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Note to Users NOTE TO USERS The original manuscript received by UMl contains pages with indistinct print. Pages were microfilmed as received. This reproduction is the best copy available UMI 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 Brian Locke 1997 National Library Bibliothèque nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellington OtîawaON K1AON4 Ottawa ON KIA ON4 canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. 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.
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