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Musical Invention and Poetry in the Late Vocal Works of Anton Webern. Melanie S

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Musical Invention and Poetry in the Late Vocal Works of Anton Webern. Melanie S Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1992 Musical Invention and Poetry in the Late Vocal Works of Anton Webern. Melanie S. Kronick Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Kronick, Melanie S., "Musical Invention and Poetry in the Late Vocal Works of Anton Webern." (1992). LSU Historical Dissertations and Theses. 5446. https://digitalcommons.lsu.edu/gradschool_disstheses/5446 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Order Number 9316977 Musical invention and poetry in the late vocal works of Anton Webern Kronick, Melanie S., Ph.D. The Louisiana State University and Agricultural and Mechanical Col., 1992 Copyright ©1993 by Kronick, Melanie S. All rights reserved. UMI 300 N. ZeebRd. Ann Arbor, MI 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. MUSICAL INVENTION AND POETRY IN THE LATE VOCAL WORKS OF ANTON WEBERN A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Melanie S. Kronick B.M., Mississippi College, 1978 M.M., Northwestern University, 1980 December 1992 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. This is for Joseph. ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS My pleasure in completing this manuscript is exceeded only by that of acknowledging those whose guidance enabled its fruition. To my director, Wallace McKenzie, I am greatly indebted for sharing with me his immense knowledge of Webern and for challenging me to see, but to look again; for encouraging me to answer, but to value the asking. Debts I happily owe my reading committee are considerable; their support has been invaluable. To Jan Herlinger, for his most generous and careful attention to my project and translations, go my deepest thanks. To Richard Kaplan, for his thorough readings and advice, I am grateful. Many thanks are due to Bainard Cowan and Cecil Crabb for their helpful suggestions and encouragement; to Jennifer Brown for her comments. I am very grateful to John Pizer, Bob Robinson, and Bainard Cowan for reading and commenting on my German translations; to Robert Edgeworth for his provision of Latin translations; to Christine Cowan for pointers on Latin biblical references. Many thanks to Felix Meyer and the staff of the Paul Sacher Stiftung (Basel) for their assistance: my quotation of Hildegard Jone's poem, "Die Freude" (from Satpr) is with their permission. My thanks also to Lauriejean Reinhardt for showing me the ropes at the Sacher Stiftung. iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. There is a climactic scene in Kubrick's "The Shining" (1980) where the long-awaited manuscript of an increasingly deranged writer is revealed. It consists only of pages filled with one typewritten line: All work and no play make Jack a dull boy. I gratefully acknowledge those who have kept me from becoming a dull boy during this project: Henry Ehrlich, Gaylynn Metts, Ron Lindsey, Michelle Masse, Kathryne Lindberg, Murray Jackson, Ben Legett, Bainard and Christine Cowan. For her guidance and friendship, I thank my beloved teacher, Nadean Rule. Deepest thanks also to my family, Sherman and Bernice Kronick and Max and Rose Steinberg, for their constant encouragement; most of all, I thank Phillip Stanberry, my father, and Joyce Stanberry, my mother, for their love and support now and always. * * * * Most of the musical excerpts in this document are taken from Webern's published works and are used by permission of Universal Edition, Vienna. The following acknowledgements apply respectively to the Webern works quoted herein: Webern THREE SONGS, Opus 23 Copyright 193 6 by Universal Edition Copyright Renewed All Rights Reserved Used by permission of European American Music Distributors Corporation, sole U.S. and Canadian agent for Universal Edition iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Webern DAS AUGENLICHT, Opus 26 c Copyright 1956 by Universal Edition A.G., Wien c Copyright Renewed All rights reserved Used by permission of European American Music Distrubutors Corporation, sole U.S. and Canadian agent for Universal Edition Vienna Webern KANTATE I c Copyright 1957 by Universal Edition A.G., Wien c Copyright Renewed All Rights Reserved Used by permission of European American Music Distributors Corporation, sole U.s. and Canadian agent for Universal Edition Vienna Thanks also to Belmont Music Publishers, Pacific Palisades, California for their kind permission to quote Schoenberg's Op. 11/1 and for their sensible policies in this regard. v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ACKNOWLEDGEMENTS iii LIST OF MUSICAL EXAMPLES vii LIST OF FIGURES X ABSTRACT xi INTRODUCTION: BACKGROUND (WEBERN-JONE-DER BRENNER) 1 AND AIMS (WEBERN [RE-]READS JONE) PART I: SONGS CHAPTER 1. CELEBRATING DISJUNCTION: THE DARK HEART OF OP. 23/1 27 CHAPTER 2. EXCAVATION OF THE TEXT: RECOVERY OF THE EROTIC IN OP. 23/2 84 CHAPTER 3. "SILENT, LIFE-SAYING FORM": AUDIBLE AND INAUDIBLE STRUCTURE IN OP. 29/2 116 PART II: CHORAL WORKS CHAPTER 4. THE AUDITOR'S GLANCE: RE-VIEWING THE TEXT IN OP. 26 156 CHAPTER 5. "SOMETHING PERISHES, SOMETHING ELSE IS BORN": ASSEMBLAGE AND TRANSFORMATION IN OP. 29/3 205 BIBLIOGRAPHY 250 APPENDIX A. THE TEXTS OF OP. 23 IN VARIANT VERSIONS "Das Sterbende" (Seliqe Auqen) "Die Freude" (Seliqe Auqen) "Die Freude" (Fons hortorum) "Das dunkle Herz" (Viae inviae) 262 APPENDIX B. PROLOGUE (TO PART II) AND "DAS AUGENLICHT" FROM VIAE INVIAE (HILDEGARD JONE) 274 VITA 278 vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF MUSICAL EXAMPLES 1.1: Op. 23/1, mm. 1-4, voice. 45 1.2: Op. 23/1, mm. 1-3, piano. 46 1.3: Op. 23/1, mm. 1-5. 50 1.4: Op. 23/1, mm. 1-2, piano. 51 1.5: Op. 23/1, mm. 19-20. 53 1.6: Op. 23/1, mm. 18-25. 57 1.7: Op. 23/1, mm. 25-32. 59 1.8: Op. 23/1, mm. 24-32, piano. 60 1.9: Op. 23/1, mm. 29-32. Articulation groups. 61 1.10: Op. 23/1, mm. 25-29. Linear formations (piano ) • 63 1.11: Op. 23/1, mm. 33-35; 40-41, piano. 64 1.12: Op. 23/1, mm. 29-32. 65 1.13: Op. 23/1, mm. 32-36. 66 1.14a: Op. 23/1, m. 45—50. 68 1.14b: Op. 23/1, m. 5 . 69 1.15: Op. 23/1, mm. 45-50, pc sets (piano). 70 1.16: Op. 23/1, mm. 45-50. Attack scheme (piano 83 2.1: Op. 23/2, mm. 1-7. 89 2.2: Op. 23/2, mm. 8-14. 92 2.3: Op. 23/2, mm. 14-15. 92 2.4: op. 23/2, mm. 15-19. 98 2. 5a: Op. 23/2, mm. 20-22. 102 2.5b: PC sets of the vocal line, mm. 20-22. 103 2.6: Op. 23/2, m. 14; m. 22. 103 vii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 2.7: Op. 23/2, m. 23. 106 2.8a: Op. 23/2, m. 14. 107 2.8b: Op. 23/2, m. 25-27; m. 29. 107 2.9: Op. 23/2, mm. 18-19. 114 3.1: Op. 29/2, mm. 6-10, voice. 128 3.2a: Op. 29/2, mm. 36-42, orchestra only. 132 3.2b: Invariant sets (orchestra), mm. 36-42. 133 3.2c: Pitch registers of canons, mm. 36-42. 133 3.3: Op.
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