24(Va) Movt. 5, rnrn.55-57 (Vn.2) Movt. 4, mm. 1-3 (Vnl) Movt. 5, rnrn.3-6(Vnl) Movt. 1, mm.229-38 Movt. 2, m.1 12-2 1 Movt. 2, mm.57-59 Movt. 5, mm.26-27 Movt. 4, mm. 17-20 Movt. 5, mm.2 1-26
Movt. 2, mm.3-5 (Vnl) Movt. 1, mm.6-7 (Vnl) Movt. 1, mm. 16-17 (Vnl) Movt. 1, mm. 195-96 (Vnl) Movt. 1, mm.213-14 (Vnl) Movt. 5, mm.55-57 (Vn.2) Movt. 1, mm.37-38 (VC) Movt. 1, mm.164-65 (Vnl) Movt. 1, mm.137-38 (Vnl) Movt. 1, mm. 1-3 (Vnl) Movt. 1, mrn.57-58 (Vnl) Movt. 1, mrn.204-07 (W) Movt. 2, mm. 1-1 9 (VnNa) Movt. 2, m.25-29 (Vn2Nc) Example Description Page
Movt. 2, mm.33-37 (VnlNc) Movt. 2, m.40-41 Movt. 2,1111n.98- 10 1 Movt. 2, mm. 112-23 (Vnl) Movt. 2, mm.146-53 (Vnl) Movt. 4, mm. 1-2 Movt. 4, mm.8-9 Movt. 4, mm. 16-18 Movt. 4, mrn.26-28 ml) Movt. 4, mm.25-27 (Vn2) Schonberg, Op. 7, mm. 1-3 ( Vnl) Schonberg, Op. 7, mm.7-8 (Vc) Schonberg, Op. 7, mm. 14-16 (Vn2) Schonberg, Op. 7, m.33-35 (Vc) Schonberg, Op. 7, mm.44-45(Vnl) Schonberg, Op. 7, mm.54-56 (VaNc) Movt. 1, mm. 1-5 (Vn1) Movt. 1, rnm.73-78 (hl) Movt. 1, mm. 143-45 (Vnl) Szymanowski, Op. 37 mwt. 1, mm. 1-4 (Vnl) Szymanowski, Op. 37 movt. 1, mm. 1 1-14 (Vnl) Szymanowski, Op. 37 movt. 1, m.29-30 (Vnl) Szymanowski, Op. 37 movt. 1, mrn.47-48 (Vn2) Szymanowski, Op. 37 movt. 1, mm.50-51 (Vn112) Szymanowski, Op. 37 movt. 1, mm. 154-55 (Vn1/2) Movt. 1, rnm.23-26 (Vnl) Movt. 1, m. 13 (Va) Movt. 2, mm.37-43 (Vc) Movt. 1, mm.58-65 (Vnl) Movt. 1, mm.73-75 (VaNc) Movt. 1, mm.92-95 (VnlNc) Movt. 1, mm. 100-05 (Va) Movt. 3, inm. 1-4 Movt. 3, mrn.11-13 Movt. 3, mm.20-23 Movt. 3, mm.32-34 Movt. 3, mm.3742 Movt. 3, mrn.46-50 Movt. 3, mm.57-66 Movt. 3, mm.8 2-84 MOVL3,111m.91-94 Movt. 3, mm.101-104 Movt. 3, m.112-15 Example Description Page
Movt. 5, m.1-14 Komgold, Op. 16 movt.3, mm. 1-2 1 Movt. 6, mm. 1-1 1 Movt. 6, mm. 18-2 1 Movt. 6, m.35-39 Movt. 6, ~11.m.40-44 Movt. 6, rnm.50-53 Movt, 6, ~11.m.63-67 MON. 6, m.79-82 Movt. 6, mm.95-104 JanaCek, Quartet No. 1 movt. 1, mm. 1-4 JanaCek, Quartet No. 1 movt. 1, mm.4547 JanhCek, Quartet No. 1 movt -1, mm. 57-58 Janaëek, Quartet No. 1 movt. 1, mm.75-78 JmaCek, Quartet No. I movt. 1, mm. 141-44 Movt. 1, mm.73-77 (Vnl) Movt. 1, rnm.89-99 (Vnl) Movt. 1, mrn.151-55 (Vnl) Movt. 1, mm. 117-120 (Vnl) Movt. 1, rnm.94-96 (Vnl) Janaeek, Quartet No. l movt.2, mm. 14- 17 Movt. 6, mm.65-69 (Vnl) Movt. 6, mm. 105- 1O Movt. 3, mrn.8 1-86 (Vn1/2) Movt. 2, mm.50-54 Schonberg, Op. 7, mm.K77-79 (Vnl) Berg Lyrische Suite movt. 1, m.33 (Vc) Szymanowski, Op. 37 movt. 1, m.64 (Vnl) Movt. 2, mrn.28-3 1 Movt. 1, mm. 120-24 Berg, Lyrische Suite movt. 5, mm.4-6 Movt. 6, mm. 109-12 (Vnl) Movt. 5, mm.72-73 Movt. 4, m.1-2 Movt. 6, mm.4-7 Berg, Op. 3 movt. 2, mm.156-58 Zemlinsky, Op. 19 movt. 2, m. 5
Movt. 1, mm. 18-22 Movt. 1, mm.96-103 (Va) Movt. 1, mm. 164-66 Movt. 1, m.224 Movt. 6, mm.47-50 CHAPTER ONE THE MANUSCRIFT AND ITS GENESIS Introduction In 1921, the Prague journal Der AuPukt pubiished a special issue (Sonderhefr) celebrating the tenth anniversary of the arrival of one of the city's most distinguished musicians: Alexander Zemiinsky (1 87 1 - 1942). The Sonderhefi was doubly appropriate, coinciding as it did with the composer's fïfüeth birthday; for this auspicious occasion, some fifteen articles were written about Zemlinsiq, his life and career, by such figures as Arnold Schonberg, Erich Woif'gang Komgold, Franz Schreker, Franz Werfel and Heinrich Jalowetz. Zemlinslq's ski11 as a conductor and tacher was known throughout Central Europe, and his compositions were fiequently found in concerts of new music in the years between the wars. That such an honoured personage should disappear into vimial oblivion before his own death is astonishing, yet another example of this centuryls tendency to separate the "mainstrearn" fiom the "penphery." After decades of neglect, important research has appeared in recent years, in an effort by scholars to reestablish the image of Zemlinsky's compositionai output and career. The study of Zernlinslq's music presents many problems. The published works represent only a fiaction (less than fifty percent) of the total survivlng manuscripts. His compositionai style, exhibithg a constant sense of exploration, places him right in the middle of one of the greatest artistic upheavals in the modem era, as one of many creative musicians searching for an individuality of expression. According to E. Scott Harris:
Lier -4 u/tukt, bfusikbidtrerjùrdie Tschechoslowakische Repdlik, 1. Jahrgang, Hefl 14- 15 (1921). Zemlinsky was, metaphorically, at the birth of the moa influentid atonal style. Although he chose not to abandon tonality completely, his constant flirtation with and occasionai embrace of non-tonal writing illuminates the hesitations, retrenchments, philosophical posturings, and personal conflicts he and other progressive composers in central Europe experienced in the first part of the twentieth century.2
The string quartet in the early twentieth century placed unprecedented demands on the expressive capabilities of the performers. In the years afler Arnold Schonberg's Verkïürte Nach?, the genre became a medium of proto-experimentalism, thfou& whkh composers could explore some of the most progressive compositionai techniques. The intimacy of the quartet enabled the use of the performers as independent soloists, while the power of the ensemble encouraged the interminghg of orchestral effects. Of Zemhsky's
four published quartets, opus 15 (No. 2, 1915), opus 19 (No. 3, 1924) and opus 25 (No.
4, 1936) display an intnguing blend of unorthodox structure and experimental string- writing techniques in a musical language which straddles tonality and atonality, much lke their counterparis by other composers at this tirne. Historians who study Zernlinsky's development in the charnber genre face the problem of bridging the stylistic gaps between these three works, each written in a different decade. The tremendous volume of Zemlinsky's output that exists in a fiagmentary or unpublished state fiom each decade of
his career, especiaiiy from his years in Prague (19 11- 1927), augments this problem. Since this period also includes many other mature works of various genres, the importance of any unpublished material written at this time is obviously great. For this reason, it is absolutely necessary to examine the fiagmentary quartet fiom 1927, in order to gain a more complete understanding of the role of chamber music in Zemlinsky's career, as well as of the composer's contribution to the genre. Zemlinsky planned the f'iagment fiom 1927 in six movements (Idce its successor, Op. 25), but completed only the first two. Of the four incomplete movements, substantial
2~.Scott Hams, "Forrnai Archetypes, Phrase Rhythm, and Motivic Design in the String Quarte& of Ale.uander Zemlinsky" (Ph.D. diss., Indiana University, 1993), 385. opening segments remain, some more than 100 masures in length; al1 rnovements are written in a highly dense and complex style, similar to his other mature works. The formidable size of the manuscript, totaliing over fifty pages includuig sketches, is one of many factors which demand attention for the document: the work it contains is aiso Zemlinsky's only unpublished string quartet dating from his mature career.
This study will seek to ascertain the quartet's relative position in the body of string quartets from early twentieth-century Central Europe, explorhg Zemlinsky's concepts of form and motivic design, and attempting to determine the role of expressive devices at different levels. The fiagmentary nature of such a large manuscript fiom one of the pivotai yean in Zemiinsky's career raises many questions regarding his aesthetic decisions about the work, its genre and his stance on some of the most chaiienging issues for composers of the day-tonality, progressiveness and critical reception.
UverviaY of the Thesis The remainder of the present chapter is largely introductory, concentrating on historical details of Zemlinsky's career and the physical state of the 1927 manuscript. Issues to be raised include biographical rasons as to why the composer left the quartet unfinished. 1 also address problems regarding the transcription of the manuscript.
The second chapter will concentrate on large-scale fom.' The two complete movements will be the focus here, although the analysis wili also include a delineation of possible structures of the fragmentary movements as weli as that of the overall design of the work. 1 compare the fiagrnent to the other quartets by Zemlinsky and note its deviations fiom structural norms.
3The second and third chapters are modele-in part on the dissertation "Formai Archefypes, Phrase Rhythm ar,d Motivic Design in the String Quartets of Alexander Zexnhdq" by E. Scott Harris (Ph. D. diss., indiana University, 1993). While his work does not study any of the hgments or unpubtished works at dl, Harris provides the most comprehensive analysis of Zemlinsky's chamber music to date; his dissertation is aiso one of the most informative resowces regarding the composer's stylistic development. The third chapter is the most detailed in terms of analysis. The examination of motivic connections in Zemlinskfs music is of the utmost importance, given the trend toward motivic complegty in the music of this period. To emphasize this, the analysis presents selected "motivic webs" nom the larger movements in the quartet, using pitch- class set theory and GnrndgestaIt concepts. 1 examine the manifestation of these concepts at the phrase level using Schonberg's developing variation theory. Elements of pitch centricity and referential sonorities receive particular attention, and a cornparison between the different facets of motivic design, represented in the individual movements, extends throughout the chapter. To round out the analysis of the 1927 fiagment, chapter four includes a study of
techniques which expand the traditional scope of expression in idiomatic string music as found in the work. The analysis will show that not only did Zemlinsky make innovations to the expressive vocabulary of string writing (during a period of steady expansion in this area arnong his colleagues), but that he did so in such a way that they function as punctuation marks in the musical fonn at the large-scale and motivic levels. This chapter thus demonstrates further connections between the analyses presented in earlier chapten. In comparing Zernlinslq's quartet to contemporary quartets by Bartok, JanaCek and Szymanowski, the analysis enters a region as yet unexplored, since previous scholars have compared Zemlinsky's charnber music only to Brahms, Mahler, Wolf and Schonberg. As mentioned earlier, a significant portion of the study will concentrate on the aesthetic perception of Zemlinsky's music by scholars of his era and since his death. The harmonic content of the 1927 quartet, often resulting fiom the coincidence of motivicaily- generated "contrapuntal" voices, does not display an adherence to traditional tonality: while several tonal references exist, mostly in the first movement, relatively few traditional sonotities appear throughout the six movements of the quartet. The fXh chapter probes contrasting opinions regarding the composer's quest for and achievement of individuality, through the composer's perceived stance regarding tonality ador progressiveness, and offers a tentative delineation of characteristics particular to Zemlinslq's compositional crafl weiI represented in the 1927 fragment. The fifth chapter also offers summary and conclusions, and an attempt to un.@ the various aspects of the study, including an evaluation of the "retrospecfive impact" of the quartet fiagrnent on ZemhsS.'s ca-eer. A &il transcription of the manuscript is included in an appendix.
Biographical background Alexander Zemlinsky was bom in Viema on October 14, 1871. Little is known of his musical education before his registration at the Gesellschafi der M&weunde Ni Wien at the age of 13.4 After graduating with a special citation in 1890, Zemlinsky retained strong ties with the TonkrimtIerverein, a conservative charnber music society headed by his former teachers (Anton Door, Robert and Johann Nepomuk Fuchs), for which he would eventually serve as a member of the board of directors? It is through this comection that the ailing Johannes Brahms, who remained the society's nominal head, was to facilitate the first publications of the young composer. Zernlinsky's discovery of the music of Richard Wagner coincided with the beginnuig of his fiiendship with Arnold Schonberg, who felt himself in need of some basic theoretical and cornpositional in~tniction.~The two young men proceeded to create charnber music folIowing a new set of models, foremost among which was the music of Gustav Mahler. The growing difEerences between Zernlinsky and the conservative clique (led by Eduard Hansiick) necessitated a cornplete break with the group in 1903, and a year later the newly independent composer helped to create a new concert society, the Vereinigung schqffender Tonkünstler, with Schonberg @y now his brother-in-law) as director7
4H~mWeber, "Zemlinsky in Wien 187 1-191 1 ,"Archivflr Muslnvixsenschajt 2812 (197 1 ), 79. 5~awrenceOncley, "The Published Works of Alexander Zemiinskyn (Ph-D. diss., Indiana University, 1975), 5-7. Much of the following biographical material has its source in the first two chapters of OncIey's dissertation, unless ohenvise cited. %nold Schdnberg, "My Evolution," The Musical @orfer& 3814 (1952). 5 18. HO^ Weber,Alexander Zemlinskyi Eine Studie (Wien: Verlag ELisabeth Lafite, 1977), 17; 2 1. Also at this the, Zernlinsky began his employment as conductor of the Wiener Volksoper, where he was responsible for introducing some of the most avant-garde contemporary operas to the Viennese public, includuig Strauss' Solone, Puccini's Tm and Dukas' Ariane et Barbe-Bleue. During these years, the so-called Jung-Wien artistic group, involving the newest talents in literature, theatre, art and architecture, aiso enjoyed the Company of Zernlinsky, Schonberg and Mahler:8 the latter's iduence gained Zemlinsky a temporary post at the Hofoper, and the two were close friends until Mahler's death in 19 1 1. That year aiso marks Zemlinsky's departure firom Viema. On September 9, 191 1, Zemlinsky took up the post of fïrst conductor of the Deutsches Landestheater in Prague, whose orchestra he also led in Philharmonie concerts. He would serve in this capacity for the next sixteen yean; within a decade, he was considered the most signifcant member of the German musical scene in Prague, directing the conservatory, teaching conducting, coaching opera, and introducing contemporary works, German, Czech and even French, to the opera-going public. His final years in Prague saw the creation of the Vereirz firr rnusikaZische PrNatauJÙhrungetn (1922), the première of Schonberg's E~ung(1 924), and the first two meetings of the International Society for Contemporary Music (1924-25), at which Zemlinslq made several prominent appearances. Having little time for composition during the school and opera seasons, Zemlinsky traveied to Upper Austria in the summers to undertake large creative projects. Up until 1925, Schonberg and Zernlinslq enjoyed a fiequent correspondence, but the death of Mathilde Zemlinslq-Schonberg and the cooling of the two composes' fnendship ended this comection abruptly; the existence of many letters to and fiom Alban Berg, however, are testimony to the valuable fnendship and munial influence they shared at this tirne?
%id., 15fl g~orstWeber, ed., Alexander Zemlinsky: Brlefiechsel mit Arnold Schdnberg, Anton Webern, Alban Berg und Fram Schreker, Band 1 in Briefiechsel der Wiener Schule, ed. Thomas Ertelt (Darmstadt: WissenscMfüiche Buchgeseilschaft, t 993,305-323. Desire for a change of atmosphere prompted Zemlinsky's move to Berh in 1927, to take up a position as assistant conductor to Otto Klemperer at the Kroll Oper. Five years Iater, the advent of the National Socialist goverment forced his resignation and evacuation to Viema, which in tum he vacated as a resuit of the 1938 Amchlu$?. He died in New York after an unfortunate shaving accident on March 16, 1942.1° Zemlinsky's compo sitionai out put is generally constant in terms of genre throughout the many stages of his career, with the exception of music for piano solo, which he discontinued shortly der his conservatory graduation.I1 Vocal and string music seem to have held prirnary importance in the composer's compositional career, since major completed works from these genres, as weli as several sizeable fiagments, continue to appear up to his death. The Lieder repertoire is represented by many outstanding pubiished collections, specificaiiy Opp. 2, 5, 6, 7, 8, 10, 13, 22 and 27 (some of them orchestrated), as well as many more unpublished songs. Zernlinsky started serious operatic composition with Sarema in 1895, completing seven operas in total and leavhg unhished almost as many others, some fiom his final years in New York. Orchestral music, on the other hand, is quite sporadic, and Wcually non-existent during the years in Prague, save for the
Lyrische Symphotzze Op. 18. The published chamber music cornes at regular intervals in Zemlinsky's career, augmented by several fiagments in the period 1899- 1908, the string quartet fragment fiom
1927 and a quartet for clarinet and strings from 1938. The quartets Opp. 4, 15 and 19 and the Trio for piano, clarinet and ceiio Op. 3 each received successful performances in his lifetirne, by accompiished groups such as the Rosé and Feist quartets.12 The string
10~ccordingto Feliv Galimir, "he [2edin&y] lost his sense of smeli-he had noue whatsoever. And he stüi used a sbaight razor to shave. One morning, instead of shaving cream, he used shoe cream. He cut hixnself, and it was fatal-blood poisoning." Cited in "A Weird but PowerfuI Hybrid," http://www.austnaculture.net, vol. 6/3, 1996. l 'Compare any of the many worklists available, such as in Weber, Zernlinsky Siudie. 12~milaRauchhaupî, ed., Sch~nberk/Webern/Berg:nie String puortersi o dmrnentary snrdy: letters, essays, iectures, pictures. sketches. (Hamburg: Deutsche Grammophon Geseflschaft, 197 1), 14; 81. quartets show the progression of his compositionai style fiom that of a foilower of Brahms and his circle, through the intense part-writing idiom reminiscent of Schonberg's Verkliire Nacht, to a slightly more reserved style for the quartet Op. 25, which E. Scott Harris describes as an homage to Alban Berg.13 The performance of these works dongside those of Schonberg, Komgold, Berg, Szymanowski, Hindemith and Stravinslq shows the high esteem in which Zemlinsky's contemporaries held his contribution to the genre.14 This is not surprising, since his experirnentation with fom, motivic construction and expressive devices paralIels many of the same phenornena in contemporary chamber works; they were held to be worthy components of the new music concerts of the day. While his acceptance of atonality does not achieve the level of the most fervent foilowers of the movement, Zemlinsky does not completely ignore the tendencies of the period; indeed, some moments of his mature string quartet œuvre display a readiness to abandon aii traditional verticalities. Nevertheless, Zemlinsky's partiai adherence to traditional sonorities at various points in his quartets give them a more accessible mien: various concert performances, the most extreme of which is certainly the famous disaster of 1913, show that the public tolerated his music in general to a substantidy greater degree than the music of Berg and Schonberg, for exarnple.15 The 1927 quartet fiagrnent hoids a peculiar place in Zemlinsky's quartet output. The only unfinished string quartet from the mature period, it falls between the third quartet Op. 19 (1924) and the fourth quartet Op. 25 (1936). The thematic material of the 1927 quartet does not reappear in the surviving sketches for either adjacent quartet, nor do any of the six movernents reflect the large-scale forms or overd texture found throughout
13~arris,"Quartets of Zemiinsky," 10-1 1; 27. "%ken from concert listings for the Salzburger Kammennusi@ktspieleat the 1923 ISCM, ilIusikbldtter des Anbruch 5 (1923), 2 12. "~arch3 1, 19 13 is the date of the infamous concert wherein a riot occurred throughout the Kammersymphonie Op. 9 by Schonberg and the Altenberg Lieder Op. 4 by Berg: Zemlinsky's Maeterlinck Lieder Op. 13, having ken performed at the start of the programme, were well received. Cf. Onclcy, "PubLished works," 34. Opp. 19 or 25. The opening movement of the 1927 quartet reveals tonal references with a far greater prevalence thm in any of the other chamber music written der Zemluisky's move to Prague: in the second movement, on the other hand, the analyst is hard pressed to demonstrate more than a handfiil of traditional sonorities-certainly a more extreme situation than one finds in his most "progressive" published works. The inner movements of the 1927 quartet display an unprecedented reinterpretation of form, particularly regarding nested subsections (discussed in chapter two). The incredible density of expressive features, sirnilar to the other Prague quartets, gives an opportunity to view these devices in many stages of composition (discussed in chapter four). It is virtuaüy impossible to determine why Zemhsky stopped writing this work. Biographicai data points solely to the move from Prague to Berh as the source of disruption for the work on this substantial manuscript.16 The total length of the between his duties in the two cities does not suggest a humed schedule. Zemlinslq's last concert in Prague was on June 24, 1927, more than two months before the date given at the beginning of the manuscript, and his first project at the KroIl Oper was the production of Bednch Smetana's Hubih in Febmary, 1928, which he had conducted many times in Prague and for which he would have needed little preparation. Unless his relocation and the circumstance of beginning new employrnent were extraordinarily disruptive, it is difficult to believe that the quartet was abandoned in response to pressing duties in Berlin. Chapter five will examine aesthetic questions regarding the 1927 quartet's incomplete state.
161t should be noted chat the placename apparing on the 1927 manuscript is neither Prague nor Berlin, but that of an indecipherable tom or villa. The Mmscript: Physzcai stare The Alexander von Zemlinsky Collection resides in the Library of Congress, Washington, D.C., to which it was donated by Robert O. Lehman in the period 1966-67." Much of the collection has been catalogued, owhg mainly to the work of Lawrence
Oncley in his 1975 dissertation, "The Published Works of Alexander Zemlinsky. "I8 Oncley is also responsible for the chronologicd "O" numbers attached to many of the items. Since Oncley completed his dissertation, however, many Meritems have been identiiied, and other discovenes await the researcher. The index, available upon request f?om the library, lists the foilowing contents of box 20, folder 4:
[String quartet (no key signature), O 94 Holograph incomplete score and sketches in Uik "begonnen 22. Juli 27" at top of music19 The manuscript in this folder is generaily in good physical condition: of the fifteen unbound single folios and bifolios, ail pages are physically complete, with the exception of pages 44/45, whose final four staves have been cut off. The music written on this page fragment, contained separately in the folder, was apparently intended to cover a deletion on page 7, over which it is placed in the Library of Congress microform version (reel 10, item 4).20 Ail but three of the leaves in the folder are bifolios: the single folios 19/20, 2 1/22 and 39/40 were tom fkom other halves of unknown provenance. More uiformation regarding the layout of the fascicles and paper-types foilows in chapter two, accompanying a discussion of the quartet's superstructure. The string quartet has no separate title page, nor is a title provided on the first page of score. There are three non-musical verbal indications appearing in the score: on
17~irtdaB. Fairtile and Robert Saladini, eds., Alexander von Zemlinsky Collection (Washington, D.C.: Library of Congress, 1992), i. 180ncley'scatalogue was published separately in "The Works of Alexander Ze-: A Chronological List," Notes 3412 (December 1977): 29 1-302. lg~a~leand Saladini, Zemlinsky Collection, 23. 2oThkcut-and-paste procedure is not unmmmon in Zemiinsky's manuscripts the string quartets Opp. 19 and 25 (box 20, folder 3, and box 23, folder 12, respectively) and the clarinet quartet O. 108 (box 25, folder 4) each demonstrate this phenornenon. the first page, the indication "begonnen 22. Juli 2 7," foliowed by an indecipherable word (possibly "lnlasch" or "Irtmch," most likely an unidentified cornmunity or villa); on the tenth page, in the margin foIlowing the bal measure of movement one, the indication "31. Juli 2 7," preceded by the same place-name; and on page eleven, "1. August. " There are six independent movements included in the quartet, the first two of which are cornpiete at 280 and 153 measures, respectively. The four succeeding movements are fragrnentary, and of radically differing durations: 178, 28, 76 and 116 measures, respectively. In addition, a two-page sketch for the second movement exists on pages 46/47, an indecipherable title appears on page 48, and eleven measures of short score are written on page 50. The first of these will be described below. The many deletions in the manuscript deserve some mention. While the first two movements are likely fair-copies of non-extant sketch material,21 they do record some changes. In generd, the deletions in Zemlinsky's manuscript are of two types, designated en route and pst factum: in the former, incomplete parts or rhythmic values disallow the possibility of through-composition to the succeeding material, implying that Zemlinsky cancelled the rneasures during the copying or composing process; post factum deletions usually show an elision to adjacent music in both directions, showing that their removal came at some stage after the succeeding measures had been written. In the first movement, two deletions (1-nm.78A-79q~~p.3; mm.189A-l95A, p.7) both demonstrate their occurrence en route through the lack of complete part representation, while two other deletions (mm.20 1A-2064 p.7, covered by the scissored staves; m.2534 p.9) were likely aflerthoughts. Likewise, the second movernent's deletions reveal Zemiinsky's
21AithOUgh the two pages of music contained at the end of this document @p. 46-47) represent an earlier version of the second movement, the ciifferences are striking, introducing the possibility of other, non-e.vtant sketches. 2ZThcsystem used in the ediiing pracess of this manuscript has ben to designate ali deletions accordhg to the masures they wouid have representsd if =tain&. Measures 78A-79A foilow m.77 and precede mm.78-79 proper, hypoîheticdiy, ifanother 2-mm.version were also dekted, foiiowing m.79q they wouid be designated rnm.78B-79B. creative decisions made as he copied: measures 25A-27A @. 11), 69A-75 A (including m.71B, p. 13) and 90A-98A @p. 14-15) each contain missing parts ador bats in ail measures. This practice continues through the third movement, where the composer deleted mm.32A-38A (p.20) en route, while mm. l32A-WA (p.24) were removed latterly; interestingly enough, two additional staves were hand-drawn on page 25, representing mm.138-39 (viola and ceIo parts), also later in the compositional process. The last complete measure of the third movement is m. 172: der m. 176 the first violin carries four measures of unaccornpanied matenai, initiating a recapitulation of the movement's opening. The minuscule fourth movement contains only one deletion (mm.26A-284 p.28), although much of the remahhg music is abandoned: Zernlinsky
slared mm.9-15 (termed variation "x") for removai, eliding mm8 and 16; m.26 is the final complete rneasure, with a single measure of first violin music canyùig over to page 29. The fifth movement, after a promishg start with oniy one measure deleted at m.38A (p.32), falls apart at rn.43: two successive attempts at a continuation (rnm.44A-47A, 44B- 54B, p.3 3) result in a finai, nine-measure product containing rnany intemal changes. Afker a series of quotations (mm.53-64), the matenai cornes to an abrupt end; twelve more rneasures of quartet music appear, however, at the top of page 35 (hereafler termed the
"Andante in E b "), which may or may not relate to the fifth movernent or to the quartet at dl. One measure, m.764 is crossed out. nie sixth movement also reveals large segments of discarded material, notably mm.33A-504 encompassing alrnost the entire page 38; the remainder of this page contains two systems of short score, being a sketch for the music at m.65. A similar sketch appears on page 39, between systems of niii score, for the music beginning at m.79. There are no other deletions or interruptions until the movement's abrupt conclusion at m. 116 (the last cornplete measure is m. 1 14). The various contractions of the musical material throughout the manuscript provide details as to what stage or stages of composition this document represents. The inclusion of short score in the sixth movement suggests an early, preliminary draft of the movement, as does the highly fiagrnentary nature of the fourth and £ifth movements. The third movement, on the other hand, shows large segments of unaltered score, with relatively few del et ion^.^^ For the second movement alone, there exist two stages of fuil-
score drafting, including the sketch pp.46-47; Mer alterations, however, occur in the
complete copy, aii of which Zemlinslq apparently created during the composing or copying process. The f%st movement demonstrates the two stages of deletion in a complete movement, being those made en route and those occurring after copying was finished. The foilowing chart shows the kely stages of composition as they are represented in the manuscnpt.
Figure 1.1: Stages of compositional process in the 1927 manuscript
Stage of compositionai process Movement Pages short score 6 38,39 medium-length Ml-score sketch 4; Andante in E b ; sketch for 2 27-29; 35; 46-47 incomplete composeci-out ciraft 3; 5; 6 19-26; 3 1-34; 3743 cornpiete composed-out draft 1; 2 1-10; 11-18 deletions en route 1; 2; 3; 5; 6 3, 7; 11, 13, 14-15; 20; 33; 38 deletions post factum 1; 3; 5 7, 9; 24; 32
The music contained on pages 46/47 of the manuscript reveals a prelirninary sketch for the second movement. It is important to reaiize how early a stage of composition these 35 rneasures represent: while the fkst 16 measures approlamate the final version to varying degrees, the music after m.17 exhibits thematic material which Zernlinsky evidently rejected in later drafls. Indeed, the diierences between the passage (mm. 17-35) and the resulting continuation of the complete movernent are so great (not to mention the protracted length of the ha1 version) that the existence of other, intermediate cirafts is highly probable. It is interesthg that Zemiinslq changed very little in the opening five
23~hebreakdff point of movement three, right at the beginning of a large-sale recapitulation, possibly suggests that the composer copied this movement from a preexistent sketch (formai divisions are disdin detail in chapter 2). Ex 1.1s sketch p.46. mm6A-9A (wola)
Ex 1.1~:mavt 2 mrn.64 (vida; wsmused in Appendixone)
measures of the score: only the opening note and final gesture of the kst violin are different. The following episode (mm.6-8, £inal version), played by the viola alone, evolved through four different versions, ali but the last one receiving an extra measure;
Zemlisky created altemate passages on adjacent staves in both the sketch (p.46) and the complete movement (Library of Congress p. 11; see ex. 1.1). The music in ail parts of the passage in mm. 10-12 corresponds exactly to mm.9-1 l of the hal version, but the succeeding material (mm. 13- 16) only roughly resembles the music fiom mm.25-27 of movement two, and oniy then in terms of tessitura and the beiated ceHo entry. As mentioned earlier, the new thematic material after m. 17, which possibly corresponds formally to the transition at rn.28 in movernent two, shows a marked dissimilarity to anything else in the manuscript: its metrical corrections, as weii as the missing viola and cello parts (mm. 19-20), reveal the composer's dficulty in creating this passage. Before its abrupt conclusion at m.3 5, various thematic elements fiom the opening of the sketch return, especidy in the final measures. There are five su~vingdocuments of chamber music for strings, written by Zemlinsky after the first world war: these are the complete score for the string quartet Op. 19 (1924), the present manuscript (1927), the string quartet Op. 25 in fair-copy and sketch versions (1936), and a quartet for clarinet, vioiin, viola and celio (left incomplete in 193 8). Of these, the sketch documents fkom 1924, 1935 and 1938 demonstrate the extent to which the present manuscript reflects Zemlinsky's compositional tendencies. The complete score of Op. 19 provides the cleanest copy of the three, assuming the role of a corrected fair copy; nevertheles, certain elements show a commonality to the 1927 quartet, such as scissored portions of score, deletions made en route and post factum, hand-drawn score fragments in the page rnargins, and varying paper-types (including a dark 14-staff paper which also appears in the 1927 quartet). The sketches of the quartet Op. 25 are much Iike the 1927 manuscript: long composed-out drafts with deletions and changes. While the deletions are mostly of smaller dimensions than those of the 1927 quartet, the scissored segments are more fiequent. Within the unbound pages of the final rnovement, the Library of Congress has placed a number of suMving short-score sketches for the inner movements of the quartet, an "ordering" which is also reflected in the microform: these sketches display other, earlier stages of Zernhky's compositional process, as identined above. Finally, the 1938 clarinet quartet fiagrnent consists almost entirely of medium-length through-composed drafts, none of which is a complete movement. Ln dl, four drafts of the same opening movement appear, between 70 and 140 measures in length; four pages of short-score sketches are also hcluded. From this vantage point, it is fascinating to watch the alterations become progressively shorter, while various ideas are chosen for developrnent instead of others. Like the draft for the second movement from the 1927 manuscript, the first through-composed draft of the clarinet quartet results in large changes in material for the major part of the document. The discussion of the physicd state of the manuscript is a necessas, prelude to detailed descriptions of the formal, motivic and expressive phenornena in the score. In the case of the discussion of superstructure, the specinc information regarding the layout of the rnovements helps determine Zemlinsky's intended ordering of movements, to be discussed in chapter two. me Mmscripr t: Transcription
This manuscript, as yet unpublished, has been transcribed on Encore software. 1 initiateci the transcription using a facsirnile reproduction of the manuscript, prepared by the Library of Congress, and later compared it with the original. After transcribing the notes, rests and time signatures, 1 added the articulations, slurs, bowings, dynamics and verbal
indications. 1 chose to exclude the orduiary deletions in the manuscript, for the most part: for obvious reasons, the third, fourth, fifh and sixth movements, although lefl incomplete, were included in fbU, as Zemlinsky did not cross out entire movements in his untùiished manuscript. Because of its brevity, I transcribed ail available material of the fourth
movement, including the est attempted variation (mm.g-I5), despite the incomplete
meastues in the middle of the score. 1 retained another deletion, mrn.78-80 fiom the second movement, as a result of the mevical inconsistency it produces with the remaining music; the cross-markings are very light in this instance, and it is likely that this deletion was tentative at best. Another inclusion of note is the material on page 35 of the manuscript, the final page before the sixth movement: as will be described in chapter 2, its relation to movement five is somewhat tenuous, but its transcription does not impede the flow of the quartet. Indeed, both variation "x" (iv, mm.9-15) and the Andante in E b (v, mm.65-77) represent independent fomal segments, whose inclusion in the complete transcription is imperative. The sketch for movement two, however, represents an intermediate stage of the completed version, and has been relegated to a second appendk. Zernlinslq's handwriting is comparatively dificuit to read, but consistent throughout the document. Noteheads, when crossed out or in tight groupings, are sometimes accompanied by nearby letter narnes. In one confûsing instance, in the second movement (m. 19), two sets of notes occupy the her parts; one, being smailer, was clearly an alternative, subsidiary version. 1 solved other ambiguities of pitch accuracy through consideration of context, cornparison with similar passages, aided irnmeasurably by my familiarity with the idiosyncrasies of the composer's handwriting. Metrical indications are exact and consistent, with the exception of those in the Andante in E b. The consumate challenge in Zemlinsky's handwriting is in deciphering the accidentals: although 1 worked primarily from the facsimile, careful consultation with the original in the Library of Congress was necessary in this respect. One of Zernlinslq's idiosyncratic traits was the almost random placement of naturals before F, C, B, and E, as he canceiied non-existent sharps or flats: this produced many ambiguities resultuig in the search for "phantom" accidentals in earlier passages. In ternis of slun, Zemhsky tended to elide long passages of music, particularly in conjunction with tied notes or at the end of systems: these were assessed on an individual basis, and either retained or disjoined. In order to produce a reliable edition of Zemluisky's 1927 quartet, I needed to develop a basic set of assumptions regarding the composer's notational practices. The first involves empty measures: in the complete movements, separate from the context of the many deletions, any blank measures were assumed to sig* whole rests, as opposed to missing material. The same appoach applies to movements three, five and six, within (approximately) the first nine-tenths of their durations: any empty measures in the remaining music, as well as those in the fourth movement, are designated incomplete, and therefore not "corrected" in the edition. A more pervasive assumption regards the articulation markings throughout the quartet. Zernlinsky, like many composers, resists the clutter and time-wasting nature of writing a repeated articulatory indication in a uniform passage. Again, each instance has to be weighted separately: since Zemlinsky rarely produces a passage of absolute articulatory uniformity (the staccato theme from movement 1 (mm.23ff) is an example), this is a relatively small problem. In this regard, this edition largely reflects the editorial p~cipleof reproducing the exact indications from the score. Finaily, I also assume that Zemiinsky intended any rnaterial on either side of a deletion to be subsequently joined: this is often made obvious by ties, slurs, tessitura, internal repetition, or through elaborate graphic notation, as is the case on page 39. A final word rnust be said regarding the weaknesses of the software. While Encore has many strengths, its inability to reproduce certain notational phenomena has created some basic problems. Aside from a few notational intricacies which had to be reproduced by hand, the main issue was that al1 original crescendo markings appear with dotted lines, as a result of the score's reduction to 45%: these are not editorial additions. CHAPTER TWO LARGE-SCALE FORMAL ANALYSIS
This chapter serves to analyse systematically the possible formal designs within the 1927 fiagmentary quartet at the levels of individual movement as well as of superstructure. The study includes the comparison of many CO-existentformal possibilities within the work; the comparison also bears reference to the formal archetypes found in Zemlinsky's published string quartet repertoire.
Superstructure: Movement Order To reconstruct the intended order of the movements within the quartet is a rather complicated process, which one cannot accomplish with complete satisfaction. Of the six rnovements, only two have labels bearing numeric indications: "II." is found at the top of the Adagio und serioso movement begùullng on page 11; and "III. Intermezzo" is inscribed at the top of the incomplete AUegro molto movement on page 19. The movement labeiied Andante con moto-Vivace starting on page 1 has text resembling the Enghsh word "Introduction," and Zemlinsky's own pagination starts on the third page with the number "3": it is therefore a likely opening movement. It is important to note that this pagination continues to the number "25" in the composer's hanci, that page being the penultimate page of the movement labelled "III. Intermezzo." The remaining pages bear only the numbers in square brackets assigned by the Library of Congress, which run fiom the opening of the manuscript, through Zemlinsky's "25," continuing to "50": this study dluse the pagination given by the Library of Congress with few aiterati0ns.l To the other movements, labeiled Sehr IangsadAdagio (headed "Thema mit Variationen") starting on page 27, Ailegro moderato appassionato starting on page 3 1 and AUegro con fuoco starting on page 37, Zemhslq did not apply a Roman numeral. AU three of these, dong with the Allegro molt ohtermezzo movement, are incomplete. To facilitate references, regardless of orderings intended by the composer or devised in the following discussion, this study will narne the movements according to their relative position in the manuscript as it is found at present. Thus, 1 will refer to the movements labelled Andante con moto-Vivace (pp. 1- 1O), Adagio und serioso @p.1 1 - 18), Ailegro moltolIntermezzo @p.19-26}, Sehr langsadAdagio/Thema mit Variationen (pp.27-3 O), Negro moderato appassionato (pp.3 1-36) and AUegro con fùoco (pp.37-43) sirnply as movements one through six, respectively. Although the pagination of the first twenty-five pages and the Roman-numeral indications by the composer a£ford some assurance in the straightfonvard ordering of movements as they are found at present, the state of the unbound manuscript suggests alternate readings, some of which may contribute radicaiiy to our reconstruction of the composer's overall concept of the quartet. The manuscript survives in three gatherings: the first contains three bifoiios; the second contains three bifoiios, with two single folios and two bifolios inserted separately; the third gathering contains a single bifolio, into which a single folio, a single bifolio, and a gathering of two bifolios are inserted. The gathe~gstructure is show in figure 2.1. Zernhky's pagination up to page 25 seems to secure the order of the entire first gathering and the second gathering up to the recto of the first of the consecutive bifolios, or the second last page of the third movement. It is
l~hepagination given by the Library of Congres reaches "41" and ornits "42,"continuhg from "43"to "50": page 43 is therefore the verso to page 41. The single folio on which pages 39 and 40 are found was originaliy reversed, and paginated incorrectly. The rnicroform of the manuscript stops at page 50, aithough five more blank sides belong to the finai gathering. not surprising that page 26, as the first incomplete page in the manuscript, exists as the first unnumbered page.
Figure 2.1. Gathering Structure of Box 20, Folder 4, Zemlinsky Collection
] Sehr langsam / Adagio, "Ibmn mit Variationen' [ N ]
1Allegro con fiioco [ VI ]
t Sketches fm Miagio - p. 48 blank with "W."aî top - Unidraed skctdi
The paper that Zemlinsky used does not show a great degree of variation. In dl, the manuscnpt comprises three different types of paper. The first type is a 16-stafFbifolio (with the marking "Protokoil Schutzmarke No 4 16 iinig"), used for the entire first gathe~g,the coverhg bifolio of the third gathering and the single bifoiio contained within it (pp.41-45). The second type is a 12-staff bifolio (marked with a smaii crest and " 112.9, used for the entire second gathering, including its two single folios and the two consecutive bifolios. The remaining pages of the third gathering are of an unmarked 14- staff bifolio type (on darker paper), including the single folio pp.39-40. It is interesthg to note that each of the three single folios in the manuscript was tom fiom bifolios of an unknown source; it is uncertain whether pp. 19-20 and 20-21 were onginaily attached to each other or to two separate haives. Nevertheless, it becomes apparent that paper type does not affect the ordering of most of the movements: the first two movements run consecutively in the straightfonvard fit gathering, and rnovements two through five appear consecutively on the uniform paper of the second gathering. The most striking phenornenon about the physical state of the pages is the placement of the third movement within the second gathering. The tom folios and the first of the consecutive bifolios produce a "self-contained" unit, which at first glance could easily have been inserted any stage of composition. The same is true of the fourth movement, contained in a single bifolio within this gathering. Indeed, the physical comection of the second movement to the fifth suggests the possibility of a musical comection as well: that der Zernlinsky completed the "Adagio und serioso" movement on page 18, he started the Allegro moderato appassionato as his "third" movement. This implies that he added both the roman-numeral "III." indication and the pagination up to page 25 later in the compositional process. In short, one need not assume that Zemlinsky intended to include ail of the six surviving movements in his final version of the quartet: a three, four or even five movernent organization could just as easily have been the composer's plan. It is necessary to examine other factors before giving weight to one scenario over another. Of Zemiinslq's published charnber music before 1927, only one work, the trio for clarinet, ce110 and piano in D minor Op. 3 (1896) does not adhere in some form to a four- movernent layout. It stands apart fiom the other charnber works, however, by reason of its mixture of instrument families, thus partaking more of the three-movement "Concerto" tradition than of the four-movement "SymphonyIQuartet" tradition. The first and third string quartets (Op. 4, 1896, and Op. 19, 1924) are both in four movements, while the second quartet (Op. 15, 19 16) subsumes the traditional four movements into one, Linked by interna1 recapitulations. In this respect, Zemiinsky's chamber-music career resembles Schonberg's whose second and third string quartets (1908 and early 1927) are both in four-movement structures while the first string quartet (1905) subsumes four movements into one by processes sirnilar to those Zernlinsky's Op. 15. One reason Zernlinsky might choose to create something other than a four movement string quartet might be the infiuence of Alban Berg, whose six-movement Lyrische Suile (1925-6) prerniered shortly before the creation of Zemlinsky's 1927 fragment, in January of the same year. The comection is made stronger by the fact that the two composers had been in regular contact since January, 1923: their numerous surviving letters are Bled with discussions of, among other things, Zemlinsky's Lyrische S'honze Op. 18 and the third string quartet, and in 1927, Berg's Lyrische Sui~e.~These discussions contribute to an understanding of Zemlinsky's compositional decisions by their successive outcomes: Berg's infatuation with the Lyrische S'phonie led to the farnous quotation of Du bist mein eigen in the Lyrische Suite, as well as to his dedication of that work to Zemlinsky. According to Horst Weber, Zemlinsky wrote his six-movement fourth string quartet 0p.25 in Berg's memory, just afier Berg's death in 193SS3The assumption that the 1927 fragment was intended as a six-rnovernent work places a great deal of significance in Zemlinsky's reaction towards the Lyrische Suite, forming as it does a point of division between the quartets in four versus six movements. A six-movement layout, therefore, may have been the initial concept for the quartet, or it may represent the product of any number of scenarios, including various rearrangernents and insertions of movernents. When one views the manuscript as a whole,
weber, Zemlinsky Briefiechset, 305-323. %Iorn Weber, "The String Quartets of Zemlinsky," trans. Mary Whitiaii, liner notes to Deutsche Grammophon 2741 016 1982,IS. it is evident that no other six-rnovement final ordering codd Wtely have existed apart from the present one. This cornes as a result of the mutual exclusivity of the paper types in the first two gatherings, as well as the numbering of pages up to 25, the inscriptions "II." and ItIII.': and the fact that the second movement follows smoothiy fiom the end of the first gathering to the beginning of the second. One must assume with an intended six- movement superstructure, that when Zemlinsky hished his second movement, he simply began adding extra pages into his second gathe~gas he needed them. In this respect he would be providing space for the third rnovement until deciding to adjoum its composition in favour of the fourth movement, with similar results for the latter as well: if and when the composer might choose to retum to either movement, more pages would have to be inserted into the second gathering.4 When the fifth movement was adjoumed, its continuation would have had to extend ont0 a third gathering, which is precisely what the sixth movement does. While the sixth movement retums to the paper type of the fïrst movement, implying simultaneous composition, its inclusion of other paper types, as well as the consecutive nature of the first two gathe~gs,weighs judgrnent in favour of its creation solely for the purpose of being a finale for the quartet, regardless of when it was composed. The likelihood of a six-movement structure is strong, given contemporary evidence in the influentid relationship with Berg. It cannot be denied, however, that certain four- movement constructions are possible,5 especidy in light of the physical layout of the manuscnpt (see figure 2.2). As mentioned earlier, the fact that the pages of the second movement are physicaiiy joined to those of the fifth lends credence to the idea that the fïfth
4The inscription "W."(foiiowed by an indecipherable word, possiïly "Quartettu)on the othenvise blank page 48 corroborates this point. The bifolio (pp.48-5 1) rnight have orighdly existed somewhere after page 30; altemtively, the inscription codd refer to an entirely different document. S~hereare no precedents for five-movement structures in Zemhdy's oeuvre, empt the Balladen 0.19 for solo piano (1892), Innelin Rose und andere Gesdnge Op. 7 (1900), and the five Dehmel songs 0.77 (1907). Whiie these sets represent intentional groupings of fhe pieces by the composer, the movements are individuaily titled, and are perforrnable as independent entities. This factor and their relative distance fiom the genre at hand make them poor candidates as antecedents. rnovement was origindy cornposed in the third position, and only displaced by another movement (or movernents). The resulting replacement codd have been either the present fourth rnovement, in tum displaced in favour of the third movement, or the present third movement itself. In the former case, the skth movement would complete the structure as a finaie; in the latter case, the fourth movement codd have originally served as a finale, discarded in favour of the sixth. While both options are viable, the latîer is less so, having as it does the slow theme and variations initiaily to end the quartet, a feature which appears nowhere else in Zemiinsky's oewre. Both scenarios assume the insertion of replacement movements before their discarded counterparts within the second fascicle, and are show as the first two instances in figure 2.2.
Figure 2.2. Possible scenarios for a four-movement arrangement
II III IV 2 5+4+3 6 2 5+3 446 2 3+4+5 6 2 4+5+3 6 2 3 4+5+6 2 3+4 5+6 2 4-3 5+6
There are many other four-movement orderings to be had through almost any possible arrangement of the incomplete movements in the final two positions. To enurnerate al1 of these in prose would seem unnecessary. One final arrangement, however, deserves particular attention as it strongly reflects the state of the manuscript. It involves the idea that Zernlinsky created the second gathering originally as one of four bifolios, with the fourth movement following immediately behind the second movement. The work on the theme and variations being temporarily halted, the present fifth movement was begun as a finale. Eventually, Zemlinsky discarded both, replacing them with the present third movement, inserted in the rniddle of the gathering (and subsequently paginated), and the sixth movement as a hale, for which he needed to start a new gathering. This idea is favourably supported by the relative strength of the third and sixth movements, not only in their musical content but also their stage of forma1 completion (a factor which virtuaily elirninates any scenarios where ~cceedingmovements replace the present third movement). Given that one of the airns of this study is to analyse this quartet at the levels of large-scale fom and motivic design, it is necessary to examuie the effect of a six- movement versus a four-movement superstructure on the foUowing discussion. Fortunately, the only area of analysis to be affected is that of musical interrelationships between the movements, an issue which plays only a slight role in Zernlinsky's published quartets, as discussed by E. Scott Harris? Had the 1927 fiagrnent been a deliberately through-composed work, such as the second quartet Op. 15, the changes in the inclusion and ordering of movements would have had important implications in this regard. Being sectionafized in construction however, with very few instances of thematic interrelationships, almon any order will sufnce for a motivic analysis of each movement. Similarly, since six movements survive, this study will examine the formal outlay of each. Indeed, it is the relationship of each movement's form to the ordering of movements in the traditional string quartet genre which suggests a possible ordering of movernents here, an issue which will receive due attention at the end of the chapter.
Arlalysis of large-scale fonn Movemertt one The Andante con moto-Vivace movement is remarkably clear in its adherence to Sonata-Allegro stmcture. E. Scott Harris, when writing of the four published quartets in
-- %ee the section, "Inter4pus and intra-opus motivic comections," in Hams, "Quartets of Zemlinsky," 325-330. Although he compares some hteresting examples kmthe published quartets, Harris' penisal of this topic is relegated to the background of his study. Ex22 ml,m.13 (Va) lnntemrptian' figure
1993, was apparently unfamiliar with the 1927 fragment, as he erroneously suggests the opening movement of the string quartet Op. 19 as the very last Sonata-Allegro movement Zemlinslcy wrote.' Although one cm assert that the Andante con moto-Vivace movement is indeed later than Op. 19, it would be equally contestable to place it as Zemlinslq+s final Sonata-Ailegro structure, since the detailed examination of ail the unpublished fiagments has yet to be completed. The movement begins with a slow introduction of 22 measures. The thematic material consists largely of two rhythmcaily contrasting themes for three voices each, altemating for much of the segment (ex. 2.1). A fermata in aU voices separates the first two statements, replaced at m. 13 by an abrupt sixteenth-note figure labelled "(vivace)" in the viola atone (ex. 2.2). The interruption recurs in an exiended version at m. 15, and again after the final statement of the second introductory theme in mm.16-18. The passage mm. 19-22 serves as a transition to the opening of the sonata structure proper, and it becomes obvious that the recurring "(vivace)" mono is a prefiguration of the prirnary theme group starting in m.23, both in pitch content and tempo. Again, the transitionai passage employs only three voices, staggered in entries three beats apart.
Figure 2.3. Outline of large-scale form: Movement one.
Introduction mm. 1-22 Exposition mm. 23 -99 Development mm. 100-209 Recapitulation and Coda mm.2 10-280
7~anis,"Quartets of Zemlinsky,"96. Harris cites his information fiom Rudolf Stephan, Über Zemlinskys Streichquartette and Horst Weber, The String Quartets ofZemlinsky, and while he admits to not having e.Yamined the Sinfonietta Op.23, he clnims Op. 19 movement one is "the final quartet movement in sonata form." Figure 2.4. Fom of the exposition, Movement one
Prirnary theme group Theme one (P 1) (restatement) Transitional episode Theme two (PZ) (transposed restatement) Transition Secondary therne group Theme one (SI) Theme two (S2) Fortspinmng, theme two
The exposition includes four themes, two in each of the prirnary and secondary theme groups. Shce traditional harmonic goals are not a factor, Zemiinsky is able to spend more time in the immediate development of the two primary themes, giving them a greater thematic importance than the secondary themes. This can be seen as somewhat of a break with archetypa1 Sonata-Allegro forms, which place a greater importance on the arriva! of the secondary theme group, together with the key of the dominant. Theme Pl enters in the £kt violin, ahost completely unaccompanied Save for a few pizzicato notes in the cello (ex. 2.3); this statement occurs as an antithesis to the preceding transitional passage, where the hst violin was the only silent voice. The theme itself is four measures in 2/4 metre, with the point of amival in m.27 inaugurating a brief transitional episode in 3/4 metre. The four measures 23-26 subdivide into two groups of two measures, each pair employing a slightly altered "echo" of its opening, with the second pair based loosely on the £ïrst. Theme PI appears identicdy in the second violin (mm.28-32),including the transitional episode, with new accompanimental matenal in the £ïrst vioh much in the style of a countersubject. The episode beginning at m.32 extends in both violins into a proper transition, as an unaccompanied duet. This transition (mrn.32-36) exhibits the same tendencies of intemal repetition as did the preceding theme, with the emphasis shifted fiom strict regularity to an attempt at metric obscunty (ex. 2.4). Ex 2 5: mavt 1. mm. 37-43 (Vc) EqxCaon: PZ
--C /.- Pw'- ---moop PP Theme P2 enters in the ce110 in m.37, beneath a continuation of the viobs' duet.
The theme extends to the downbeat of m.43, and subdivides into two slightly asymmetncal subphrases at the third beat of m.40 (ex. 2.5). The sustained melodic notes are punctuated by pizzicati in the viola, which goes on to state the repetition of the therne in mm.43-48, transposed up a rninor siah. The melodic point of arrivd in m.49 coincides with the start of the transition proper, which reinstates the technique of metncal obfùscation previously found in the passage rnrn.33-36 (ex. 2.6). At m.52 the cello enters with a restatement of theme Pl in its entirety: it is the lkst passage in the quartet to involve al1 four instruments playing mco sirn~ltaneously.~The accompaniment fragments into a reminiscence of the introductory first theme in mm.55-57. Theme P2 enters in the first violin (mm.58-65),with the closing figure altered to arrive with the accompaniment on a complete F-major chord in m.65. The passage which foliows (mm.66-71)produces a fkdgrnentation of P 1 which altemates with static chords, in anticipation of a great event on the downbeat of m.72. What arrives instead is a subito piano prefiguration of the accompaniment to the secondary theme group, which hally appears on the second beat of m.73 (ex. 2.7). Theme S1 employs both violins in parallel tenths, in an extended passage of "musical proseNguntil the first beat of m.83; the only available point of subdivision
8The two notes in the second violin m.46, are labelid arco solely in preparation for the upcomllig transition, not as a contribution to the textural densiiy. g~histerm is borrowed fiom both William Rothstein, Phrase Rhythm in Tonal Music (New York: Schirmer Books, 1989) and Schonberg, "Brahms the Progressive," Swe and ldea, Ed. Leonard Stein, tram. h Black (London: Faber and Faber, 1975); both writers borrow the term corn Wagner. Schonberg defines musical prose as "a direct and straightforward presentation of ideas, without any Ex 27: movtl. mm.M(Vnl) Eitpowhori: Secandary Theme Grwp
occurs at m.80, after an "echo" passage in both melodic voices (mm.78-79). Theme S2 begins immediately after the aforementioned "amival" in m.83, introducing related material in octaves until its own point of arriva1 in m.88. The concise Fortspinmg which foUows acts as a codetta and uses material solely from the preceding S2 theme. The deveiopment is divisible into three unequal sections, according to the piacement of the main dynamic climaxes: mm. 100- 124, mm. 124- 175 and mm. 175-207. After a single eighth rest the first section continues the development of S2, fiagrnenting it alongside interjections fiom P 1. The passage reaches a sustained climax at m. 1 12 with a repetitive fragmentation of Pl in octaves, culminating in two short phrases of staggered entries which span almost four octaves (mm. 120-21, 122-24). The second development section begins immediately der the downbeat of m.124, at which point the two lower voices emulate the narrow range and accent shifts of the expository transitional passages
(m.33-36, 49-54). A complete statement of PZ is heard in the second violin (mm. 131-
136), followed by a pseudo-fugato passage in which both viohs fiagrnent the preceding theme (mm, 13 7- 143). A replication of theme S 1 continues the density achieved in this section of the development so far: the theme is extended, faith.1 to the morphous quality of the original statement as musical prose (mm. 143- 1 56). Its continued development overlaps a prominent entrance of P 1 in the celio, and exîends into a climactic
patchwork, without mere padding and empty repetitionsn("Brahms," 414-15). Harris gocs on to say that "the two main qualities Schonberg associates most strongly with musical prose are fiedom of rhythm and independence Çom formal symmetry" ("Quartetsof Zemlinsky,"183). Rothstein equates musical prose with endess melociy, another Wagnerian term, which disaliows any "apparent divisions in a phrase structure," while "musical prose Iacks any consistent hypermeter"(Phrase Rhythm, 278). stretto employing the inner voices with Pl and the first vioh with the P2. The section ends with aii parts in straight sixteenth-notes based on the fit pnmary theme, the final measure of which includes an accented passage in octaves (mm. 169-175). The final section of the development, with its long overlapping phrases and limited range, takes on the atmosphere of an archetypai retransition. The music is based almoa completely on the S2 theme, with interjections based on Pl, thus resembling the opening of the development in texture. The main difference between the opening and closing sections is the lack of dynamic climax before the recapitulation, in the moment correspondhg to mm. 1 128 The entire development therefore exhibits a loose symmetrical structure, not only in terrns of its thematic presentation but aiso on a dynamic levei, as the final section reverses the volume indications in similar proportions to the opening section. l0 The recapitulation is a standard, reduced replica of the exposition.
Figure 2.5. Form of the Recapitulation, Movement one
Introduction ~1m.210-224 Primary theme group P 1+ stretto mm.225-232 Stretto + P2 mm. 229-24 1 Transition rn.242-25 8 Secondary theme group S 1 mm.259-266 Coda RI^. 267-280
The abbreviated introduction proceeds with very few major changes until the replacement of the transitional segment (formerly mm. 19-22) by a single pizzicato chord. A new countersubject is given to theme P 1, which elides with a unique stretto passage in which the transposed Pl and its countersubject are accompanied by an abbreviated statement of theme P2 (mrn.229-233). The passage continues with a transposed replica of
l0The compared proportions of measwes in a piano versus aforte dynamic becorne closer if the "transitional"passage mm. 124-30 is included in the first section of the development. This however, pushes the culmination of the opening section past its dynamic climax, thereby challenging the argument of parallekm between sections. P2, stili with the attached countersubject (mm.233-235), finally fkagrnenting both pnmary themes in a dense Fort.spinmng (mm.236-241). The transition is completely set in sixteenth-notes, much like the clirnactic passage (mm. 169-174) from the rniddle of the development. A climax, however, is avoided at this point of the recapitulation, and the voices recede, in emulation of the accompanimental prefiguration £Yom m.72. The transposed entrance of SI is accompanied, not by the prefigured music, but by Pl in repetitive fragmentation, which continues until its interruption by the coda in m.267. As in many Sonata-Negro designs, an element of the secondary theme group is missing in the recapitulation: this is no surprise, aven the amount of exposure aBorded to theme S2 in the opening and closing sections of the development. The coda distinguishes itseif by a radical upward shift in range and a simultaneous subito fortissimo. The four mesures
267-270 provide another example of stretto between the NO primary themes, with the parts paired in octaves. The climax is continued by a vimiosic arpeggio in triple octaves, culminating in a chordal passage, accelerando, based on a motto fiom the first secondary t heme. This opening movement holds a unique position in Zemlinsky's string quartet œuvre, sharing the sonoral complexity of the third quartet, Op. 19, fiom just three years earlier, while displaying a thematic clarity characteristic of the first quartet, Op. 4, from 1896. In terms of works in Sonata-Negro forni, those from Zemlinsky's published quartets af3ord the best comparison. There are five in total, being the first, third and fourth movements of Op. 4, the interpolated fourth "movement" from Op. 15, and the opening movement £Yom Op. 19. The latter exarnple is the best choice for comparison for many reasons, beyond its similarly advanced harmonic language. The duration in measures of the Sonata-Allegro from the 1927 fiagment is comparable to that of almost al1 the other examples," as are the proportions of exposition to recapitulation and coda.
l 'The exceptions here are the last two movements of Op. 4, which mergreatly in tempo, thus producing measure totals of 13 1 and 3 84, respectively. Besides having the only independent introduction, the interesthg anornaiy which the 1927 fragment produces lies in the extended length of its development: while many of the other Sonata-Negro constructions have segmented development sections, they usudy do not receive the degree of thematic equality seen in the 1927 development. l2 This phenomenon is a resuit of the "retransitional" thkd section, which grows into a segment of equal length to the opening developmentai section. 13 Stretching to 110 measures, the development encompasses alrnost forty percent of the total work, larger by far than any of its surrounding sections as well as its counterparts in the other quartets. The thematic clarity mentioned above shows itself in the relative independence of connecting transitional material, as weli as in the complete breaks between themes and theme groups (as seen for example between the two secondary themes in m.83). Both of these traits are readiiy recognizable, accompanied by harmonic clarity, in the A-major quartet Op. 4. While the harmonic clarity has certainly disappeared by 1927, Zerniinsky reverts to the "sectionalized" exposition scheme der having explored more amorphous, musical-prose designs throughout Opp. 15 and 19. What do remain from the opening Sonata-Allegro from Op. 19, however, are the formal relationships between the themes of the exposition. Zemlinsky pairs his four expository themes in Op. 19 in much the same manner as seen in the above analysis: E. Scott Harris reveals the tendency of "theme 3" and the "closing theme" to form a single unit, while the first two themes are separated only by a short transitional episode.14 That the first two themes employ intemal development, growing into a transition proper, is no surprise, given the identical structure in the 1927 6agment. Finally, Harris States that a greater contrast eBsts in the Op. 19Ii exposition between the initial thematic pair and the succeeding pair, than that which exists between
. - I2Compare Hams, "Quartetsi of Zemlmky," 52,61,65,87, 99. l3~hetwo deletions on page 7 of the manuscript (discussed in chapter one) are from this very section, showing the composer's concern with its protracted length. 14~s,"Quartets of Zemlinslry," 98. the initial nvo themes themselves, thereby displaying an adherence to the archesrpal "prllnary-secondas, group" stnicture seen in the 1927 £kagment.15
Movernent two The movement labeiled "Adagio und serioso" is in ternary forni, with a large recapitulatory coda. Zemlinslq incorporates elements of Sonata-AUegro and variations within his main temary sections; the coda's bipartite nature also suggeas an irregular five- part fom for the movement.
Figure 2.6. Form of Movement two
A Theme Al + episodes and lyrical variant mm. 1-28 Transition rnm.28-33 [Prefiguration +] Therne A2 + closing gesture mm.33-41 B Transitiodprefiguration mm.42-50 Theme B + episode and variants mm.50-75 Retransition mm. 76-8 5 A' Theme Al mm.86-90 Lyrical variant + transitional Fort~pinmng mm.91-104 Theme A2 mm. 105- 1 1 1 Theme A 1 Fortspinmng and episode mm.112-127 Transition mrn.128-132 Coda Theme B + episode mm. 132-145 Theme Al mm. 145-153
The chart above demonstrates the dficulties involved in "fitting" this movement's form into an archetype. The inner constructions of the three main sections barely resemble each other. The opening A section, for example, is a marvelous instance of "nested" ternary and rondo forms (see figure 2.7). The principal theme, Al, is five measures long, with a possible sub-phrase division in m.3 (see ex. 2.8). What foilows is somewhat of a
%id. The pairing of themes is a technique common to Sch6nberg1schamber music, as seen in Walter Frisch's anaiysis of Verkidrte Nacht and the string quartet Op. 10 in The Eariy Works oflrnold Schoenberg 1893-1 908 (Berkeley: University of California Press, 1993), 1 168,2288 Ex 29: movt2. mrnl6-19 (Vnl) Theme Al. lyncal Mnant
miniature five-part rondo, with the interpolated "b" sections being short phrases of unrelated material (labeled "episodes" in the chart above); the a' phrase is a truncated, transposed statement of the opening phrase. What occurs instead of an a" phrase, however, is a lyrical variant of the opening therne, displaying an altered texture, rhythm and range, while retainllig a similar contour (ex 2.9). As in the original phrase, a sub- division appears in the transformed theme, at m.20. A restatement of the opening therne, transposed and truncated, completes the theme-Al seciion. The final statement's retum to the opening texture, rhythm and range fom a "lopsided" temary construction with the lyrical variant fùnctioning as a contrasting b-section. The completed ternary design moves imrnediately into a fugaio transition involving contrasting texture and rhythm, in which the four voices' entries are staggered by three beats (mm.28-33; ex. 2.10). This dissolves into a pedal D-flat with a prefiguration of theme A2 in the cello (rnm.33-35). The theme (A2, ex. 2.11) that begins in m.35 retains the rhythm and contour of the opening therne, while achieving independence through its highly articulated texture and altered range. Measures 40 and 41 conclude the section with a "reference" to theme Al. The characteristics of the contrasting second theme and its preceding transition reveal a certain prodty to the archetypal exposition of a Sonata- Allegro, as dernonstrated in the chart below. The prefiguration of the second theme foms a parailel with the similar phenomenon in the opening movement. Figure 2.7. Organization of the A section, Movement two
sonata expo. nested temary nested rondo p rimary th. grp. a a mm. 1-5 b mm.6-8 a' mrn.8-11 b' m.12-15 b a" mm. 16-24 a' m.25-28 transition m.28-33 secondary th. 1~1.3340 codetta m.40-4 1
Like theme A2, the large B-section begins with a transitional prefiguration of its main theme. The main ditnculty in analyzing this section of the movement lies in the lack of a definitive statement of the theme, as well as the continual gaps in sound produced by eighth and quarter rests throughout. As a result, while the passage in mm.50-57 gives the impression of a complete thematic statement, it is never repeated in anything but a considerably varied fashion (ex. 2.12). The prefiguration (mm.42-50) consists of three miniature phrases, each less than two measures in length, progressively adding elements of the up-coming thematic statement at m.50. Atter the theme proper comes to a resting point in m. 57, Zernlinsky presents a short four-masure episode of contrasting texture before the next two variants of the theme, in mm.61-69. These variants are certainly more florid than the original, exhibiting a wider melodic and dynamic range: the second variant actually overlaps the first with the entrance of the ce10 in m.64, giving the effect of a single musical unit. The £inai variant, mm.70-75, enters in the top three voices after a breath-mark indicated in the score. The melodic motion disintegrates into a retransition in mm.76-85, based on fragments of the B-section theme. l6
16parallel to the fïrst movemen& this passage was truncated by Zemlinsky during the compositional process: the last kat of m.78 and the next two complete measures were lightly stroked out. Since this does not produce a coherent result with the remaining music, the deleted measures were restored in the present transcription. The A' section, while still in ternary form, presents simcant fomal alterations fiom its original state in the opening of the movement. Virtually only the first four measures resernble the initial statement of theme Al in pitch content and texture. From m.91 onwards, ZernlinsIqr creates a formidable passage of musical prose, with long, overlapping phrases, developing and fiagrnenting the theme und m. 104. This achieves a thematic and rhythmic density unexplored in the movement so far, save for sporadic moments at the climaxes of the preceding sections. Although this Fortqinmrng addition seems to force the local formal design away from the highly segrnented nature of the opening A section, Zemlinsky reverses this "attitude" with the abrupt, unarnbiguous entry of therne A2 at m. 105. This second theme more closely resembles its initial presentation (mm.35-40),with its brief opening statement foliowed by a dense passage containing elements of stretto (mm.105-11). As in the opening section, a gesture of theme Al retums after a brief pause (m. 112): this, however, extends through varied repetition until a climax is achieved in m. 120, dramaticaily replacing the staggered entries with rhythmic unison in aii four voices. It is only in the release of tension (mm. 12 1-Z), that the original staggered entnes retum, culminating in a brief reminiscence of the episode (rnm.6-8)in the ceilo. With the extension of what originally served as the briefest possible codetta, the A' section exchanges its adherence to the Sonata-AUegro exposition for a sirnpler temary form, by vinue of the closer proportions of the subsumed segments. Up to this point, the greatest change in thematic material frorn the original A section has been the elimination of the contrasting transitional fugato from mm.28-33, expected to introduce theme A2. Only once the A' section is complete does Zemlinsky reinstate this passage (mm. 128-3 l), in a severely condensed form, as a transition to the coda, eliding its culminating pedal tones with the prefiguration to the B-section theme. Curiously enough, the recapitulation of the B section is represented by only two phrases, being a simple replication of the original B-section theme (rnm.50-57) in mm. 132-38, followed by a retum of the accompanying episode, fragmented until the final statement of A in m. 146. It is interesting that Zemlinsky, fier having presented the B-section theme so ambiguously in its original setting, should expose its true form in such a concise manner so close to the end of the movement. The recapitdation of A is just as bnef as the preceding segment, encornpassing only a simple statement of theme Al, in rhythmc quasi-unison, disintegrating in m. 149 towards the final sustained and pizzicato chords. Solely in tem of its thematic entries, the "Adagio und serioso" movement resembles a five-part rondo with sections of severely unequal length. Alternatively, one may view the hd26 measures as an extended coda to the main ternary design, the latter presenting the themes fiom the transition, B and A sections in as concise a format as possible. As a result, both interpretations must receive due examination in a context of Zemlinsky's other quartets. To begin with, sectionai forms, which abound in Zemlinsky's output, tend toward compound forms in the earlier quartets, as opposed to the many rondos fiom Op. 25, which demonstrate techniques of on-going development. The second movements of both Op. 4 and Op. 15 display compound temary forms, with the latter superimposing a concise Sonata-Allegro design over the entire movement, according to E. Scott Harris.17 In the expositionIA-section of Op. 15's Adagio "movement," a theme is given in primary, secondary and closing sections with accompanying Fortspinmng: while this is not the same procedure as in the opening section of the 1927 fragment, it betrays the composer's interest in a multiplicity of forms combining to create an incredibly intricate whole. That the TemaryISonata-Megro movement is subsumed inside the single movement Op. 15 quartet adds an additional facet to the cornparison with the 1927 "Adagio und serioso" movernent. The problem as to whether the 1927 "Adagio und serioso" has five sections or only three with a lavish, recapitulatory coda does not find a satisfactory answer in Zemlinsky's quartet œuvre. The five-part rondo which serves as an opening to Op. 25 demonstrates a general pattern of decreasing proportions among the sections, as does the temary third movement: aone, however, shows the dramatic declining proportions seen in the above dysis. That the openhg three sections of the 1927 "Adagio und serioso" movement are almost exady equal, forces a cornparison with a similar design in the temary second movement fiom Op. 4; yet, in the latter situation the A' is ahost completely udtered save for a codetta of negligible formal Unpon, quite
unlike the case at hand. hdeed, it is precisely the combination of subsumed techniques- the Sonata-Aiiegro exposition (with nested temary and rondo structures), informal variation set, ternary, then radicaily diminished final sectiondrecapitulatory coda-which make this movement quite unW Movement three The incomplete third movement, AUegro molto (Intermezzo), is similar to the second movement in Iength, with a much clearer formal layout. It is compound temary in design, easily decipherable even in its fiagmentary state. Figure 2.8. Form of Movement three intermezzo: A Theme 1 (repeated) mm. i -20 Theme 2a rnm.20-28 Theme 2b mm.29-40 a' Theme 1 m1~1.40-46 transition Prefiguration of Th.3 mm.46-5 7 Intermezzo: B a Theme 3a mm.5 8-63 Theme 3b mm.63-70 Theme 4 (repeated) m1~1.70-90 Theme 3a 111m.90-94 Theme 3b mrn.95- 100 Intermezzo: A' Theme 1 mm. 100-1 12 Transition based on Theme 4 111m.112-131 Trio Prefiguration IIIIII. 128-134 primary gr0UP Theme 5 + transitional III~.133-155 repetition Secondary Theme 6 + fragmenteci mm. 156-167 !PUP repetition CIosing group (Retrans ition) mm. 167-175 A' Intermezzo: A a Theme 1 mm.176- 179 Er 2 14: movt3. mmM23 (Vnl) Ex. 2 15: movt3. mm.32-40 (Vnl) Theme 2A Theme 2b Ex 216: movt3. mm.46-48 (Vc) h 217: movt3. rrun.58-70 (Vnl) Transiban t~ merne 3 Theme 3 (A 8 B) As in the "Adagio und serioso" movement, Zemiinsky combines ternary form with techniques associated with the archetypd Sonata-AUegro exposition, as well as subsidiary, "nested" temary forms. The first violin States Theme 1 (mm. 1-8; ex. 2.13) with a very sparse accompaniment, moving into a four-maure extension based on the same thematic rnateriai (mrn.8- 12). An identical repetition foiiows in the cello, mm. 12-20. At m.20, there is an abrupt upward shifi in range accompanied by a texturai change: theme 2a enters without preparation or transition, pizzicato in aii voices (ex. 2.14). The passage disintegrates into a prefiguration of the accornpaniment to theme 2b, which appears in the first vioiin and is loosely based on the scalar eagments found in the preceding theme (ex. 2.15). Another abrupt change in thematic material occurs in m.40 with the retum of theme 1 in al1 voices. At first glance, the entire passage mrn.20-40 appears to be transitionai in nature, linking two statements of theme 1: however, the comection between themes 2a and 2b, albeit slight, fom a single structural unit separating and contrasting with the rnateriai before and der, aiiowing a tnie three-part structure to be heard. For twelve measures after m.46, Zemiinslcy inserts what appears to be new, transitional material: throughout the four voices one hds fiagmentary scalar passages, each beginning with a distinctive dactylic rhythm (ex. 2.16). Upon the point of arriva1 at m.58, a new theme begins (theme 3, ex. 2.17), signaleci by a conspicuous scalar run in the first violin and the indication "saitando, leggiero." Again, the initial dactylic rhythm is a distinctive feature, ailowing the foregoing passage to be seen as a prefiguration to theme 3. The theme itself displays two sub-themes, separated by a slightly smaller scalar run in m.63. Theme 3b distinguishes itself fiom its predecessor by interpolating some descending scalar passages with the dacîylic rhythm over a hemiola (mm.65-67), before closing in a lower register. These scalar interpolations iink the theme group, not only with its own transition/prefiguration, but also with the contrasting middle section of the opening temary construction. With the scalar upbeat inverted, a related theme enters in the celio (theme 4, mm.70-75; ex. 2-18), which, although noticeably denved fiom theme 3, initially forms a contrast by means of its sparse accompaniment (designated "col legno legato"). This contrast develops when the higher voices progressively enter with the transposed theme, creating an independent fugato segment and the most dramatic climax of the movement (mm.70-90). Theme 3a re-enters in a significantly altered version, retaining its precise rhythm and duration while largely abandoning its original contour; a new, energetic accompaniment is added. The succeeding portion 3b, however, is instantly recognizable (rnm.95- 1OO), completing the second "nested" temary form. A disintegration of ali voices except the new accornpaniment obscures the point of arrival in m. 100, eliding this passage with the following retum of theme 1.18 The theme appears in stretto surrounded by two voices altemating with the accompanimentai motto, building to a climax in m. 110; the larger temary sub-structure has therefore reached a conclusion. The "Lntermezzo" section of the movement is completed by a disintegration-type transition, employing moments fiom theme 4 and the accompanimental motto, and fïnally reducing to a single sustained pitch (m. 126). 18The first four notes of Theme t retuni considerably in advance of the rest of the theme, represented by the four sfomdo pizzicati in the ceiio part, mnt94,95, 97 and 98. Ex 218: mavt3. rnrn.iG75 (Vc) Ex 2 19: mavt3. rnm.135-43 (Va) Theme 4 Theme 5 The sustained E C in the viola ushers in prefigurations of both the melody and the accompaniment of the Trio, which begins the large-scale B section at m. 132. The prirnary theme of this section (which resernbles a Sonata-AUegro exposition structure) runs for nine measures in the viola (ex. 2.19, mm. l35-l43), over a constant, osciilating accompaniment. Aiready one can sense a contnist with the Intermezzo, in the long, fluid lines of theme 5. What begins as a simple repetition of the theme in the first violin grows quickly into an extended, transitional passage of musical prose, elided to the secondary theme area in m. 156. At this point, a new viola ostinato accompaniment emerges (based on the accompaniment first seen in m.91), over which the violins present theme 6, spaced apart by two octaves for the entire phrase (ex. 2.20). The repeat of the theme, transposed, quickly breaks apart in favour of a retransition to the Intermezzo; by its length, this passage takes on the appearance of a closing group (mm.165-75), completing the "expository" structure of the Trio. The material of the closing group, though not especially thematic, is clearly based on the scaiar fragments found at various points in the Intermezzo. In particular, the diatonicism and quasi-contrapuntal nature of the section recaii the transitiodprefiguration preceding the b section (rnm.46-58). The interna1 form of the closing group is largely repetitive with overlapping phrase fragments; the inner voices eventually transform into the accompanimentai gesture originally seen beneath the opening statement of theme 1 (mm.1-8). Theme one appears with the indication "1. Tempo", in the last four measures of the movement, over blank staves in the lower three voices. From this, one can assume that the recapitulatory A' section of the large-scale ternary form was left for a later stage of composition (which never happened), and that it simply required a number of tnincations f?om the original Intermezzo material to bring it to a conclusion. This movement thus presents the moa important fiagrnent of those found in the manuscript, providing the possibility of reconstruction for performance purposes. The third movement dBers forrnally fiom the "Adagio und serioso" movement in many ways. Of the greatest importance in this regard is the "expositional" nature of the Trio, a subsidiary section, as opposed to the similar phenomenon in the "Adagio und serioso" movement, which occurs in the very opening section of the ternary design (see chart above). One of the main similadies, however, lies in the arnbiguity of the non- thematic passages which Link the major formal sections together. In both movements, these passages perform the dual roles of transition and prefiguration: these terms themselves reflect the janus-like character involved, as transitions archetypaily develop and fiagrnent preceding thematic material while a prefiguration necessariiy develops fragments fiom the following section. Thus in the Intermezzo, the extended passage in mm.46-58 appears to have no comection with either the preceding statement of theme 1 or the following entry of theme 3a; instead, it forms a Ioose connection between the "subsidiary" themes 2b and 3b with its scalar fiagments, whiie at the same the prefiguring the dactylic rhythm prorninent throughout the larger b section. A parallel case emerges in the "Adagio und serioso" movement with the transitional prefiguration passage (rnm.42-50), which initiaily appears as an expansion of the preceding reference to theme Al (mm.40-41). As the repetitions themselves expand, however, the connection to eariier materiai dissolves in favour of a prefiguration of the B-section theme (as the weight shifts to the repeated staccato quarter notes), creating an interesthg moment of developing variation. Fonnally, the Intermezzo resembles a variation on the intncate structure of the completed Adagio und serios0 movement, although its fiagmentary nature prevents a tme pardel. Eir 221: movt4. mm.18 (Vnl) Theme Ec 2M. m4,mm. l&M (Vc) 224: movt4. mrnî&28 (Vnl ) Vanabon 1 vanaooci 2 Movernent four Despite its miniature length of only 28 rneasures, the theme and variations of the fourth movement provide a clear formal design. Zemlinsky attempted only three variations, one of which is complete. Figure 2.9. Form of Movernent four Theme " Sehr langsam Adagio" cornplete mm.1-8 Variation x "Piu mosso (Andante)" incomplete rnm.8- 15 Variation 1 "1. Var." complete mm. 16-24 Variation 2 "2. Var." incomplete mm.25-28 Technically, the movement as Zemluisky Iefi it is only 21 measures long, as the fira attempted variation (labelled "x" above) was disconthued in favour of the music beginning at m. 16, which the composer designated "1. Var." The theme itself is a single eight-measure phrase, with a possible point of subdivision at m.6, fomiing an irregular 5+3 grouping (ex. 2.2 1). Measure 8 represents an expansion of the initial gesture kom m. 1, while an additionai voice provides a "pseudo-inversion" of the same. The final sononty of the theme is sustained and elided to both the discontinued variation x at m.9 and the later variation 1 at m. 16. Variation x appears to start with the second gesture of the theme in the second violin, the notes identical, with a fieely adapted rhythm (ex. 2.22). The missing opening gesture immediately suggests the overlapping of variation and theme in the preceding m.8, which contains the aforementioned recurrence of the opening in the fkst violin. It is therefore possible that this recurrence represents the overlapped variation, while the "inverted" gesture in the second vioh forrns the tinal masure of the theme. It is significant that m.8 employs ail four instruments for the first time in the movement. Variation x continues the adaptation of the thematic rnelody until the downbeat of m. 11, at which point the three-note gestures fiom mm.4-6 are developed with much repetition. The final three measures of this variation lack accompanimental voices, and the kst violin ends in m. 15 without a connection to Mermusic. The first variation proper continues fiom the sustained chord in m.8, tied to the fkst beat of m. 16. This eliminates the overlap seen at the start of variation x, thereby soliddjmg the idea that m.8 is a recurrence of the opening gesture. Measure 16 irnmediately introduces a new, chordal texture in the top three voices, with the melodic contour inverted in the ceIo (ex. 2.23). Again, the final five measures of the variation (mm.20-24)are given over to a repetitive fiagmentation of the three-note gesture fiom mm.4-6. The second variation, Wte the two preceding attempts, is elided to the final sonority of the phrase before. Measure 25 serves, however, as an accompanimental prefiguration to the second variation melody, which starts on the last beat of m.26 in the first violin (ex. 2.24). The accompaniment continues for ody two more beats, while the melody ends with m.28, hence offering only the initial two gestures of the thematic presentation. Microscopic as it is, the second variation reveals Zemlinsky's intention to create each variation not as a development of the theme itself, but more so of the variation hediately preceding. The melody in mm.26-28 unequivocaily recalls the triplet accompaniment of variation one, outlining oniy the basic contour of the original theme. At the same tirne, the new accompaniment starting in m.25 is a polyrhythmic elaboration of the constant triplets of mm. 16-23. There are two other sets of variations in Zernhsky's quartet repertoire: the second movement of Op. 19 ("Geheimnisvoll bewegt, nicht ni schnell") and the fBh movement of Op. 25 ("Sehr langsarn - Poco Adagio"). There are interesting connections between the variations of 1927 and both of these other sets. While the tempo of the theme corresponds closely to that of Op. 25/11, the texture of the theme shows the greater influence of Op. 19/ii, in tems of the duration, the sparse accompanirnent and prominent glissando indications. The tendency towards wide legato laps is evident in ail three sets, aithough those in Op. 2% appear as arpeggios rather than as abrupt melodic shifts, an integrai part of the texture of Op. 19/i and the 1927 fiagrnentary variations. The inner structure of the theme fiom Op. 19fi shows striking similarities to those £kom 1927: it has the arrangement of 5+3 measures, the last three being a dissolution of the "reylar" motion of the opening. The reference to the opening gesture appears as welI (aibeit earlier in the music) at m.5. In Op. 19/i, a significant tempo change does not occur until the nfth variation, perhaps a reason for the replacement of variation x with variation 1 in the 1927 set. Several consecutive variations in Op. 19ri are also Med by triplets. lg While these cornparisons are useful in demonstrating Zernlinsws adherence to a series of phenomena associated with variation sets, they do not help in determining how much of the fourth movement of 1927 is "missing." It is aitractive to examine Op. 25/v, which has only three variations, and assume that Zemlinsky had nearly finished the earlier set when he abandoned it; Op. 25/v, however, has an intemal [a a' b b' a"] structure to each segment of the movement, which the 1927 fiagrnent does not share. It is more likely that the composer intended a movement on the scale of Op. 19/i, which stretches to 100 rneasures. Movemen~five The 6fth movernent presents the most problernatic structure of the entire quartet. Its fiagmentary nature (only 76 measures) greatly impedes the perception and analysis of the composer's intended form. 19See Harris' chart in "Quartets of Zemhdq," 101. G 225: mavt5. mm.= (Vnl) Ex 226: mavt5. mm. 10-13 (Vnl) Theme1 Theme2 Table 2.10. Form of Movement five Prùnary group Theme 1 mm. 1-9 Theme 2 mm. 10-13 Restatement of mm. 14-20 Th. 1&2 Transition m.21-37 Secondary group (Theme 1) mm.38-52 Interpolated quotations mm.53-55, 55-62, 63-64 Unrelated [?] Andante mm.65-76 It is ironic that this movement, in its decidedly incomplete state, should have the most overt inter-movement associations of all the six suMving movements. Not oniy are there direct quotations of movement one, mm. 1-3 and 10-1 1 (at mm.53-55 and 63-64, respectively), but much of the thematic material also betrays its source in one of the first two movements. The fdth movement's first theme (see ex. 2.25, mm.3-6) plainly resembles the opening of movement two, while its inversion (mrn.7-9)shares the contour of the episode mm. 14- 16 of the sarne. Loose connections also exist between the primary group of movement five and the Intermezzo, in comparing the irregular pattern of the viola ostinato (rnm.2-10) with that of the Trio mm. 156-160, as weU as the wide leaps and ascending chromatic arpeggios which form the second primary theme (ex. 2.26, mm. 10- 13) with the wide leaps and descending arpeggios mm.8-11 which extend the Intermezzo's theme 1. Even the opening gesture of the transition at m.2 1, which recalls a very sirnilar gesture in the theme f?om movement four (m.3), is at the sarne the an obvious inversion of its own second primary theme fiom m. 10 (ex. 2.27). The ffagmentation which foUows m.21 eventuaiiy appears to be a prefiguration of therne 1, temporarily reappearing at m.30, then at m.34; the remaining transitional material develops the two openhg accompanimental mottoes (fiorn the viola and ceiio, mm. 1-2, in mm.28-30 and 3 1-34, respectively). The dramatic and dynamic chax of the movement to this point occurs at m.38: theme 1 retum, oniy to be fiagmented in stretto, culminating in a passage resembling the lyrical variant of theme 1, movement two (mm.20- 23). The material originai to movement five ends in m.52 with a thinning of the texture, dimimendo, and a breath mark. From this point onwards, Zemlinslq introduces a senes of passages separated by fermatas. The aforementioned quotation of the opening phrase f?om movement one is followed by a shortfueato based on the second introductory phrase of the same, in fieely altered rhythm; this findy dissolves into a direct quotation of movement one, mm. l O- 11, the 1st measure of which is incornplete. It would seem from the three interpolations that Zernlinsky was undertaking a large-scale recall of the opening Andante con moto section. It is a great disappointment that the composer chose to stop composition preciseiy at this moment, for it is almost impossible to estimate to what music he would have returned after these quotations. At the top of the foiiowing page (indeed, seemingly in the very next measure) appear two systems of music for string quartet, labelled "Andante," in 4/4 time with three flats in the key signature; these thirteen measures represent the only moment from the entire quartet with a key signature besides the very opening of the Andante con moto-Vivace movement, which had two sharps in the first system, later crossed out. The Andante in E b is at the top of page 35 in the manuscript, and could have previously existed at the start of the gathex-ing, had the outermost bifolio been folded the other way (see figure 2.1); if this were the case, it may be 6om an unrelated composition. The slirn possibility exists, however, that mm.65-76 represent the next interpolation in the Mtth movement, a fact largely contradicted by the fiagmentary state of rn.64. What remains of movement five relates marguially to the structure of a monothematic Sonata-Ailegro, with extended interpolations with the secondary theme group. Ntematively, the recurrence of theme one at m.38 could signai a temary-type a' section wherein the transitional matenal mm.21-37 exkts as a contrasting b section. This implies that the music afler m.46 is the transition to a new section starting with the first quotation in m.53, and that the interpolations themselves serve as the next segment of a rondo-form. Finally, since the music quoted originally fùnctioned as an introduction, Zemlinsky might have recycled both its thematic matenal and its purpose for an introduction to a new, unwrîtten section (possibly the Andante in E b) which aiso could have served as the next segment of a rondo-form. The fBh movement's interpolated quotations as a forma1 phenomenon in an independent movement have no precedent in Zemlinsky's quartet literature. In order to examine thoroughly the implications of this device, it would be necessary to undertake a &il analysis of such phenornena in the single-rnovement quartet Op. 15, which is beyond the scope of the present study . Movement six The "final movement" of the 1927 manuscript takes the form of a rondo, either in five or seven parts: music survives from only the first four sections. Table 2.1 1. Forrn of Movement six A mm.1-10 Transition mm. 11-26 B mm.27-50 Transition m.50-64 A' nm.65-75 Developmental mm. 75- 104 transition C mm.105-Z 16 Ex 228: mavt6. mm. 1-10 (Vnl) A-sectian theme Ex 229 movt6. mrn.3034 (Vnl) Montheme Er 231: movt6. mm.l(#09 (Vnl) Csecban meme This movement recalls the simplicity and clarity of structure found in the opening movement. The A materiai consists of three parailel, asymmetrical phrases in the organization: 3+4+3 (see ex. 2.28). The melody climbs progressively higher while the accompaniment strays progressively fûrther f?om the melodic texture, culrninating in sirnultaneous glissandi and pizzicato chords. The point of arriva1 at m. 11 elides directly into the transition, which develops eagrnents of the opening motto (m.1) over a new accompaniment (reminiscent of the expositional transitions fiom movement one), finally producing a variant of the theme fiom set in semi-imitative entries in the outer voices. After a slight break, another semi-imitative passage divides the parts in paired octaves for a final development of theme A (mm.27-291, in preparation for a great event on the downbeat of m.30. The octave-pairing continues throughout the first segment of theme B, which contrasts the previous music with its increased chromaticism and dotted rhythm (ex. 2.29). The voice pairing begins to dissolve at m.35, at which point the violins engage in a fiagmentation of various melodic cells £tom the preceding theme. At m.40, theme B retums in rhythmic unison, as a statement without much of the "expressionistic" density seen in mm.30ff Measure 44 presents a repeat of the same music, resulting in a fiagmentation of the initial neighbour gesture of theme B. On the second beat of m.50 a transition begins, reintroducing the familiar texture of repeated staccato eighth notes from mm. 1 1-26. A quick reminiscence of the variant of A fiom m. 17 precedes a passage of new materiai in dense canonic imitation in 5/8 tirne, which dissolves into an extended scafar passage over repeated neighbour-note figures in the ceilo. The A' section begins unequivocally in m.65, with the new neighbour-note figures in aii three Iower voices replacing the original accompanirnent (ex. 2.30). Zernlinsky reduces the three-phrase structure of mm. 1- 10 to two phrases in the A' section, with a short extension which elides into another transition. The section rnm.75- 104 strongly resembles a development, wherein large stretches of theme A sound between variants of theme B and a figure in the cello which shows a possible derivation fiom the opening measure of movernent five. Developmental procedures are similar to earlier moments in the movement, including imitative entries (mm.83-85)and climax-building passages in octaves (89-93). The climax arrives during a moment of intense chordai music reminiscent of the final measures of movement one, which dissipates into a retransition at m. 102. A new theme, tempo (Andante, ex. 2.3 1) and accompanimental texture ("dolce espressivo") begin at m. 105, introducing three phrases of music unrelated to any preceding material; the third phrase (starting m. 113) breaks off abruptly at m. 116. When one attempts to determine Zernhsky's formal intention for this movement, the only obstacle lies in the ambiguous purpose of the developmental transition rnrn.75- 104 and the following new material (C section). Of the other, larger-scde rondos from Zemlinsky's quartet output, the final movement of Op. 19 and the second movement of Op. 25, both in seven sections, bear a strong resemblance to the present anaiysis. These two examples, as well as the five-part rondo Op. 25/iv, exhibit similar dimensions as the 1927 fragment: that is, that the duration of 1 15 measures extends through A-B-A' and part of C, with each of the complete movements continuhg on for different lengths. The dficulty regarding the developmental transition of mm.75-104 is whether it shouid be considered as a separate section, reminiscent of a Sonata-Rondo construction, or whether it exists as an extension of the truncated A' section. If the former were the case, the new material at m.105 would irnply that Zemlinslq was attempting to mate a sub-section within his developmental C section, a practice not completely without precedent in the era of tonal composition. The segmenting of a development also has precedence in Zemlinsky's own work as seen in the cornparison between Sonata-Ailegro movements above. What Zemlinsky has not achieved, however, is the combination of "transitiond developmental" and "new" as a formal section in his rondos: the complete movements show the C sections as being either "developmental + transition" (Op. 19/iv), "familial resemblance to materiais in A & B" (Op. 25fu), or "contrasting section; based largely on the introduction of a new theme" (Op. 25/iv)." One cm assume that, if the composer intended a Sonata-Rondo construction with new, interpolated material within the developmental C section, it was not satisfactory, and was therefore discarded; unfortunately, it is impossible to determine a solution, given the fragmentary state of the section itself. It should be added, however, that neither a developmental transition of such independent standing, nor an A' section (presurning mm.75-104 represent its continuation) of such disproportionate length has a precedent in the rondos of Zemlinsky's quartet In summarizing the discussions in this chapter, it is necessary to relate the formal analyses of the individual movements to the superstructural concems discussed earlier. It is entirely possible that, given Zemlinsky's adherence to archetypal noms, the intended ordering of movements may be dictated by their sequence in other compositions. If a six- movement quartet were planned, Zemlinsky might have intended the following sequence: Introduction and Sonata-Allegro; Ternary/S-part Rondo; Intermezzo and Trio; Theme and Variations; Monothematic Sonata-Negro with quotations; and 7-partlsonata-Rondo. This sequence is thoroughly plausible, exhibiting an altemation of sectional and 20~s,"mets of Zemlinsky," 104, 1 13, 1 19. deveiopmental, "through-composed" forms. The many four-movement alternatives identifïed above each had movement six in the final position of the final "draft" of the quartet; the remaining issue concerns which movement shouid take the penultirnate position-either the Intermezzo and Trio, the Theme and Variations, or the Monothematic Sonata-AUegro with quotations. It is impossible to prioritize these three options, given their equai precedence in intemal positions in the œuvre of Zernlinsky and his contemporaries. The element of recaii in movement five, however, strongly suggests a sdar event in the hai "sections" of the quartet Op. 15, wherein a subsidiary Sonata- Allegro construction ("movement four" in the analyses of Harris, Weber and Oncley) acts as a second recapitulation of the main expository themes fiom the opening of the quartet, thus intirnating that a Sonata-AUegro with quotations could have been the original intention for the 1927 quartet's hale. The kst "drafk" of the four-movement iayout, then, might have included the Introduction and Sonata-AUegro, the Temaryh-part Rondo, the Theme and Variations and the Monothematic Sonata with quotations. These last two would have been replaced with an Intermezzo and Trio and a 7-partlsonata-Rondo, respectively, based on the relative completeness of movements three and six. This two- stage design corroborates the conclusions reached earlier in the chapter, assurning as it does Zernlinsky's apparent adherence to having a larger, more complex movement in the final position rather than a more straightforward Temary or Variations movement. Indeed, the final movements of Zemhsky's four published quartets each exhibit this preference: a Sonata-Allegro, a Sonata-AUegro with quotations, a 7-part Sonata-Rondo and a Fugue, respectively. Thus, in terms of the sequence of large-scale forms, a four- movement quartet appears to be as likely as one composed in six movements. CHAPTER THREE MOTIVIC DESIGN It is dficult to overestimate the importance of motivic design in the charnber music of the early twentieth century. Indeed, Zemlinslq was not aione in the creation of works wherein the majority of thematic material in ali voices stems fiom a central set of motivic cells, enhancing the mainly homophonie texture with the appearance of a quasi- contrapuntal style. While this technique is certaidy not a creation of the twentieth century, its importance is underscored in Schonberg's discussion of the principles of Gnrndgestait and developing variation, outhed much later in his article "Brahms the Progre~sive."~E. Scott Harris describes the importance of generative motives in Zemlinsky's work and outlines the general characteristics of those found in the published quartets, rnost of which apply to the 1927 as weL2 While generative motives and developing variation appear in al1 six movements, the present study selects the fïrst, second, third and siwth movements for individual examination, leaving the matenal of the fourth and fifth movements for the discussions of inter-movement motivic connections and referential sonorities. The motivic design of the opening movement involves a contour-based system of developing variation, in which various thernes generate iùrther materiai, through many intermediate steps, in independent directions. The second and third movements display a closer adherence to their Grundgestalten, the former through a more succinct group of basic motives, the latter in terms of the repetition of specific intervai classes fiom the opening phrase to later ------ISchonberg, "Brahms," 39841. %rris, "Quartets of Zemlinsky," 284. material. Both movements exhibit the technique of associating separate formal sections with different segments of the Grundgestak The sixth movement demonstrates the composer's ability to develop new motives through the extension of original ceiis. There is a common element of pitch centncity to much of the thematic matenal in Zemlinsb's quartet; there are also individual motives which reappear 6om movement to movement. FinaUy, referentiai sonorities play an important role in localized contexts throughout the quartet, sometimes as forma1 markers, but mostly as a "colouration" technique which delineates the overall sound of a passage. A few short words are necessary at this point to define the terms "pitch centricity" and "referential sonority." Zernlinsky achieves pitch centricity primarily through the repetition of a single pitch class in a given context: this study examines the phenornenon purely in localized contexts (i.e., fkom phrase to phrase), as opposed to large-scale or movement-pervasive usages. Centriciiy involves not just the central pitches, but also the intervening material, which cm Vary in terms of length, range, direction or symmetry of motion. This study restricts the analysis of pitch centricity to the principal thematic material in the 1927 quartet. Referential sonorities are closely iinked to the concept of centricity in that they represent a fvted sonority (now vertical instead of horizontal), constructed for the purpose of providing stabilîty in a localized context. Indeed, Zemlinsky chooses not to weight his referential sonorities in the 1927 quartet to the extent that specific pitch-class sets receive formal importance over large spans of music, much in the sarne way that individual centrai pitches rarely have an effect from one passage to another. Movernent one The kst movement presents an interesting relationship between its large-scale design and the motives which generate the thematic material within its sections. The simplicity of form in movement one, created by easily recognizeable themes which are restated without much variation, contradicts the complexity of motivic interrelationships. Zemhsky bases this movement, albeit loosely, on the generative force of a Gnrndgestalf: uniike many weil-known examples, the composer's Op. 25fi among therq3 the kst rnovement of the 1927 quartet does not develop fiom a smd group of motivic characteristics which are found in one single, encapsulating phrase. While the opening two phrases demonstrate many of the key motives of the work, other motives arise from later stages in the developing variation process, creating new thematic material as a reductive procedure f?om "intermediate" material, and thereby only retaining an indirect link to the opening "basic shape." Ln this movement, Zemliosky also tends to avoid strict duplication of the intervallic succession fiom motives of the Gnrndgestal~in his later thematic rnaterial; intervallic augmentation and diminution appear to be high in pnority in the composer's concept of developing variation, making rnotivic connections somewhat tenuous upon occasion. The first two phrases of the first movement, identsed in the second chapter as themes one and two of the Introduction, embody the majority of motivic cells for the following thematic material. The &st phrase (ex. 3.1, mm. 1-3) employs a thrice-repeated ~#5,separated first by B~ then A~,in a double-dotted rhythm (containhg motive a); a descending semitone, motive 6, in slower rhythm, concludes the group. The second phrase (mm.3-5) retains the centncity, now D b 5, separated by intervening material. It is interesthg that the intervening material in both phrases appears below the central pitch, each time with a different intewallic range. The main difference between these two phrases is the latter's exclusion of the final b, after incorporating an extended second 3Cf. Harris, "Quartets of Zerniinsky," 3 1 1-23. intemenhg group: it is possible that Zemlinsky has reordered the basic motives, transplanting b into the middle of the phrase (B, B b). Indeed, the opening semitone of the second phrase @ b , C) can be heard as an echo of the preceding measure (F#, F ti )- The second phrase, wMe inheriting many phenornena kom the first, clearly does not attempt to repiicate the initial intervallic content, creating a new set of larger motivic blocks, specifically c, the semitone neighbour (D b , C, D b ). In the remainder of the Introduction, Zemlinsky employs two additional statements of each theme, both of which are varied in some way. The restatement of theme two (ex. 3.2, mm.6-9) further estabiishes the independent standing of c through an internai repetition, culminating in b (B, B b); it is interesting that not only does the latter reappear in measure 8 with the original note values fiom mm.2-3 (Le., half, quarter) reversed, but also with the rhythmic ratio quadrupled (23 becomes 1:8), demonstrating the extreme rhythmic flexibiiity of these motivic cells. The foUowing phrase (ex. 3.3, mm. 10- 13) reiterates the first introductory theme, now in the cello, with significant modifications to the motiMc structure. The theme itself replaces the original with another B~ as the second intervening leap, while transposing the final b motive, thus allowing the possibility for intemallic variation, even at the level of simple thematic repetition. It is the accompaniment in both violins, however, which drasticaiiy alters the analyst's perception of this theme: the matenal is obviously a variant of the cello's concurrent theme, but with the centricity of pitch completely abolished (see ex. 3.4), an element which still existed to some degree in the accompanirnent to the opening phrase (mm.1-3). The other two statements of the introductory themes display dEerent techniques of repetition, either as sub-thematic fragmentation &er a break (ex. 3.3 : theme one, mm. 13- 15) or as repetition intemal to the phrase (ex. 3.5: therne twa, mm. 16-18); these instances are separated by "interruptions" prefiguring the first prirnary theme of the exposition. Theme Pl shows a marked independence at its fist compiete statement at m.23 (ex. 3.6). Nevertheless, D~ as a central pitch is a salient feature, now repeated seven times throughout, not counting adjacent repetitions. Within its opening measure (which serves to generate the rest of the theme), there exkt subtle motivic connections to the Gnrndgestuit (mm. 1-5) as weli as basic differences. Foremost among the latter is the altemation of direction of the intervening material, which unlike the introduaory themes never appears as a simple leap, but as a med-in interval (motives d and e). The descending semitone reappears in m.23 @, C#) as part of the intervening material descending to A-4 Zemlinslq generates the rest of the theme by means of intemal repetition, oscillating between major and minor, as well as through a new motivic "appendage," which exploits the earlier predilection for scalar fragments, alongside interpolated leaps (mm.25-26). The short transitional measure 27 exhibits Zemiinsky's tendency to extend motivic cells, specificdy the semitone step b, which runs in goups of three or four to resemble the scalar fragments fiom the preceding theme: a similar technique continues in the new "countersubject" which accompanies the repetition of theme one (mm.28-31). The following transition (mm.32-3 6) increases the weight of 6, now mostly in individual note-pairs, both ascendiig and descending; the occasional whole tone appears, particularly in the second violin. -- -- elhe four-note mono D-D-C#-A (e) has aiready appe.in the prefigurations mm.1 5. 19-22. again cancelling the element of pitch centricity, demoastrating the independence of newer motivic units from the original Grundgestalt. This indirect connection to the Grundgestalt, however. exiuists only when analyzed as a motto subordinate to the fûIi theme (mm.23fl). Ex 3.7: movt 1. mm.37-43 (Vc) Ec 38: movt 1. mm6S&(Vnl) Theme P2 ais0 offers a fkesh adaptation of the Grundgestalt characteristics, freely developing new motivic units independentiy of other thematic material (ex. 3.7). Again, the theme displays the obvious centricity of ~4,which sounds five times in the phrase. The uniforni direction of the intervening matenai is restored, for the Brst time with everything above the central pitch, except the initial laps (motive a). These opening gestures (m.37) form a conspicuous link to the tint introductory theme, while the scalar fiagments (motive f, mrn.388) betray the close relationship to P 1. The alteration to the latter material is such that the highest pitches are foliowed by descending scalar material leading back to the central pitch. The interpolated E b -G 4 (mm.39, 41) displays the only use of b in this theme, and aiso serves as a subtle recd of the melodic leaps of the new material in mm.25-26. The accompaniment to this theme combines the scalar fragments and short chromatic runs in the upper three parts. The large transition (mm.49-71) exhibits Little in the way of new motivic developments. The restatement of P2 at m.58 introduces a new omamented scalar passage in the ceIIo, interpolated with upper-neighbour triplets. The melody of the theme itself concludes with a new figuration of scalar fiagments altemating with b figures (ex. 3.8, mrn.63-64). The materid which accompanies this in the imer voices prefigures the correspondhg parts at rnrn.66-67, which thernselves show a truncated version of e from theme P 1. The two themes of the secondary theme group (ex. 3.9) demonstrate Zemlinsky's ability to create new themes directly on the basis of previously encountered matenal, by means of the re-ordering or the reduction of pre-existent elements. The former process generates theme S 1 (mm.73-83), which represents a variation of the second introductoiy theme (rnrn.3-5). At this point, the opening c figure lads into two successive pairs of @ 3.9 comnuedj fjL3.10:movtl.mm.72-nO/a) fx3.11 rnavtl...... (0 .... .- -...... g.. rnrn.9899 (Va) . - ,-=-y g.: g "- ascending whole tones (mm.74-75; note also motive g), an inversion and expansion of the original b. We had already seen this procedure at mm.17- 18, where the ascending pairs were successively lower, as opposed to higher as at mm.74-75. Interna1 repetition produces a variant (mm.75-79)much Like mm.17-18, foilowed by another variant (mm.80- 83), in which the descending whole tone is interpolated into the opening c figure itself, as well as an ascending whole tone into the final descending 6. The accompaniment in the viola during this entire passage represents g in diminution (ex. 3.10). This continues into the ce110 part of the succeeding theme S2 (mm.83ff) in inversion. Theme S2 arrives as a reduction of the main elements fiom S 1, thus in some ways achieving the aatus of a "closing theme" wherein the expositional opening is partiaily recapitulated. Starting at m.83, Zernlinsky retains only the original contour of d,5 while e, transposed up a fourth, incorporates a c figure. The intemal repeat at m.86 renews the major-minor oscillation of mm.23-24, at the same time exposing the motivic connection to b; the phrase ends with a tum figure much like the ones at mm.63-64, now embellishing the final descending gesture. The restatement of the entire theme which concludes the exposition reiterates oniy the opening phrase, foîiowed by a somewhat expressionistic moment of wide leaps and extreme expressive features. The essence of this final segment, however, is simply a development of the b and c motives, linked by smaller scalar passages 5Since motive d. from its initial appearance in the new thematic contest, avoids the esan replication of its original form, developing in a completely new contowistic tendency. it bars the label h dong with its subsequent variants; the restatements of d proper, however, retain their original label. and arpeggiaîions. The doubled-note pattern in the viola culminates in an imitation of d, with diminished intervals (ex. 3.1 1). Surprisingly, the development section proper, comprising forty percent of the entire movement, reveals comparatively Little in terms of developing variation; nothing new that cm be cded thematic emerges at d. This section sirnply recapitulates many of the reappearing themes or motives with negligible alteration. Perhaps the greatest transformation occurs in the opening phrases (ex. 3.12, mm. 100-1 1), based largely on the preceding theme S2 (motive h). There is a rnarked intervallic diminution, which resembles the contour of the first secondary theme (g, mm.73-74), prefixed by the ascending third fiom m.83. The variant beginning at m. 106, in an effort to heighten the tessitura of the passage, applies an intervallic augmentation to the same prefix, now spanning a fifth. The chain forrned by the h motive in mm. 109-10 overlaps a c figure. The seventh-leaps in the cello are inversions of the falling semitone/whole tone b motive. Another point of interest from the development is the treatment of the PZ theme after its restatement in mm. 13 1-36. Measure 13 7 (ex. 3.13) ushers in a long phrase dunng which the two violins overlap fragments of the theme. The avoidance of the original pitch ceatricity in both parts recds the viohs' accompaniment in mm. 10- 13, especially with the inversion of the initial a gesture at m.139 (vioh 2). The retum of material fiom S2 at m. 143 offers few changes until the first of the two intemal repeats (mm. 1468), at which point the chah of descending b motives (starhg at m.147) extends through three register transfers, two of them arpeggiated. The second intemal repetition, starting at m. 153, is linle more than the initial gesture, iinked by another arpeggiated register transfer to an on- running series of overlapping c figures (mm. 156ff). This passage in particular demonstrates the transformation of c into the ascending 6, which accompanies much of the foilowing thernatic material until m. 164. Aside nom the somewhat developmental nature of the extended restatement of the second primary theme der m. 170, the main feature of interest before the recapitulation is the hrther development of the secondq theme two (mm. 175ff),much like the earlier section at mm. 100-1 1. Indeed, both sections begin with thematically identical material; the major changes occur after m. 1 82, where the triadic prefix of h (seen at m.1 06) has been replaced by a leap of a fifih, thus bearing littie resemblance to the original motive frorn theme Pl, d (ex. 3.14). The leap of a fifth actuaiiy seems to recall the first introductory theme (a,mm. 1-3), somewhat isolated in this context; this provides another exarnple of Zernlinsky's ability to combine sub-thematic elements from diverse regions in the quartet. The music after m. 186 denves Iargely firom the b and c motives, as well as the h gesture from mm. 175-76. Over the course of much repetition, Zernlinsky changes the lower-neighbour c figure graduaily to an upper-neighbour around m.197. Into this homogeneous thematic texture arrives a prefiguration of the first introductory theme (mm.204-09), culminating in a wide, arching figure in the second violin, enabling a register transfer to the original tessitura for the start of the recapitulation. The main changes to the recapitulatory introduction are the rhythmic alterations to the second theme (m.213-14), and various intervallic differences in the repetitions after m.218. As stated in earlier analyses, a simple pizzicato chord abbreviates the section at m.224. In the primary theme group, Zernlinsky eliminates al1 the intermediate episodic matenal by having the two themes overlap (mm.229-232). Some interest lies in the Eit 3.15. ml,mm23345 (Vnl) Ex 3.16: movt 1. rnmZCk255 (Vnl) --.-.* countermelody accornpanying both themes starting at m.225: the contour shows a motivic connedon, first to the h motive, and at m.235 (ex. 3.19, in combination with c. The transitional passage (mm.2428.) simdtaneously recapitulates many of the smaller motives of the movement, including the rarely-seen appendage to the first primary theme (originally mrn.25-26: viola, m.242; violin 2, m.243). The passage expands into a development of the accornpaniment to the expository second theme group, now in dl four voices (g in diminution; ex. 3.16, m.250-255), negating the need for its restatement in the foliowing section. The SI theme which follows (mm.259ff) does not actually recapitdate its counterpart from the exposition, but rather the altered version fiom m. 143. Where the earlier materiai extended into a highly expressive, wide-ranging morertdo passage, the current restatement breaks immediately into the coda, subito fortis.simo, at m.267. The thematic material involves both primas, themes; theme PZ dissolves quickly into a scalar figure based on the original rhythm, much like an earlier moment fiom the recapituiation (m.229). Mer a tutti arpeggio, which exhibits the upper and lower- neighbours as well as remnants of the e motive, the movement ends with a chordal repetition of the upper and lower-neighbour figures. The coda as a whole reiterates the centricity of D, as seen many other times in the movement. Viewing the movement as a whole, one cm easily grasp Zernlinsky's technique of selective thematic development: while some themes undergo a great range of expression, such as the second introductory theme or theme S2, others seem to display little or neghgible development in complete statements, as with theme P 1. This latter statement, however, is not completely exact, in that the materiaf fiom mm.23-24 is responsible for generating many of the following transitionai moments, as weU as the S2 theme. The Gnrndgestult, Xit cm be labelled as such in this instance, involves the various features of the movement's first two phrases (mm. 1-5): it demonstrates the centricity of a single pitch, divided by intemenhg materid of varyhg intervallic ranges. either above or below. What creates ambiguity in the identification of the Gnrndgestalt elements is the centricity itself, which becomes the least consistent feature of the generated material. In this regard, the opening and closing segments of the development, feahinng a variant of S2, represent the furthest point away fiom the Grundgestalt. Yet, it is the combination of disparate elernents in new formations at moments iike these (e-g. m. 182) which points to Zemiinsky's adherence to a short list of contour-based motives found originally in the opening two phrases, and which through a lengthy senes of aiterations Iead to the complex developments mentioned above. However distant the music afler m. 175 may seem to be fiom mm. 1-5, the succeeding dissolution of the thematic matenai into its component parts becornes a suitable preparation for the recapitulation at m.210. Perhaps it was this comection of extremes which guided Zemlinsky's decision to reincorporate the introductory materiai at this point in the form. Muvernent nvo The motivic design of the second movernent much resembles the first, but with a closer interconnection between the thematic segments. This movement approaches a truer Gnrndgesfaif conception, although Zemlinsky still bases many of the motivic transformations on contour. The main generative force behind the movement is the opening phrase (ex. 3.17, mm.1-S), which can also be heard as two subphrases divided fier the downbeat of m.3. Not only does the length of the material in question recall movement one, but the centncity of pitch reappears as well (now B b). The features of the Gm~~dgestaltare simple: the descending scalar figure, D b -C-B b , is of the utmost importance (motive i), as is the repeated nsing whole tone, A b -Bb (motive 1). The leap of a diminished fourth, Ex 3.17: mwtZ mm. 1-5 (Vnl) ...... K ... -...... -- ...... -- ...... k Ex 3.18: movt2. - .-. -...... mrn.68 (Va) Gr. x19: mavt2. k mm.~11 ni) ...... : .... k- .. k i which initiates the second subphrase, is noteworthy not so much for its specific intervallic content but for its role as an interpolated leap in the prevailing çtep-wise motion (motive L); in this instance it seems to function as a surrogate E b4, avoiding the parallelism E b- D b -C with the opening i, D b -CS b . A veiled pardelism continues, however, as the phrase closes with an inversion ofj, now a sernitone, C b -B b .6 Unfortunately for the analyst, the episode irnmediately following (ex. 3.18, mm.6- 8, as weii as mm.12-1 5) presents possibly the most difEcdt passage in the movement to comect to the Gmndgestak There are rnany valid suggestions, one of which is that the composer deliberately set this music apart fiom the rest of his generative process; its only reappearance at m. 125-27 exists, again, as an episode, set apart fkom the prevailing thematic texture. The remaining sections which comprise the opening five-part rondo (mm. 1-24; see ch.2) show an obvious derivation fkorn the opening matenai. Measure 9 reveals the inconsistency of the onginal intervallic content with the motion to G@ instead of G h (ex. 3.1 9); measure 1 1, which concludes the phrase, inverts the L gesture. Measure 16 (ex. 3.20) presents the most expressive moment in the movement so far, and its transformation (apart from the episodes) goes the furthest afield. The opening subphrase truncates the i gesture, then repeats the L variant (fiom m.3), followed by the original form, at two different transpositions and in difFerent rhythrns. As a chah, these form an 6Note the "hidden"existence of the neighbour figures (motive k), both upper and loiver. throughout the Grundgestalt, alternate reading with m.3 instead of m. 1 as the point of origin. It is interesting that the central pitch is now B h, the initial pitch of the phrase, and the second pitch of motive i (minus its truncated anacmsis). The phrase continues at m.20 with two variants of i, intempted both times by L, now higher in pitch; the phrase ends with a reiteration of the figure associated with L eom m.3. The reappearance of theme Al at m.25 produces a tnincated variant in original rhythm, now stripped of its ha1 descendingj gesture. Zernlinsky's apparent predilection for the rhythmic alteration of his opening motive continues in the transition. The i motive (ex. 3.21) sirnultaneously expands, through the five repetitions of its opening note, and diminishes in rhythm. The L motive reappears, now a diminished sixth, before another repetition of i. The transitional theme ends with a series of L motives, and another, intempted i. The fourth of the staggered voices in this fugato passage produces a simple overlapping of the i motive, disintegrating into an arpeggio dom to D b. Pitch centricity, absent in the music after m.28, retums with the D b -centred prefiguration to theme A2 at m.33, itself an intempted i with a register transfer; the variant in m.34 adds a double anacmsis (ex. 3.22). Opening up the Grundgestah elements to the possibilities of eaension allows theme A2 to be understood as an extension of the descending-third i to five successive notes, repeated again at m.36; again, rhythmic variation is pervasive (ex. 3.23). The viola part at m.37 gives the inversion of the same figure, representing the first such transformation among any of the similady-derived variants so far. This carries through to the bnef retum of theme Al at mm.40-41, at which point the first violin's entry presents a fiagrnentation, as seen earlier at m.3 1. The large-scaie B-section rnoves the focus of the motivic density from the Grundgestalt's initial gesture to its second one, being the oscillating pairs of tones (motive j, mm.1-2; inverted as semitones at mm.4-5). While the prefiguration beginning at m.42 ostensibly appears to be an echo of the staggered entries (mm.40-41),the extension of the second note (ex. 3.24) and lack of a final note give the impression of the passage's independence fiom the variants at mm. 16 and 22 (perceived as a truncated forrn of i). Indeed, a third note appears only when multiple segments are joined together (m.47-48), or when the k motive extends the theme itself (mm.50-52).The B-section theme therefore represents a reordering of the various elements of the GdgestaIt, including L, seen at m.55 (creating a new motive, m, in conjunction with j). Of a sirnilar conception, the following episodic material (mm. 58-6 1) reorders the basic i motive. The reintroduction of the role of L in the foregoing music ushers in an unprecedented prevaience of m in the material after m.61. The rnotivic cells from mm.55-57 @ b-C-4 G-G b-D) reappear transposed in quick succession; within this hnework also appear the descending j, as well as k and i. The juxtaposition of the latter motive (ex. 3.25, mrn.61ff) with m demonstrates an alternative, mutual derivation: that the m motive with its larger, final interval represents an augmentation of i. Great amounts of repetition of both i and k form the music of the retransition (mm.76-86). The ha1 large section of the movement presents many more instances of motivic development through extension (ex. 3.26, mrn.95-96) or the reordenng of elements (ex. 3.27, mm. 10 1-04, motive n). Moments of interest include a newly-inverted variant of the L figure (mm.94-95) and its subsequent repetition, twice during the second theme Ex 3.30- mwt2 rnm.136-39 (hl) Ec 3.31: movt2. mm. 146-49 (Vnl) .. - . -. -. . .. .-- .- .-...... - .- -. -. .. - --..* (mm.106-07) with significantly altered intervals. In the recurrence of theme Al at m. 1 12, the i motive (ex. 3 -28, now inverted) takes on a serni-permanent fourth tone; this is not reflected, however, in the subsequent recapituiatory coda (mm.1288). The retum of B- section material reinforces the earlier predominance of the j motive, especially in the new prefiguration (ex. 3 -29, mm.130-32). The music after m. 136, revolving around the L motive, conceals a variant of i (ex. 3-30}, now with a chromatic focus. The lower parts continue the chromatic oscillation until the ceilo's dramatic whole-tone gesture (mm.145- 46), which announces the £inal recurrence of theme Al. This concluding material interpolates a variant of i after the n motive (ex. 3-31}, creating five successively descending tones, reminiscent of theme A2. In generai, the thematic matenal in the second movement adheres more closely to its Gnrndgestalt than did the first movement's themes. On a simple level, this is partially a result of the brevity of movement two, whose Grundgestalt, despite its similar length and bipartite makeup, contains disproportionately fewer motivic cells than that of its predecessor. The difFerence between mrn.1-5 of the present movement and those of movement one lies in the compiementary nature of the two halves of the former: whereas in rnovement one mrn.4-5 introduce relevant new matenal which goes on to generate a series of expository themes, mrn.4-5 of the second movement are merely repetitions of a pre-existent motivic cell. The second movernent also reduces the number of intermediate steps of developing variation to derive most of its thematic materiai. Nevenheless, contour, and (less sigruficantly) pitch centricity, are responsible for thematic generation in this movement, not intervaiiic organization. P Movement three Arnong the larger movements, the Intermezzo and Trio is adheres most closely to the intervallic relationships of its Grundgestalt, wwhich extends for the &st eight measures of the fist violin part (ex. 3.32). As a result, the analysis of individual pitch and interval classes requires a greater emphasis than in the first two movements, whose adysis proceeded largely £tom variations of contour and pitch centricity. The constant registral shifts of theme 1 dow more than one reading of the intervals. The most important configuration, as the foliowing analysis will show, is that which displays the intervallic succession in the score, regardess of octave dispiacement (temed "interval cfass"). The most salient interval classes in the theme are 1, 2, 5 and 6, which are also the first four: Zemlinsky produces the majority of the intervallic succession for the remainder of the Grundgesrall using these interval classes, including the melodic motion in the accompanimental phrases below. The continuous melodic leaps, however, provide an altemate reading of two sirnultaneous melodic lines, producing a new intervallic configuration. While the lower "voice" exhibits a simple chromatic neighbour figure (motive p), the upper "voice" introduces the pairing of thirds (motive O), an important motive in select moments of the foilowing music? The accompaniment to the following extension (ex. 3.32, m.8-11) continues the earlier materiai in fiagrnentation, while the fïrst violin's arpeggios (motive r), denved in part from the earlier G#-B b-E figure (mm.5-6) as an inverted extension, contain only the intervai classes 1, 2, 5 and 6 with very few exceptions. The thematic repetition at m. 12 7~~onotes, the G# and B b from m.5, seem not to belong to either voice, king as lhey are disruptive to the melodic continuity of each; they pose no problems, however, for the first. single-mclody reading. G 3.36:movL3 mm. . .. - introduces a new accompanimental passage in the first violin, whose D-centered "countersubject" explores not only the semitone osdation but also the G-F#-A-G# motion fiom m.7 (motive q) at mm.15 and 17. The foliowing therne 2A adopts the neighbour motion p from mm.12- 13 (ex. 3 -33) in inversion, now with an E b -centricity; these repeated figures expand with interpolated notes, eventually becoming a variant of q (at rnm.24-25), extending into a descending scalar passage. Theme 2B explores the scalar passage; its second subphrase (ex. 3.34, m.35 ff ) reiterates the opening Grurrdgesta[t intervals, and the four-eighth-note units (mm.37-39) represent a reordering of the q motive (motive s). It is interesthg that the vaiiants, including those at mm. 15, 1 7 and 24, reduce the strictness of intervallic duplication through transposition or reordering of the component parts, thereby reintroducuig rninor thirds hto the intervallic makeup. This phenomenon continues into the restatement of theme 1 at mm.40-46,culminating in an arpeggio made up of the intervals (1,6,7) (motive r, ex. 3.35, mm.45-46). The thematic material from the central section of the ternary Intermezzo involves the repetition of many scalar fiagments in a pervasive dactylic rhythm. This allows theme 3B to be an almost exact rhythmic replication of the preceding 34 with significant contour alterations at m.65 (ex. 3.36). An important addition to the motivic complex at this point is the paired-thirds O motive, first seen in the upper of the two "voices" in the compound-melodic arrangement of the GdgestuIt's intervallic content. Its appearance at mrn.63 and 69 recalls the second movement, whose central formal segment reirforced a "subordinate" motivic unit from its own Grundges~ak. The fourth theme (ex. 3.37, rnrn.70ff) relinquishes its rhythmic replication of theme 3A with a reordered version of o Ex 3.37: movt3. mrn.7b75 (Vc) Ex 3.38: movt3, rnm.83-8B (Vnl) -.-. -. . .. -. - .- ...... (mm.73-74). These intervals are not repeated identically in the foliowing entrances in the higher voices: the violins' respective mangement of the initiai gesture (mrn.82-84; 84-86: ex. 3 -38) evokes the s figure from theme 2B (m-37),while also reiterating a variant of o. The closing stretto of this theme group (mrn.87-89) creates a new variant of O, with the initial E b-Gb presented as a descending scalar run in the tirst violin. A distinctive O variant fiom the fourîh theme (m.73) returns in the altered restatement of theme 3A (mm.91ff.), followed by three statements of o. The new figure which closes the restatement of theme 3B evolves as an intricate compound melody of descending scalar fiagments (ex. 3.39, mm.98-99); the accompaniment der m. 100 and the transition based on theme four (mm. 1 l2ff) also reflect this construction. Theme 1 retums to complete the larger ternary design, identical in pitch content to the opening of the movement until the climactic arpeggio (r, mm. 110-1 1), based on that of mm.45-46 as opposed to the extension fiom mm.9-1 1. The oscillating whole-tone ce110 ostinato (ex. 3.40, mm. 1 14- 123) shows a motivic relationship not only as a variant of s (itself a variant of q), but also as an intervallic diminution of O as seen origindy at mm.73-74, now presented simultaneously in the first violin (ex. 3.4 1, mm. 114- 15). The thematic generation of the Trio poses many more problems than that of the relatively straightforward Intermezzo. The semitone neigbour figure p first seen in the lower "voice" of the compound melodic reading of the Grundgestalt seems to pervade the Trio's themes as a structural event. Before this, however, the ostinato cello part provides a sirnilar figure in the G/G#oscillation in every measure; this ostinato also includes a prek based on the scalar fiagrnents from the preceding Intermezzo. This three-note Ex 3.43:movt3. mm. 143-47 (Vrt2) Ex 144: movt3. rnmldS64 (Vnl) ...... :: : --...... - . . . P P Ex 3.45: movt3. mm. 1 S58(Va) Ex 3.46: movt9 m157bZ (Vn2) 3.47 mmt3. mm 16365 (Vnl) prefix also announces theme 5 (ex. 3 -42, mm.13 5ff ), which dustrates p, now at B/A#, intempted by the melodic third E-C (an expansion of the initial D-C#, m. 135). It is important to note that the B/A# oscillation throughout this section betrays its direct relationship to the Grundgestalt, which uses the same pitch-classes (mm.1-3). The register transfer at m. 140 generates a faster-moving "tum" figure (motive I), representing the high-point of the phrase, itseif another elaboration on the B/A# oscillation. The concluding music (mm.14 1-43) recaiis the complex scalar passage from mm.98-99 in the Intermezzo, wherein interco~ectingfragments show a compound-melodic structure. The music given to the second vioiin in mm.143-147 outlines the p motive, with the final D corresponding to the climactic figure at m. 140 (ex. 3.43). The thematic repetition in the first violin (mm.144ff.) changes little until the register transfer at m.148 (ex. 3.44), where the ascending r arpeggio presages the descending ones at mm. 150 and 152, themselves reminiscent of similar figures in the Intermezzo at mrn.8-9 and 45-46. The phrase's ending demonstrates a closer adherence to the B/A# neighbour pattern through the transposition of t in m.149, its repetition at m. 153, and the r arpeggios mm.148 and 152, which connect the pitch-classes in dEerent registers. The r figure itself sounds throughout the cello part following this passage, origindy conceived as an extension of the two-note ostinato at mm.152-53, hdly becoming a new, three-note ostinato after m. 156. The viola's accompanying ostinato (ex. 3 -45: motive u, spanning five eighth-notes in three-quarter the) is a variant of t, wherein the final three pitches are shifted down and rhythmically extended. The generation of the following theme 6 (ex. 3.46, mm. 1578) is somewhat di£Ecuh to determine: while the opening six notes use only two interval classes 2 and 6, the final two gestures (mm. 160-63) display an affinity with the contour of the r figure fiom theme 5. The repetition of theme 6 at m.163 dissolves into a series of repeated, overlapping phrases, showing elements of t and the initial, leaping figure. It is interesting that the juxtaposition of the latter in different registers, as seen in mm. 163-65, discloses the possibility of the figure's denvation f?om the r arpeggios throughout theme 5 (ex. 3.47). The movement ends with the opening four measures of theme one as the start of the unfinished recapitulated Intermezzo. The motivic generation of the third movement favours the four interval-classes 1, 2, 5 and 6. The themes of the Intermezzo display a clear derivation from these four classes, incorporating scalar passages and pairs of semitones in dinerent arrangements (e-g., m.7). While the opening ternary section adheres to the simple intervallic configuraiion of the Gmdgestait, the rniddle section brings the paired thirds (O) of the upper "voice" to prominence. The compound-melodic structure of the Gmtrdgeslalt influences the scalar passages at rnm.98-99 and 141-43. The Trio, while exhibiting a set of themes seemingly unrelated to those of the Intermezzo, adhere to the Gnitidgestait through the pervasive B/A# semitone neighbour pattern @) also found in the lower "voice" of mm. 1-3. Like the £Üst two movements of the quartet, the Trio shows the use of intermediate steps in the composer's developing variation process: while the opening intemals of theme 6 relate ro the Gmdges~ialt,its closing gestures derive from the turn figure (t) of theme 5, which is itself an elaboration of the semitone oscillation. Zedinsky uses dSerent aspects of his Grundgestalt for the three main sections of the Intermezzo and Trio, while each involves additional, contour-based motives throughout. Movement six The motivic constrvction of the S'imovement resembles that for the second, wherein a Gnrndgestuit, consisting of very few motivic ceils, forms the bais of the rest of the movement, with only slight variation to the ceUs themselves. Generally, this system of variation takes the form of extension or truncation by a srnail number of notes, inversion, and the alteration of tones to semitones and vice versa. This latter phenomenon appears also in other movements, demonstrating Zemlinsky's reluctance to follow strict intervallic prototypes over contour-based variants. Nevertheless, since the motivic cells in this instance are rather simple, the slackening of intervaiiic replication never proceeds very far. The Grundgestalt of this movement cmbe found in the opening three measures of the first violin part (ex. 3.48). The pitch content of this passage is remarkably simple, with the four pitch classes (G,qB,C) augmented by a B b at the last moment. The motion is Iargely stepwise, creating scalar passages and neighbour motions as rnotivic cells: the ascending prefix v (G,AB,C), together with the isolated semitone motion w (B,C),form the most important thematic building-blocks of the movement (m. 1). The consecutive placement of these motives produces the neighbour figure x (C,B,C), which is heard immediately after in inversion (m.2). The phrase ends with a retrograde of v and a rhythmically extended variant of w, transposed. The following two phrases largely restate the same materiai, with some important additions (ex. 3.49). The ascending prefix at m.4 transposes the original (F3.C) note-pair of w to @,E), thereby augmenthg the semitone interval and extending v from four to six notes (~2).The centrai note of the x motive has moved from C to D, requiring an extra gesture to retum to G in m.6. The truncated three-note variant of v (v-1) is an important element in the B section after m.30. The variant at m.8 introduces melodic leaps for the . ------.. - - first time into the v motive. This demonstrates the possible overlapping of motives, one starting on G and one on C, with a slight reordering of pitches in the latter. The wide leaps in mm.9-10 describe intervallic inversions of w in an interlockhg presentation, both of the whole- and semitone variants (this arpeggiated figure will be calledy). The first violin part of the transition (mm. 1lfl) begins by juxtaposing v and x to fom a chromatic variant of vt2 (and Hl at rn.12). Signrficantly, the third variant (ex. 3 SO, m.17- 19) replaces the ascenduig prefix with a single melodic leap, which also introduces a rhythmically extended x. Like the Grzindgestait, the phrase continues with a retrograde of v, but concludes with interconnecting statements of x, eliding to a repetition of the phrase. The first three measures of the B section at m.27 (ex. 3.51) constitute an introductory reiteration of the v-w-x complex f?om m. 1, twice repeated in transposition. The B-section theme at m.30 (ex. 3 -5 1) relies heaviiy on the neighbour motive x: not ody is the opening gesture a replication of this, but the higher pitches of the phrase display a G#/GC oscillation, interrupted by statements of v-1 and W. The first four notes of the theme seem to rnirnic a gesture which overlaps the v-w-x statements from mm.27- 29, producing a new motivic unit as a su£h-extension of x. The subsidiary transition which proceeds at m.35 splits the octave duplication between the violins, consistent since m.27; both parts, however, concentrate on the y arpeggiated seventh. The seemingly- imocuous (F#-MG#) (violin 1, m.36), a reordered variant of v-1, produces sirnilar Er 3.52 mavtô, mm.M(Vnl) Ex 3.53: mavt6. rnrn.6!9% (Vnl) figures at the end of the phrase (mm.38-40), as well as in later segment^.^ The pitch- centric nature of the B-section theme provides an ideal context for elision, as the transposed repetitions at mm.40 and 44 demonstrate. Zemlinslq interpolates statements of u+2 and v-retrograde into the phrases, at mm.42 and 45, thereby exhibiting the majority of Grundgestalt elements in a reordered arrangement. The following transition (mm.50-64)serves to introduce a variant of the opening theme, similar to the materid at m. 17; a new motivic ceii, z, emerges in the first violin (ex. 3 S2, mm.55ff ), and represents the junction of v-1 and W. The new accornpanimental ostinato (based entirely on x, der m.60) innuences the sectional close at mm.63-64, as wel1 as the Iower three voices for the foliowing A' section. The new section at m.65 takes v+2 as the saiient characteristic (ex. 3.53); in this respect it is the materiai from mrn.4-7 which generates most of the present phrase, until the final gesture (mm.67-68), which cornes directly tiom m.3 (with rhythmic aiterations). The extended variant of the A' theme at m.69, by virtue of the increased range, produces a retrograde *2 to complement the ascending prefix fkom the opening of the phrase. Both phrase endings at rnm.68 and 70- 71 reproduce the reordered variant of v-1 seen at m.36. This motivic ce11 is particularly prominent in the new "countersubject" of the folIowhg developrnental transiti~n(ex. 3.54, mm.79-84);the z motive and other v-derived ceiis intercomect in this phrase. The ce110 accompaniment (rnrn.79-80 and 82-83) recalls the arpeggiated sevenths of y, now inverted as ninths with w as a s& (ex. 3 3). The developmentai transition culminates in a It is possible that this motivic ceIl derives Born the (G-B-B b) figure from m.3 of the Grundgestalt. complex passage involving much repetition of *2, v-1, the entire countersubject fiom m.79, and a new motive, which combines the leap of a thkd f?om m.3 with the register transfer fiom m.7 (ex. 3.56, mrn.93-95). The transitional material after m.96 resembles an inverted form of the m. 17 variant (especiaiiy (B,F#,E), mrn.98-99). Gradually, the music dissolves inîo various forms of v in preparation for the upcoming C section at m. 105. The theme of the C section strongly resembles the A theme in contour: the ascending scalar prefix is matched by a descending one at mm. 107-08 (ex. 3.57). Mer this phrase, however, the v-ascent disappears, and each succeeding phrase (mm. 109 and 113) begins with a retrograde of r; the descending v-retrograde moves fùrther away fiom the original form, first with a registral shift at m. 1 11, and finally with an interpolated E~ in m. 115. Much of the accompanimental material during this section relies on variants of the v and v- 1 motives. The motivic design of the fiagmentary sixth movement of Zemlinsky's 1927 quartet displays many features in comrnon with those of the preceding rnovements, particularly the second. The Gnrndgestait in the sixth movement consists of relatively few motivic cells, as a result of the mainly stepwise motion in the melodic line: this allows for a closer adherence to the original forms of the material in mm.1-3. As with the second and third movements, Zemlinslq relies on different aspects of the Grundgestalt to generate successive sections of the movement. In the case of movement six, the irnrnediate stages of developing variation, seen in the second and third phrases (mm.4-7 and 8-10), are responsible for many of the motivic celis used throughout the B, A', developmentai transition and C sections. The contour-based system of developing variation emerges in the interchangeability of tones and semitones in many of the scalar and neighbour-figure motive forms. While this movernent is certainly more conservative than others in this regard (such as movement one), it stili informs us of the composer's practice of motivic design. Ihter-muvernent rnotivic relatiomhips As a result of the general brevity of most of Zemlinsky's motivic units, his lack of concern for intervallic replication and the contour-based system of developing variation employed throughout the 1927 quartet, it is easy to comect sub-thematic cells from one movement to another. While many factors, such as centricity of pitch, have appeared in the analysis of the individual rnovements so fu, the importance of exarnining the specific recurrences of motives cannot be underestimated, because it informs us of the composer's overali conceptual design for the quartet. At this point, also, the sub-thematic material from the remaining movements, four and five, will enter into the discussion. The centricity of a single pitch in the course of a thematic statement (or dyad, as seen in the neighbour patterns of movement three) produces a variety of motive forms in each movement, through the alteration of length, range, direction or syrnrnetry of the intervening material. Most saiient among these, the neighbour figure--whether ascending or descending, whole tone or semitone--has a conspicuous presence in this quartetV9In the first movernent, the neighbour figure appears in the Gnmdgesta~t,and bears the responsibility for the generation of motive foms throughout the Introduction (mm. 1-22), as well as theme S1 (mm.73-82,both melody and accompaniment), many transitional moments in the development (mm.186-200) and the £inal gesture of the coda. The neighbour figure also plays an important role in the Grundgestalt of the second movement, where it appears first as a lower whole-tone geshire (m.2) then as an upper semitone gesture (m.5). This motive estabiishes the centrai pitch for this particular phrase, as weli %e importance of this seemingly iosubsfaotial motMc ceii in Zernlinsky's chambcr music is corroborateci by Harris in his summary of motivic pitch characteristics. Cf. Harris. "Quartets of Zemlinsky," 284. Ex 3.9 movt5. mm 1-3 (Vc) - . Ex 3.amovt5. mrn.2-4 (Va) Ex 3.61: movt5, rnm.5651 (Vn2) -.-. ,.-P. as for many others; in other situations it acts merely as a melodic appendage, interpolated into the prevailing thematic material (mm.52-53). Like the first movement, the final phrase of movement two employs the neighbour figure in repetition, in an effort to create a sense of stability through the prolongation of the ha1 chord. The third movement's Grundgestalt employs an oscillating-sernitone motive in the lower of the two "voices" (mm. 1-8), which eventudy generates much of the thematic matenal in the Trio (mm. 132- 175), embodying that section's main rnotivic comection to the movement as a whole. The neighbour figure also appears in subsidiary passages, such as the accompaniment in mm. 12-15 and the following theme 2A (mm.20fl). While the neighbour figure makes only a scant appearance in the melody of the fourth movement (mm.2, 9), its usage in the accompaniments of both variations x and 1 (em. 3.58a/b, mm. 11 and 16-1 8, respectively) sheds iight on the composer's thought process between the cancelled first attempt and its replacement. Again, it is in the accompanirnent that movement five uses this motive: the oscillating fifths (G#-C#, D-4 ex. 3.59) form an ostinato beneath the opening section of the movement, material which retums in the transition after m.31. The viola's ostinato (ex. 3.60, mm.2-13) also exhibits overlapping sets of neighbour figures. As rnentioned in the second chapter, the Wh movement dissolves into a series of interpolated quotations corn the first movement, and a new variant of the second introductory theme (mm.3-5, rnovt. 1) appears at m.55 (ex. 3.6 1). Like that of the fht and second movements, the Grundgestalt of the sixth movement demonstrates pitch centricity through neighbour figures, now interlocking in the manner of the viola ostinato from the tifth movement. Every example of thematic matenal in the sixth movement employs this motive to some Ez 362 movt4. mm.13 (Vnl) , - - - Ex 3.63: m5.mm36 (Vni) . (-1 extent: the B-section theme after m.30 uses neighbour figures on two levels, providing an oscillating G#-Gh which defines the melodic contour, much the same way as theme 5 fiom the Trio, movement three. Like the second movement, the sixth displays this motive both as highlighted thematic material and as a melodic appendage (e.g., m. 106). Another important motive of the quartet can be classified as the "short scalar fiagment." This motive achieves early prominence in the Pl theme of the opening movement (mm.23#), originally as an elaboration of the centrai pitch, and in turn generates similar motive forms in themes P2 (mm.37ff) and S2 (mm.838). The latter's variation in the development (mrn.lOO-01)forges the important iink between the scalar fiagment and the neighbour figure, producing a semi-independent motive which also manifests itself in other movements. The three-note gesture fiom the second movement is responsible for an overwhelming amount of the following material, sometimes with an interpolated leap; motive forms such as those derm. 1O3 bring about the possibility of the reordering of elements in the scalar fiagment, within a restricted environment. The third movernent, while avoiding scalar fiagments in its Gmdgestait, exhibits the motive in subsidiary sections of music, such as the transition (mm.50ff) and moments within the following themes 3A and B; theme 4 (mm.70ff.) in particular displays a gesture inherited from the first movement (mm. 100-01). Scala fiagments retum to form a large part of theme 6 in the Trio (mm. 158f/), incorporating a neighbour figure as a melodic appendage. The fourth movernent opens with a scalar ffagment, traversing a registral displacement (ex. 3.62);1° the variant at m.3 receives many repetitions in the theme and variation one. lo~egi~displacement is another inter-movement motivic da&, the discussion of which. like the many chromatic arpeggiations found in this movement and elsewhere, lies outside the scope of the present study. The scaiar fiagrnent grows considerably as the main therne of the Wh movement (ex. 3.63). The theme itself bears a resemblance to the junction of this motive with the neighbour figure, the laiter now expanded to a minor third in the ha1appendage. A more conservative version of this sarne motive fom appears in the Gnrndgestczf~of the sixth movement, with the neighbour figure restored. As seen in the above analysis, the length of the scalar eagment changes throughout this movement as a source of developing variation, as does the placement of the neighbour-appendage. Variants rnuch like those &er m. 100 in the fist movement appear in the sixth (rnm.56#). The salience and variety of these two motivic cells are quite informative with respect to Zemlinsky's overall concept for the quartet: like his published quartets, the 1927 quartet employs short, contour-based sub-thematic particles in alI six rnovements to form a subtle link which is rarely highlighted to the point of actual quotation. Referential sonorities in the 192 7 quartet Uniike Zemlinsky's quartet Op. 15, wherein the composer uses specific, untransposed referentiai sonorities as formal markers, the music of the 1927 quanet resists the large-scale analysis of trichords and tetrachords as a method of motivic or fonnal organization. Instead, Zernlinsky reuses certain tetrachords in close proximity to enhance the chordal "colour" of a given passage. In addition, there are many instances of diatonic triads and sevenths throughout the work, as weil as triads with inserted diatonic or non- diatonic tones (such as the set classes [0137], [0247], [0357]) and majorhinor mixtures (represented by the set [0347]). There is no attempt, however, to form a harmonic progression with these diatonic or aitered-diatonic chords, and they act in a sirnilar manner to the other sonorities of local importance. Zemlinsky uses members of the whole-tone scale set-class [02468T] in great abundance in the £irst, second, fifth and sixth rnovements of the 1927 quartet. In the recapitulation of the primary theme group, movement one (ex. 3.64, mm.225-241), the -- 018Ou8W 026 OH) 0148 0118 OW 0248 0148 0268 OU80248 3.65 cant] Ex 3.66: movt2 mrn.57-59 & 3.67:mavt5. mm 26-27 majority of sonorities in strong metncal positions display transpositions of [026], [0246], [O2681 or [0248], the last of which also forms the subito fortissimo chord at the start of the coda (m.267). A few whole-tone sets appear in the B section of the second rnovement (rnrn.49, 5 1 60), but the recapitulation of a' (a.3.65, mm.1 l2H) contains a noticeable amount of this chord-type (mm.1 15, 1 17, 1 18, 119, 12 1). A similar situation occurs in the transitionai segment (rnm.22ff) fkom the fifth movement, as weil as the second phrase of the sixth movement (rnm.6, 7, 8). Tetrachord collections which contain an augmented chord with an additional sernitone (set-class [O1481 and its inversion [0478]) also appear with relative frequency in Zemiuislq's quartet. The first four chords of the episode (ex. 3 -66, mm.57-6 1) from the second movement aii belong to this set-class, as do two prominent chords at the following climax (mm.67-68). The later recapitulation of a', cited in exarnple 3 -65, contains three more instances of the same set-class (mm. 112, 117). In the Intermezzo, the opening of theme 3a and its prefiguration produces an interesting colour with the altemation of set- class [O1481 and diatonic tnads (mrn.55-61); a sirnilar situation occurs in the fifth movernent with the altemation of the same set-class with [0358],the diatonic minor-minor seventh (ex. 3.67). Finally, Zemlinslq creates a chromaticdy ascending line with this chord alone in the sixth movement (rnrn.4243). When E. Scott Harris stated that "although [Zernlinslq] chose not to abandon tonality completely, his constant Birtation with and occasional embrace of non-tonal writing illuminates the hesitations, retrenchments, philosophical posturings, and personal conflicts he ... experienced. ..," he was descnbing the thorough intermingling of tonal and non-tonal elements in Zemlinsky's string quartets. The use of triads and diatonic seventh chords as localized referentiai sonorities is very cornmon throughout the 1927 quartet: they define the overall sound of some sections, while in others they provide a point of vertical stability in the largely quasi-contrapuntal contea. Interlockinç triads form the sonorous basis for the Introduction of the first movement (mm. 1-22). The entire first measure gives only the B-minor triad, while the phrase ends on an F-rninor triad.12 In the second phrase, D-minor and A-major triads interlock through the melodic motion (mm.4- 5); the fourth phrase culminates in D minor, A major, C# minor and F minor, di sharing common tones. The transition (mrn.49ff.) dtemates between D b major, A minor and F major, while the recapitulation's S1 theme (mm.259fl.) gives D major, F# minor and G major in quick succession. Other "stability markers" in the first movement include the prominent F-major chords in the middle of the transition (mm.65, 68), the B b-major chord l l~arris,"Quartets of Zerniinçky," 385. 121n the interest of brevity, inversion statu wiii not be included at this point. at the start of the following secondary theme group (m.73), D b major and B b minor at the beginning of a thematic stretto in the development (m. 164) and D major throughout the coda. Many sirnilar moments appear in the other movements of the quartet (with the exception of movement five, which achieves stabiiity through fiequent unison passages), wherein diatonic triads delineate the beginnings, endings and overail sound of the thematic context. Diatonic seventh chords play a similar role in the work, as an extension of the above. While Zemlinsky uses the four qualities of sevenths in fairly equal amounts, he seems to make use of them without their harmonic implications, indeed more independently than the triads, whose cornmon chord tones create a (non-traditional) progression of sorts. The many seventh chords of the fourth movement provide a suitable example: halfaùninished, minor-minor and major-major sevenths appear in quick succession, especidy in the est complete variation. Their theoretical keys of resolution, however, fail to show a functional "implied" progression: F# minor, B major, Ab major, G major, with other, non-diatonic chords intennixed (ex. 3.68, rnrn.17-20). The conspicuous triadic sonorities, particularly in the fvst eleven measures, secure the pseudo- diatonic bais for the movement. The rest of the incomplete variations provide an interesthg assortment of "enhanced" txiads, with added diatonic or non-diatonic chord tones, creating the set-classes [0357], [0237], [0247], [O 1471 (mm.1 1, 12, 16, 23). This type of triadic alteration is also found in the fifth movement, whose clirnactic matenal in m.21 contains the sets [0247], 103571 and [O 1371, white two prominent transpositions of the set [O3471 appear in mm.23 and 26 (ex. 3.69). These semi-tonal trichords and tetrachords, whether conspicuously placed triads, seventh chords in quick succession or "enhanced" triads, create the semblance of tonal adherence, without creating traditionai tonality. OAen in the fom of conspicuous chordal moments, they provide contrat to the prevailing contrapuntaily-conceived texture. They can also determine the overail colour of a passage, much in the same way that the members of the whole-tone set and the "enhanced" augrnented chords were seen to do in the previous analysis. Each of the phenomena descnbed in the foregoing analysis. such as Grundgestalten, developing variation and referential sonorities, gives us considerable insight into Zemlinsky's cornpositional process for the 1927 string quartet. It is intriguing that different movements reveal varying shades of the importance of generative motives, sometimes exhibiting an interconnection between movements on the conceptual level. Many other connections exist, however, kethe repeated use of pitch centricity, trichords and tetrachords, and even complete motivic celis, infonning us about the composer's motivic design for the complete work. Many of these elernents in tum correspond to similar events in the pubiished quartets, speaking to Zemlinsky's approach to the genre as a whole. CHAPTER FOUR ANALYSIS OF EXPRESSNE STRING-WRITING TECHNIQUES The early twentieth century saw a great change in the idiom of string music written by composers in Central Europe. The plateau of expressive style established by the canon of Iate eighteenth- and nineteenth-century quartet composers becarne suddenly augmented by myriad features particular to stringed instruments. Perhaps the most striking phenornenon of this proto-experimentalism is the sheer quantity of indications in the score, sometimes of an extremely specSc nature, accomplished by a large number of creative minds. The aim of this part of the current study is to discuss these expressive devices in Zemlinsky's 1927 fragment. The endeavour here wiU be to demonstrate the use of articulation techniques in the manner of variations, as a method of thematic development, as delineators of part individuality or conformity, and as "punctuation marks" in large- scale form; finally, I wil1 discuss the specific contributions of individual expressive features in the quartet. This shidy is an important one, since this area remains completely untouched in the body of scholarly work on Zemlinsky, and sùnilar scholarship regarding the work of his contemporarïes is scant indeed. Walter Kolneder's An~otz Wrbentl and Wallace McKenzie's The Music of Anton Webern2 both mention the large number of expressive indications in the Five Piecesfor Srring Quartet Op. 5, but this is linle more than stating the obvious; Hans Rudolf Zeller's article Text tind Inteprefafiotz: Zur Handiz~ngsunalyse von Op. 3 deheates the types of articulations l~olneder,Walter, Anton Webern: an inîroduction to his works, translateci by Hurnphrey Searle (London: Faber, 1968). 2~c~cnzie,Wallace, "The Music of Anton Webem," PhD. diss., North Tcsas State ColIcge. 1960. Figure 4.1. Linear scale of arco articulation markings used in Berg's work, and selects a speciiïc moment in the work to examine the density of the composer's rnarkings in the score.' At this point, it is necessary to outline the expressive features of the 1927 quartet, in the interest of nomenclature as weil as of typology. At the most basic level, there are four methods of generating articulation in Zemlinsky's work: arco, pizzicato, col legno and con sordino (the last family embracing a duplication of the other three combined). Theoreticaiiy, any articulation or phrashg indication is possible in each of the four families; the arco family, however, receives the buik of diversity in this regard, since Zemlinsky (like many cornposers) limits the degree of specified expression in pizzicato and col legno. Al1 of the daerent articulation types within the arco family can be placed on a hear scale, each particular indication representing a point on the line, which extends fiom the longest playable dolcissimo legato to the shortest possible single note with the most strongly accented attack (see figure 4.1). With this concept, the differences between individual articulation markings, including slurred notes, are "of degree, not of kind."4 The system above also dows for multiple atîacks within a single legato phrase, which appear slightly closer to legato than their respective, separately-bowed counterparts. Thus, ail legato phrases appear, in decreasing order of length, at one extrerne of the scale, followed by shed then separate tenutos, accented tenutos and tenuto-staccatos. Following these are slurred and separate accents, slurred and separate staccatos, accented 3~ansRudoif Zeller, "Textund interpretation: Zur Handlungsanalyse von Op. 3. " in .\.Iusik- Konzepte 9: Afban Berg Kammermusik 11 (Miinchen: Edition Text und Kritik, 1978). 3848. 4~hisparaphrase of Schonberg's description of the reIationship between "consonant"and "dissonant"overtones from the Harmonielehre (191 1) sp&s Co the similarity of this concept to the linear arrangement of e.upressive devices listed in the above paragraph, Cf. Arnold Schonkrg. Theop of Humo~v,translated by Roy E. Carter (London: Faber and Faber: 1983), 2 1. staccatos, then sforzandi, aione or in combination with any of the above. What this scale cannot display is the individual quality of the sononty, whether su1 ponticello, su1 tasto, normale, molto vibrato, poco vibrato and so on; this is of minimal concem, since Zemlinsky ody uses su1 ponticello and su1 tasto once each in the 1927 quartet. Throughout the six movements of this manuscript Zemlinslq uses a consistent variety of expressive markings. For the most part, he chooses not to accompany these individual symbols with verbal instruction: text, if it appears at ail, is more likely to be in the context of a large-scale section rather than a specific colouristic reference, as is found in Berg's quartet Op. 3 and the Lyrtsche Suite, or Webern's Five Pieces Op. 5. In cursody glancing at the quartets of Zemlinslq's contemporaries, one is struck by the subtle textural differences preferred by each composer. Schonberg, whose chamber works have long been held @y Zemlinsky scholars) as the closest artistically to those of Zemlinsky, betrays a significant adherence to traditional, Nneteenth-century expressive features in his quartet Op. 7, oniy siightly embellished in Op. 10. While textures do change throughout these two quartets, the prevailing mood is legato, with very few instances of verbal instructions (much iike Zemiinsky), combined markings, or glissandi: this, perhaps, shows a tacit reiiance on the intuition, based on dynamic markings alone, of the performer. Berg's two contributions to the quartet repertoire demonstrate the opposite extreme: many verbal instructions accompany the individual expressive devices, whether describing the volume, quality, relative speed or amount of bow used. This chaotic situation in the score augments the already dense combination of articulations of al1 types, including a noteworthy amount of col Iegno ge*chen and geschlagem The composers closest to Zemlinsky in expressive nuances seem to be Komgold and Szymanowski. both of whom also combine expressive types in dense masses or in quick succession. In the quartets of both these composers there exists an overt tendency toward evocative, "Romantic" gestures, exernplified by the conspicuous use of glissandi in Szymanowski's quartets Opp. 37 and 56. Of a more moderate, yet still related approach are the quartets of JanaCek and the first three quartets of Bartok, the former including long, wide-interval trills in a Iess-traditional, static realm of expression; such can also be said of Bartok's third quartet ("seconda parte"). Erpressive string techniques as a metM of variation Many moments of variation technique appear throughout the 1927 quartet, not ody in the variation movement proper put also as a type of informai thematic construction in all six movements. This chapter aims to include the alteration of articulation as a system through which Zemlinsky sought to achieve varied repetition in this work, both as an aid to the production of melodic and rhythmic variants, and as an independently- fundionhg event. This simple procedure can demonstrate articulatory variation either in close proximity to the original statement, which occurs sometimes in local, transitional developments, or at great distances, such as with recapitulatory alterations, or even in quotations interpolated into other movements. This concept assumes the composer's intention of consciously creating a type of variation procedure through articulation, as opposed to forming purely local decisions made independently of each other, according to the individuai context. While it is certainly possible that the latter situation does occur, the manuscnpt shows that Zemlinsky created the articulation markings as an integral pan of the compositional process, not as an overlaid layer of foreground matenal: even the 28- measure fourth movement contains an astonishing density of markings. Among the most notable examples of long-range variation technique using articulation is the distinctive shed-tenuto mono kom the second introductory theme of movement one (see ex. 4. la, mm.3-4). The motto's repetition at mm.6-7 (ex. 4.1 b) retains this gesture, but the same neighbour figure appears, slurred without tenutos, in mm. 16- 17 (ex. 4. lc). In the recapitulation at 111.213 (ex. 4. le), Zemlinsky ailows this theme to absorb the staccato marking and rhythm of the neighbour figure seen throughout the final section of the development (ex. 4.ld, mrn.189-98), at the sarne time continuing the Er 4.1~Ml. mm35 (Vnl) Ex 4.lb: mavt 1. mm.67 (Vn 1) Ex 4.1~.movt 1. mm 1617 (Vn 1) Ex 4.ld: movt 1. mm.19596 (Vn 2) Ex 4.le: rnovt 1. rnm.213-14 (Vn 1) Ex 4.lf mov?. 5. mm.5157 (Vn 2) slurred-tenuto indication in the lower parts. When this theme reappears as a quote in the £iflh movement, only the contour remains (ex. 4. lf, mm.55-62); the overall rhythm is now in straight sixteenth notes with staccato unifonnly in aii parts. Zemiinsky labelled the passage "spicc.," a colour which stands in stark contrast to the legato-laden fifth movement, representing a final move toward a shorter articulation for this particular theme. It is interesting that this minuscule neighbour figure can link together larger sections or even movements simply by the development of tone colour implied in its articulation, a development which enhances a pardel alteration of rhythm. The two primary themes of movement one undergo very little variation in tems of expressive markings, and are therefore more recognizable in their recurrences as a result of their alrnost identical articulation. Of the two themes, theme P2 chançes slightly according to its context: when surrounded by a denser congregation of thematic materiai, the distinctive spiccato (with interpoiated accents, ex. 4.2a) of the original statement becomes more heavily accented (rnm.l64ff, ex. 4.2b; mm. 238, 267); when overlapping on itself, or relegated to a stnctly accompanimental function, the theme acquires softer tenutos (ex. 4.2c, mm. 137ff.). Zemlinsky shows the relationship of this theme to the first introductory theme (ex. 4.2d, mm.1-3) in a series of accompanimental gestures first appearùig in m.57 (ex. 4.2e): the rhythm and contour of the three upper parts immediately suggests a prefiguration of P2 in m.58, whereas the present chordal texture recalls the Introduction, although with a significantly altered articulation (carets and pizzicato instead of legato). Finaily, during a general diminuendo passage immediately before the Ex 4.2~mavtl, mm.37-38 WC) i3 4.2b:Mt, mm.164-65 (Vnl) Ex. 4 2c. movt 1. mm 137-38 (Vnl) recapitulation, the gesture takes on the fidi legato indications of the introduction (ex. 4.2c mm. 204fj.),thus prefiguring its recurrence a few measures later at m.2 10. Perhaps the second movement affords the best example of articulation as a source of ongoing variation technique in the 1927 ftagment. The opening theme, with its distinctive rests rnid-phrase, bears the marking "senza espr" (see ex. 4.3a). The slurred- tenutos appearing in the very next statement at m.9 attempt to contradict the opening indication, wMe simultaneously incorporahg an articulatory gesture fiom the preceding episode, rnm.6-8. The lyrical variant of the theme starting at m. 16 identifies its relation to the opening theme, not ody through its repetition of motivic cellç, but also through the inclusion of tenutos (especially at m. 18), now separately bowed as an inhentance fiom the latest episode (mm. 14-15). Up to this point in the movement, Zemlinsky has accomplished a gradual progression, fiom the openhg indication of reduced expression to "molto esp.," which accompanies a slow rise in tessitura up to the E~ in m. 19. For the reprise of theme 1 at m.25, the text "senza esp." returns, with a slight change created by the separate bowing of the ceilo part, as weii as by the final pizzicato sforzandissimo, which also serves as a delineator of form (ex. 4.3b). The drarnatically altered rhythm of the transition (mrn.28i) receives a completely dserent articulation, now uniformly staccato, accompanied later by short legato groups and tremolos su1 ponticello: it will be recded that this music derives its contour Rom the openkg notes of the first theme. The contrast intensifies with the introduction of powerful accents at the start of theme 2 (and its prefiguration, also denved from theme 1, ex. 4.3c, mm.33fJ), followed by separate Ex 4.- movt 2 rnm.1-19(VnlNa) Ex 4.39: movt 2. mm 14653 (Vnf) - - tenutos which immediately form a tie to the variants of theme 1. The final, severely truncated statement of theme 1 at mm.40-4 1 shows the effect of theme 2 through heavy, separate accents and a final sforzando, resembiing the sectional close at m.28 (ex. 4.3d). At the recapitulation of the A-section (rnm.87ff), the verbal indications accompanying the opening theme exhibit the cumulative effect of so much variation, as Zemlinsky uses the indications "esp." and "sempre espr. e cresc." The theme itself, while still legato, develops into longer, overlapping phrases* reaching an expressive peak with sforzandi (even rnid- legato, rnm.98-99) and both s1urred and separate accents (ex. 4.3e, mm. 100-10 1). The effect continues with theme 2, which has replaced the repeated accents and tenutos with legatos of varying lengths. The closing segment of theme 1 employs tenutos, separate and slurred accents on every note to create the dynarnic climax of the movement. As with the sectional break at m.42, soft legato phrases follow the sforzandissimo (and its echo) at m. 122 (ex. 4.3f). Finally, the closing segment (marked Adagio, ex. 4-39, mm. 146-53) displays most of the accumulated markings Born the dif5erent variants of the movement, including legatos of various lengths, slurred accents and tenutos. To complete the discussion of articulation as a source of variation technique. it is important to examine the variation movement itself. Here it is possible to view the separate articulatory gestures fiom variant to variant in a controiled setting. Zemlinsky duplicates the medium-length legato group fiom m. 1 in rn.8 (the overlapping start of variation x, exx. 4.la-b): the same can aiso be said for the conspicuous glissandi in the accompanirnents of both. The separate bowing fiom m.2, created as a form of contrast to the legato opening, becomes magnified in m.9, where each note receives a separate accent, as does the following descending arpeggio. At m. 11, however, the similarity in both notes and expressive markings between the theme and variation x disintegrates. Much less lies in cornmon between the theme and variation one proper: the broad legato groups of m. 1 extend throughout the cello part mm. l6ff (ex. 4.4c), while slurred-tenutos, possibl y a development of either the tenuto-staccato of m.3 or the plain tenutos of m.7, are uniform throughout the accompaniment. The syncopated tie, which aiso distinguishes this variation, emerges in the melody of the second variation at m.28 (ex. 4.4d), and sustained thirds in antiphonal registers (mrn.25-27) replace the original accompanimentd glissandi. The score, aithough fiagmentary, indicates the possibility that the length of the legato groups grows as a development f?om variations one to two, exemplified by the EL 4.- s&nhug. bp. 7. mm13 (Vnl) Ex 4.W t3c&tuu. Op. 7. mm74 WC) polyrhythmic passage in the second violin (ex. 4.4e, mm-25-27) and the broad descant melody . To provide a wntext for the phenornenon of expressive fatures as a means of variation, it is worthwhiie to examine Schonberg's quartet Op. 7, which although predating the present manuscript by over twenty years, demonstrates defhitively the process of articulative variation in the primary theme group of its initial exposition. The main theme (ex. 4.5% mm.1-3) has a prevaiiing articulation of short, separately bowed notes, altemating with sustained pitches. Into this prevailing expression Schonberg interpolates staccato notes and short legato phrases; the long legato motion in the ceiio contrasts with the upper three voices. At m.7 (ex 4.5b), the introduction of an "iambic" motif in the cdo reverses the expressive distinction between the outer voices, which persists untii a break in part density at m. 14. This break also inaugurates a variant of the main theme, which displays an almost completely legato expression, interpolated with staccatos and rests; the prevaiiiig tone colour is therefore somewhat contradictory to the thematic similarity exhibited by the variant's contour (ex. 43). The main theme returns in the ce110 with its original articulation at m.30, passing through a fuli measure of legato (ex. 4Sd, m.34). The "iambic" motif also retums, incorporating a single legato group in m.37, likely as a bowing convenience. Schonberg repeats the expressive device in earnest at m.44, however, subjecùng the specifics of its bowing to much variation over the next ten measures in the three upper parts (ex. 4.5e). The cumulative effect of this push towards a more legato expression transforms both the openhg theme and its variant in their simultaneous restatement at m.54, wherein legato phrases of dEering lengths interweave in a dense motivic web (ex. 4.9). Schonberg rounds off the section with a miniature recapitulation of the opening theme, resto~gthe original articulation for the most part, while including some phrasing indications from the m. 14 variant (mrn.67,69). Al1 of the above thematic material undergoes intense development throughout the rest of the quartet, the description of which is beyond the necessity of the present study. Erpressive string techniques as a method of thematic development The corollary to the issue of articulatory variation is the concept of articulation as a source of thematic development. While the former describes the ongoing alteration of expressive features over recurrences of the same or similar thematic material as an informal variation procedure, articulatory thematic development uses individual expressive devices to connect themes from diverse regions in a movement, or even fiom different movements in the quartet. This lads to the possibility of thematic sub-classifications based on the type of expressive features used, enabling the analyst to draw çreater connections between themes, formal sections and even movements. Ex 4.6b: movt 1. mm. ï3-78 (Vn 1) Er 4 6c. rnovt 1. mm 14-5 (Vn 1) One of the clearest examples of Zemlinsky's use of expressive devices as a means of developing thematic matenal involves the connections formed by the first two phrases of movement one. It is important to note that the first two themes of the introduction (ex. 4.6% mm.1-5) function as a Gnrndgestult, responsible for generating much of the following material in the movement. The two themes also represent an archetypal majestidlyric polarity, forming a principaVsubsidiary relationship, through aspects of rhythm and contour alone. They do, however, have many expressive features in common, namely their construction in short legato phrases, the inclusion of sustained notes and slurred-tenutos, and the exclusion of interpolated rests or staccatos. One may still view this comection as peripheral, aven the fundamental dzerences in intervallic content, rhythm and bowing. The third member of this example, however, represents a midpoint between these two seemingly dissimilar themes: it is the SI theme (ex. 4.6b, mm.73fl), which exhibits an obvious relationship to the contour of the second introductory therne, while inhenting some elements of rhythm fiom the fht. The articulation is again mostly legato or sustained, with the distinctive tenuto markings on the opening neighbour-note motto from rnm.3-4, now displayed with the bowing fkom m. 1. The bowing admittedly complements the rhythmic change in the neighbour figure, forging a clearer Iink to both introductoiy themes. Once Zemlinsky establishes the motivic connection, there is room for variation, as the recurrences of S1 demonstrate, through the transfer of the shed articulation fiom the second and third notes of the therne to the accented fourth and fifih notes (ex. 4.6~.mm. 143-44; rnm.259-60),thus extendiig the original motivic relationships to other notes in the phrase. 4.7~Symanwki. Op. 37 ml.mm.14 (Vnl) Ex 4.n: .3?mwtf.mm.11-14(Vnl) Ex47cSzymancwski.Op37 movt 1. mm 2930 (Vn 1) EK 4.7d: Szymanwki. Op 37 mm1. Ex 4.79: Szymanowsk. Op. 37 rnovt 1. Ex 4 7f Srymanawsh, Op 37 mmt mrn.5G51 (VnlR) One cm make many suitable cornparisons to contemporary quartets on the subject of expressive features as aids to thematic development: Karol Szymanowski's quartet Op. 37 (191 7) not only provides strong corroboration, but also involves an as yet undiscussed indication: the glissando. This feature, like tds and omarnents, belongs to a subset within legato articulation, and although representing a melodic concept, its appearance as a single marking in the score secures its admission in the present discussion. Szymanowski uses the glissando as a developmental device, associated integraily with the opening motif (mm. 1-3) from the first movement: at this specific moment, it follows three stepwise descending notes, comecting the final pitch to one an octave below (ex. 4.7a). This final element dows the association of any similarly executed octave transfer to the opening material, and by extension, any leap of more than an octave. Instances of both appear in quick succession, at mm. 11 and 14, separated by a variant of the opening motif with the first three notes inverted (mm.12-13; ex. 43). The neighbour motion which follows the latter example appears in retrograde with the glissando at rn.29 (ex. 4.7c), showing the ongoing development involving this expressive feature: the neighbour figure is also a key characteristic of the second theme (mm. 18.). Szymanowski also uses the opening motif in diminution, with glissando, at mm.47-48 (ex. 4.7d) and mm.61-62. The technique of octave transfer compounds occasionally, as seen at rnm.50-5 1 (ex. 4.7e) and mm.83-84,where the glissando in the second violin crosses over the first violin's music, whose subsequent glissando produces an even higher register, creating a link between this passage and the opening, two musically unrelated segments. Finally, Szymanowski provides a retrograde of the opening motif; with the glissando placed before the three descending notes (ex. 4.7c mm. 154-55): the first theme of the second rnovement echoes this identically, introducing a whole new series of thematic possibilities. The third movement also includes the glissando motif in retrograde, employing the device prominently with an initial interval of less than an octave (mm.27 and 30, both sixths). Szymanowski's Op. 37 quartet proves the value of andysis of expressive features in many other ways, not al1 of which enjoy such inter-movement connections. As a result of the remarkable thematic clarity of the first movement of Zemlinsky's 1927 fragment, it is easy to place the majorîty of expositional material into two well- defined categories. It is important to bear in mind that these categories are grouped around more than just surface similarities: since each theme, in order to achieve expressive independence, contains a series of elernents contrasting to its environment, so Zernlinsky reintroduces similar articulations to create lïke contrasts throughout the work. When used occasionally in the occurrences of dserent themes in different formal positions, the device informs the discussion of thematic development . While the themes in the example fiom Szymanowski's quartet are linked by a set of specific expressive devices, the two categories of thematic classification are shaped by expressive tendencies. The first group is one in which the thematic instances exhibit a marked uniformity in tone colour for most of the passage. This criterion poses few problems for the analyst, because the element of uniformity in such dense string-writing as Zemlinsky's produces immediate contrast with its musical context. The most significant member of this category is the Pl theme and aii that derives from it (ex. 4.8a). The ovenvhelming majority of its entrances carry staccato ("leggiero") markings throughout, Ex 4.b Ml.mrn.23-26 (Vnl) Ex 4.8b: mmt1. rn 73 (Va) Ex. 4 9a: movt 1. mm 37-43 (Vc) Ln occasionally punctuated by accents, or with unspecified artic~lation.~This designation includes the prefigurative "interruptions" fiom the introduction at mm. 13, 15, and 19-22, al1 of which provide the necessary contrast to the surrounding texture of legato groups and sustained notes. The uniforrn staccato indications at m. 13 accompany an abrupt dynamic, density and tempo shift (ex. 4.8b), and while the tempo changes again at each interruption as well as for the entry of the Pl theme itself, it is evident that the dynamic and density elements fluctuate in the passages that foliow. These fluctuations, by allowinç the articulation an independent and therefore superior status arnong expressive devices, demonstrate a clear comection between the uniform staccato indications and the theme. The second category of expressive techniques in thematic statements opposes the first, since its members are classifled on the basis of the abundant variety of their articulation markings. Again, contextual contrast is the generative force behind this phenomenon, for the second theme of the primary group enters as an articulatory divergence from the uniformity of the preceding theme. First seen at m.37, the second primary theme altemates staccato with sustained accented notes, which later altemate with short spiccato passages (ex. 4.9a). The individual markings may indeed Vary fiom one entrance to another (such as at m. 137, where tenutos replace the accents); this, however, 5~nspecinedarticuiation on siqeenth notes at a vivace tempo would likely indicatc a stroke slightiy more linked than a staccato, if not actuaily implying staccato, given the preccdent in earlicr thematic entraces. Ex 4.1Ob: mavt 1. mm.92-% (Vnl Nc) - - - -- Ex 4.1k W1.rnm.100-05 (Va) camub does not obstruct the alternation of articulation types. During the expositional transition at m.58, Zemlinslq changes the overail effect of the theme by transplanting the opening "altemation motto" to the level of the entire phrase: the opening of the theme, now completely accented, is separated fiom the accented ending (rnm.63-4) by the original staccato middle section (ex. 4.9b). While this is not likely a conscious undertaking on the part of the composer, it reinforces the place of this thematic statement in the category of articulatory variety. On a smaiier scaie, the accompanimental gesture which proceeds beneath most of the secondary therne group (ex. 4.10a, mm.728) presents a constant aitemation of staccato and short legato note pairs in the viola, alongside an aimost hypnotic pedal in the ceilo based on uniform short legato phrases. These two simultaneous figures juxtapose the fundamental ciifferences in the aforementioned first and second categories of expression, beneath a thematic statement representative of the Introduction's thernatic development (mm.73H;see ex. 4.6b) which in itself demonstrated the expressive juncture of the two introductory themes. The second theme group therefore opens with a motivic microcosrn of expressive markings, which carries through to S2 (mm.83ff ). The first tirne Zernlinsky presents the theme, he achieves what appears to be the high point of expressive indications in the movement to this point, employing the altemating staccato-legato accompaniment, pizzicato with accents, as well as a theme which starts out predominantly legato, becomes accented at m.88, and continues with a combination of the two after m.92 (ex. 4. lob). Thus, S2 thoroughiy belongs to the second expressive category through the wedth of articulative markings displayed. The developmental sections which incorporate the same theme, however, reverse this "expressive categorization" by presenting the theme completely in long legato groups (mm. 100- 109, ex. 4.1Oc; mm. 1 75-ZOO), showing a connedon to the f2st category whose rnembers display articulative uniformity. Theme S2 therefore demonstrates the concept that the same theme can partake of more than one expressive category, depending on the context of its statement fiom one section to another. Expressive string techniques as definealors of pmt Ntdividualiiy or corIforrniry The grouping of themes into categories based on the tendencies of their expressive features leads naturally into a discussion of similar issues on the level of the individual string parts. The relative density of expressive indications in the score, mentioned earlier as an element of contrast, can be seen as a sub-grouping of the present discussion, which also touches on the relative typological proximity of different articulation types in certain contexts, the expressive effects of these combinations, and the ongoing development of each of these factors in a large-scale form. Each of these phenomena aid in the identification of the degrees of expressive part individuality or conformity. To begin this discussion, it would be suitable to approach the opening Intermezzo section of the third movement, whose formai layout (and therefore thematic identity) is fairly unproblematic, and whose phrase construction remains relatively simple throughout. Zemlinsky never negates the initial marking of "con sordino" found in al1 four parts, producing a certain sonorous uniformity over the entire movement, which by this feature achieves sonorous distinction fiom the other movements of the quartet. The other variations of tone colour indicated in the score are therefore subsets within the domain of muted expression, related but not identical to theû sema sordino counterparts: this is not to Say, however, that expression markings in a muted context are more closely related to np each other, and the third movement exhibits a variety of indications sirnilar to that found in the other movements. The opening theme of the Intermezzo presents uniform staccato markings, separated texturally fiom the imer voices which employ short legato phrases as a very sparse accompaniment (ex. 4.1 la). The introduction of pizzicato (ex. 4.1 1 b, m. 1 1) prefigures the expressive alterations which help convey the repeat of the theme at m. 12 as a separate formal phenornenon. The frst violin, in abdicating its position as theme-bearer, switches to slurred-staccato triplets, which occur for the first time in the movement. The primary theme group thus represents a slight development in density of articulation, alongside a growth in number of parts and complexity of rhythm. Zemlinsky achieves a cornpiete forma1 break with the sudden reduction of ali voices to pizzicato for theme 2a at m.20 (ex. 4.1 lc). It is this contrast which retrospectively gives the first theme a certain individuality of parts. In a context of greater diversity, the same music might not demonstrate a similar effect., especiaiiy since the first violin's slurred-staccato is typologically close to the separate staccatos in the same part as well as in the cello, al1 of which as short articulations approxirnate the effect of the accompanying pizzicato. Theme 2a is, doubtless, a moment of expressive conformity in any case: not even the staggered sforzandi contnbute a sense of individuai identity to any of the parts. It is only with the reintroduction of short legato groups for theme 2b at m.32 that Zernlinsky allows any independence, and even then, the close proximity of the outer parts' entrances demonstrate a CO-independenceof sorts (ex. 4. I ld). W1th the brief moment of staccato in the first violin melody (mm.37-39), the composer retums to the minimal diversity found before m.20, which a restatement of theme 1 (ex. 4.1 le, mm.40-41) extinguishes promptly thereafter. Also pardel to m.20, the reîuming theme reintroduces cornplete expressive uniformity, which extends into the prefiguration of theme 3 fier m.46. This prefiguration, although employing independently moving voices, does so in a manner which inhibits their expressive growth: each voice is seen to expand out of a single pitch class at m.46 (ex. 4.1 If), the "expansions" signaled only by an interpolated accent within an unspecified prevailing articulation. The middle, temary section of the compound temary Intermezzo displays, on the whole, a greater demand for subtlety in expressive string playing than the material fiom the opening temary fonn. Within this overd variety, however, there exist different degrees of expressive independence in the parts thernselves. Theme 3% for instance, offers only a slight change in the articulation markings of the outer parts, especially the first violin, which exposes a subphrase division with a tenuto in m.60 (ex. 4.12a). Again, the separation of the imer parts through the use of pizzicato recalls the earlier CO- independence seen after m.32. The second half of theme 3 (rnrn.63fl) eliminates this division, showing a clear distinction in expression between one melodic and three accompanimental voices, a device not often encountered in this movement. The repeat of the legato scalar run from m.57, first seen as a formal marker before theme 3% is, dong with severai interpolated tenutos, the main cause of the melody's independence. By m.67, ail voices are uniform; indeed, this theme group exhibits only the bare minimum of independent parts, despite its variety of indications overd. The fourth theme (mrn.70fl). by the very nature of its canonic construction, contrasts the relative conformity set up by the previous segment. Only the top two voices appear to be unified (at first with the indication "col legno, legato") until their respective entrances after m.8 1. Although both violins enter with thematic material in close proximity to each other, the writing is such that the articulation rnarkings of both are dif5erent fiom moment to moment, while the lower parts achieve a certain uniformity through antiphond staccato and accent indications (ex. 4.12b). Such simultaneous variety in expression has an effect on the following retum of theme 3 at m.9 1, whose new accompaniment adds a diEerent atmosphere to the regular tenuto and staccato indications of both hdves of the theme (ex. 4.12~).This effect carries through to the final entrance of theme 1 (the tnincated reprise of the opening section, ex. 4.12d, mm. 101.), much in the same manner that the texturd uniformity of the smali-scale reprise of theme 1 at m.40 aEected the foilowing transition (rnm.46ff). .At m. 10 1, however, the change is complete, with the remodeled theme 1 employing accented and unaccented pizzicato, and antiphonal phrases of legato and staccato, with the parts paired in a new configuration. The independence of parts continues through the reduction and disintegration of materid in the transition to the Trio after m. 1 12 (ex. 4.12e). It will be useful to examine a brief moment of extreme diversity fiom the quartet to demonstrate the expressive roles of individual parts in combination. The opening phrase group of movement five conveys the independence of parts through widely staggered entries and expressive indications of great typological diaerence (ex. 4.13, mm. 1 - 14). The ceilo enters alone, playing pizzicato until the caesura at m. 14, lar~elyrepeating a five eighth-note ostinato pattern within 314 the. Zemlisky has marked the beams of these notes over the bariine and in a "syncopated" format where necessary, irnplying an accent on the fist note of every group of five beats. When the viola enters at the anacrusis to m.3, another five beat ostinato emerges, now legato in running notes aitemating with a single sustained note: the legato phrases constantly Vary in length, anywhere fiom three to eight notes, the unsteady series of bow changes irnplying a subtle, shifling accent. The first violin enters with the first primas, theme at the anacrusis to m.4, in a long legato phrase marked "espr.", the initial bow stroke is &ce as long as the five-eighth pattern established in the lower parts. The final sustained pitch of this entry employs a dynamic swell, being the first crescendo in the movement. The anacrusis to m.8 introduces both violins in parailel octaves with the earlier theme in inversion: Zemlinsky has now broken the previous legato (save for the final gesture) into separate notes, marked tenuto, with a larger dynamic swell. Here the articulation betrays an almost purely formal function, caiiing attention to the inverted repeat of the theme. While the second violin sustains its final pitch (as an extended "elision" to the foliowing matenal), the two ostinati in the lower voices break down, with the viola adopting a completely irregular phrase length pattern to match the unpredictable bowing seen earlier. The two violins, meanwhile, altemate with wide-ranging legato groups of varying lengths (the second primary theme). The final measure of the theme group (m. 13) exhibits the greatest sense of rhythrnic and phrasing uniformity, dividing the beats clearly at the beginning, middle and end of the measure. This measure, followed by a caesura, represents the end of a long crescendo and a progressive thematic fragmentation, which the est violin reinforces with accents. While each part plays a highly individual role in this excerpt, there is a definite separation of voices between the "bound" accompanimentai and "free" melodic pairs. The inversion of the theme in octaves (mm.7-9) is the main element which delineates the melodic pairing, although the altemating behaviour of both viohs in the second primary theme contributes as wetl. It is interesting that the lower parts never dispiay rhythmic or phrasing unifomity, fur even the shared element of ostinato is offset in accentuation, as a result of the viola's point of entrance; yet, despite the basic articulation differences they are still perceived as a "paired"phenomenon. The effect of the pairing is one of ongoing unrest, which through its repetitive nature takes on a unified tone colour. Zemiînsky achieves an atmosphere of extreme irregularïty through variety in expressive devices, in which each part enjoys a semi-independent role amid complex interrelationships, culrninating in a bnef moment of relative conformity through fiagrnentation to mark the end of the phrase group. The composer takes care, however, that this "regularity" is only slight, hindered by the polyrhythm and syncopation still present in the final measure. The quartets of Ench WoIfgang Komgold provide an overwhelming, continuous density of expressive feahres, leading at times to a great individuality of parts, partially as a result of his inclination towards highlighting his many moments of pizzicato (Le., at high dynarnic levels, with accents or sforzandi, as seen at the opening to the first quartet, movement one). The cornparison of the thûd movement £tom his first quartet Op. 16 is especidy apt here, since not only does it bear the title "Intermezzo," but is played con sordino, unhterrupted, for the entire movement. As in Zernlinsky's [nt ermeuo, Komgold initidy avoids the full texture of aU four voices: m.21 (rehearsal number 36) is the first the they sound together, two of them pizzicato. Up to this point, the composer allows the parts to exhibit great individuality (ex. 4.14, mm. 1-21). The first violin plays a moto pepehro pattern in separate unmarked notes, interpolated with accents, sforzandi and short legato groups. Initially, the inner voices reinforce various pitches with pizzicati of various dynamic levels; at m.5, the melody appears, played by the viola in medium and short legato groups interpolated with staccatos and accents. Into this mixture, the second violin introduces an "intemptive" scalar figure, part staccato part legato, ending in a tri11 and grace note (mm. 15- 18). Findy, the ceHo enters with a single pizzicato chord. beneath a sustained note and staccato scaie in the inner parts (mm. 19-20). This constantly shifting diversity sets a standard for the rea of the rnovement, which rarely achieves any son of expressive uniformity in al1 four parts; while this extreme is not indicative of al1 of Komgold's quartet movements, it does show a tendency toward colouristic effects in his work, as well as in the general attitude toward chamber music dunng this penod in general. The relationshp of expreszve devzces to fom So far every portion of the present discussion has mentioned the effect of specific articulation changes as formal markers in Zernlinslq's 1927 quartet. The preceding discussion regarding the independence of parts through expressive indications sought to demonstrate the development of that phenornenon in a large scale form. At this point, it is necessary to draw conclusions, based on the evidence presented in this chapter, with a concentration on the composer's intentional delineation of large-scale form through expressive devices. The sixth movement, in rondo form, proves a suitable exarnple to demonstrate these phenornena. Figure 4.2: Expressive divisions in Movement six formal section measures salient expressive features articulatory deiineatofi A mm.1-10 rnostly legato over accented and (subphrasc divisions: glissando chords melodic tenutos) Transition mm.1 1-26 short legato over staccato; pizzicato chord pizzicato and staccato B mm.27-50 accents and tenutos, slurred and caesura: introduction of separate; legato accents Transition mm.50-64 staccato and accents; short legato, introduction of staccato tenuto, sui tasto A' mrn.65-75 slurredlseparate staccato, tenuto caesura; single pizzicato over staccato with interpolateci note accents Developmental mm. 75- 101 staccato and legato interpotated mesura; thiming of temue Transition with pizzicato of various speeds; heavily accented with sfonandi mm. 105-1 15 long legato with slurred staccato graduai rcintroduction of softer articulation The first section (4 ex. 4.15a) acts as a miniature, informai set of variations, divided at rnm.3 and 7 by single tenutos in the melody. The accompaniment develops the initial accented chords into glissandi, first separate, then linked together: in the finai instance, sforzandi identiQ the individual beats. For each of the three phrases, the melodic line enters before the accompaniment; at m. 11 however, it is the pizzicato chord on beat one which announces the next phrase, as weil as the opening of the transition, while the melody ties over as an extension of the preceding phrase. At this point, the second violin introduces staccato for the first thne in the movement, which continues in both middle 6"~rticulatorydelineator' refers to a specific expressive event which announccs thc start of a new forma1 section: in this chart, each delineator refers to an event at the beginning of the formal scction listed in the same row (generally in the first measure Listed). voices until the ceilo's entrance in m.19. The transition also expenences a decrease in articulatory density (as well as texturd density), since the prevailing staccato feature is augmented only by a few legato interpolations in the kst violin. Measure 19 represents a division point within the transition, as both middle voices change to pizzicato alongside the entrance of the cello and a growing trend of staccato in both outer voices (ex. 4.1Sb). By m.21, the voices are paired in terms of identical articulation, a phenomenon which highlights the upcoming B section; thus, the transition prepares the alteration from the original one melodiclthree accornpanirnental voice configuration to an equal two-plus-two situation. In so doing, the first violin relinquishes the individuality ganted at the start of the movement, through the reduction of the melody to the status of "interpolation" in m. 13, then through a CO-independence(Le., a Ioose pairing), first with the cello at m. 19, and ultimately with the second violin at m.27. A complete caesura in ail parts ushers in the B section, whose theme at m.30 is preceded by a three-measure "introduction" recailing the melody gom m. 1. The pairing of upper and lower voices here is strict until m.40: a subsidiary transition occurs mrn.35-40 (ex. 4.15~).between thernatic statements, wherein the vioiins' legato bowing slips out of phase, seen previously in the "appassionato" theme (mm. 10-13) in the fifih movement. The two voice pairs of the B-section theme rarey exhibit identical expressive devices at precisely the same moment. Where the top voices employ tenuto and slurred accents, the lower voices have separate accents and sforzandi; in general, the violins become more legato while an increasing number of rests interrupt the lower pair, whose shorter notes culminate in pizzicati (m.38-39). Another complete caesura in m.40 separates this subordinate transition fiorn the second staternent of the B-section theme, now labelled "marcato," with unison rhythm and articulation. The articulation in this passage betrays its expressive relationship to the initial statement at m.30. At m.44 a single cello pizzicato announces the internai repetition within the phrase, which disintegrates into a senes of short accented legato groups (ex. 4.15d). The foliowing transition reintroduces separate staccatos interpolated with accents (ex. 4.15e); the reduced density, as well as the retum of the theme A variant at m.53, motivicaiiy recds the est transition (mm. 1 1ff ). The present transition involves a much greater independence of voices, as demonstrated by the sporadic legato motion in aü parts, the tenutos sul tmto in the first violin and the rests throughout the second violin part. The transition culminates in two separate statements of a three-note mono which presages the accompaniment to the following section. Again, a full caesura and a single cello pizzicato note herald the A' section, which takes as its main expressive departure the introduction of spiccato (slurred-staccato, ex. 4.1%) in the ascending prefix. The original separation of first violin melody and three-voice accompanirnent continues here, with the new three-note mono bearing accented and unaccented staccatos throughout. The opening measures of the transition which succeeds at m.75 represent a dissolution of the preceding material, broken by gaps in sound. The tme start of the developmental transition can be placed at m.79, where a great variety and density of markings announce as the most interesting section in ternis of expression in the movement (ex. 4.15g). The theme from A' returns with slight aiterations in the viola, accompanied by pizzicati notes of various speeds and legato groups of difîerïng lengths as a descant. At m.87 the focus shifts away from the viola, as a new legato-staccato figure appears in the cello, beneath a mildly accented version of the opening A theme in both violins. Through this thick texture, the viola reappears with a heavily accented A theme. and al1 voices receive many accents before culminating in a single sforzandissimo chord. The music of this segment (rnm.80-96)exhibits one of the most complex passages in the entire quartet in terms of independent part writing, a factor which in tum distinguishes the section within the form of the movement. The final moment of the developmental transition engages in a gradua1 alteration of articulation, in almost perfect unison, from the climactic sforzandissimo to long, expressive legato (ex. 4.1 5h, mm.96- 104). This progression passes throuçh separate accents, accented-tenuto, tenuto, slurred-tenuto, medium legato and extended legato groups. The C section, labelled "dolce espr.," highlights these lengthy legato groups throughout the £kt violin and cello, while the inner voices introduce a continuous slurred- staccato. This section reinstates the inaer/outer voice pairing last seen in the transition afler m. 19; at this point, however, the outer voices do not intentionally match each other, except perhaps in the length of legato groups, while the inner voices merely retain the uniformity imposed in the ha1 moments of the preceding transition. In retrospect, the music der m.96 represents a rapprochement to the more fluid type of expression appearing at the thematic statement of A' in m.79 (Le., legato and slurred-staccato), aiongside the only textural uniformity of this very diverse section. While the uniformity clearly announces the end of the dense development, the actuai moment of sectional division coincides with the breaking of this uniformity and the reintroduction of part independence at m. 105. Virtually any movement of any contemporary quartet could serve to demonstrate the p~ciplesof formai punctuation through expressive features. The first movement of Le05 JanaCek's first quartet (1923, "Kreutzerovy sonaty"), for example. exhibits, in relatively srnall dimensions, an obvious thematic clarity common in much of his music. Without exception, each of the formal sections of this Sonata-Allegro form cames a tempo change, accompanied by a decisive expressive break. The primary theme group introduces two thematic cells, labelled "Adagio" and "Con moto", which aitemate for the duration of the section (ex. 4.16a). The "Adagio" phrase is two measures long, characterized by a single legato group in two voices, supported by a wide tri11 played con sordino in the second violin. In the "Con moto" phrase, al1 three upper voices sustain their final pitches, whiie the cello plays a repetitive "leggiero" ("lehce")passage, in which it alternates staccatos with short legato groups, played sema sordino. JanaCek separates the two thematic cells with a sforzando on the tuid chord of the "Adagio" phrase. A transition begins in m.34 with new sforzandi, trills, tenutos in unison, and finally, a pizzicato chord which announces the new theme group. The second thematic section (mm.46-56; ex. 4.16b) also bears the title "Con moto" (with a rnetronome marking considerably slower than the previous such indication), with ali parts sema sordino. The prevailing texture is one of long legato groups and sustained notes; a single part, however, plays separate notes for every legato one, creating a unique, ongoing tone colour. The density dissolves at the closhg group (mm.57-7 1; ex. 4.16~)~which JanaCek charactenzes with concurrent long and short legato groups, articulated by fortepiano markings mid-slur, over long pedal tones. A careted sforzando and caesura articulates the end of the exposition. The minuscule development (mm. 72-85), based largely on the second thematic segment, exhibits a new articulatory gesture which has a combined colouristic effect: a sustained note, repeatedly introduced by a double grace note, which is almost constantly accompanied by an altemating staccato and tenuto rnotto in trochaic rhythm, on the fht beat of every measure &er m.75 (ex. 4.16d). Janaeek marks the end of the development with a pair of forte tenuto notes during a fleeting ntardando. The recapihilation displays very few alterations, the most prominent of which are the absence of con sordino indications in the £ïrst thematic cell, and the change corn "leggiero" to "sharply" ("ostM')for the second ceIl (which, however, does not affect the articulation markings). The transition no longer receives a pizzicato as a formai marker, and the second theme group reinforces the separate eighths over the slurred eighths, reducing the effect of the combined tone colour (ex. 4.16e). The clarity of these indications, as well as the changes made in the final sections of the movement, illustrate the importance of expressive markings in establishg the identity of formal divisions for Janaëek, dispiaying a technique which is dso reflected in many of the string quartets of his era. necontribution of specrfic expressive feaiures By far the most interesting of ali the expressive indications in Zemlinshyiy's quartet are those in which the composer requests a certain level of ski11 and subtlety in string playing, perhaps of a more specific nature than those indications typically found in the string quartet canon. Generally, those syrnbols which the composer uses in combination, such as slurred accents, tenuto-staccato, su1 ponticello tremolo and the like, heighten the inherent drarna of the quartet medium. It is important to examine the individual expressive effects of some of these devices in context. Among the many salient articulation types, those which combine legato and non- legato hold a speciai place in Zernlhsky's tone colour palette. While slurred-tenuto markings have already warranted earlier discussion as a phenomenon of thematic development, siurred accent and staccato markings deserve particular attention. Zernlinsky appears to be the single most avid user of the slurred accent (in the sarnpling of contemporary quartets in the present study), as found especidy in comection with the secondary theme group fiom the first movement. The accents mid-slur in mm.75 and 77 have a direct effect on those after m.88 (exx. 4.17a-b): accents overtake the S2 theme, achieving a sense of heightened drama at mm.92-95. This particular expression acts as a punctuation mark for the end of the exposition at rn.99. Further on in the same movement, the first secondary theme entries at mm. 143 and 259 alter the original slurred- tenuto motive to form more slurred accents, as a form of variation (discussed above). The first of these two statements in particular cuiminates in a long legato group filled with accents (ex. 4.17~.mm. 152-4), executed during a morendo passage. It is curious that many tirnes, this figure appears during a moment of intense dynamic change, and this latter example demonstrates the versatility of the device. Zernlinsky underscores the climax of the second movement through the sarne expressive marking: set immediately before the recapitulatory coda at the end of the A' section, the three consecutive pairs of slurred accents reach a peak in a tutti sforzandissimo chord which plays a sirnilar formal role (ex. 4.17d, mm. 11 7- 120). The indication reappears four more times dunng the final Adagio (mm. 146f/), again dunng a general morendo passage. Two other important moments, m.2 1 in the fXth movement and mm.94-6 in the sixth movement, both demonstrate the importance of the slurred-accent marking as a delineator of large-scale form; the latter instance in particular seems to recall motivically mm. 117- 120 fiom the second rnovement, culminating in a sforzandissimo (ex. 4.17e). Zemlinsky appears to have been the foremost proponent of this particular indication: Korngold uses it sporadically in his first quartet Er 4.1Sa: m6.mm.- (Vnl) - - IL- - 1 I ,,' -- Op. 16; Schonberg characterizes a sectional opening with it in his Op. 7 quartet (at "Erstes Zeitmass, m.138); and Janacek uses it persuasively before a grand pause twice in his first quartet (ex. 4.17f, movement two, mm. 16, 40). Zemlinsky's own second quartet displays the effect in a variety of situations; its use as a variation technique for the opening three- note rnotto at m.745 is particuiarly noteworthy. There are two main uses of slurred-staccato markings: as a phenornenon chiefly related to melodic ideas (sometimes labelled "spiccato"), for exarnple the altered A' theme at m.65 in the sixth movement (4.18a); or as a generally slow, ofien accompanirnental figure, found in the imer voices throughout the C section of the sarne (mm. 105- 1 14; ex. 4.18b). In this regard, tempo is a decisive factor. While the former type usuaily EX 4.1k sctianberg. 09.7, mmm-79 (Vni) accompanies a schenando or vimiosic passage, the latter has the effect of a gentle pulse, used primarily to activate sonorities. The fiist tempo and high level of melodic exposure during the fugato segment of the third movement (mm7 1-86;ex. 4.18~)place the pawage in the "scherzando" categoq. The B-section theme of the second movement, analyzed above as an example of variation technique, uses the pulse-like slurred-staccato to activate certain chords on the melodic points of arrival (mm42-70; ex. 4. Md). Zerdhky's third quartet, third movement (mm. 17- 19, 39-4 1) uses a figure quite similar to that seen above in the 1927 sixth movement mm. 105-1 14, as does the fourth movement of Komgold's first quartet (at [58]); two similar insbnces in SchOnberg's music are a passage in Op. 7 (ex. 4.18e, m.K77, marked "wieder gew6hnlichn), and the opening motto fiom the second movement of Op. 10 (m.2). The "scherzando"type is much more popuiar in early îwentieth-century quartet writing. Szymanowski's two quart- have many instances, with the opening moments of Op. 37fi marked "alla burlesca." A cornmon motif throughout Berg's Lwsche Suile employs several staccato markings in a long legato phrase (e-g., movt. one, mm.23, 33-35, ex. 4.18f, movt. two, mm. 13-15), much like the second movement of Szymanowski's second quartet ([A-[8]). These examples can be seen as an extension of the type &om 1927, movement six (m.65). The fourth movement fiom Schonberg's Op. 10 (mm.93-96) employs a rapid arpeggiated l5 4.20a: movt 1. mm. 120-24 5 4.Mb: Berg. Lymhe Sute rnovt5, mm 4-6 figure reminiscent of Verklare Nacht, as does Szymanowski's first quartet (ex 4.189, movt one, 2 before [8w),a figure which does not occur in Zemlinsky's 1927 quartet. There is one instance of su1 ponticello, combined with tremolo, in the quartet. The transition of the second movement (ex. 4.19, mrn.28-33) uses it as a contrasting texture beneath staggered entrances of the staccato subject. The ponticello feature contrasts also with an oscillating legato figure in the cello; eventudy, al1 three lower voices inherit the tremolo su1 ponticello indication under the final entry in m.3 1. This sononty is very common in the quartets of the early twentieth century, notably throughout Webern's Op. 5 and in moments of Berg's Lyrische Suite (movt. three, mm. 19-2 1, 1 17- 19; movt. five mm.81-85),as well as less conspicuous instances in Szymanowski (Op. 37/i, 1 before [ 1O]), Bartok (third quartet, seconda parte [30]), and Schonberg (Op. 7, mm.G 18- 19). In Zernlinsky's third quartet (movt. two, mm.8-17), the viola part of an entire variation employs this technique. Interestingiy, the 1927 quartet seems to have the only example of trernolo su1 ponticello used as a "countersubject"in a fugato-type construction. Finaily, the technique of glissando deserves some discussion. Zemlinsky uses glissando in three different ways in the 1927 quartet. In the development of the first movernent (ex. 4.20% mm. 120- 1D), glissando enhances the drarnatic climax during a series of short, staggered gestures, accompanied by sforzandi and accents. Zemlinsky also uses this type of expression in the second quartet: m.90 (marked "Wild"); 111.997 (during EL 4.Md: mavt5. mm.72-73 Ex 4.20e: w-4, mm. t -2 Ex 4.m.mm6. rnrn.4-7 the "Feurig" section); and in Op. 19hv (mm. 136-38). Szymanowski, in the second movement of Op. 56, characterizes an entire segment of music with forceful glissandi ([13]-[15]), as do Bartok, in the seconda parte of the third quartet ([44]-[46]). and Berg, in the £ifth movement of the Lyrische Suite (rnrn.4-7,ex. 4.20b; mm. 16 1-64, 4 1 1- 14) A completely different use of glissandi arises in lyrical melodic lines as a gentle comective device, as seen in the 1927 movernent six (ex. 4.20c, m. II 1) and the Andante in E b (ex. 4.20d, rnovt. five, m.72). While this very expressive feature has several precedents in Zemlinsky's quartets (Op. 15, rnm.598, 1160; Op. 19li mm.70, 74, 84; Op. 19hv mm.50, 108, 1 11, 199), the greatest proponent of "dolce" glissando is undoubtedly Szymanowski. The first two movements of his Op. 56 abound with the technique as a motivic device (e.g. i, mrn.3, 1 1, 13-14; ii, mm. 1, 8, 13). The third category of glissando expression is its use as a repeated accompanimental technique, seen definitively in the opening phrases of the fourth and sixth movernents of the 1927 quartet (en. 4.20e-f). As identified earlier, both these passages use glissandi as a source of variation, through altered iength and strength of accompanying articulation. While this technique is not a common one, there are occasions in Berg's quartet Op. 3 which exhibit this tendency: for example, rnm.86-8, 101-3, and 156-7 in the second movement (the last example, ex. 4.20g, actuaiiy continues with a drarnatic gesture approlamating the staggered entries in Zedinsky's 1927 first movernent mm. 120-23). The instance most related to those of the 1927 fourth and sixth movements, however, is the theme fiom the second movement of Zemlinsky's Op. 19 (ex. 4.20h). The accompaniment in m.5, while seMng as a variation on the individual chords 6orn m. 1, develops into a melodic event in the sixth variation mm.58-63, thus enabling the repetitive quality of the original to gain a greater importance in the movement. The study of expressive features is a many-faceted one: while many recurrences of music may be varied through changing articulation, the music itself may be piaced in categories according to the thematic development generated by these expressive connections. Expressive features are always significant, easily-recognizable characteristics, contnbuting to the identity of individual parts fiom moment to moment, as well as the development of the ensemble's identity across formal divisions. In the case of the latter, expressive devices aid in the projection of form, delineated through teaura1 contrast and the use of specific articulatory phenornena as "punctuation marks." Finally, each individual articulation and bowing indication has a separate, and sometimes multiple, significance throughout the six movements of Zemlinsky's 1927 quartet, many of which are corroborated by similar usages in the quartets of his contemporaries, such as Schonberg, Berg, Korngold, Szymanowski, Janaeek and Bartok. These expressive features in turn help to characterize a large body of work from the early twentieth century --a proto-experirnentalism which sought to enhance the possibilities of the stnnç quartet as a medium of musical expression. CHAPTER FIVE AESTHETIC QUESTIONS REGARDING ZEMLINSKY AND HIS WORK Introducrion Having examined the formal, motivic and expressive attributes of the 1927 quartet, I will now tum to the many aesthetic questions which dernand an investigation. While no issues in the realrn of aesthetics can ever daim definitive answers, this chapter aims to pense the "problems" of Zemiinsky's stance on tonality and progressiveness, to examine his cntical reception both pre- and post-1942, as weii as to take a general look at the stylistic traits of the quartet itself. While these topics may have the appearance of a miscellaneous mixture of concepts, they are fbndarnentally inter-connected. In the musical sphere of Central Europe in the early twentieth century, a composer's position with regard to the dissolution of tonality became a hallmark of that individuai's attitude towards progressiveness. Progressiveness is itself a subjective concept which is largely determined by the criticai reception and/or by the contemporary trends of scholarship. For each of these three issues, the chapter will consider substantial excerpts of the pre-1942 literature. Since the critical prose of Zemlinsys era (as weli as the greater part of modem scholarship regarding his music) does not address the 1927 fragment, the stylistic features of the quartet need brief examination, so that they may be related to the major "problematic" issues of the composer's career. This examination wiU also serve as a sumrnary of various facets of the quartet. To round out this chapter, a ha1look at the incomplete nature of the 1927 quartet probes possible musical rasons as to why Zemlinsky abandoned so large and promising a work. Whoever knows Zemlinsky's music, comprehends afker the first measures the fundamental dflerence between the music of Zemlinsky and that of Schonberg. Zemlinsky is not atonal. He cm understand atonal music, he can go dong with it intellectuaily, from the deepest knowledge of an artist he comprehends Schonberg, who had to attain where he is today, but as his own language it is completely foreign to him. Zemlinsky's music receives its individual strength fiom the elegant, noble, blossoming and soaring, compehg cantiiena and fiom a harmony, in whose expansion-bold, yet always rising on a secure foundation-his development has been camed out. 1 So wrote Ernst Rychnovsky in the August, 1924 issue of Die Musik, a Berlin- bssed periodical, in his article for the series Kopfe im Profil. The segment quoted above voices one of the common perceptions regarding Zemlinsky's stance on the dissolution of tonality. The image of Zernlinsky as the wise composer who perceives atonality and consciously tums away from it emerges fiequently in the literature of bis lifetime and the present, and is usually associated metaphoncally with his relationship to Amold Schonberg. Nevertheless, the black-and-white judgment found in Rychnovsky's article ("Zernlinslq ist kein Atonaler") represents one extreme end of a scde in which Zemlinsky's conternporary cntics attached various labels to his harmonic language, fiom being "impressionistic" and having "occasionally outmoded dominant indulgences a la Strauss,"2 to ernploying Ifavantgarde harmonic and orchestral techniques, "3 using "hannony '"Wer Zemlinskys Musik kemt, begreift nach den emen Takten den gnindlegenden Unterschied zwischen der Musik Zemlinskys und der Sch6nbergs. Zedhky ist kein Atonaler. Er kaxm atonale Musik verstehen, kann inteilektuell mitgehen, begreift aus der tief3ten Kenntnis des KWers Schonberg, daB dieser dorthin gelangen mdte, wo er heute steht, aber ais eigene Sprache ist sie ihrn v6llig fiemd Zem1insS.s Musik saugt ihre individuelle Kraft aus der gewahlten, den, aufblühenden und emporstrebenden, midortreibenden Kantilene und aus einer Harmonik, in deren kiihnem, aber stets auf sicherem Fundament sich erhebenden Ausbau ihre Entwicklung sich voiizogen hat" Enist Rychnovsky, "K6pfe im Profil: Alexander Zemlinsky," Die Musik 16 (Aug. 1924): 795. Translation mine. 2".. .von gelegentlicher unmodemer Dominantenschwelgerei à la StrauB abgesehen. " Juiius Korngold, "Eine florentinische Tragodie," in Deutsches Opernschaflen der Gegemart (Leipzig: Leonhardt Verlag, 192 l), 252. Translation mine. 3"Hier in insbesondere jenes Fortschreiten der harmonischen und orchestralen Diffe~nzierung wahmehmbar..." Paul Stefan, Neue Musik und Wien (Leipzig: E.P.Ta.1& Co., 1921), 48. Translation mine. Er 5.1. movtt. mm.16-22 [final moments d inttadubonl m brought about through an unprecedented, bold polyphony" which is "extremely rn~dern."~ While modem scholars adrnittedly provide a greater amount of detailed analysis to substantiate their claims, there is stdi a tendency to select a relative position on whether or not Zednsky was an "Atonaler." It is necessary to examine the 1927 quartet once again, to determine not only the nature of its harmonic content, but also its relative position in the cntical perception of Zemlinsky's stance on tonaiity. The foregoing chapters have sought to demonstrate that Zemhslq composed the 1927 quartet largely in independently moving contrapuntal iines, that nevertheless eschew traditional polyphony.3 Nevertheless, the succession of simultaneities produced in the score deserves comment. The opening movement in particular comprises many verticalities fkom the realm of traditional harmony: the Introduction, as seen in chapter three, juxtaposes a coloufil array of tnads, ofken through common tones. It is mie that Zemlinsky originally wrote a key signature of two sharps, which is crossed out at the start of the first system, page one, and never returns in the manuscript: this fact weights the analysis toward a conscious framework of tonal references for the movement.6 hdeed, the opening measure activates 4". ..seine durch eine unerhdrt klihne Polyphonie henrorgebrachte Harmonie... " Fidelio F. Finke, "Zemlinskys Kammerkunst," Der AuJ& 1/14-15 (192 1): 2 19. Translation mine. S~arris'designation of nmotivicaiiy-enlivenedhomophonyn is applicable to the 1927 quartet for much of the matenal. Cf. Harris, "Quartets of Zemlinsky,"25. 6hthe foilowing discussion, the terms "key referencen and "tonai refe~nce"si@ the existence of ~nCO~ectedtriadic sonorities in the music, as opposed to "key,"which impiies a series of hierarchicai chord relationships and functionai progressions. - a B-minor triad, reiterated at m. 10, and the phrase ending at m. 18 closes with chord (Only nominally a "dominant"); the following transitionai passage (m.19-22) employs three voices whose staggered entries begin on ~#3,B~ and F~ respectively, while many of the succeeding rhythmically-accented notes show a cbromatic approach to D in different octaves (ex. 5.1). D~ is attained drarnaticaiiy at the start of the exposition (m.23),where it forms the focus of the thematic material until m.32, with a majorminor fluctuation over a D-pedal.7 The second primary therne also suggests D major with 5-î melodic leaps and repeated scalar fragments; the following transition, however, abruptIy produces a juxtaposition of D b -major and A-rninor triads, culminating in a conspicuous F- major chord at m.65. The secondary theme group begins unequivocally on a B b-major sonority, although the prevaif'mg non-fiinctional harmonies are dependent upon three successive pedai tones, ~2,~2, and B b2 respectively. The exposition ends without deliberate tonal references, although the final viola gestwe obliquely suggests F rninor (ex. 5.2, mm.98-99). In tum, the developmentts opening suggeas F# minor, and its opening section ends with an emphatic (incomplete) Cgmajor chord (m. 124). The succeeding C#- pedal ushers in an intimation of A major in the restatement of the second primary theme (mm. 13 1.). The reappearance of the fkst secondary theme at m. 143 over a ~21~2 'CL the discussion of pitch cenuiCity in chapter three. oscillation fails to achieve the tonal definition of the original statement, although by and large, G-rninor and G-major sonorities sound throughout the cello part pnor to m. 160. Mer an intense chromatic passage, the stretto (ex. 5.3, mm. 164-75) produces D b -major, G b -major and B b -minor tnads in quick succession, before a unison passage suggesting D major. The retransition, however, eventuaily concentrates on a C-pedal (mm.204-09). The recapitulation does little to change the large-seale tonal tendency, Save for the bitonal juxtaposition of D major and B b major in the pizzicato chord at m.224 (ex. 5.4), and later at the thernatic overlap (mm.229-32). Significantiy, the fira secondary theme retums at m.259 with the same clarity of tonal suggestion as in the exposition, now D major instead of B b major. The coda continues the juxtaposition of these two key references, and the movement ends with a resounding D pizzicato. The large-scale outline of the movement's tonal references are sketched in the following chart. Figure 5.1 : Tonal references in movement one Intro Expo: Primq grp. Trans. Secondary grp. b- -, F#+ D+/d- 4 D+ D b +/a- + F+ B b+ -, [f-] Development [SI-t C#+;A+ -t [g-/Gç] + D b +/b b - -+ Dt; -r [Cl Recap: Intro Primary grp. Secondaq grp. Coda b- * D+/B b+ D++D+/Bb++ D+ D+/B 5 -i- * D+ Clearly, Zemlinsky forms a dual relationship between the references to the tonic and flat submediant of D major throughout, given the clarity of both in the exposition and their juxtaposition in the recapitulation. The reference to the dominant, A major, is noticeably reduced in funaion, appearing ody as a subsectional delineator in the development; indeed, Zemlinsky seems to subvert purposely the tonic-dorninant relationship in the expositionai transition (mm.49ff), wherein he juxtaposes references to the flattened tonic and the minor dominant, in the approach to the F-major chord, which in tum prepares the "secondary key reference" of B b major. The second movement continues the subsidiary role of B b major by making it the opening sonority. Mer the openlng phrase, however, very few moments in this movement provide examples of traditional sonorities: the most important is certdy the C-major chord harmonizing the peak of the melodic ascent at m. 19. Pedal tones are prominent throughout, including B b (mm.20-23),D b (mm.33-38),G# (mm.65-69),F# (mm.128-3 l), E b (mm. 138-45) and finally D (mm. 146-53). As in the first movernent, none of these key references involves functional progressions, nor are they comected or prepared in a traditional muer: the situation is ùideed much more extreme than that of the first rnovement, as most of the pedal tones never forrn the basis of triadic sonorities of any sort. The movement ends with a d-minor-seventh chord, showing a comection to, yet remaining independent gom, the final sononty of the previous movement. The remaining movements display varying degrees of tond activity, falling somewhat between the techniques seen in the first two movements. The third movement differs in focus £tom section to section, relying sometimes on pedal tones or on achial chordal harmonies. The fourth movement is limited almoa entirely to triads and diatonic seventh chords, placed successively but not comected in a traditional manner. Between its thick openuig contrapuntal texture and sporadic unison passages, the fiRh movement shows aimost no concem for triadic harmonies and uses diatonic sevenths only in rapid juxtaposition with other verticalities (see chapter three). The material of the final rnovement favours diatonic or whole-tone clusters, with a few promulent triadic sononties: C major (ex. 5.5, mm.47-50, altemating with other tnads in a pseudo- progression), D major (mm.S7,65), B b major and minor (m.86)and E minor (m. 104). The only published prose regarding Zemlinsky's 1927 quartet fi-agment is "Musik- historisches Beziehungsvielfalt als kompositorisches Problem: Alexander Zemlinskys Streichquartettfiagrnent von 1927" by Werner Loll. This bnef article merely introduces the manuscript and relates it to Zemlinsky's published chamber works; LOU aiso includes a rudimentary examination of the motivic design in the fint movement. The few comrnents here regarding tonality show that the author based his analyses on the preconception that Zemlinsky created the 1927 quartet as a tonai work.8 When discussing a bitonal effect in m. 13, the author refers to the sustained harmony (a C#-major uiad) htempted by a C- rninor sixteenth-figure, implying that the harmonic context was one of tond progression, and that the instance is not simply an isolated event. Ln a passing account of the sixth movement, LolI descnbes the first verticality as an A-minor triad with the added tones B and F, thereby ignoring the prevailing harmonic content, which is made up of diatonic clusters. Other authors on Zemlinsky's quartet œuvre go so far as to say that certain themes, movements or even whole works are in a specific key. While Rudolf Stephan uses the qualifjmg adjectives "extended"(enveitert) or "suspended" (schwebend) for this type of harmonic construction, he does not hesitate to label the entire Op. 19 quartet "in C," and 8~ariyin the article, Loii states: "As is weii known, the step into atodity did not corne into question for Zemlinsky," a remark which resembles Rychnovdq+s in its one-sidedness. Transiation mine- Werner Loil, "MusikhistorischesBeziehungsMeifâlt als kompositorisches Problem: Alexander ZemIinskys Streichquartettfiagmentvon 1927," in AIemnder Zemfinsky: hhetik Stil und Umfild, ed. Hartmut Krones (Wien: Bohlau, 1995), 45. the first two movements of Op. 25 in E and D major, respectively.9 The conclusions of these authors seem to arise from their noticing isolated pedal tones and a hal chord which is diatonic. Wolfgang Oberkogler's examination of Zemlinslq% published quartets provides a more detailed analysis of certain passages, demomtrating their use of extended tonaiity with the opening eight measures of Op. 15 as an exarnple.1° Although Oberkogler endeavours to describe the cornplexity of tonal relationships throughout, he quickly equates the concepts of "key reference" and "key," without pointing to actual progressions to substantiate this. Horst Weber rarely discusses overall tonal shape in his liner notes to the complete quartet recording. One single statement, however, reveais a bias towards large-scale tonal stmcture in the quartet Op. 15: "the key is G minor, though the signature is that of F sharp minor; the openhg of this second quartet is even more deeply into the subdominant region than the fir~t."~~This point receives no elaboration, but it is clear by the mention on "regions" based on scale steps that Weber beiieves Zemlinsky composed his mature quartets in a style consistent with the tonal progressions of the quartet in A major, Op. 4. Finaily, E. Scott Harris also delineates tonal events in the pubiished quartets, moa sigmficantly in the opening movement of Op. 19. Harris is carefbl in his choice of terminology regardhg the key references created by pedd tones or conspicuous tnadic sonorities, and individual examples indicate specific pitches, triads, sonorities or references. Within this fiamework, he admits a certain "gravitation altematively towards and away ftom C as a tonal center over the course of the movement," a designation which g~udolfStefan, %ber Zemlinskys Streichquartette, " in Alexander Zernfinsky: Tradition im Umkreis der Wiener Schule [Studien zur Wertungsforschung 71, ed. Otto Kolleritsch (Graz: Universal Edi tion, 1976), 13 4-3 5. lo~olfgangOberkogler, Das Sfreichquartettschaffen in Wien von 191 0 bis 1925 (Tutzing: Ham Schneider, 1982), 70. l weber, Struig Quartets of Zemlinsky," 10. does not necessariiy imply either the goveming of intermediate sonorities or the superimposition of a large-scaie harmonic plan which the label "in C" supposes.12 The music of Zemlinsky's 1927 fkgmentary string quartet is far f?om tond in a traditional sense. Never once in the entire si. movements is there a feeling of funaional tonal progression, preparation or resolution. The instances and recurrences of triadic sonorities, whether in large numbers (as in the first movement as a whole) or even in irnmediate juxtaposition (as at m.49, movement one) do not represent tonality, but rather refer to its elements, however uncomected they may be in the conte- of Zemlinsky's mature work. Pedal tones, cited by Schonberg as a weak method of producing stability in phrase constnictioql~are often IabeIled as haharks of a conscious harmonic design. When pedal tones are given the sole responsibility for achieving tonality, however, the result is somewhat problematic, for when pedal-based progressions exist even in tonaliy- conceived works, they stand in a subordhate position to their counterparts with moving bass lines in terms of the overall harmonic content. In the absence of other relevant tond material, therefore, pedal tones merely represent the stability of one specific pitch rather than harmonic stability, especially when non-traditional sonorities arise dong the way, as in the many examples fiom the second movement. While the £irst movement gains a certain amount of forma1 clanty through the examination of its many tnadic tonal references, the large-scale scheme produces no sense of progression in a manner which suggests functional tonality, and although certain changes of key reference complement traditional formal procedures, the rnovement can never bear the label "in D." Pace Rychnovsky, but ZemlinrRy war ein Aionaier. I2Harris, "Quartets of Zemîinsky," 96. 13~rnoldSchonberg, Theory of Hannony, translated by Roy E. Carter (London: Faber and Faber, 1983), 109. Zemlinsky 's critical reception: Progressiveness One of the key issues which affects the judgment of Zemlinsky's music by critics, past and present, is the composer's relative position on "progressiveness" or "avantgardism." This is surely a sign of his times, since every composer of the early twentieth century was forced to deal with the radical changes occumng almost daily in their art. Countless musicians have received scathing cnticism-Strauss, Sibelius, Nielsen, Poulenc and Rachmaninoff arnong them-for being, as Juiius Komgold wrote of Zemiinsky, "gelegentlicher unmodemer."14 What, then, in an era when the music of Schonberg was causing riots, did the critics find both "progressive" and "laudable?" From the discussion above, it is evident that a composer's stance on tonality and its extension was a significant criterion for progressiveness. By far the most informative source fiom Zedinsky's iifetime regarding the progressive nature of his music appears in Fidelio Finke's article "Zemlinskys Kamrnerkunst," written for the 1921 Sonderhefr of Der Aufuh. Speaking of the quartet Op. 15, Finke writes: The richness of themes and the inexhaustible art of variation lavished on the individual themes with regard to rhythm and counterpoint in particula. restrained (despite the enormous dimensions and artisticdy gothic architecture) in the inwardly unified, single-movement nature of this quartet, his harmony brought forth through an unprecedented, bold polyphony, his wealth of contrasting moods, and the often infuiitely tender then deeply passionate, giowing expression rnight well have convinced every listener of the completely extraordinary nature of this music in its entirety. 15 In tbis passage, Finke brings forward a large body of elements which the critic evidently considered praiseworthy. It is interesthg that many of these elements reflect the '4~omgold, "hagodie," 252. I5"DieThemenfùiie und die an die einzelnen Themen verschwendete unerschapfliche Varîaiionskunst in rhythmischer und insbesondere kontrapunktischer Hinsichî, gebandigt in die trotz riesenhafter AusmaBe und kunstvoller Gotik der Architektu dennoch innerhch einheitliche, ükrsehbare Eidtzigkeit dieses Quarte-, seine durch eine unerhbrt kühne Polyphonie hervorgebrachte Harmonie, sein Reichturn an kontrastierenden Stimmungen, der ofi unendlich zarte und w~€X~M tiefieidenschaftlich gluhende Ausdmck diirften wohl jeden Htirer von dem in seiner Gesamtheit ganz AuBerordentlichen dieser Musik überzeuge~"Finke, "Zemlinskys Kammerkunst," 2 19. Translation mine. analyses found in earlier chapters of this study. The opening concepts, "richness of themes" and "inexhaustibie art of variation," approach the idea of developing variation as seen in the 1927 quartet (and Zemlinslq's quartets in general). Indeed, Finke thinks highly of complex motivic work (later termed "countless motivic adaptationsN),16and it is weli- known that composers at this tirne who consciously created large-scaie works around a complex rnotivic design were following very current philosophies regarding thematic generation. Finke specifically mentions rhythmic and contrapuntd variation: although these concepts were not discussed in the present study in any detaii, it is evident that Zemlinslq's standard for motivic development included rhythmic alterations together with melodic ones, to be placed in new, ofien contrapuntally complex surroundings (as the stretti from movernent one, mm. 164-67, 220-32 demonstrate). Finke then introduces the ideas of form and dimension to his argument, as a qualification for the unrestrained quality of the aforementioned thematic richness. FUike is understandably impressed by the apparent paradox of "enormous dimensions" and the "inwardly unSed, single-movement nature" found in the Op. 15 quartet. Despite basic forma1 merences, much of this can be translated to the 1927 quartet: "artisticaily gothic architecture" easily describes the cornplex of nested forms seen in movements two and three (discussed in chapter two). While Zemiinslq composed this quartet in six separate rnovements rather than a single, unintempted one, the consistent application of concepts such as motivic construction and pitch centricity, not to mention the restatement of actual motives fiom movement to movement, bestow a certain unified quaiity on the whole work. Although harmony and related issues have already received notice in this chapter, it is interesthg to examine their bea~gon Finke's discussion of what he terms "Polyphonie." Several times in this brief article, the author States that Zemlinsky's harmony is a result of voice-leading, an "echte Pol'honie" which is characteristic of an "echt QuurtettstiZ!"'7 While many scholars debate the clah to true polyphony in music of t his era, Finke lauds Zemlinsky's construction of "Horzzont~Zmusikl~which ni p posedly looks back to Bach?? this contradicts at once the earlier clairns of "extremely modem" and "unprecedented" (unerhort). Finke's discussion then turns to the expressive quaiities of Zemlinsky's chamber music. Indeed, the changes in mood, however subtle throughout the 1927 quartet, demonstrate a consistent phenomenon which aids the Mener's understanding of form and part individuality (discussed in chapter four). In his conclusion, Finke dows that "such extraordinary music also places extraordinary demands on the performers," ident-g dficulties in pitch accuracy, rhythm, tempo changes and overail musicdity in the Op. 15 quartet.19 This comment also speaks to sirnilar difficulties in the 1927 quartet, particularly with the extremely specific nature of the expressive markings found throughout. On the whole, Finke gives the impression that Zemlinslq's chamber music is at the forefront of its genre. As a result of the mostly laudatory reviews of Zemlinsky's music during his Metirne, the post-rnortem reception of his music with respect to its progressiveness cornes as somewhat of a shock. Theodor Adorno's radio-essay "Zemlinslq," written in 1959, is the first major cntical study of the composer after his death, and marks a milestone for al1 modem Zemlinsky scholars. The essay attempts to resurrect this already-forgotten composer, and in doing so, Adorno tries to excuse hirn of contemporary claims regarding a lack of originality and progressiveness. The author's stance, introduced through a somewhat muddled discussion of "eclecticism," is that Zemlinslq's mature music represents a certain progressiveness through its own innate positive q~alities.~~When 171bid. 8ibid. 19"~sist nur selbstverstCLndiich, daJ3 eine so auî3ergeMhnliche Musik auch ganz auBergewôhniiche Anfordenmgen an die AwfÜhrenden steiit." bid. Translation mine. 20Theodor Adorno, "Zemlinsky,"in Quasi unafanhia: Musikafische Schrwen II, (Frankfiut am Main: Suhrkamp Verlag, 1963) 11 1-129. describing the quartet Op. 19, Adorno notes the independence of voices, the flexibility of phrase construction, the unconventionality of fom and the changing density of texture as nuances which demonstrate Zemlinslq's incontestable skiU in the quartet medium.zl Nevertheless, Adomo cites elements of Zemlinsky's work that lend themselves to understatement, a subtely of expression which in tum hindered the composer's acceptance by the post-war generation. Wemany of the modem scholars writing on ZemlinsIq and his music have shown a less judgrnentd attitude regarding progressiveness, none has summarized the situation regarding the reception of Zemlinsky's music more succinctly than Paul Stefan in his biographical article for the 1932 Musikblmer des Anbruch. Everything that Zemlinsky writes, however, is contemporary, in keeping with the times-not just fashionable music; [it is] of a quality of workmanship, before which the gossip over chaos, cultural bolshevism, or what is merely current, must be silent. Here is eveqthhg that they who are not easily satisfied search for- -and the search itselE [...] Nothing [i.e., no praise] is enough for him; he has students but no disciples, admirers but no propagandists, a public but no community.22 In this passage, Stefan atternpts to transcend the biases of "generational" viewpoints, based on current styles and philosophies, to which al1 scholars are prone. Many of his cornments seem almost to prophesy Zemiinslqts posthumous reception: the marked difference between Zemlinskyk rapport with his public and that of some of his coiieagues, who were perhaps more "forceful" in their self-promotion, can be posited as a major cause of the neglect of Zemlinsky's music by the post-war generation. Stefan, too, foretek the "Zemlins@Renaissance" of the mid-1970s and beyond, a "search" by those "who are not easily satisfied" for an œuvre which is "not just fashionable music." 211bid., 122-24. 22"~abeiin alles, was Zemlinsky schreibt, zeitnahe, zeitgemaOe, nur eben nicht Mode-Musik, von einer Qualitat der Faktur, vor der das Gerede über Chaos, Kulturbolschewismus, der was gerade gelaiufig ist, verstumuen muD. Hier ist alles, was der nicht Ieicht ni Befrîedigende sucht-und das Suchen selber. ..Es genügt ihm nichts, er hat Schüier, aber keine Jünger, Bewunderer, aber keine Propagandisten, ein Publikum, aber keine Gemeinde." Paul Stefan, "Zemiinsky,"Musikbldtter des Anbruch 14 (1932), 127. Translation mine. A general discussion of Zemlinsky's critical reception, both before and after the composer's death in 1942, wiil serve to demonstrate the changing attitudes regarding his music and its contribution to twentieth century culture. Criticai recepfzon:an overview Iudging simply fiom articles written by his contemporaries in jo Aufiab, Der Merker. Musikblatier des Anbruch and Die Musik, one would imagine Zemlinsky to be the most popular and influentid composer of his generation, inspiring a wide circle of musicians by his work. The extremely hi@ level of praise found in the writings of Stefan, Hohann, Finke, Rychnovsky and others belies the brevity of each compositional success, and as a result, the modem scholar must read these essays with an awareness of their overail lack of objectivity. In a frequently-quoted article by Arnold Schonberg entitled "Gedanken über ZemlinsS.," the younger composer presents one of the only truly candid, contemporary depictions of ZemIinskyls musical environment. Schonberg begins by stating that his judgment of his former teacher and brother-in-law can only be biased, and "instead would prefer to discuss why any correct assessrnent of hirn is ditficult."23 He does this through a description of Zemlinsky's lack of operatic success, writing that the majority of the opera- going public seems to require more than one tistening to "begin to register the beauty and richness" of this music.24 This article, however, and in particular its final statement ("But that can take tirne: Zernlinsky can wait"), have become symbolic of Zemlinsky's entire compositional career and his temporary descent into oblivion during the decades after his death. =Arnold Schonberg, "Gedanken Uber Ze-," translatai as "Rdectionson Zemlinsky" by Lionel Saiter, and published in the liner notes to Der Tmumgdrge by Alexander Zemlinsky (Capriccio, 10 241/42, 1988), 27. 241bid. Stefan aitered his view of Zemlisky's music over the course of his career, nom the outwardly laudatory (1921), to a more realistic ~iewpoint.~~The only other sources before 1942 which offer an objective or even negative opinion are those by Eduard Hanslick (1900), Julius Komgold (192 I), and the brief reviews of performances in jouds such as Die neue Zeilschrrjl frrr Musik. Although limited to his operatic output, Komgold's discussion of Zemlinsky's compositional style provides some of the most informed, truly critical prose of dl the writers pnor to 1942, balancing a mimire of positive and negative aspects in a context which reveals the author's intimate knowledge of the scores in question. Two further articles fiom ZemIinsky's lifetirne deserve mention: they are "Zemlinsky und die neue Kunst" by Hugo Fleischmann (Der Auflok 1921) and "Zernlinsky" by Feiix Adler (Anbnrch, 1923). Fleischrnann's short essay describes his subject's ideal position in the compositional milieu of his day: that Zemlinsky does not feel it necessary to "venture into foreign temtory" (infremdmrige &me einnrtreten); that while other "ultra-modem-behaving" composers lose the momentum of their ideologies, Zernlinsky assimilates "in a pure crystallization the true unity between wanting and needing to be modem;" and that Zemlinsky achieves a rnidpoint between extremes through his musicality and expenence.26 These somewhat polernic staternents put forward the image, described earlier, of Zemhsky as a quasi-omniscient, universaliy recognized rnaster who consciousiy chooses the correct ideals of the tirne, and enjoys success as a result. Given Zernlinsky's posthumous neglect, Fleischmann's pronouncements are obviously rnisguided. Indeed, Zemlinslq& experimentation with harmonic language, form and expressive scope -- 25~1923, Stefan referred to Zemhnsky's "stubbomness"as a composer ("AsKomponist mit ganz besonderer Hartnackigkeit verkannl .. "). Paul Stef' "&terreichischeMusik seit Mahler," Musikbldtter des Anbruch 515 (May, 1923), 133. See also the article fiom 1932, discussed above. 26"...~ierin reiner Kristailisation die wahre Einheit zwischen Modenisein- Wolien und Modem- sein Miissen hergesteiit ist. " Hugo Fleischmann, "AIexanderZemlindcy und die neue Kmst," Der Auftakt 1/14-15 (1 92 I), 22 1. Translation mine. in the 1927 quaxtet betrays the constant stmggle and indecisiveness that the composer experienced, to which the many extended deletions throughout the score bear witness. Felix Adlefs comrnentary is far more ternpered than that of Fleischrnann. Adler does not Iavish praise, but rather bestows it in good judgment: he States that Zemlinsky's creative output avoids the sensationalism, banaiity or overlay of kitsch ("Amtrich von Kirsch") found in many contemporary w0rks.2~ Like Fleischmann, Adler intimates the idea of Zemlinsky's mid-point stance "between Strauss and Schonberg," expressed through the individual nature of his musical ianguage, which forms a "bridge leading to the irnmediate It is interesthg that the author should include such a misguided prophecy in the same essay as a phrase describing Zemlinsky's musical environment in Prague as "hermetically sealed,'Q9the cause of the composer's dearth of pubticity. As mentioned earlier, the post- 1942 cntical reception of Zemlinslq's music provides a stark contrast to that written in his Metirne. The moa important discussions of Zemlinsky's life and work after Adorno's 1959 radio-essay are those which sparked a flood of Zernlinsky-related scholarship in (and since) the mid-1970s: the dissertation "The Published Works of Alexander Zemlinsky" by Lawrence Oncley (1975); the first symposium, AZemder Zernlins& Trrrdition im Umkreis der Wiener Schule, held in Graz (1976); and the fkst published monograph, Ale&r Zemlimky: Eine Srudie by Horst Weber. Weber's research, which over the years has developed hto a concentration on Zernlinsky's early career, makes a serious attempt to identify the composer's stylistic tendencies, with reference to an "assimilation" of styles, a concept inherited fiom Adorno's discussion of "eclecticism." Weber's description of the bipolar nature of Zemlinsky's music, caught between the intluences of Mahler and Schonberg recds Adler's similar theme fiom 1 923 .30 27~elixAdler, "Zemiinsky,"Musikbklrrer des Anbmch 5 (1 923), 145. 28 "...dieBnicken, welche zur iuimittelbaren Vergangenheit führenw, ibid. Translation mine. 29~bid,144. 30 weber, Zernlinsky Srudie, 130. Many of the essays by modem scholars have been favourable, providing some analysis and generalized comrnentary regarding the composer's life and work." Two articles fiom IWO, "The Brahms Fog" by Walter Frisch and "Alexander Zemlinsky und die zweite Wiener Schule" by Hans Gd,retm to pronounceci value-judgments not seen since Adorno's problematic 1959 essay. Frisch condemns the early quartet Op. 4 (1 896) and Heîlige Nucht, Op. 211 (1897) for their slavish adherence to Brahms' personal idiom and a lack of stylistic 0riginality.3~ GriiB, dealing with a later period in Zemiinsky's Me, endeavours to understand his complex relationships with Schonberg and his students; the author relies heavily on the so-called teacher-student relationship between the two brothers-in-law, recognizing a "reversai" of leadership in their mature careers, and questioning the integnty of Zemlinsky's intentions towards modernism.33 It is dficult to relate much of the modem critical reception of Zernlinsky's music to the 1927 quartet without a brief summary of stylistic traits found in the work. At this point, we will also be able to assess the clairns of "lack of ongindisr" and "eclecticism" leveled at the composets career. The analysis of the 1927 quartet in previous chapters progressed from superstmcture through large-scaie form to motivic design, and culminated in a discussion of articulatory markings: this order demonstrates a progression of diminishing scope, fkom factors aEecting the entire manuscript to phenomena specific to individual notes. The foiiowing oveMew of stylistic traits wiii reverse this order, beginnuig with surface 31~good cross-section of the current scholarship on Zemlinçky and his music can be found in Alexander Zenrlinsky.. Tradition im Umkreis der Wiener Schule [Shrdien air Wertungsforschung 71, ed Otto Koilentsch (Graz: Universai Edition, 1976), and Alexander 2ernlinsky.- hhetik, Stil und Urnfeld, ed. Harunut Krones (Wien: BohIau, 1995). 32~alterFrisch, "The 'Brahms Fog': On Anaiyzing Brahmsian Influences at the Fin de Siècle," in Brahms and his World, Edited by Walter Frisch (Princeton: Princeton University Press, 1 WO), 8 ifl 33~ansGd, "Alexander Zemluisky und die zweite Wiener Schule," Beifrffgenrr Musikwissenscha/r 3211 (1990), 25. features and ending with compositional factors that have a large-scale implication, an order in which a listener would be Iikely to perceive them. One of the most noticeable stylistic traits of the 1927 quartet is the role of silence. Looking at the opening movement, one hds few such moments: long passages contain no gaps in sound, and when silence arrives, it receives a conspicuous, special treatment, through fermatas (in the Introduction, mm. 1-22} or after extended passages in unison rhythm or pitch content. Usually, these examples also display formal importance, thereby demonstrating that silence as a phenomenon can be somewhat functionalized. The avoidance of gaps in sound is largely a result of phrases which continuously elide to create large, unintempted sections of music. The phrases often contain motoric rhythmic figures (especially in movements one, three and six), or some other method of producing a goal- onented effect. When Zemlinsky joins these phrases together to form larger units, the subsidiary goals of each subsumed phrase create a hierarchy of events, increasing in formal imponance towards a sectional climax. This phrase-hierarchy is highhghted by the constant changing of expressive indication-types (or combination of types) from the four voices of the quartet. WhiIe the fourth chapter discussed the relative rarity of complete expressive homogeneity (i-e., ail voices with identical expressive markings), it is worthwhiie mentiming here the bnef duration of any given expressive type, including the many combinations encountered throughout. Often, Zemlùisky develops an expressive combination with such speed and to such an extent that a new expressive "section" begins within a very few masures. Although Zemlinsky rarely attains complete part conformity, neither does he treat his quartet rnembers as tme soloias: the fourth chapter revealed that total part independence is often superseded by a certain CO-independence,whether through strict voice-pairing or expressive similarities. Zemlinslq also does not foliow a trend in contemporary chamber music wherein one quartet member becomes separated fiom the group, in terms of range or "extended" techniques, for the purpose of creating "special effects." Indeed, very few solo passages occur in the entire quartet (mm.4-6 in the second movement is one exampie). While the founh movernent approaches a soioistic display in the outer voices, the majority of such cases are really instances of a single melodic voice accompanied by three others, as is frequently found in the sixth movement. it is interesting that every movement but the last one employs an incomplete representation of voices at the outset: the thinner texture, however, is never a showcase for the technical skill of one player (like the fifth movement of Op. 25, for example). The technical aspects of the 1927 quartet are only moderately difficult for the performing ensemble: Zernlinsky avoids the virtuosic passagework seen in other contemporary quartets, including his own (the scalar mns in the central portion of the Intermezzo are an exception). Any performance difncdties would likely result fkom the fast tempi of movements one, three, five and six, although the Intermezzo and ha1 rnovements display reduced chromaticism which may offset their fast ternpi. Within the movements, there are relatively few tempo changes, unlike contemporary works by Berg, for exampie; the many motoric passages are a main cause of this consistency. Other features of subsectionai delineation include ostinati, pedal tones tonal or harmonic references, and non-diatonic referential sonorities, punctuating points of division as weil as embodying the prevailing sonority-content for a given passage. Zernhsky ofken employs conspicuous segments in unison rhythm or even pitch-content, and extended passages are fkequently chordai, forming a contrast to the many moments of mked durations, expressive indications and melodic ranges throughout the parts. Zerniinsky operates within a set of traditional archetypes for the formal construction of his movements albeit with a considerable degree of experimentation, particularly in tems of the nested sections of the second and thûd movements. In generd, one could posit an increase in formal ambiguity in the successive movements after the £ira: frequently, the change of section is perceptible, but the exact point of division is arnbiguous, as in the beginning of variation "q"movement four, or the start of the C section in movernent six. Finally, Gmndgestalten and developing variation are used to generate the motivic design of the quartet, with each movement enacting a slightly different version of the technique. The motivic design provides a set of inter-movement relationships for the whole quartet, through a series of veiled motivic restatements. The only actual quotation, at the end of movement five, also presents a si@cantly altered variant of an adjacent theme, which offsets the plain repetition of the preceding music. Eclecticism, one of the main charges agallist Zemlinsky's music made by the post- war generation, is a difficult concept to grasp, and its effects can be found in any music at any level. It is beyond the scope of the present study to detemine the specific origins of each compositional device in the 1927 quartet. AIthough Zemiinsky uses many features in common with his contemporaries, such as Grundgestalten, formai archetypes, tonal references and referentiai sonorities he does so in a continuously varied manner, providing a worthy contribution to the chamber genre of his generation.S4 Indeed, Zemlinslq avoids certain "extreme" tendencies of contemporary quartets-such as pitch-organization procedures, the inclusion of vocalists and the 6equent use of "extended" string techniques --in the effon to rnaintain his own compositional language. As for the charge of "unoriginality," one need only examine the score closely to idene a multiîude of unique features in formal layout, motivic generation or expressive scope, as the earlier chapters of this study have sought to demonstrate. The 1927 quartet does not openly quote Zemlinsky's own music or that of anyone else, nor does it mimic the specific form of another quartet at any level.35 While its 341t would be irrelevant to idenrify SchOnberg as the source of "stolen"Gmdgesfdt concepts, given his encouraging attitude regarding the dissemination of bis generative concepts or analytical discoveries. 3S~heoniy, rather obscure, moment of possible quotation cornes in the fint movement, whose first primary theme (m.23)bears a siight resemblance to the opening gestures of the popular Song Yankee Doodle. This simiiarity grows with the conspicuous appearanœ of the song's consequent phrase, in fiagmentary state necessariiy excludes it nom Zemlinslq's successfil works, had the 1927 quartet been completed, it would have occupied a significant position in his quartet output. The fragmentary quurtet: afinal examination As an epilogue to the large arnount of anaiysis presented in this and other chapters, the present discussion will attempt to reconcile important facets of this major work to the troubling question of its incomplete state. The fkst chapter presented a possible biographical reason why Zemlinsky abandoned the manuscript: that the demands of moving to a new city, starting new employment and performing his repertoire of operas under dinerent circumstances than he was used to in Prague, did not leave enough available hours to devote to composition. This theory loses ground, however, when one reaiizes that Zedinsky had a full six months to complete the work (the fkst movement of which was written in eight days), and that it was iikely written at a holiday villa (to which the indecipherable words on pages 1 and 10 of the manuscript refer). One might speculate, therefore, about reasons of a purely musical nature as to why the composer neglected to complete the quartet. A bnef examination of the individuai incornplete movements may suggest reasons for the abandonment of the whole. Of the incomplete movements, the third stands the closest to being complete: it is more than iikely that Zemlinsky laid it aside, intending to complete the recapitulation of the Intermezzo at a later date. The possibility also exists that the Intermezzo and Trio as they stand are a copy-in-progress of a non-extant sketch, which the composer "temporarilyl' set aside at a comparatively non-crucial stage of its transcription. The fifth movement, on the other hand, leaves no clues as to what formal accented octaves, as a sectional cl&. in the development (mm. 174-75). As a pure mincidence, the theme at m.23 reappears in the FiSymphony of Karl Amadeus Wartmann, in the central section of the second movernent (composed i 950). section was in progress when Zerniinsky abandoned it. The fourth and sixth movements, although showing great diEerences in the degree of Zemiinslq+sthe and effort spent, both reveal large deletions mid-composition (referred to as en route in chapter one), entailing a signincant percentage of each movement. These deletions bear witness to a pronounced indecisiveness or dissatisfaction with the thernatic material and/or the developmental process used in each situation. Earlier in this chapter, it was noted that the large-sale forrnal constxuctions of the individual movements demonstrate a progressive deche in formal clarity, nom the transparent quaiity of the opening movement to an ambiguity seen most pervasively in movement five. This progression, coupled with the overwhelming variety of expressive scope fiom movement to movement, demonstrate a disparity which may have led to the collapse of the superstructure. One cm speculate that Zemlinsiq, having started each of the existing movernents, came to realize that many of the movements and much of their musical material had diverged substantiaüy fiom his original intention, so much so that the superstmcture no longer reflected the composer's preconceived image of it? Given the speed of the first movement's composition, the completion of the Intermezzo and the sixth rnovement as a finale would have provided a week's labour without difficulty, whether dunng the main flow of compositional work, or at a later date durhg the operatic season in Berlin. Unfortunately, Zemlinsky's evident disappointment with his own efforts resulted in the abandonment of the entire project, despite his completion of two thoroughly perfomable movements. This large fragment, as weil as a multitude of other such items preserved in the Library of Congress collection, can attest to the high standard which Zemhsky maintained for his music, in the chamber genre as weU as others, throughout al phases of his career. 36Thisscenario neither precludes nor fàvoun either the four- or six-movement superstructures suggested in chapter two. Conclusiorr Although ZemIinsky never fuushed the 1927 quartet, its formidable size and scope, not to mention its placement in one of the pivotal years of the composer's We, bestow a tremendous importance upon the work. One can only speculate on the impact the completed quartet would have made on Zemlinsky's career: the close connection with Berg, examined in chapter two, might have been strengthened, possibly resulhg in the production of fürther sigdicant works. The publication of a fïfh quartet would have put Zemlinslcy's total past Schonberg's, to the point of rivaling Bartok's output in the genre. The possibiiity exists that the temporal proximity of the 1927 quartet to the quartet Op. 19 £?om 1924 represents a new trend in Zedinsky's compositional arwre, an aboited attempt to create chamber works with a greater fiequency than in his early career. The fulfillment of this scenario might have occasioned the composition of the quartet Op. 25 (or another quartet of its size) as many as six years earlier than itç actual date in 1936, as well as a more serious achievement in the chamber genre once Zemlùisky had arrived in North America. One rnight also speculate that, with a greater weight towards chamber music in his published works Zernlinsky might have hastened the publication of his Op. 25 quartet by Universal Edition while stiii residing in Viema? Regardhg the content of the 1927 quaxtet, the composer's experimentation with form in his unfinished work had its effect on Iater efforts: the Op. 25 quartet, for alI of its six movements, contains no trace of Sonata-AUegro design, thereby continuing the trend created in the 1927 fragment. The dearth of traditional sononties in the second movement, arnong others, May have planted the seeds for similar compositional tendencies in later works; had the composer considered his fiagmentaqr quartet to be a successful work, the iikelihood of many more compositions with such a thorough departure fiom any sort of tonal reference might have been great. 37~mlinsky'sfourth quartet was not pubiished und the mid-197Os, despite the quartet's receipt of an opus number by the composer. When Zemlinsky composed his quartet in the late summer and early autumn of 1927, he planned an important work of large dimensions and considerable intensity of expression. While it is virtually impossible to provide conclusive amers regarding the intended superstructure of the quartet, the six individual movements, abandoned in various stages of completion, exhibit a wide variety of large-çcale constructions with a significant amount of formd experimentation in each. Zemllliskq also based the motivic design of each movement on the techniques of Gnrndgestuft and developing variation: much of the thematic material also reveals the use of such compositional devices as pitch centricity, inter-movement motivic connections and referential sonorities. The vast amount of experimentation with the expressive sound of the string quartet as a genre produced an astounding array of articulatory indications in the scores of Zemlinsky's colleagues, a trend which is not lost on the 1927 quartet. These markings were used as delineators of form at various levels, including techniques of infornial variation and thematic development, and as hallmarks of part individuality or conformity. Finaliy, the study of the 1927 quartet invites the reappraisal of many pressing aesthetic questions regarding Zemlinsky and his work: the changing opinions regarding the composer's stance on tonaiity and progressiveness have marked the cntical reception of his work both in his Uetime and since his death. Many of Zemlinsky's works in ail genres still await discovery, by the acadernic and concert-going public alike; with the impressive resurgence of scholarly interest in his We and music, many more compositions wiil receive new editions, analyses and penormances in the future. Only when the large rnajority of Zemlinsky's music is known to the scholarly comunity can the full importance of his artistic career be appreciated. APPENDIX ONE: The 1927 quartet in fùii transcription III. Intermezzo Thema m. Variationen I - APPENDIX TWO: The sketch of movernent two @p.46/47) -4w APPENDIX THREE: Letters of Permission GmDER m-E Mm Mis~or 3ria~Locke 408-5300 Xuran Sïr2oC Lcndoc, OccarLo , Canada N5.f 4x7 çe==Fzq copies of =Be rnicrgfilm of =ho ScrLxç Quarrtrs -=r~~en~ cf 1927, op. l9 anc 25 as rnecciczec Fz your ieç=er wi=hou~dace, neld ac t3.t Libra,~of Cscgrsss Fs Wasningcon, h~ "' d- - 3~LviaKaz71 Xsxînatr Zanlr3sky - lmds Sekrlcariar L .A. des VorsLszecdsc ?ec=r ga~n2-15erg Plsamm 8Lgatfy acceptsncm by migning and dating each copy of thir htt-r wherr lndtcatsd belav and rmtumUig both copiee ta ur for countersignatrur. one fully exrcitteâ dacrmunt will then be mPircd t0 p3~ for yoar filrr . Richard Birnbach Rud. Erdmann -d- --- -7- -- VERLAG ORCIULIEN C.A. CHAUJER b CO THALlA VEHUG GEGRUNDET 1635 - .- - ..- - si kverlage Hmrrn ûrian Locke 408-1000 Huran St. tiebcr Hart Locke, violen Oonk fur fhr Fax votn 3. Juni. Zunlchst müchfe ich Ihnen vorsichern, da0 Ihr Deutsch ganz bestinnt nicht fürch- terlich ist - auf illa Fille ist os bosser els main Englisch! nit gebcn Ihnan gatnm die 6enehnigung, in Xhrar Dissortetion 'Ztmli~sky's Frrgnentary String Pusrtut fron 1927: Edition, Analysis end Aesthmticsm dia fn Ihrem Schtrfbrn sngegebenrn Taktc unsaras Verlrgswcrkms Straichquartatt op. 7 von Arnold Schonbarg ru varwonden. Wir aathtcn Sie ledlgllch bfttin, bei dar Verwendung Ihrir 8efspfelc den Üblichrn Cenchmigungsvermrrk uii folgt entu- geben: c by Vatlag Crsililian, Berlin Mit friundlicher Ganehmigung dcs Vetlsg Oreililicn (Richard Birnbach), 0-02166 Lochhsm Für Ihre Dissertation wfnschmn wfr Ihnon vie1 Erfolg. Mit vialen Grfioen BIBLIOGRAPHY 1. Scores Bartok, Béla. 7he S~ingQzra>?ets. [U.S.A.?]: Boosey and Hawkes, [n.d.] Berg, Alban. Lyrische Suite JUr Streichpartett. Wien: Universal Edition, 195 5. . Sneichpmteîf, op. 3. Wien: Universal Edition, 1 925. JanaCek, LeoS, I. smy&o$ kvartet: z pochetu LN. Tuhého Kreutzerovy smuity. Wien: Universal Edition, 1979. . Il. smyico9 kvartet Lis@ dGvhé. Praha: Editio Supraphon, 1979. Komgold, Ench Wolfgang. Streichqumtett Nr. 1. Mak: B. Schott's Sohne, 1924. . Streichquartett Nr. 2, EÀr4urI op. 26. Mainz: B. Schott's Sohne, 1 93 7. Schonberg, Arnold. Sireich-Qumtett, op. 7. Berlin: Verlag Dreililien, 1905. - Verklorre Nucht, op. 4. Berlin: Verlag Dreililien, 1900. - Zweites Streichquarten, op. 1O. Wien: Universal Edition, 1929. Szymanowski, Karol. Quatuor, op. 3 7. Wien: Universal Edition, 1 925. - Qua~uor,op. 56. Wien: Universal Edition, 193 1. Webern, Anton. Funf Satzefir Streichpartet, op. 5. Wien: Universal Edition, 1949. - Sketches of the string quartets Opus 19 and Opus 25. From the Alexander von Zemlinsky Collection, Library of Congress. 96.2,Items 169, 187, 19 11. Used by permission of the Alexander-Zemlim&Fonds bez der Gesellschqfl der Musiyezmde in Wien. . Sketches of the quartet for clarine&violin, viola and cello (1938). From the Alexander von Zemlinsky Collection, Library of Congress. FIL 96.2, Item 1991. . Streichquartett "begonnen 22. Juli 1927. " From the Alexander von Zernlinsky Collection, Library of Congress. 96.2, Item 1741. Used by permission of the Alexander-Zerniimky-Fondr bei der Gesellschqfl rler Musï~eundein Wh. - Streichquurtett in Ar,op. 4. Hamburg: Simrock, 1894. . II. Streichquartett. op. 15. Wien: Universal Edition, 19 1 6. . III. Szi-eichpartett, op. 19. Wien: Universai Edition, 1925. . N. Streichqumtett, op. 25. Wien: Universal Edition, 1975. 2. Books and articles to 1942 Adler, Felix. "Zedinsky. " Musikbfütter des Anbnrch, 5/5 (May, 1923): 144-46. "Die Saizburger Kammemusikfestspiele." Unsigned concert listings in Musikbloter des Anbnrch 5 (1923): 212. Finke, Fidelio F. "Zemlinskys Kamrnerkunst." Der AuPaki Vl4- 1 5 (1 92 1): 2 19-22 1. Fleischrnann, H.R. "Alexander Zemlinsky und die neue Kunst." Der Auftakt l/M- 1 5 (1921): 221-22. Hanslick, Eduard. "Es war einrnal. Gelegentliches über Zerniinsky und Richard StrauB." In Aus muer und mm?er Zeit [Der modernen Uper IX],44-50.Berlin: Allgemeine Verein fur Deutsche Litteratur, 1900. Helm, Theodor. "Kleider rnachen Leute. " In Neue Zeitschrziflfirr Musik 4 1 /3 7 (December 1910): 421. Hoffmann, Rudolf Stefan. "Alexander von Zemlinsky. " Der Merker 21 5 ( 10 Dec. 1 9 10): 193-97. Jalowetz, Heinrich. "Fomübersicht." In Alexander Zemlinslq, III. Streichquarten, op. 19. Wien: Universal Edition, 1925. . "Skizzeni einer Biographie." Der AuPakt 1/14-15 (1921): 201-204. Klaren, Georg. "ZemlinsQ, vom Psychologischen Standpunkte." Der Aufakt 1114-1 5 (1921): 204-207. Komgold, Julius. "Eine florentinische Tragodie. " In Deutsches OpemchafJen der Gegerzwarf, 247-53. Leipzig: Leonhardt Verlag, 192 1. . "Kleider machen Leute." In Deutsches Opemc-f/en der Gegemumt, 240-47. Leipzig: Leonhardt Vedag, 1921. Leichtentritt, Hugo. "Zemlinsky, Alexander von. " Cobben's Cyclopedzc Survey of Chamber Music. Edited by Walter Wdson Cobben. London: Oxford University Press, 1929. R. Sp. "Volksoper." In Der Merker 2/5 (December 19 1 0): 2 14- 15. lnitided review of KIeider machen Leute by Alexander Zemlinsb. Rychnovsky, Ernst. "Kopfe irn Profil - Alexander Zemlinsky." Die Musik 16 (Aug. 1934): 792-95. Schleissner, Leo. "Die &a Zernlinsky." Der AuPakt 5/56 (1 925): 193-95. Stefan, Paul. "Aus Zernlinskys Wiener Zeit." Der Aufiakt 1/14-15 (1921): 227-28. . Neue Musik und Wien. Leipzig: E.P.Tai & Co., 192 1. . "Osterreichische Musik seit Mahler. " Musikbldtter des Anbruch 5/5 (May 1923): 131-33. Wenzl, Josef Lorenz. "Alexander Zemiinsb." Neue Mtrsik-Zeiung 442 (1 923): 24-25. Werfel, Franz. "Zemlinsky."Der AuPukt 1114-15 (192 1): 197-200. . "Zemlïnsky. " Musikbldtter des Anbruch 4 (March 1922): 74-79. "Wien. " In Neue Zeitschrzififirr Musik 4 113 6 (December 19 10): 409. Unsigned announcernent of KIeider machLeute by Alexander Zemlùisky. Zemlinslq, Alexander. "Jugenderinnerungen. " In Arnold Schonberg nrm 60. Geburtstug, 3 3-3 5. Vienna: Verlag der Universal Edition, 1934. . "Personliche Erinnerungen." MusikbIÜtter des Anbruch 4 (1 922) : 69-70. 3. Books and articles since 1942 Adorno, Theodor W. "Zemlinsky. " In Quari unafmteia: Musikaiische Schrzj?en II, 1 1 1- 129. Frankfùrt am Main: Suhrkamp Verlag, 1963. "A Weird but Powerful Hybrid." Unsigned article in www.ausîriactl1ture.net, vol. 6/3, (1996): 7K. Online. Available: http://www.austnaculhire.net/AKHybnd 161 1 1.html 1 May 1996. DaMaus, Carl. "Der Tonalitatsbegnff in der neuen Musik. " In Schotberg und Andere, 11 1- 117. Mainz: Schott, 1987. - "Musik und Jugendstilstill'In Willi Schuh, Art Nmveuu. JugencLÎti und Musik, ed. J. Stenzl, 73-88. Zürich: Atfantis, 1980. Fairtile, Linda B. and Robert Saladini, eds. Alexder von Zemlinsky Collection. Washington, D.C.:Library of Congress, 1992. 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Osterreichische Kornponisten des XX. Jahrhunderts, Band 23. Vienna: Verlag Elisabeth Lafite, 1977. . "Der retrospektive Komponia: Alexander Zemlinsky." In AIexQcnder ZernIimky, Tradition im Umbeis der Wiener Schule, ed. O. Kolleritsch, 7-12. Graz: Universal Edition, 1976. . "Krise der Identitat: Zu sozialen und psychischen Konflikten Alexander Zemhskys." Musica 3415 (Sept/Oct): 466-69. . "The String Quartets of Zemlinsky." Translated by Mary Whind. Liner notes to Deutsche Grammophon 274 1 0 16 1982. . "Zemiinsky in Wien 1871-1911." AIchivfirrMusikwisset~schaji28/2 (1971): 77-96. Wellesz, Egon. "Anfaenge der "Neuen Musik." Oesten-eichischeMusikzeitschriff 25/56 (1970): 312-315. Zeller, Hans RudoK "Text und Interpretation zur Handlungsanalyse von op. 3." in Musik-Konepte 9: A Iban Berg Kammennusik II, 3 8-48. Miinchen: Edition Text und Kritik, 1978. -- IL; L Illllg L. 11111A LLL IlIll& APPLIED 1 IMAGE. lnc - 1653 East Main Street --.-. , Rochester. 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