308 Theoretical, Aesthetic, and Ethical Issues
92. See Erika Sziklay, soprano, Jeno Jand6, piano, on Hungaraton SLPX 12040 stereo (1979) LP. CHAPTER 10 93. Specific references will also be made to Schoenberg's analytic com- ments (Theory, 383; Structural, 111-13; and Lewis's "Mirrors," 26-29 ). Schoenberg's "Poetics of Music," 94. Schoenberg, Structural, 111. 95. For a technical analysis of this chord as aspects of two tonalities, see the Twelve-Tone Method, Lewis, "Mirrors," 26-27. 96. See Schoenberg, Structural, 113. This harmonic analysis of the song and the Musical Idea was actually written out by Schoenberg's assistant, Leonard Stein, and corrected by Schoenberg. The original manuscript is in the Leonard Stein Collection, JOHNCOVACH Arnold Schonberg Center, Vienna. 97. The same key distances appear in Schoenberg's analysis: Schoenberg, Structural, 112-13. 98. Schoenberg, Theory, 383. 99. Tonally,]),, the fiat-7 function ofEJ,, has the power to destroy the tonic of E-fiat major. In the context of the entire song, :ol.-in the motive Di>-d or, enharmonically, d--B, or in the region of the Neapolitan (mm. 5-8)-projects In a well-known letter to his friend Rudolf Kolisch dated 27 July 1932, characterizations of the seduced. Arnold Schoenberg reacts to Kolisch's analysis of the third string quartet 100. Stuckenschmidt, Life, 139. as follows: 101. Arnold Schoenberg, Style, 91. The same sentiment is expressed in ibid., 213. I can't utter too many warnings against over-rating these analyses, since after all they only lead to what I have always been dead against: seeing how it is done; whereas I have always helped people to see: whatitis!1
Schoenberg goes on to write that he has tried to convince Theodor Adorno, Alban Berg, and Anton von Webern of this fact, but they will not believe him. He then goes on to explain:
My works are twelve-note compositions, not twelve-note composi- tions: in this respect people go on confusing me with Hauer, to whom composition is only of secondary importance.2
What may seem perplexing about such statements-especially in the context of North American music-analytical practice since the late 1940s-is that Schoenberg seems to be advising against the structural analysis of his twelve-tone music. In fact, reacting in 1936 to an early analytical article by Richard S. Hill, Schoenberg again takes tech- nical analysis to be a kind of barrier io what he feels is most central in his musical expression; while Hill's article "shows a highly astonishing amount of work of research based on much ability and knowledge to find
309 310 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 311 out what he was looking for," Schoenberg finds that Hill has "applied against claims that Hauer, Webern, or Fritz Heinrich Klein may have dis- 3 [his diligence] in the wrong place." Part of what troubled Schoenberg covered it first. 8 One may recall as well the dispute between Thomas must have been the critique Hill offers of Schoenberg's deployment of Mann and Schoenberg over Mann's use of the twelve-tone method in his row forms; lamenting over the complexity of certain passages, Hill novel, Dr. Faustus-a dispute which resulted in Mann agreeing to have a writes: "Obviously, such distributions of the row could not be sensorily notice acknowledging Schoenberg as the inventor of the method appear perceived and intelligently grasped as motival structures however much in every copy of the book.9 It seems more likely that in playing down the 4 practice the listener may have had in hearing such music." importance of "counting the tones," Schoenberg wanted to draw atten- Schoenberg's response to Hill's critique is to argue that he is more of tion to the ways in which his twelve-tone music had much in common a composer than a theorist, and he recounts the famous first announce- with his other music, and perhaps more importantly, with other music in ment of the twelve-tone method to his students: the nineteenth-century and early twentieth-century German tradition. Thought of in these terms, Schoenberg's twelve-tone works might be And when I gathered about twenty of my pupils together to explain to viewed as "twelve-tone compositions," where the interpretive and ana- them the new method in 1923, I did it because I was afraid to be taken lytical emphasis rests more on how the work is structured in ways that as an imitator of Hauer, who, at this time, published his Vom Melos zur transcend the specifics of the twelve-tone method, and less on the partic- Pauke. I could show that I was on the way to this method for more than ten years and could prove so by examples of works written during this ular twelve-tone relationships as ends in themselves. time. But, at the same time, already I did not call it a "system" but a All this, however, runs markedly counter to the ways in which "method,'' and considered it as a tool of composition, but not as a the- Schoenberg's twelve-tone music is usually discussed by theorists and ory. And therefore I concluded with the sentence: "You use the row and musicologists; it is certainly fair to characterize most English-language compose as you had done it previously." That means: "Use the same analysis of Schoenberg's twelve-tone music as taking the specific struc- kind of form or expression, the same themes, melodies, sounds, ture of any particular work to be the crucial aspect of the piece.10 But if, rhythms as you used before."5 following Schoenberg, one takes the specific twelve-tone structure of any particular work to be only one aspect of that piece, one must face the In this passage, Schoenberg seems anxious to stress that there is more to question of what Schoenberg might have considered the other, and by his his twelve-tone music than its technical musical structure; and implicit in lights more crucial aspects of his music to be; in other words, what his claim that one composes as one had done previously is the notion that makes Schoenberg's twelve-tone music like his other music? This essay the particular musical context in which a piece may participate (here he will explore this question, proceeding in three parts: first, certain writ- refers to the twelve-tone context) is only a means in the expression of ings of Carl Dahlhaus will be discussed in order to explore his notion of this "something more." The references to Josef Matthias Hauer in both Schoenberg's "poetics of music." Paying especially close attention to his letter to Kolisch and his reaction to Hill are particularly telling in this Dahlhaus's distinctions among structural concerns in Schoenberg's context, because for Hauer musical meaning is intimately and exclu- thought, the roles played by the Schoenbergian notions of developing sively bound up in the "twelve-tone universe": for Hauer, projecting the variation, Grundgestalt [basic shape], and musikalische Gedanke [musi- 6 twelve-tone structure in music is an aesthetic end in itself. Schoenberg cal idea] in outlining an interpretive approach to Schoenberg's twelve- seems to suggest, by contrast, that his twelve-tone method serves rather tone music will be explored. It will be argued that the twelve-tone as a means to expression in his music, and thus he is not so much criticiz- method constitutes only one musical context among others within ing Hauer personally (although there is certainly a hint of that), as much Schoenberg's poetics. A number of musical examples drawn from as making a crucial aesthetic distinction between his approach to twelve- Schoenberg's Variations for Orchestra, op. 31 will then be discussed, as 7 tone composition and that of Hauer. - a way of exploring and illustrating the analytical consequences of It would be a mistake, however, to conclude from the remarks employing this interpretive model. Finally, we will consider the philo- quoted above that Schoenberg did not take great pride in his twelve-tone sophical and aesthetic aspects of Schoenberg's thought. This discussion method; he repeatedly defended his discovery of the twelve-tone method will focus on Schoenberg's problematic use of the term "musical idea,'' 310 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 311
out what he was looking for," Schoenberg finds that Hill has "applied against claims that Hauer, Webern, or Fritz Heinrich Klein may have dis- 3 [his diligence] in the wrong place." Part of what troubled Schoenberg covered it first. 8 One may recall as well the dispute between Thomas must have been the critique Hill offers of Schoenberg's deployment of Mann and Schoenberg over Mann's use of the twelve-tone method in his row forms; lamenting over the complexity of certain passages, Hill novel, Dr. Faustus-a dispute which resulted in Mann agreeing to have a writes: "Obviously, such distributions of the row could not be sensorily notice acknowledging Schoenberg as the inventor of the method appear perceived and intelligently grasped as motival structures however much in every copy of the book.9 It seems more likely that in playing down the 4 practice the listener may have had in hearing such music." importance of "counting the tones," Schoenberg wanted to draw atten- Schoenberg's response to Hill's critique is to argue that he is more of tion to the ways in which his twelve-tone music had much in common a composer than a theorist, and he recounts the famous first announce- with his other music, and perhaps more importantly, with other music in ment of the twelve-tone method to his students: the nineteenth-century and early twentieth-century German tradition. Thought of in these terms, Schoenberg's twelve-tone works might be And when I gathered about twenty of my pupils together to explain to viewed as "twelve-tone compositions," where the interpretive and ana- them the new method in 1923, I did it because I was afraid to be taken lytical emphasis rests more on how the work is structured in ways that as an imitator of Hauer, who, at this time, published his Vom Metos zur transcend the specifics of the twelve-tone method, and less on the partic- Pauke. I could show that I was on the way to this method for more than ten years and could prove so by examples of works written during this ular twelve-tone relationships as ends in themselves. time. But, at the same time, already I did not call it a "system" but a All this, however, runs markedly counter to the ways in which "method,'' and considered it as a tool of composition, but not as a the- Schoenberg's twelve-tone music is usually discussed by theorists and ory. And therefore I concluded with the sentence: "You use the row and musicologists; it is certainly fair to characterize most English-language compose as you had done it previously." That means: "Use the same analysis of Schoenberg's twelve-tone music as taking the specific struc- kind of form or expression, the same themes, melodies, sounds, ture of any particular work to be the crucial aspect of the piece. 10 But if, rhythms as you used before."5 following Schoenberg, one takes the specific twelve-tone structure of any particular work to be only one aspect of that piece, one must face the In this passage, Schoenberg seems anxious to stress that there is more to question of what Schoenberg might have considered the other, and by his his twelve-tone music than its technical musical structure; and implicit in lights more crucial aspects of his music to be; in other words, what his claim that one composes as one had done previously is the notion that makes Schoenberg's twelve-tone music like his other music? This essay the particular musical context in which a piece may participate (here he will explore this question, proceeding in three parts: first, certain writ- refers to the twelve-tone context) is only a means in the expression of ings of Carl Dahlhaus will be discussed in order to explore his notion of this "something more." The references to Josef Matthias Hauer in both Schoenberg's "poetics of music." Paying especially close attention to his letter to Kolisch and his reaction to Hill are particularly telling in this Dahlhaus's distinctions among structural concerns in Schoenberg's context, because for Hauer musical meaning is intimately and exclu- thought, the roles played by the Schoenbergian notions of developing sively bound up in the "twelve-tone universe": for Hauer, projecting the variation, Grundgestalt [basic shape], and musikalische Gedanke [musi- 6 twelve-tone structure in music is an aesthetic end in itself. Schoenberg cal idea] in outlining an interpretive approach to Schoenberg's twelve- seems to suggest, by contrast, that his twelve-tone method serves rather tone music will be explored. It will be argued that the twelve-tone as a means to expression in his music, and thus he is not so much criticiz- method constitutes only one musical context among others within ing Hauer personally (although there is certainly a hint of that), as much Schoenberg's poetics. A number of musical examples drawn from as making a crucial aesthetic distinction between his approach to twelve- Schoenberg's Variations for Orchestra, op. 31 will then be discussed, as tone composition and that of Hauer. 7 - a way of exploring and illustrating the analytical consequences of It would be a mistake, however, to conclude from the remarks employing this interpretive model. Finally, we will consider the philo- quoted above that Schoenberg did not take great pride in his twelve-tone sophical and aesthetic aspects of Schoenberg's thought. This discussion method; he repeatedly defended his discovery of the twelve-tone method will focus on Schoenberg's problematic use of the term "musical idea," ,,.,
312 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 313 and the relationship of the idea, thought of in its broadest and most mys- dences by adding a third element to the discussion: contexts do not relate tical sense, to his poetics of music and to the twelve-tone method. directly to one another, but rather relate separately to a common poetics. Moreover, Dahlhaus casts the poetics as the common thread that runs through all of Schoenberg's music, and he finds the poetics especially Dahlhaus on Schoenberg's Poetics crucial in considering Schoenberg's late music, which consists of both 16 Whatever happens in a piece of music is nothing but tonal and twelve-tone works. Thus, in the context of the Schoenberg the endless reshaping of a basic shape. 11 remarks quoted above, Dahlhaus can be seen as attempting to capture what makes Schoenberg's twelve-tone music like his other music. In a 1976 article, "Schonbergs musikalische Poetik," Carl Dahlhaus dis- The elements in Dahlhaus's model of Schoenberg's poetics of music cusses the possibility of reconstructing the thought structures that make are the familiar ones in English-language Schoenberg scholarship; up what he terms Schoenberg's "poetics of music."12 Dahlhaus's aim is Dahlhaus enumerates, for instance, developing variation, consequence to compare Schoenberg's music with the claims-polemical, aesthetical, and logic, and the musikalische Gedanke.17 With regard to his interpreta- and theoretical-that Schoenberg makes for it. This hermeneutic enter- tion of the ways in which these elements interact within the basic model prise seems in some ways to follow the lead of the philosopher Hans- for music that Schoenberg proposes, Dahlhaus's conception again does Georg Gadamer, as Dahlhaus sets out to mediate the intellectual and not differ much-on the surface, at least-from the model that has arisen cultural gap that exists between his world and that of his readers and the in British and American Schoenberg scholarship. 18 Though such scholars intellectual-aesthetic world of the late nineteenth century. 13 To recon- as Josef Rufer, Hans Keller, Patricia Carpenter, and David Epstein may struct Schoenberg's poetics of music is first of all to take account of how differ in their use of such terms as Grundgestalt and musical idea, they Schoenberg's music is made, or more broadly conceived, to take account all roughly agree on a general model that might be characterized as fol- of how Schoenberg thought all music perhaps should be made. In its lows: A piece opens with a short stretch of music that acts as the germ out broadest sense, reconstructing Schoenberg's poetics of music involves an of which the piece "grows"; this germ contains a latent set of relation- attempt to view Schoenberg's music, and even music generally, with ships that the work unfolds; the piece unfolds according to a particular Schoenberg: figuratively cast, it is to think with his mind, to hear with his "logic"; the logical unfolding of these latent relationships and the struc- ears. It is also to understand the intellectual context in which Schoen- ture this creates, taken together with the predictiveness of the opening berg's music and thought developed. Dahlhaus is mindful of the fact, for measures, expresses the Gedanke of the work.19 Interpretive paths tend to example, that Schoenberg's remarks must be read critically, as some- diverge when it comes to defining just what the "musical idea" is, and times Schoenberg reacted to issues that were highly charged at the time unfortunately Schoenberg himself had only limited success in bringing he was writing and are now forgotten or very much changed; such this notion to concise verbal expression. 20 remarks are potentially misleading when taken out of the broader To return to Schoenberg's poetics of music, Dahlhaus's interpreta- cultural-historical context that Dahlhaus attempts to draw. tion differs from others by making the clear distinction between the poet- The poetics as Dahlhaus interprets them are different from, and in a ics on the one hand, and the musical context that projects them on the sense prior to, any specific musical context; functional tonality, the other. Dahlhaus also offers a number of penetrating insights into the ele- twelve-tone method, and free atonality are viewed as alternative musical ments of the poetics, and it is especially his understanding of the role contexts within which aspects of Schoenberg's poetics unfold. 14 played by developing variation in Schoenberg's poetics that sets his Dahlhaus thus clearly distinguishes a general musical poetics from the interpretation apart from more familiar ones. Dahlhaus emphasizes that particular musical context in which they are played out. This is a crucial developing variation is not simply thematic variation, but it is variation distinction because it opens the possibility of, for instance, comparing that unfolds according to a kind of logical progression. Admittedly, most Schoenberg's tonal and twelve-tone compositions in a way that avoids accounts of developing variation hold that a motive, or some other kind the usual problems encountered in such a comparison. 15 Indeed, the of musical unit, should develop in a linear fashion, becoming ever more poetics eliminate the need for establishing tonal/twelve-tone correspon- complex as the piece progresses.21 But the kind of dynamic unfolding 312 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 313 and the relationship of the idea, thought of in its broadest and most mys- dences by adding a third element to the discussion: contexts do not relate tical sense, to his poetics of music and to the twelve-tone method. directly to one another, but rather relate separately to a common poetics. Moreover, Dahlhaus casts the poetics as the common thread that runs through all of Schoenberg's music, and he finds the poetics especially Dahlbaus on Schoenberg's Poetics crucial in considering Schoenberg's late music, which consists of both 16 Whatever happens in a piece of music is nothing but tonal and twelve-tone works. Thus, in the context of the Schoenberg the endless reshaping of a basic shape. 11 remarks quoted above, Dahlhaus can be seen as attempting to capture what makes Schoenberg's twelve-tone music like his other music. In a 1976 article, "Sch6nbergs musikalische Poetik," Carl Dahlhaus dis- The elements in Dahlhaus 's model of Schoenberg's poetics of music cusses the possibility of reconstructing the thought structures that make are the familiar ones in English-language Schoenberg scholarship; up what he terms Schoenberg's "poetics of music."12 Dahlhaus's aim is Dahlhaus enumerates, for instance, developing variation, consequence to compare Schoenberg's music with the claims-polemical, aesthetical, and logic, and the musikalische Gedanke. 11 With regard to his interpreta- and theoretical-that Schoenberg makes for it. This hermeneutic enter- tion of the ways in which these elements interact within the basic model prise seems in some ways to follow the lead of the philosopher Hans- for music that Schoenberg proposes, Dahlhaus's conception again does Georg Gadamer, as Dahlhaus sets out to mediate the intellectual and not differ much-on the surface, at least-from the model that has arisen cultural gap that exists between his world and that of his readers and the in British and American Schoenberg scholarship. 18 Though such scholars intellectual-aesthetic world of the late nineteenth century. 13 To recon- as Josef Rufer, Hans Keller, Patricia Carpenter, and David Epstein may struct Schoenberg's poetics of music is first of all to take account of how differ in their use of such terms as Grundgestalt and musical idea, they Schoenberg's music is made, or more broadly conceived, to take account all roughly agree on a general model that might be characterized as fol- of how Schoenberg thought all music perhaps should be made. In its lows: A piece opens with a short stretch of music that acts as the germ out broadest sense, reconstructing Schoenberg's poetics of music involves an of which the piece "grows"; this germ contains a latent set of relation- attempt to view Schoenberg's music, and even music generally, with ships that the work unfolds; the piece unfolds according to a particular Schoenberg: figuratively cast, it is to think with his mind, to hear with his "logic"; the logical unfolding of these latent relationships and the struc- ears. It is also to understand the intellectual context in which Schoen- ture this creates, taken together with the predictiveness of the opening berg's music and thought developed. Dahlhaus is mindful of the fact, for measures, expresses the Gedanke of the work.19 Interpretive paths tend to example, that Schoenberg's remarks must be read critically, as some- diverge when it comes to defining just what the "musical idea" is, and times Schoenberg reacted to issues that were highly charged at the time unfortunately Schoenberg himself had only limited success in bringing he was writing and are now forgotten or very much changed; such this notion to concise verbal expression.20 remarks are potentially misleading when taken out of the broader To return to Schoenberg's poetics of music, Dahlhaus's interpreta- cultural-historical context that Dahlhaus attempts to draw. tion differs from others by making the clear distinction between the poet- The poetics as Dahlhaus interprets them are different from, and in a ics on the one hand, and the musical context that projects them on the sense prior to, any specific musical context; functional tonality, the other. Dahlhaus also offers a number of penetrating insights into the ele- twelve-tone method, and free atonality are viewed as alternative musical ments of the poetics, and it is especially his understanding of the role contexts within which aspects of Schoenberg's poetics unfold. 14 played by developing variation in Schoenberg's poetics that sets his Dahlhaus thus clearly distinguishes a general musical poetics from the interpretation apart from more familiar ones. Dahlhaus emphasizes that particular musical context in which they are played out. This is a crucial developing variation is not simply thematic variation, but it is variation distinction because it opens the possibility of, for instance, comparing that unfolds according to a kind of logical progression. Admittedly, most Schoenberg's tonal and twelve-tone compositions in a way that avoids accounts of developing variation hold that a motive, or some other kind the usual problems encountered in such a comparison. 15 ·Indeed, the of musical unit, should develop in a linear fashion, becoming ever more poetics eliminate the need for establishing tonaVtwelve-tone correspon- complex as the piece progresses.21 But the kind of dynamic unfolding 'I
314 Theoretical, Aesthetic, and Ethical Issues l Schoenberg's "Poetics of Music" 315 Dahlhaus believes Schoenberg has in mind requires a background upon The static structure of the work, and the dynamic unfolding of it, which musical materials can be seen to develop logically. As long as both depend upon relationships created against the background provided developing variation is viewed in tonal works of the nineteenth century, by some musical context, tonal or non-tonal. In the case of twelve-tone that background can be presumed to be functional tonality as it tends to music, that context is one created by the constraints of the twelve-tone be manifested across those works. But as one considers freely atonal and method; ,the dynamic and logical development of materials in twelve- twelve-tone works, the question of the background against which events tone music, according to Schoenberg's poetics as Dahlhaus interprets can be seen to unfold "logically" problematizes the possibility of devel- them, is made possible by the musical background provided by the oping variation in this music. twelve-tone method. The twelve-tone method can thus be seen to func- One approach to this problem has been to consider development tion in the same way within this poetic model as functional tonality does, solely in terms of thematic and motivic transformations; according to though one musical context is not reducible to the other, nor, as was men- this way of thinking, variants "develop" inasmuch as they recombine or tioned above, need there be any direct analogies between the two. Con- transform essential motivic units present in prior thematic or motivic sidering the twelve-tone method in this way, it is clear how one might statements. Successive thematic/motivic units are seen to create their "use the row and compose as you had done it previously"-while the own context within which logical development can be perceived and twelve-tone context is new, the poetic model is familiar. analyzed; and this network of motivic relationships constitutes some- Most analysis of Schoenberg's twelve-tone music has tended to thing like a free-floating structure, operating independently of any other privilege the static dimension, viewing the piece--or more often pas- background context.22 But, according to Dahlhaus, there are a number of sages from a piece-as a pattern of often very complex relationships. problems with developing variation when it is considered developmental One may be convinced that material is related, and that gradations of in a strict sense. One must distinguish between variants that can be seen relationship can be established in order to distinguish closely related simply to change, or even to change systematically, from one to the next; from distantly related material or transformations; but one is less often and variants that develop in a logical manner, and in some way as a con- provided with any strong sense of how the music develops dynamically sequence of what has preceded them. Following the Aristotelian notion according to musical criteria; one is able to view the static aspect of the of development, a series of variants must be--or at least appear to be- work against the background provided by the twelve-tone method, but goal directed.23 At the same time, the teleological and dynamic unfolding the dynamic aspect of the music tends to be given far less attention. of material will be understood as part of a larger, static structure compris- Schoenberg's poetics of music, however, would require one not only to ing the network of relationships found in the piece. These dynamic and account for the static structure of a twelve-tone work, but also to account static aspects of the music play off one another in a dialectical relation- for the dynamic unfolding of materials. 25 ship which projects the Gedanke of the work. Dahlhaus describes the sit- By making this point about Schoenberg's poetics, I do not mean to uation as follows: imply that perspectives on his music that do not account for this dynamic dimension in addition to the static one are thereby fundamentally flawed. The concept of entelechy-the goal-directed process of develop- In fact, following hermeneutic philosophy, we can never come to think in ment-and the notion of musical space in which all the motivic shapes terms of Schoenberg's poetics as he might have done; all interpretations and relationships that serve to present an idea are collected together in are impacted by the interpreter's position in regard to the past.26 Thus, imaginary simultaneity: these two concepts, even though they contra- strictly speaking, it is very difficult to make an argument for privileging dict each other or seem to contradict each other, were in a similar way one interpretation-no matter how "Schoenbergian" it may be supposed constitutive elements in Schoenberg's musical thinking .... To put into practice and make manifest in composition the dialectical unity to be--over another on purely hermeneutic grounds. Rather, I am argu- underlying these divergent concepts is the idea which-as the perfect ing for an approach that attempts to hold both the static structure of the example of the problem that admits of no definitive solution--:-forms entire work in the mind's ear while simultaneously attending to the the substance or hidden basis of the principle of developing variation. 24 dynamic unfolding of material. This amounts not so much to changing 314 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 315
Dahlhaus believes Schoenberg has in mind requires a background upon The static structure of the work, and the dynamic unfolding of it, which musical materials can be seen to develop logically. As long as both depend upon relationships created against the background provided developing variation is viewed in tonal works of the nineteenth century, by some musical context, tonal or non-tonal. In the case of twelve-tone that background can be presumed to be functional tonality as it tends to music, that context is one created by the constraints of the twelve-tone be manifested across those works. But as one considers freely atonal and method; .the dynamic and logical development of materials in twelve- twelve-tone works, the question of the background against which events tone music, according to Schoenberg's poetics as Dahlhaus interprets can be seen to unfold "logically" problematizes the possibility of devel- them, is made possible by the musical background provided by the oping variation in this music. twelve-tone method. The twelve-tone method can thus be seen to func- One approach to this problem has been to consider development tion in the same way within this poetic model as functional tonality does, solely in terms of thematic and motivic transformations; according to though one musical context is not reducible to the other, nor, as was men- this way of thinking, variants "develop" inasmuch as they recombine or tioned above, need there be any direct analogies between the two. Con- transform essential motivic units present in prior thematic or motivic sidering the twelve-tone method in this way, it is clear how one might statements. Successive thematic/motivic units are seen to create their "use the row and compose as you had done it previously"-while the own context within which logical development can be perceived and twelve-tone context is new, the poetic model is familiar. analyzed; and this network of motivic relationships constitutes some- Most analysis of Schoenberg's twelve-tone music has tended to thing like a free-floating structure, operating independently of any other privilege the static dimension, viewing the piece--or more often pas- background context.22 But, according to Dahlhaus, there are a number of sages from a piece-as a pattern of often very complex relationships. problems with developing variation when it is considered developmental One may be convinced that material is related, and that gradations of in a strict sense. One must distinguish between variants that can be seen relationship can be established in order to distinguish closely related simply to change, or even to change systematically, from one to the next; from distantly related material or transformations; but one is less often and variants that develop in a logical manner, and in some way as a con- provided with any strong sense of how the music develops dynamically sequence of what has preceded them. Following the Aristotelian notion according to musical criteria; one is able to view the static aspect of the of development, a series of variants must be--or at least appear to be- work against the background provided by the twelve-tone method, but goal directed. 23 At the same time, the teleological and dynamic unfolding the dynamic aspect of the music tends to be given far less attention. of material will be understood as part of a larger, static structure compris- Schoenberg's poetics of music, however, would require one not only to ing the network of relationships found in the piece. These dynamic and account for the static structure of a twelve-tone work, but also to account static aspects of the music play off one another in a dialectical relation- for the dynamic unfolding of materials. 25 ship which projects the Gedanke of the work. Dahlhaus describes the sit- By making this point about Schoenberg's poetics, I do not mean to uation as follows: imply that perspectives on his music that do not account for this dynamic dimension in addition to the static one are thereby fundamentally flawed. The concept of entelechy-the goal-directed process of develop- In fact, following hermeneutic philosophy, we can never come to think in ment-and the notion of musical space in which all the motivic shapes terms of Schoenberg's poetics as he might have done; all interpretations and relationships that serve to present an idea are collected together in are impacted by the interpreter's position in regard to the past.26 Thus, imaginary simultaneity: these two concepts, even though they contra- strictly speaking, it is very difficult to make an argument for privileging dict each other or seem to contradict each other, were in a similar way one interpretation-no matter how "Schoenbergian" it may be supposed constitutive elements in Schoenberg's musical thinking .... To put into practice and make manifest in composition the dialectical unity to be--over another on purely hermeneutic grounds. Rather, I am argu- underlying these divergent concepts is the idea which-as the perfect ing for an approach that attempts to hold both the static structure of the example of the problem that admits of no definitive solution--:--forms entire work in the mind's ear while simultaneously attending to the the substance or hidden basis of the principle of developing variation. 24 dynamic unfolding of material. This amounts not so much to changing 316 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 317 what one finds in the structure of this music, but instead to shifting the with nine variations; the piece concludes with a substantial finale. 3°Fig- emphasis of what we hear and say about Schoenberg's twelve-tone ure 10.1 shows the opening measures from the work. These opening bars music to elicit an account that tends to hold the static and dynamic present the initial trichords from the combinatorial row pair Pt and I, (the dimensions in a more openly dialectical relationship. 27 If the claim is that row chart for the work is found in Figure 10.2).31 The bJ, in the harp and Schoenberg's twelve-tone music is made in ways that are very much like violins initiates a statement of Pt, and the gin the violas and basses initi- his other music, and if Dahlhaus's reading of Schoenberg's poetics is an ates Pr In the third measure, two tritone oscillations may be found, bJ, to effective generalization of how those works as a group are made, then the e (in the clarinet and harp), and g to c# (in the bassoon and harp). In m. 5, task is to determine analytically how and to what extent Schoenberg's this oscillation is interrupted by the perfect fifth b to t1Iin the horns. As twelve-tone music can be seen to manifest these common characteristics the piece continues, it becomes clear that these initial five measures are that make up Schoenberg's poetics of music. presenting the first trichords of two distinct rows and even that these two rows are combinatorial. But at first this organizational framework is not yet clear; all one knows is that an oscillating diminished-seventh chord is Schoenberg's op. 31 and the Twelve-Tone Method interrupted by a perfect fifth. Perhaps one also notes that the perfect fifth The furtherance of the musical idea (stick to the adds two new pitches and that the horns constitute a contrasting timbre. point) may ensue only if the unrest-problem-present The ritard leading to a fermata in all parts serves to reinforce the inter- in the Grundgestalt or in the motive (and formulated ruptive effect of m. 5 and helps to set these first five measures off from by the theme or not, if none has been stated) is shown what follows. in all its consequences. These consequences are Let us consider these opening measures to be the "seed," or presented through the destinies of the motive or the Grundgestalt, of the work. According to the poetics as outlined earlier, Grundgestalt. Just how the Grundgestalt is altered therefore, the subsequent measures should unfold possibilities latent in under the influence of the forces struggling within it, how this motion to which the unrest leads, how the this material. In fact, in mm. 6-23 this is exactly what happens: first, in forces again attain a state of rest-this is the realiza- mm. 6-16 the Pt and I, rows are presented, in alternation and by hexa- tion of the idea, this is its 28 --- chord, in their entirety. What follows is a rapid-fire statement of eight row forms as shown in Figure 10.3. These eight statements fall into two As indicated earlier, this study will be mostly concerned with groups of four: the first four, in mm. 16-19, are characterized by the exploring how Schoenberg's poetics of music operates within a twelve- melodic statement of pitch-classes b-flat and e. By referring to the row tone context generally, using examples drawn from Schoenberg's Varia- chart in Figure 10.2, one may note that the four rows used here, Pt, It, P4, tions for Orchestra, op. 31 for purposes of illustration. The main focus of and I4, are the only four that begin with pcs t and 4. The second group of discussion will be to determine how the poetics are operative in this work four row statements, in mm. 20-23, projects the initial pitch-class dyad and to explore how the poetics are worked out within the specific twelve- g-c# as a harmonic interval, the first three times in the brass, and the last tone context of the piece. Following the poetics as sketched above, a time in the oboes. Again, one may note that the four row forms used here, number of developmental paths through various sections of the work will I,. Pl' I1, and P7, are the only four that start with pitch-classes g and be traced. It will be argued throughout that one must consider both the c-sharp. In viewing the entire eight statements together, it is clear that static, structural aspect of the music as well as the dynamic, developmen- Schoenberg alternates P and I forms in each group, and that as the first tal aspect. It is the dialfctical tension opened up by this dual focus which four are organized P-I-P-I, the second four proceed I-P-1-P, forming a is at the heart of Schoenberg's poetics of music. retrograde disposition scheme. Schoenberg began composing op. 31 in May 1926; he interrupted Figure 10.2 indicates that these eight row forms can be grouped his work on the orchestral variations to compose his third string quartet, together into what is here termed "row-family A." Row-family A forms op. 30, and then returned to op. 31, completing it in September i928.29 are characterized by having the pcs 1, 4, 7, and tin order-number posi- Variations for Orchestra consists of an introduction, followed by a theme tions 0, J, 7, and 8.32 Row-families Band C in Figure 10.2 merely list the 316 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 317 what one finds in the structure of this music, but instead to shifting the with nine variations; the piece concludes with a substantial finale. 3°Fig- emphasis of what we hear and say about Schoenberg's twelve-tone ure 10.1 shows the opening measures from the work. These opening bars music to elicit an account that tends to hold the static and dynamic present the initial trichords from the combinatorial row pair Pt and I, (the dimensions in a more openly dialectical relationship. 27 If the claim is that row chart for the work is found in Figure 10.2).31 The bl.in the harp and Schoenberg's twelve-tone music is made in ways that are very much like violins initiates a statement of Pt, and the gin the violas and basses initi- his other music, and if Dahlhaus's reading of Schoenberg's poetics is an ates Pr In the third measure, two tritone oscillations may be found, bi>to effective generalization of how those works as a group are made, then the e (in the clarinet and harp), and g to c# (in the bassoon and harp). In m. 5, task is to determine analytically how and to what extent Schoenberg's this oscillation is interrupted by the perfect fifth b to t1Iin the horns. As twelve-tone music can be seen to manifest these common characteristics the piece continues, it becomes clear that these initial five measures are that make up Schoenberg's poetics of music. presenting the first trichords of two distinct rows and even that these two rows are combinatorial. But at first this organizational framework is not yet clear; all one knows is that an oscillating diminished-seventh chord is Schoenberg's op. 31 and the Twelve-Tone Method interrupted by a perfect fifth. Perhaps one also notes that the perfect fifth The furtherance of the musical idea (stick to the adds two new pitches and that the horns constitute a contrasting timbre. point) may ensue only if the unrest-problem-present The ritard leading to a fermata in all parts serves to reinforce the inter- in the Grundgestalt or in the motive (and formulated ruptive effect of m. 5 and helps to set these first five measures off from by the theme or not, if none has been stated) is shown what follows. in all its consequences. These consequences are Let us consider these opening measures to be the "seed," or presented through the destinies of the motive or the Grundgestalt, of the work. According to the poetics as outlined earlier, Grundgestalt. Just how the Grundgestalt is altered therefore, the subsequent measures should unfold possibilities latent in under the influence of the forces struggling within it, how this motion to which the unrest leads, how the this material. In fact, in mm. 6-23 this is exactly what happens: first, in forces again attain a state of rest-this is the realiza- mm. 6-16 the Pt and I, rows are presented, in alternation and by hexa- tion of the idea, this is its 28 --- chord, in their entirety. What follows is a rapid-fire statement of eight row forms as shown in Figure 10.3. These eight statements fall into two As indicated earlier, this study will be mostly concerned with groups of four: the first four, in mm. 16-19, are characterized by the exploring how Schoenberg's poetics of music operates within a twelve- melodic statement of pitch-classes b-flat and e. By referring to the row tone context generally, using examples drawn from Schoenberg's Varia- chart in Figure 10.2, one may note that the four rows used here, Pt, It, P 4, tions for Orchestra, op. 31 for purposes of illustration. The main focus of and I4, are the only four that begin with pcs t and 4. The second group of discussion will be to determine how the poetics are operative in this work four row statements, in mm. 20-23, projects the initial pitch-class dyad and to explore how the poetics are worked out within the specific twelve- g-c# as a harmonic interval, the first three times in the brass, and the last tone context of the piece. Following the poetics as sketched above, a time in the oboes. Again, one may note that the four row forms used here, number of developmental paths through various sections of the work will I,, P1, I1, and P7, are the only four that start with pitch-classes g and be traced. It will be argued throughout that one must consider both the c-sharp. In viewing the entire eight statements together, it is clear that static, structural aspect of the music as well as the dynamic, developmen- Schoenberg alternates P and I forms in each group, and that as the first tal aspect. It is the dialf ctical tension opened up by this dual focus which four are organized P-I-P-I, the second four proceed I-P-I-P, forming a is at the heart of Schoenberg's poetics of music. retrograde disposition scheme. Schoenberg began composing op. 31 in May 1926; he interrupted Figure 10.2 indicates that these eight row forms can be grouped his work on the orchestral variations to compose his third string quartet, together into what is here termed "row-family A." Row-family A forms op. 30, and then returned to op. 31, completing it in September 1928.29 are characterized by having the pcs 1, 4, 7, and tin order-number posi- Variations for Orchestra consists of an introduction, followed by a theme tions 0, 1, 7, and 8.32 Row-families Band C in Figure 10.2 merely list the .
Figure 10.1. Variations for Orchestra, op. 31, mm. 1-5, which constitute the Schoenberg's "Poetics of Music" 319 "seed" of the work. Used by permission of Belmont Music Publishers, Pacific Palisades, California 90272. Row Family A
(PJ poco rit. ------·---··---··· 0 1 7 8 0 1 7 8 I . MiJlig, ruhig J•oo (J.llO) =-=--- - P, 1 7 9 6 8 0 5 4 t e 2 3 It t 4 2 5 3 e 6 7 1 0 9 8 Kl L --- I I I I I I I I -.i - t ·-= P, 4 O 9 e 3 8 7 1 2 5 6 I, 175862 9 t 4 3 O e Pl' (ID "" I I I I I I I I "'1r------::.. P, 7 1 3 0 2 6 et4589 I, 4 t 8 e 9 5 0 1 7 6 3 2 Fg L I I I I I I I I pt t 4 6 3 5 9 2 1 7 8 e 0 I, 7 1 e 2 0 8 3 4 t 9 6 5 . _- __ - - - +-R +-RI r • 'f -, --,, B A (H C) Pl' Hfe - 0 5 +-
MiJlig, ruhig ; ... IJ-llO) 0 5 t '!'.""· poco rit.····-·············· '- tGg Row Family B H +- C (BA) ol .. PPP ...... - t P, 2 8 7 9 1 6 5 e 0 3 4 I 0 e 5 3 6 4 0 7 8 2 1 t 9 Br P 5 t 0 4 9 8 2 3 6 7 pp ==-- 5 eJl I, 286973 te5410 : ...... Kbs P 8 2 4 1 3 7 0 e 5 6 9 t I 5 e 9 0 t 6 1 2 8 7 4 3 pp 8 5
P0 e 5 7 4 6 t 3 2 8 9 0 1 I 8 8 2 o 3 1 9 4 5 e t 7 6
...... -a Fl 1.2- - Row Family C oJ LIJ LI.. LlJ w 77 ';:Q.J 'lLJ UJ p P0 0 6 8 5 7 e 4 3 9 t 1 2 I, 9 3 1 4 2 t 5 6 0 e 8 7 . !":'. Kl I. 3 9 e 8 t 2 7 6 0 1 4 5 I OJ .. 0 064751 8932et pp .-. . . . -- ..,. t !":'. •-c - P, 6 0 2 e 1 5 9 3 4 7 8 I 3 3 9 7 t 8 4 e 0 6 5 2 1 BsKI pp 9 3 5 2 4 8 1 0 6 7 t e I, 6 0 t 1 e 7 2 3 9 8 5 4 L <. _,.__Jll _a ___ - '"-'- ;:--. !":'. "' Fg I. Figure 10.2. Row families A, B, and C. mDpf pp . !":'. Hr 1.2. oJ q·....-pp------p other two possibilities that exist if one assigns the [0 3 6 9] tetrachords {2 .. --- 5 8 e} and {O 3 6 9} to the 01 7 8 order positions.33 ii ) Returning to the question of the poetics discussed in the previous : !1 Hfe --._ •-c !":'. •• section, mm. 6-23 can be seen to follow from the first five measures log- I ically, and in at least two important ways: first, according to the notion of ii ·····,;;iTempo i,! s. developing variation as a thematic process, Schoenberg gradually l.Gg ., ...... unfolds the complete statements of the Pt and row forms, giving the !":'.r \ impression that these statements slowly emerge from the oscillating tex- Br ture (see Figure 10.3); first the initial hexachord then its Pt combi- !":'...... natorial partner, then the second hexachord of Pt followed by that of Kbs Hexachords are distinguished by register, arid these hexachords play off one another antiphonally. Once the initial row statements are finished, the musical pace is picked up as the composer quickly works out the 318 l
Figure 10.1. Variations for Orchestra, op. 31, mm. 1-5, which constitute the I Schoenberg's "Poetics of Music" 319 "seed" of the work. Used by permission of Belmont Music Publishers, Pacific Palisades, California 90272. Row Family A (Pi) poco rit.-····-·-·--·-.. •·•· 0 1 7 8 0 1 7 8 I ruhig J•IO . MiJlig, (J.IJO) =-=--- - P, 1 7 9 6 8 0 5 4 t e 2 3 I, t 4 2 5 3 e 6 7 1 0 9 8 Kl L -- --- I I I I I I I I pp :.= P, 4t09e3 8 7 1 2 5 6 I, 1 7 5 8 6 2 9 t 4 3 O e "' (JD -- I I I I I I I I 1r- P, 7 1 3 0 2 6 et4589 I, 4 t 8 e 9 5 0 1 7 6 3 2 Fgl. I I I I I I I I t Flaa P, 4 6 3 5 9 2 1 7 8 e 0 I, 71e208 3 4 t 9 6 5 . - .. - - -- t-R t-RI , , ·-:: B A (H C) pp Hfe 0 5 t- ).
MiBig, ruhig J-oo U•11<>) I• ,,.,.._ poco rit.····-·············· 0 5 I.Gg Row Family B H t- C (BA) ,.. "' PPP - P2 2 8 t 7 9 1 6 5 e 0 3 4 I 0 e 5 3 6 4 0 7 8 2 1 t 9 Br -· P 5 t 0 4 9 8 2 3 6 7 pp ==-- 5 eJl I 2 286973 te5410 : ...... Kbs Pa 8 2 4 1 3 7 0 e 5 6 9 t I 5 e 9 0 t 6 1 2 8 7 4 3 pp 5 P. e 5 7 4 6 t 3 2 8 9 0 1 Ia 8 2 0 3 1 9 4 5 e t 7 6
. ... ,,r• a Fl 1.2. Row Family C "' LlJ w L[J [LJ n ,.J,J.J 'W LL.! p P0 0 6 8 5 7 e 4 3 9 t 1 2 I, . r.-. 93142t 560e87 Kl I. 3 9 e 8 t 2 7 6 0 1 4 5 ff•-- - -_;- . , I 0 064751 8932et "' pp .... L - P 6 0 2 e 1 5 t 9 3 4 7 8 I 3 9 7 t 8 4 e 0 6 5 2 1 r.-. -f""•• 6 3 BsKI pp 9 3 5 2 4 8 1 0 6 7 t e I 6 6 0 t 1 e 7 2 3 9 8 5 4 ,,, -lo...,,r.. .::---- L -11. r.-. -:. Fgl. ··-·- Figure 10.2. Row families A, B, and C. mDpf pp r.-. Hr 1.2. ' "' q..,.pp..____.. other two possibilities that exist if one assigns the [0 3 6 9] tetrachords {2 • r.-. . mll- - -- 5 8 e} and {O 3 6 9} to the 01 7 8 order positions.33 ii 1 i , Returning to the question of the poetics discussed in the previous Hfe !1 . r.-. -.._.-. -r - ) ··- •• section, mm. 6-23 can be seen to follow from the first five measures log- 11
ically, and in at least two important ways: first, according to the notion of ,,f! 5 ·-···;;i Tempo Li developing variation as a thematic process, Schoenberg gradually l.Gg .. ,.. unfolds the complete statements of the Pt and row forms, giving the "' "' r.-.r \ impression that these statements slowly emerge from the oscillating tex- Br ture (see Figure 10.3); first the initial hexachord then its Pt combi- r.-...... natorial partner, then the second hexachord of P followed by that of Kbs 1 Hexachords are distinguished by register, and these hexachords play off one another antiphonally. Once the initial row statements are finished, the musical pace is picked up as the composer quickly works out the 318 ·1 i I Schoenberg's "Poetics of Music" 321
consequences of the two initial pitch-class dyads bl>-eand g-c# within in the context of the now-complete row class. The eight row forms enunci- ated in this passage tum out to have been implicit in the opening oscillat- ing [O 3 6 9] tetrachord-a four-note sonority composed of now / structurally referential bl.-e and g-c# dyads (see Figure 10.1). r.tl I . • ..C
C\ - But the eight-row family is not simply a consequence of the the- LO - CDM -g "'o NN ON C\ N lQIN LO N t) lit ...... c: °' matic work alone, but rather is also an important underlying structural .µ al I M1 .,. I u .µ 0 ...... µ N e !! ·j -: .... QIN 'O' component of the entire work. That such a group of rows can exist in a M .e ... >. ;a.goo e c.- ·c ·- - .,, work depends upon the structure of the row and the constraints of the CD "' . g g).; ..., 0 N "i]»-o ... N cc- o_ .., 0 .C: CO - N twelve-tone method; that such a group of rows is articulated through a QI C\ LO M "'- --u ·-.&> ·-C: NI N dynamic process that favors development from simple to more complex +- r!. e e 1! - &e:.- .. 8 formulations is a product of the poetics. Here, then, is the second way in H r: H t1 Cl'll M ta . .. o E.c: which mm. 6-23 follow from the initial measures of the work: the entire 9-' u .s d passage from m. 1 tom. 23 constitutes the unfolding of structural proper- -··=·:;: °' 0 " l ties of the material for the entire work (see Figure 10.3). First comes the 1.. c: :x =.. u - { 1 4 7 t} collection, and an interruption; the pcs e and 6 that interrupt the o- CD to N- "O QI LO C\ M C\ r- C\ ..... "'- .. rJ- CD ..... N,.... u o, ,.... I "' ..... i;; 7 oscillating tetrachord are not only pcs from outside that tetrachord, but r- I ..... r- a e r- r- CD ...... ,,., ,..;.;- u .:.:i::l ..... e N "'...... CD ..... 0 .e » ,:: Iii UN · are pcs drawn one each from the other two possible [O 3 6 9] tetrachords. ec.- .s Ill "O 1j C.N "O Thus, in the initial gesture of the work (see Figure 10.1), the { 1 4 7 t} C\ QI ...>...,·- ("1 Ill- "O 0 °' M- CD collection that forms the basis of row-family A is juxtaposed with mater- :b N °'-0 l! c-;1 ..... "' 0 ...... - !] :z: ial that can be seen to belong to the other two contrasting row families ...... H The { 1 4 7 t} collection then becomes part of a combinatorial row Ao H Ao .s pair, and finally three more combinatorial pairs are introduced in which § the { 1 4 7 t} collection plays a crucial organizational role. While on the .s surface of the piece we see motivic developing variation based on two
CD C\ tritones, underlying it is an unfolding of relationships which are ulti- "O mately not thematic. This kind of gradual unfolding of relationships :;;::• i::: +l' "r-- 0 from simple to more complex might also be thought of as a kind of devel- i:i ...... H Ao Ao H oping variation, but one that develops relationships. It just so happens 0 Ao H' Ao H' 0 ..... M 0.. that in this instance the thematic unfolding and the unfolding of relation- 0 ...... "'..... \Q ...... I I I CD ...... a ships coincide; but they need not coincide. As will be shown below, it is 0 I 0 ... I C\ ...... :b u this developing variation of structural relationships that is crucial in "E "' = accounting for the dynamic aspect of the work; more than the strictly .a f! 6'n thematic or motivic type (though this technique also plays an important fZ role in the work), it is this broader kind of developing variation that con- 34 iI:' trols the overall unfolding of material in the Variations for Orchestra. ' In fact, after row-family A appears in the introduction, it serves as !i 'I Ii the primary group of row forms for the theme and nine variations that lj follow. 35 Figure 10.4 shows that the theme is made up of the P and 1 1 111 I, combinatorial pair, and its retrogrades, with the addition of P 1 in the l
!11: 320 IJ I ·1 i I Schoenberg's "Poetics of Music" 321
consequences of the two initial pitch-class dyads bl>--eand g-c# within in the context of the now-complete row class. The eight row forms enunci- ated in this passage tum out to have been implicit in the opening oscillat- ing [O 3 6 9] tetrachord-a four-note sonority composed of now / structurally referential bl>--eand g-c# dyads (see Figure 10.1). 1i1J I . • .,C But the eight-row family is not simply a consequence of the the- :g ;;, 1! ·J O\No QIN MN N ION tl ·["''-'..C:C'I matic work alone, but rather is also an important underlying structural µ µI ... _,; µ µ N '(S' e 6 .,; component of the entire work. That such a group of rows can exist in a M!:. I() 0\ QIN "">. CX> o · N • '° · c. ·c I "'O work depends upon the structure of the row and the constraints of the M 0 CD \D N i .2 C>. !'"" ; twelve-tone method; that such a group of rows is articulated through a - - ;;: - .., ] .5 :f ""'. N dynamic process that favors development from simple to more complex . r------f""'f----'l"'"'f----r- """' c 0 c:: e - .- e ,...... ,.. formulations is a product of the poetics. Here, then, is the second way in E 1-1 0. 1-1 0. ""'NC:a ., e which mm. 6-23 follow from the initial measures the work: the entire .. .. i:0 e-=.... of 'i' " ..c: ·i::: d passage from m. 1 tom. 23 constitutes the unfolding of structural proper- 0 .:."'O - ties of the material for the entire work (see Figure 10.3). First comes the - ,.c I - Or- ma) \Oen N;::- · { 1 4 7 t} collection, and an interruption; the pcs e and 6 that interrupt the m "' ui ('11 .... , "'O ... o ..... e ('l"'j a:>r"'i 0"""'4 Nf""i \Of""4 O ·eN oscillating tetrachord are not only pcs from outside that tetrachord, but J, ....r!. ....cl, • ,_ .• c!i M f""i r-- r-t r- r"'i f""i c ,.... c ..... N are pcs drawn one each from the other two possible [0 3 6 9] tetrachords . N '° cc 8>. ...f•oN · .s • • • ""=;j I "g la J C "O Thus, in the initial gesture of the work (see Figure 10.1), the { 1 4 7 t} 0\ °i .2 id C>. N C ..., j M- IO- "'- QI »""'o •• collection that forms the basis of row-family A is juxtaposed with mater- \0 \0 N 0 CD "'O_ ..... µ - 0 1...... µ ____ µ ____ ____ .. z ial that can be seen to belong to the other two contrasting row families . e ,..."'! .., • ... The { 1 4 7 t} collection then becomes part of a combinatorial row e ...... °' ..... .s pair, and finally three more combinatorial pairs are introduced in which § the { 1 4 7 t} collection plays a crucial organizational role. While on the .s surface of the piece we see motivic developing variation based on two
CD 0\ tritones, underlying it is an unfolding of relationships which are ulti- "O mately not thematic. This kind of gradual unfolding of relationships ::;;::• \....t i::: .µ .. "r-- 0 from simple to more complex might also be thought of as a kind of devel- ...... c ..... Ao ..... oping variation, but one that develops relationships. It just so happens 0 Ao H' Ao H' 0. 0 .... M 0.. that in this instance the thematic unfolding and the unfolding of relation- 0 ...... I "'I \Q .... I i5 ships coincide; but they need not coincide. As will be shown below, it is "'0 CD I 0 ...... I ...... r'} J; ., \D "' this developing variation of structural relationships that is crucial in 1! = accounting for the dynamic aspect of the work; more than the strictly .a f 5'n thematic or motivic type (though this technique also plays an important rz role in the work), it is this broader kind of developing variation that con- I r.' 34 trols the overall unfolding of material in the Variations for Orchestra. 1: In fact, after row-family A appears in the introduction, it serves as !i II
the primary group of row forms for the theme and nine variations that JI .I 35 follow. Figure 10.4 shows that the theme is made up of the P1 and I, combinatorial pair, and its retrogrades, with the addition of P in the 111· 1 l
111: 320 I'I I 322 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 323
closing measures. Variations 1, 2, and 3 use nothing but row-family A Introduction: row forms (with an occasional exception). Variations 4, 5, 6, and 7 each Row-family A forms (except m. 25) feature complete statements of the PA theme, but now with non-row- Theme: family A forms used to create the figuration for each variation.36 As Schoenberg suggests, variations 8 and 9 can be considered as a pair. 37 P/Rt and R/17 with one instance of Pl Variation 8 returns to the exclusive use of the PA pair and the ninth vari- Variations 1, 2, and 3: ation juxtaposes melodic statements of the central row pairs with non- Row-family A forms only (with a few exceptions) used to embellish theme row-family A forms. These two variations could be seen to constitute a reference to the prelude and fugue, with variation 8 unfolding nothing Variations 4, 5, 6,and 7: but the "home" row pair, while variation 9 is structured according to Use of non-row-family A forms, but as embellishment of theme (which is drawn "home" and "away" row statements, with some stretto occurring toward from row-family A) the end of the variation. Though variation 8 returns to the exclusive use Variations 8 and 9: of row-family A forms, and thus reverses the logic of expanding toward Variation 8 uses only theme rows, though now theme statement is lacking non-row-family A forms used in variations 4-7, this variation and the ninth drop the literal statement the theme found in the earlier varia- Variation 9 juxtaposes Row-family A statements with others to create a "home" of and "away" dialectic. (Prelude and fugue reference?) tions, and opt for a freer statement of the referential PA pair, with non- row-family A forms being juxtaposed to this pair in the ninth variation. Figure 10.4. Disposition of row forms over Introduction, Theme, and nine Thus, the logic of these final two variations would seem to consist of the Variations. condensed recapitulation of the relationship between home and away row forms, and an increased freedom with regard to the theme of the variations. class with the constraints of the twelve-tone method, the disposition of As discussed above, Dahlhaus makes the important point that devel- row forms thus can be seen to constitute what might be thought of as a oping variation is not simply variation based on a model, but variation "logical" development of twelve-tone materials. that has a developmental forward drive; thus one should be able to ask: Figure 10.4 shows how a logical unfolding of relationships, which why this variation in this spot and not some other?38 The notion that it is can be thought of as a kind of developing variation of structural relation- possible to establish a strictly logical and inevitable sequence of musical ships, governs the structure of a large stretch of op. 31. Again it is impor- events seems questionable for any kind of music. It is possible to assert, tant to stress the distinction between the twelve-tone method as a musical however, if the word "logic" is defined as a forward development cast context and the poetics as a set of generalizations concerning how a work against some structural background, that some sequences of musical is made: that such structural relationships can be exploited depends on events can be interpreted as much more logical than others.39 From the constraints of the twelve-tone method; the possibility of defining examining the disposition of the row forms over the theme and nine vari- groups of rows within the rules of twelve-tone composition is merely a ations (Figure 10.4), it is clear that Schoenberg establishes an unfolding resource-a resource that is unique within the twelve-tone method and of row forms based on their closeness or distance from the central com- dependent upon its rules and restrictions. It should be noted, however, binatorial pair, PA· The theme uses almost nothing but that pair, the first that these constraints are not so much akin to natural laws, as much as three variations use the closely related row-family A forms, variations 4 they constitute what might be thought of as "bounds of musical behav- through 7 use the remaining forms but in a subsidiary role to the central ior"; and these behaviors are established through consensus among com- pair, and variations 8 and 9 drop the theme and rely on the established posers.40 central family of rows, now set in musical juxtaposition to others. While Schoenberg makes brilliant use of this twelve-tone possibil- Looked at from a distance that takes in 300 or so measures at a time, and ity, it is his poetics that are at work in its unfolding. As Dahlhaus points against the background provided by the interaction of this particular row out, developing variation is only one manner of presenting material. 322 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 323
closing measures. Variations 1, 2, and 3 use nothing but row-family A Introduction: row forms (with an occasional exception). Variations 4, 5, 6, and 7 each Row-family A forms (except m. 25) feature complete statements of the P fl, theme, but now with non-row- Theme: family A forms used to create the figuration for each variation.36 As Schoenberg suggests, variations 8 and 9 can be considered as a pair.37 P/Rt and R/f7 with one instance of Pl Variation 8 returns to the exclusive use of the P fL, pair and the ninth vari- Variations 1, 2, and 3: ation juxtaposes melodic statements of the central row pairs with non- Row-family A forms only (with a few exceptions) used to embellish theme row-family A forms. These two variations could be seen to constitute a reference to the prelude and fugue, with variation 8 unfolding nothing Variations 4, 5, 6,and 7: but the "home" row pair, while variation 9 is structured according to Use ofnon-row-family A forms, but as embellishment of theme (which is drawn "home" and "away" row statements, with some stretto occurring toward from row-family A) the end of the variation. Though variation 8 returns to the exclusive use Variations 8 and 9: of row-family A forms, and thus reverses the logic of expanding toward Variation 8 uses only theme rows, though now theme statement is lacking non-row-family A forms used in variations 4-7, this variation and the ninth drop the literal statement the theme found in the earlier varia- Variation 9 juxtaposes Row-family A statements with others to create a "home" of and "away" dialectic. (Prelude and fugue reference?) tions, and opt for a freer statement of the referential P fl, pair, with non- row-family A forms being juxtaposed to this pair in the ninth variation. Figure 10.4. Disposition of row forms over Introduction, Theme, and nine Thus, the logic of these final two variations would seem to consist of the Variations. condensed recapitulation of the relationship between home and away row forms, and an increased freedom with regard to the theme of the variations. class with the constraints of the twelve-tone method, the disposition of As discussed above, Dahlhaus makes the important point that devel- row forms thus can be seen to constitute what might be thought of as a oping variation is not simply variation based on a model, but variation "logical" development of twelve-tone materials. that has a developmental forward drive; thus one should be able to ask: Figure 10.4 shows how a logical unfolding of relationships, which why this variation in this spot and not some other?38 The notion that it is can be thought of as a kind of developing variation of structural relation- possible to establish a strictly logical and inevitable sequence of musical ships, governs the structure of a large stretch of op. 31. Again it is impor- events seems questionable for any kind of music. It is possible to assert, tant to stress the distinction between the twelve-tone method as a musical however, if the word "logic" is defined as a forward development cast context and the poetics as a set of generalizations concerning how a work against some structural background, that some sequences of musical is made: that such structural relationships can be exploited depends on events can be interpreted as much more logical than others.39 From the constraints of the twelve-tone method; the possibility of defining examining the disposition of the row forms over the theme and nine vari- groups of rows within the rules of twelve-tone composition is merely a ations (Figure 10.4), it is clear that Schoenberg establishes an unfolding resource-a resource that is unique within the twelve-tone method and of row forms based on their closeness or distance from the centraI com- dependent upon its rules and restrictions. It should be noted, however, binatorial pair, PA· The theme uses almost nothing but that pair, the first that these constraints are not so much akin to natural laws, as much as three variations use the closely related row-family A forms, variations 4 they constitute what might be thought of as "bounds of musical behav- through 7 use the remaining forms but in a subsidiary role to the central ior"; and these behaviors are established through consensus among com- pair, and variations 8 and 9 drop the theme and rely on the established posers.40 central family of rows, now set in musical juxtaposition to others. While Schoenberg makes brilliant use of this twelve-tone possibil- Looked at from a distance that takes in 300 or so measures at a time, and ity, it is his poetics that are at work in its unfolding. As Dahlhaus points against the background provided by the interaction of this particular row out, developing variation is only one manner of presenting material. Figure 10.5. Variations for Orchestra, op. 31, mm. 23-26. The B-A-C-H state- 324 Theoretical, Aesthetic, and Ethical Issues ment is found in mm. 24-25. Used by permission of Belmont Music Publishers, Pacific Palisades, California 90272. Schoenberg could have begun by juxtaposing radically different or seemingly unrelated material, and then devoted the remainder the riL ··--·······---·-···--··---····· Tempo I; wieder ruhJ& of J.•J 23 piece to reconciling the opposing material, ultimately exploiting a com- •-'lh> >-'T& -. l ,.,-----=--- 41 mon source or underlying structural affinity. Consider, for example, p lelcht '---' pp I ! I Benjamin Britten's Nocturnal for guitar, which utilizes motives drawn ): from John Dowland's lute song "Come Heavy Sleep." The Dowland ". ).p-- I piece, which is ultimately the source of the entire work, does not appear Ob ' until the very end, creating a kind of "variations and theme" form. As ,) y David Lewin has shown in a discussion of Schoenberg's Violin Con- E certo, op. 36, Schoenberg's music does have crucial moments of synthe- i;;·>- PP-=:::- sis, moments that Andrew Mead has subsequently called "nexus A ::-;:---..,.], If"' l
42 CJ p-=: :::-. passages." But these moments always synthesize contrasting musical ., jJ; I I. Kl pp dolce material that has developed dynamically from the same Grundgestalt. r And of course, even that contrasting musical material should be recon- ""'l y o2 If"' l r
" p ciled at all is an aspect of the poetics. l ,,,,{.,. While Figure 10.4 suggests a logical disposition of row forms over pp y Hi'._- l the course of the theme and variations, it specifies very little about the I! "' actual music surface. In order to demonstrate how certain kinds of long- VP pp dolce ii y t range relationships can be developed in very specific ways, let us return Fg to the Introduction to op. 31, and specifically to measures 24 and 25 (see VP 23 ofTm Figure 10.5). At these measures, one hears the statement of the famous y B-A-C-H theme. The theme is extracted according to what Ethan Raimo 8' ) - ==:;:· and Paul Johnson call an "isomorphic partitioning:' and this partitioning 3.4 .LJ .n...... ·ii is shown in Figure 10.6a.43 One may note how the trombone's bl.and a in " -- m. 24 (Figure 10.5) are partitioned out of order-number positions 0 and 5 "" of Pt, and how c and bliin m. 25 are partitioned out of the same order- pp dolce --==:: 23 number positions of Rle. The flute emphasizes the segmental half-steps A :t.i in the second hexachords of both row forms by the insertion of rests. The pp pp Col ). English horn and cello parts emphasize the common segmental tetra-
I chord held invariant between Pt and Rle. All parts in this partition scheme :1 riL Tempo I; wieder rabis l J.•J disTempoJ•60 MDpf ,!f; progress by half-step. q : """'"' : These two measures are set off by the material that precedes them, I.Gg ----· Ill :::::-...... :::: ::::-p pp the still pianissimo of measure 24 contrasting with the previous rapid-fire .... <> y""' l i....-- '-· !;;., I fortissimo articulation of eight row forms. They are also conspicuous in Vcl .. -''-- their use of a non-row-family A row, Rle. When the music after measure -- I Pi RI0 25 does not take up the B-A-C-H motive, the measures seem even more B-A iI self-consciously "positioned" by the composer and thereby marked for Pi= t4§59) future reference, even though the half-step motion does reverberate H-C through the orchestra for the rest of the Introduction. As is well known, :r.= e5364o 782 lt9 I 0 -5_ I
I' 325 '
l,,1. Il '" Theoretical, Aesthetic, and Ethical Issues Figure 10.S. Variations for Orchestra, op. 31, mm. 23-26. The B-A-C-H state- 324 ment is found in mm. 24-25. Used by permission of Belmont Music Publishers, Pacific Palisades, California 90272. Schoenberg could have begun by juxtaposing radically different or seemingly unrelated material, and then devoted the remainder of the rit. ·-----···-----···------····· Tempo I; wiedtr ruble lJ J.•J piece to reconciling the opposing material, ultimately exploiting a com- -·- -. " - 41 ...... , mon source or underlying structural affinity. Consider, for example, p leicht pp ') Benjamin Britten's Nocturnal for guitar, which utilizes motives drawn . ! ' I. from John Dowland's lute song "Come Heavy Sleep." The Dowland I " y ).p-- piece, which is ultimately the source of the entire work, does not appear Ob until the very end, creating a kind of "variations and theme" form. As :) y David Lewin has shown in a discussion of Schoenberg's Violin Con- E :" certo, op. 36, Schoenberg's music does have crucial moments of synthe- ;-,,,... PP-=::=- A ::-;:---.._J, sis, moments that Andrew Mead has subsequently called "nexus ' H"" 1 42 ... p-=: :::- passages." But these moments always synthesize contrasting musical "'C I Kl pp dolce material that has developed dynamically from the same Grundgestalt. I Ii And of course, even that contrasting musical material should be recon- • ""'1 y o2 H"" 1 " p l ciled at all is an aspect of the poetics. . While Figure 10.4 suggests a logical disposition of row forms over pp dola y Hi:_. - 1 the course of the theme and variations, it specifies very little about the B•KII actual music surface. In order to demonstrate how certain kinds of long- ifp pp dolce I1! y t range relationships can be developed in very specific ways, let us return Fg to the Introduction to op. 31, and specifically to measures 24 and 25 (see ifp r 23 y Figure 10.5). At these measures, one hears the statement of the famous ' B-A-C-H theme. The theme is extracted according to what Ethan Raimo and Paul Johnson call an "isomorphic partitioning," and this partitioning "' ) 3.4 1 ' 43 " u .n. H is shown in Figure 10.6a. One may note how the trombone's bl.and a in -- I m. 24 (Figure 10.5) are partitioned out of order-number positions 0 and 5 Pos I. pp dolu of P , and how c and btiin m. 25 are partitioned out of the same order- --=== 11'1 1 23 A l.i Ii: number positions of Rie. The flute emphasizes the segmental half-steps ' pp pp in the second hexachords of both row forms by the insertion of rests. The c,1 ) . 111 English horn and cello parts emphasize the common segmental tetra-
chord held invariant between Pt and Rle. All parts in this partition scheme I "I rlL Tempo I; wieder ruhi& ____1, J.•J desTempoJ•60 progress by half-step. MDpf n'1: "-:::- """'"' : I : These two measures are set off by the material that precedes them, I.Gg 9J :::-p pp the still pianissimo of measure 24 contrasting with the previous rapid-fire ,...... y l v !....· !;,, fortissimo articulation of eight row forms. They are also conspicuous in ' 11.I Vcl ,, their use of a non-row-family A row, Rie. When the music after measure - -- Pi RI. 25 does not take up the B-A-C-H motive, the measures seem even more B-A self-consciously "positioned" by the composer and thereby marked for 1 = I P t4§59) :V?§e.Q 1 future reference, even though the half-step motion does reverberate H-C through the orchestra for the rest of the Introduction. As is well known, le= eSJ640 7821t9 0 -5_
325 326 Theoretical, Aesthetic, and Ethical Issues Figure 10.7. Variations for Orchestra, op. 31, mm. 178-80 (the beginning of
Variation 5), showing extraction of the first five pitch classes of P1 followed by the first pitch class (in parentheses). Used by permission of Belmont Music 2178e0 Publishers, Pacific Palisades, California 90272. Pi t46359 -...... ,(-...... ,(-...... ,( Rle 9tl287-...... ,(-...... ,(-...... ,( o//">4.'4635e '....JI '....JI ....,..u...i a- a- a- ii- a- a- a- a- Figure 10.6a. B-A-C-H partition pattern. .._ J>;cU. ------.IT ) " ...lfE· the B-A-C-H motive, except for a few occurrences in the variations, is Fill. : 11 being saved for the Finale where it plays an extremely active role in syn- . " Ob Lll - thesizing previous material. The B-A-C-H motive does not represent a strong departure from the preceding measures (see Figure 10.6b); it . ,...... lfi:r EsKII arises as a development of the bl.to an oscillation that occurs in m. 9 and after (see Figure 10.3). Dahlhaus has pointed out that since row form Pt 11f llfl Kl Ll.J. " - has bl.and a in order-positions 0 and 5, and since the intervening segmen- 'li.,.l...d tal tetrachord of e, f#,el., and f form an instance of collection class [0 1 2 ,.-r-_ ,.--== - B•KI 3], there is a certain synthesis that occurs when bl.and a occur with c and f-<: 3].44 The partitioning pattern as shown in Figure 10.6a, or s<;>meportion f-<: Kb< ,,1:. B-A-C-H 11'/ 327 Ill 326 Theoretical, Aesthetic, and Ethical Issues Figure 10.7. Variations for Orchestra, op. 31, mm. 178-80 (the beginning of Variation 5), showing extraction of the first five pitch classes of Pt followed by the first pitch class (in parentheses). Used by permission of Belmont Music 2178e0 Publishers, Pacific Palisades, California 90272. pt t46359 '"""'"""'"""RIC 9112'-" '-" 87'-" 4 6 3 5 e '-../I '-../I .._u.... 1 8"'-c a- a- ir a- a- a- a- Figure 10.6a. B-A-C-H partition pattern. .._ ' - PioU. -- - - ·------.ff : ".:rE· the B-A-C-H motive, except for a few occurrences in the variations, is FIU. ) 11 being saved for the Finale where it plays an extremely active role in syn- A Ob L1 thesizing previous material. The B-A-C-H motive does not represent a strong departure from the preceding measures (see Figure 10.6b); it ,..... tfE· A Es I arises as a development of the bl.to an oscillation that occurs in m. 9 and .. 11 after (see Figure 10.3). Dahlhaus has pointed out that since row form Pt A " - Kl L2.J has bl.and a in order-positions 0 and 5, and since the intervening segmen- ...... ,..,,__ p-== tal tetrachord of e, f#,el>, and f form an instance of collection class [0 1 2 - B•KII 3], there is a certain synthesis that occurs when bl.and a occur with c and --==... -=::fl .,f-:.:t.... " 327 111 Schoenberg's "Poetics of Music" 329 ... H i:x; CV) L!') two order-number locations. Pct, for instance, occurs as order-number 0 .. ., of Pt twice, and twice as order-number 6 in Iz.The same situation obtains 0.. 0 H Lil i:i:: <")"' for the other eleven pcs. M o CO H N .... i:i:: "' 0 ... There is a surprising aspect to this variation: note that throughout the .... i:i:: NHCX)O\ " variation, row statements participating in the unfolding of the theme are p: 0\ H Cl .µ i:i:: Q) .. CX) " H interrupted by other row forms (see Figure 10.8). These interruptions are .... 0...... r- ...... i:i:: .µ one, two, or even as many as six aggregates in length. Taken together these interruptions total twenty-four aggregates. If one extracts the first 9 i:i:: tr) 0 H" Cl .-i H ..,. 0 pc of the Hauptstimme part in each of these aggregates, the combined ... NH 0\ 0.. cc 0"'NH initial pcs constitute an unfolding of a statement of I, over the first half of CX) ...... p: .... i:i:: .-ii:>::ll)a> i:i:: Q) Q) "' ... the variation, and a statement of RPt over the second half. This kind of 0.. M "splicing" technique is more often associated with the music of Stravin- CX) 0 .,; p: CX>H ... i:i:: tr) CX) .-ii:>:: CJ'\ N .... sky than with that Schoenberg, and it is perhaps interesting to note this HCl .0 H of .. i:x; L!') unexpected similarity.47 0.. \Q 0 H" .-i rl:aM 0\ .... Certainly the pervasiveness of the half-step in this variation is due to r- :;- 0\ 0\ 0...... i:x; 0\ I the partitioning pattern used. In fact, there is such a profusion of half- co.- c:r:: l In the Finale, Schoenberg combines the B-A-C-H motive with the °' 0 0." r- i'I r:: r- a.. c:r:: m-::. I t p:< QJ N ..-iH ..-i partitioning pattern used to project it in the Introduction. In the Introduc- :1 .... H .µ tion, the motive was extracted from the order-number positions 0 and 5 H "' \o .., .... 11") .., I :,! H a.. r- only (see Figure 10.5). But since the partition extracts half steps, there H Cl U1 Ll')-::. c:r::QJ ...... § 1 CD ll.. ("') 1;j should be other transpositions of P1 and Ic that allow the motive to be 11/i ..... c:r:: ...... , m 0 r- .., °'a.. '41e extracted from any of the other half-step pc pairs. Figure 10.9 shows ..... Cl("') .. QJ ii. H co .....c:r:: r- :> 0 mm. 310-23 of the Finale. In mm. 310-13, the B-A-C-H motive occurs. "'0\ H 'CJ ..-i c:r::O'\ N Because the ordered pc segment <4 6 3 5> is held invariant between P J .. § 1 H Cl "' c:r::lJ") co and Rie, the flute and violin parts that project those pcs are no help in ...... ·1 determining which row form is at work here. The unordered segmental cc ii." H " c:r::QJ QJ "' A: ..... c:r::CV)"' c:r::lJ") QJ collection { 1 2 7 8} is also held invariant and so the cellos and basses are H" Cl ..-i not much help in this regard either. In these four measures, then, it seem cc 0 " U1 ! r- " H " O'I 0. m " ..-iHCl+J c:r::CV) U1 .....c:r::lJ")o .....a.. ..; r- that the invariants held between the two row forms are more important t :i.-t t t t than which row form is present when. In the six measures that follow, .... H .... mm. 314-19, the row statements are clear, as B-A-C-H is partitioned out ii." c:r:: rt H of order-number positions 0 and 5 of P and Ric. Following the viola part i 1 328 Figure 10.9. Schoenberg, Variations for Orchestra, op. 31, mm. 310-23 (the Schoenberg's "Poetics of Music" 331 beginning of the Finale), containing the B-A-C-H theme. Used by permission of Belmont Music Publishers, Pacific Palisades, California 90272. in mm. 320-23, one may readily see how B-A-C-H is partitioned out of 49 statements of RP1 and le, and now from order-number positions t and e. When the B-A-C-H motive returns at m. 334 and fotward, it is parti- B-A HC tioned out of order-numbers t and e of statements of RP and le as before, 2178e0 Pt= 2178e0 _ - 1 le= e53640 7821t9 Ie=!i5364Q but then, in mm. 336 and 337, the motive is partitioned out of order- H-C number positions 6 and 7 of P and From this point up to the end of FINALE 6 MiOi&schaeU CJ.uo) 7821t9 rlt. ------·····-·-·· etw11 frel this section of the Finale at m. 343, the B-A-C-H is extracted from order- . ·- ·- ._ =-=- ""- number pairs from the referential partitioning with only one exception, ., pp<. Fl. L) =-- and the rows used are always different ones. . , ttti " ' Taking this stretch of music from the Finale alone, one can see how 2.3. ., . pp- =::=- ,,._I ,,._ Schoenberg develops the idea of extracting the B-A-C-H motive from its Kl2. hazy initial reintroduction, to the two specific order-number positions in " pp-== ==-- Mill••...... u .... 1 etwufrel P1 and Rle, further to other order-number positions in RP1 and le, and then ]JD .;;_t k... ""' ...... to other order-number positions in other row forms. Looking at the three 'Ii examples together, one can see how Schoenberg introduces the B-A-C-H I.Gg) BPP trem A . H ;v " ,,, #. . " , '"' , . c .. ' motive through the isomorphic partition in the Introduction, develops the II.Gg ., isomorphic partition in variation 5, and finally returns to the B-A-C-H PP.pm -- motive in the Finale, combining it with this referential partitioning to Vci - 1:1 ., L..J R• pp pizz Aq;. derive new ways of extracting a particular pitch-specific motive. Accord- - Kbs ....,. ing to the principle of developing variation as a dynamic principle, there IGiil'i.:::::r "• I I I I - . - i f -=::::: =- is a sense in which these three events must come in this order and any l.j R!Pt RI0 change of order would constitute a violation of the logic of the develop- ment. But the crucial point that these analytical exttmples attempt to drive home is that each example is understood both in terms of the i2U9 a tempo le= -= poco pnante dynamic development of musical materials, and in terms of a static struc- '" " h - b ture; each developmental moment takes its interpretive meaning not only 2 4 !11 '!:• r 1• ''I r •rn CrIF' I 1•r I F' I Dp • fB A C H(H C A B) according to the place from which it develops, but also according to the place towards which it is developing. This is also the case with the other Hrf u.. __ 1• • 1•• 1••uJ}l ·•aJ}1 • •iJ"JJ·I u1 w . 9 . examples cited above: the Introduction unfolds the combinatorial pair 1 tempo P/17 and then row-family A; the disposition of row forms develops from i the use of row-family A forms, to the inclusion of non-row-family A L Gg rt&Ii• l'ie,'• I I II I I forms in variations 4-7, to a free juxtaposition of these row forms in vari- 1 1 0 _.... 'I 1 i ations 8 and 9. At the same time, an understanding of any point in the ·IKI • l Yip'Ir·•r rif£r f Pr..r•r l 'l1". rF Ir r • I I r work is enriched by interpreting that moment in the static terms of the work as a whole, or in terms of a certain developmental path as a whole. 11 1 y,, IJ•e r· 1r r· 1rI r"P I "Dil"r I Thinking of time in a chronological sense, it is paradoxical that an event early in the work could acquire meaning from an event that has not I ,,ifjl , W , I... QJJ, I·•.1JJ}l ·•tiJ}I , ,.iJ"JJ,1 yet occurred. It is, however, a central tenet of Schoenberg's poetics- though Dahlhaus does not make much of it-that works are composed to Pi R/I,, be studied and heard repeatedly. One can hold the entire work before the I 330 Jl'1' 1 1 1 Figure 10.9. Schoenberg, Variations for Orchestra, op. 31, mm. 310-23 (the Schoenberg's "Poetics of Music" 331 beginning of the Finale), containing the B-A-C-H theme. Used by permission of Belmont Music Publishers, Pacific Palisades, California 90272. in mm. 320-23, one may readily see how B-A-C-H is partitioned out of 49 statements of RP1 and le, and now from order-number positions t and e. When the B-A-C-H motive returns at m. 334 and fotward, it is parti- B-A HC tioned out of order-numbers t and e of statements of RP and le as before, 2178e0 Pt= 2178e0 _ - 1 le =e53640 782lt9 Ie=!i5364Q but then, in mm. 336 and 337, the motive is partitioned out of order- H-C number positions 6 and 7 of P and R4·From this point up to the end of FINALE 6 Millie scbaeU (J.uo) 782lt9 rit ------··········· etwH frel this section of the Finale at m. 343, the B-A-C-H is extracted from order- . ... .,. .. === number pairs from the referential partitioning with only one exception, L) .. pp<: =-- and the rows used are always different ones . Fl. . .. II tti"'i rtti 2.3. Taking this stretch of music from the Finale alone, one can see how ... pp- I::::=- ,,._I ,,._ Schoenberg develops the idea of extracting the B-A-C-H motive from its Kl2. hazy initial reintroduction, to the two specific order-number positions in .. ==-- Mill••...... u .... 1 etwas fret P1 and Rle, further to other order-number positions in RP1 and le, and then ,,. Ila. ...... .. ;... l!i!:' to other order-number positions in other row forms. Looking at the three BPP ..... A ;v examples together, one can see how Schoenberg introduces the B-A-C-H " .. ,,, . , : c ' '· H motive through the isomorphic partition in the Introduction, develops the Il.Ggl '" ' .. PP. isomorphic partition in variation 5, and finally returns to the B-A-C-H -- pm :ii Vci - motive in the Finale, combining it with this referential partitioning to ::i .. L..J r' pp pizz Aa.:.. derive new ways of extracting a particular pitch-specific motive. Accord- - Kbs I ft ing to the principle of developing variation as a dynamic principle, there IGOl't.::I "• I I I I - - 11 f -=::::: ::=>- is a sense in which these three events must come in this order and any ,.,I R!Pt Rle change of order would constitute a violation of the logic of the develop- Ii ment. But the crucial point that these analytical exttmples attempt to drive home is that each example is understood both in terms of the 111 1 i2U9 11 •tempo le= - poco puante dynamic development of musical materials, and in terms of a static struc- )'7 " h - b 1'1 4 ture; each developmental moment takes its interpretive meaning not only 11 '!:'2.f Ii ''Ie •rn erie- 1 1•r 1F" 1 I Dp • fB A C H(H C A B) according to the place from which it develops, but also according to the I·,Ji '11: 11 place towards which it is developing. This is also the case with the other Hrf IT __ I •jfil51 , •I ••UI3 • I• •tlJ}I ••tJ;J}I• 1JJ1j g•I ilf examples cited above: the Introduction unfolds the combinatorial pair 1I a tempo P/1 and then row-family A; the disposition of row forms develops from 7 111 the use of row-family A forms, to the inclusion of non-row-family A 1:.1 L Gg rt&Ii• I I II I I 'II forms in variations 4-7, to a free juxtaposition of these row forms in vari- ations 8 and 9. At the same time, an understanding of any point in the 0 I -- 1·1··••· 1·'I ·1 · i Ir r I • I'* • * •p •rtna·rf P r r•r• 11rr"F • work is enriched by interpreting that moment in the static terms of the 111 work as a whole, or in terms of a certain developmental path as a whole. Vcl IJ•s bJfEPN•rI• 11MJil"r r· 1r r· 1r1arr P I Thinking of time in a chronological sense, it is paradoxical that an event early in the work could acquire meaning from an event that has not Kbs['"''r·, I SI ' W ' I·•GIJ' I·•"'J;J}l ·•tlJ}I , •JJ,Jg"I yet occurred. It is, however, a central tenet of Schoenberg's poetics- '' though Dahlhaus does not make much of it-that works are composed to Pi Rile be studied and heard repeatedly. One can hold the entire work before the 330 332 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 333 mind's eye (or ear) because one knows the work. Consequently, Schoen- works (ideas, inspirations) of a composer relate to berg was very much concerned with musical memory and its role in one another; namely, do they form a unity? ... enhancing comprehensibility. For Schoenberg, a piece that is well known Answering such questions is probably not the task of a musician who, at least as a musician, could at most to a listener is much more capable of possessing rich meaning than one contribute symptomatic experiences.52 which is new: "New music is never beautiful on first acquaintance .... The reason is simply this: one can only like what one remembers; and with all new music that is very difficult."50 According to Dahlhaus, Schoenberg's poetics of music require one to The analysis of the passages drawn from op. 31 presented here indi- attend to both the entire piece as a static entity--one sees the piece whole-as well as to the dynamic unfolding of developing materials. cate how Schoenberg's poetics as outlined above can be brought to bear I' Wherever the musikalische Gedanke of a piece resides (and that is an 1,':1 in the analysis of a twelve-tone work. Of course, the presentation of 1!, ,,, much more analysis would be required to verify any claim that the piece important aesthetic issue for Schoenberg), it is perceived--or con- operates strictly and exclusively according to the poetics as Dahlhaus ceived-in a mental state in which the dialectic of static and dynamic interprets them.51But the analysis presented above does give some indi- temporality can be played out. For Dahlhaus, the Gedanke does not reside cation of the value of distinguishing the poetics from the specifics of the only in those opening measures that constitute the Grundgestalt of the twelve-tone method. The twelve-tone method creates a wealth of poten- work, nor only in the development or in the logic of the development: the tial relationships, a background upon which a dialectic between static Gedanke is rather the experience of unity and balance in a musical work, and dynamic aspects of musical structure can be played out. The poetics while at the same time it is the experience of dynamic forward growth in dictates that some limited set of relationships should be developed the work. The poetics ultimately lead to, and operate in the service of, the according to a scheme that generally prefers a progression from closer to contemplation of the musikalische Gedanke; and here we arrive at some- more complicated and remote variants. Thus, the twelve-tone method thing Dahlhaus refers to as Schoenberg's "aesthetic theology."53 does not, strictly speaking, demand a particular poetics; though Schoen- Schoenberg's attempts to formulate the notion of the musikalische berg certainly developed his twelve-tone method with his own poetics in Gedanke frequently met with frustration: at times it seems that his notion mind, other composers have developed alternative twelve-tone methods of the Gedanke is a technical-musical one; at other times his remarks and deployed their relationships according to radically different poetic about the musikalische Gedanke are permeated with a kind of spiritual 54 models. The twelve-tone music of Josef Matthias Hauer, to use Schoen- mysticism. Patricia Carpenter, for example, has defined the musical berg's own example, works to very different ends than that of Schoen- idea as "that which a piece of music is 'about,' " but then also as "the berg. A corollary to this is that the poetics also do not demand the source of coherence in a work and the subject of the musical dis- twelve-tone method; Dahlhaus's argument is precisely that Schoenberg's course."55 As Carpenter's analysis of Beethoven's "Appassionata" sonata poetics bind together a number of his works that are composed in demonstrates, Beethoven creates a series of musical relationships by entirely different musical contexts and, to use Schoenberg's words, working within a set of self-imposed compositional constraints that are employ "the same kind of form or expression." projected against the background of functional tonality. Carpenter, in contrast to the practice employed in the present study, calls the abstract \ representatjon of such constraints the Grundgestalt of the work. But, for Schoenberg and the Musical Idea Dahlhaus, "that which a piece of music is about" may also extend beyond the technical particulars of a specific piece, or also beyond the What is the idea of a piece of music? The answer to relationship of the specific particulars of a piece to some larger musical this question would have to produce what is found context such as functional tonality or the twelve-tone method. Following here andfar beyond. Or the related question: what is the consequences of Dahlhaus's position leads to a crucial question: if the inspiration of the composer? And, what is inspi- ration, what is realization: is realization also inspira- Schoenberg's poetics ultimately coax our attention to some level beyond tion and to what extent? Or: How do individual the specific musical context-in the case of the op. 31 Variations, 332 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 333 mind's eye (or ear) because one knows the work. Consequently, Schoen- works (ideas, inspirations) of a composer relate to berg was very much concerned with musical memory and its role in one another; namely, do they form a unity? ... enhancing comprehensibility. For Schoenberg, a piece that is well known Answering such questions is probably not the task of a musician who, at least as a musician, could at most to a listener is much more capable of possessing rich meaning than one contribute symptomatic experiences.52 which is new: "New music is never beautiful on first acquaintance .... The reason is simply this: one can only like what one remembers; and with all new music that is very difficult."50 According to Dahlhaus, Schoenberg's poetics of music require one to The analysis of the passages drawn from op. 31 presented here indi- attend to both the entire piece as a static entity-one sees the piece cate how Schoenberg's poetics as outlined above can be brought to bear whole-as well as to the dynamic unfolding of developing materials. Wherever the musikalische Gedanke of a piece resides (and that is an ii in the analysis of a twelve-tone work. Of course, the presentation of ill much more analysis would be required to verify any claim that the piece important aesthetic issue for Schoenberg), it is perceived-or con- !'1 operates strictly and exclusively according to the poetics as Dahlhaus ceived-in a mental state in which the dialectic of static and dynamic interprets them.51But the analysis presented above does give some indi- temporality can be played out. For Dahlhaus, the Gedanke does not reside cation of the value of distinguishing the poetics from the specifics of the only in those opening measures that constitute the Grundgestalt of the twelve-tone method. The twelve-tone method creates a wealth of poten- work, nor only in the development or in the logic of the development: the tial relationships, a background upon which a dialectic between static Gedanke is rather the experience of unity and balance in a musical work, and dynamic aspects of musical structure can be played out. The poetics while at the same time it is the experience of dynamic forward growth in dictates that some limited set of relationships should be developed the work. The poetics ultimately lead to, and operate in the service of, the according to a scheme that generally prefers a progression from closer to contemplation of the musikalische Gedanke; and here we arrive at some- 53 more complicated and remote variants. Thus, the twelve-tone method thing Dahlhaus refers to as Schoenberg's "aesthetic theology." does not, strictly speaking, demand a particular poetics; though Schoen- Schoenberg's attempts to formulate the notion of the musikalische berg certainly developed his twelve-tone method with his own poetics in Gedanke frequently met with frustration: at times it seems that his notion mind, other composers have developed alternative twelve-tone methods of the Gedanke is a technical-musical one; at other times his remarks and deployed their relationships according to radically different poetic about the musikalische Gedanke are permeated with a kind of spiritual 54 models. The twelve-tone music of Josef Matthias Hauer, to use Schoen- m:ysticism. Patricia Carpenter, for example, has defined the musical berg's own example, works to very different ends than that of Schoen- idea as "that which a piece of music is 'about,'" but then also as "the berg. A corollary to this is that the poetics also do not demand the source of coherence in a work and the subject of the musical dis- twelve-tone method; Dahlhaus's argument is precisely that Schoenberg's course."55 As Carpenter's analysis of Beethoven's "Appassionata" sonata poetics bind together a number of his works that are composed in demonstrates, Beethoven creates a series of musical relationships by entirely different musical contexts and, to use Schoenberg's words, working within a set of self-imposed compositional constraints that are employ "the same kind of form or expression." projected against the background of functional tonality. Carpenter, in contrast to the practice employed in the present study, calls the abstract \ representatjon of such constraints the Grundgestalt of the work. But, for Schoenberg and the Musical Idea Dahlhaus, "that which a piece of music is about" may also extend beyond the technical particulars of a specific piece, or also beyond the What is the idea of a piece of music? The answer to relationship of the specific particulars of a piece to some larger musical this question would have to produce what is found context such as functional tonality or the twelve-tone method. Following here andfar beyond. Or the related question: what is the consequences of Dahlhaus's position leads to a crucial question: if the inspiration of the composer? And, what is inspi- ration, what is realization: is realization also inspira- Schoenberg's poetics ultimately coax our attention to some level beyond tion and to what extent? Or: How do individual the specific musical context-in the case of the op. 31 Variations, 334 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 335 beyond its specific twelve-tone structure-then precisely what might the the poetics that guide its formation, acts a means to transport the listener poetics draw our attention to? to this "other world"; the structure of a work and even the poetics are not I have argued elsewhere that the reason Schoenberg's remarks about to be considered as ends in themselves. The end in composition is always the Gedanke often seem to gravitate back toward the mystical is because the representing of the ineffable musikalische Gedanke. the musikalische Gedanke is essentially a mystical idea. 56 In fact, though Unfortunately, consideration of Schoenberg's mysticism does not mystical utterances about music tend to be discouraged in the scholarly go a long way toward telling us exactly what the Gedanke of, say, op. 31 discourse of post-World-War-II Europe and America, Schoenberg's might be; and, again, it may be the nature of the Gedanke as Schoenberg remarks are not very unusual in the context of the fin-de-siecle Vienna in conceives it that one could not put such a thing into adequate words any- which he grew up. One need only consider Arthur Schopenhauer's views way. But even if we are unable to come to a clear articulation of what the on music's ability to penetrate the coarse phenomena of everyday life musical idea is, Dahlhaus's interpretation of Schoenberg's thinking sug- and open a window onto Immanuel Kant's "thing in itself," which gests what the idea is not, and this is perhaps the most provocative conse- Schopenhauer takes to be the Will.57 The enthusiasm for Schopenhauer's quence (for twelve-tone analysis, at least) of Dahlhaus's thinking on this writing demonstrated by Richard Wagner, and to some extent by topic.61 The idea of a work cannot ultimately be "about" the specific Friedrich Nietzsche, gave Schopenhauer's ideas an authority in late nine- structural relationships that it projects; though the idea will be bound up teenth- and early twentieth-century German culture that they might not closely with its manner of presentation, it is not the same as its manner of otherwise have acquired.58 And it is-perhaps arguably-a small step presentation. Dahlhaus sums up his position as follows: from Schopenhauer's philosophy of music to the occult philosophy of Emanuel Swedenborg and the Goethe-based writings of Rudolf That the idea of a primaeval energy, which only constitutes itself as Steiner. 59 In short, if the mystical version of the Gedanke is musical, then meaning or a message in a multitude of refractions, could be turned · ''musical" is here understood in its most cosmological sense. Following from theological to aesthetic use was only possible because Schoen- this interpretation, contemplation of the Gedanke ultimately becomes a berg, in the analysis of the works of others as in the design of his own, kind of spiritual exercise; and this interpretation adds a new dimension to proceeded from the concept of a formal idea whose essence lies the notion of the musical idea as "that which a piece of music is about."60 beyond the real tonal forms and the connections created between them. The preceding discussion has perhaps suggested that the distinction In order not to understand Schoenberg too quickly, and that means, Schoenberg draws between what a piece is and how it is made might be wrongly, one has to become aware of the fact that his method of analy- sis, if pursued to its logical conclusion, dissolves musical works into a thought of as a distinction between the poetics-a piece is a composi- system of relationships in which-<:ontrary to hidebound prejudice- tion-and the specific technical musical context within which it is situ- not even interval structures form a clear, unalterable substance. What ated-the composition is made in the twelve-tone context. It is also holds a movement together from within is intangible and cannot be possible, however, to collapse this distinction into two different aspects written down, for-to put it in its ideal form-it is an embodiment of of how a work is made: one aspect considers the specific way in which a relationships between variants or manifestations of thematic material piece is constructed within a given musical context; the other considers which can be divided into an unlimited number of constituent parts and how this structure (in both its static and dynamic moments) compares whose every feature can be varied. 62 with those of other works in other musical contexts. If one then views the specific structure of a piece and the broader poetics according to which it As mentioned above, "where" the Gedanke of an artwork might is constructed together as how a work is made, the question reside is a crucial ontological question. Dahlhaus, following his interpre- regarding what a work is. Consideration of the mystical nature of the tation of the "idea of absolute music," would have the Gedanke reside in musical idea suggests that "what a piece is" lies somehow beyond the a world created by the piece itself, in the dialectical push and pull of artwork that sounds in the material world. According to this interpreta- the dynamic and static aspects of the structure. 63 An alternate interpre- tion, the musical artwork provides a kind of window that opens onto tation-one that takes Schoenberg's mysticism and his interest in oc- some "higher realm." A piece of music, through its specific structure and cult matters into account-would posit that the Gedanke resides in a I ·I 11 334 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 335 beyond its specific twelve-tone structure-then precisely what might the the poetics that guide its formation, acts a means to transport the listener poetics draw our attention to? to this "other world"; the structure of a work and even the poetics are not I have argued elsewhere that the reason Schoenberg's remarks about to be considered as ends in themselves. The end in composition is always the Gedanke often seem to gravitate back toward the mystical is because the representing of the ineffable musikalische Gedanke. the musikalische Gedanke is essentially a mystical idea. 56 In fact, though Unfortunately, consideration of Schoenberg's mysticism does not mystical utterances about music tend to be discouraged in the scholarly go a long way toward telling us exactly what the Gedanke of, say, op. 31 discourse of post-World-War-II Europe and America, Schoenberg's might be; and, again, it may be the nature of the Gedanke as Schoenberg remarks are not very unusual in the context of the fin-de-siecle Vienna in conceives it that one could not put such a thing into adequate words any- which he grew up. One need only consider Arthur Schopenhauer's views way. But even if we are unable to come to a clear articulation of what the on music's ability to penetrate the coarse phenomena of everyday life musical idea is, Dahlhaus's interpretation of Schoenberg's thinking sug- and open a window onto Immanuel Kant's "thing in itself," which gests what the idea is not, and this is perhaps the most provocative conse- 57 Schopenhauer takes to be the Will. The enthusiasm for Schopenhauer's quence (for twelve-tone analysis, at least) of Dahlhaus's thinking on this ,, writing demonstrated by Richard Wagner, and to some extent by topic.61 The idea of a work cannot ultimately be "about" the specific II Friedrich Nietzsche, gave Schopenhauer's ideas an authority in late nine- structural relationships that it projects; though the idea will be bound up 1: teenth- and early twentieth-century German culture that they might not closely with its manner of presentation, it is not the same as its manner of 11 otherwise have acquired.58 And it is-perhaps arguably-a small step presentation. Dahlhaus sums up his position as follows: Ii from Schopenhauer's philosophy of music to the occult philosophy of II Emanuel Swedenborg and the Goethe-based writings of Rudolf That the idea of a primaeval energy, which only constitutes itself as Steiner. 59 In short, if the mystical version of the Gedanke is musical, then meaning or a message in a multitude of refractions, could be turned · "musical" is here understood in its most cosmological sense. Following from theological to aesthetic use was only possible because Schoen- 1 this interpretation, contemplation of the Gedanke ultimately becomes a berg, in the analysis of the works of others as in the design of his own, kind of spiritual exercise; and this interpretation adds a new dimension to proceeded from the concept of a formal idea whose essence lies the notion of the musical idea as "that which a piece of music is about."60 beyond the real tonal forms and the connections created between them. The preceding discussion has perhaps suggested that the distinction In order not to understand Schoenberg too quickly, and that means, Schoenberg draws between what a piece is and how it is made might be wrongly, one has to become aware of the fact that his method of analy- sis, if pursued to its logical conclusion, dissolves musical works into a thought of as a distinction between the poetics-a piece is a composi- system of relationships in which-<:ontrary to hidebound prejudice- tion-and the specific technical musical context within which it is situ- not even interval structures form a clear, unalterable substance. What ated-the composition is made in the twelve-tone context. It is also holds a movement together from within is intangible and cannot be possible, however, to collapse this distinction into two different aspects written down, for-to put it in its ideal form-it is an embodiment of of how a work is made: one aspect considers the specific way in which a relationships between variants or manifestations of thematic material piece is constructed within a given musical context; the other considers which can be divided into an unlimited number of constituent parts and how this structure (in both its static and dynamic moments) compares whose every feature can be varied. 62 with those of other works in other musical contexts. If one then views the specific structure of a piece and the broader poetics according to which it As mentioned above, "where" the Gedanke of an artwork might is constructed together as how a work is made, the question reside is a crucial ontological question. Dahlhaus, following his interpre- regarding what a work is. Consideration of the mystical nature of the tation of the "idea of absolute music," would have the Gedanke reside in musical idea suggests that "what a piece is" lies somehow beyond the a world created by the piece itself, in the dialectical push and pull of artwork that sounds in the material world. According to this interpreta- the dynamic and static aspects of the structure. 63 An alternate interpre- tion, the musical artwork provides a kind of window that opens onto tation-one that takes Schoenberg's mysticism and his interest in oc- some "higher realm." A piece of music, through its specific structure and cult matters into account-would posit that the Gedanke resides in a 336 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 337 world that is really there; the musical artwork does not so much create a System," The Music Review 2 (1941): 273-87; and Ernst Krenek, "New Devel- world as much as reveal one---or part of one-that is already and always opments of the Twelve-Tone Technique," The Music Review 4 (1943): 81-97. present.64 4. Hill, "Schoenberg's Tone Rows," 31. .In considering the Variations for Orchestra, whatever the ultimate 5. Schoenberg, Style and Idea, 213. As Leonard Stein points out, Schoen- Gedanke of this work may be, its specific manipulation of the twelve- berg cannot mean Hauer's Vom Melos zur Pauke, which was not published until tone method is not it. To cite Schoenberg, this is how it is made. But how 1925, but must have meant Hauer's Vom Wesen des Musikalischen, which first this work is made, its particular structure, is the result of playing out the appeared in 1920, but was published in a second edition in 1923. Schoenberg was sent a complimentary copy of the 1920 edition by the publisher, Waldheirn- poetics against the background made possible by the twelve-tone Eberle, on 18 September 1920. Schoenberg's copy, along with the receipt from method. At best, understanding the structure of a work can lead to the the publisher, is part of Schoenberg's personal library, which is preserved at the Gedanke-and that the Gedanke itself eludes precise verbal character- Arnold Schoenberg Center, Vienna. Schoenberg made many notes in the margin ization does not diminish its importance-but understanding how a work of his copy, and these are discussed in Bryan Simms, "Who First Composed is made, is not understanding what it is. To return to Schoenberg's letter Twelve-Tone Music, Schoenberg or Hauer?" Journal of the Arnold Schoen- to Kolisch, the composer's remarks must not be taken as a warning berg Institute 1012 (1987): 109-33. A number of first-hand accounts of Schoen- against careful analysis of his twelve-tone works; close analysis plays a berg's 1923 meeting with his students is provided in Joan Allen Smith, crucial role in our understanding of Schoenberg's music. Rather, the Schoenberg and His Circle: A Viennese Portrait (New York: Schirmer Books, composer seems to warn that the aesthetic danger is in not moving 1986), 183-219 esp. beyond the specific structure of a given work; the danger, then, is not so 6. For an investigation ofHauer's theories and aesthetic approach, see my much in discovering the means, as much as in mistaking the means for study, "The Music and Theories of Josef Matthias Hauer" (Ph.D. diss., Univer- sity of Michigan, 1990), Chapters 2 and 3 esp. the end. 7. For a discussion of the Hauer-Schoenberg relationship, see Walter Szmolyan, Josef Matthias Hauer: Eine Studie (Vienna: Verlag Elisabeth Lafite, Notes 1964); Martin Vogel, Schonberg und die Folgen: Der Irrweg in der Musik (Bonn: Verlag fiir systematische Musikwissenschaft, 1984); and Bryan Simms, "Who An earlier version of this study was presented in September 1991 at the City First Composed Twelve-Tone Music." For a discussion of the two composers' University Music Analysis Conference, London, and in October 1991 at the contrasting aesthetic concerns and the ways in which this contrast affected their annual meeting of the Society for Music Theory, Cincinnati, Ohio. I would like conception of the twelve-tone system, see my article, "The Quest of the to thank Andrew Mead, Robert Morris, Allen Forte, and Severine Neff for offer- Absolute: Schoenberg, Hauer, and the Twelve-Tone Idea," Black Sacred Music: ing valuable comments and suggestions on earlier versions of this essay. My A Journal ofTheomusicology 8/1 (1994): 157-77. work was supported in part by a National Endowment for the Humanities Travel- 8. For a discussion of the Webern-Schoenberg relationship with regard to to-Collections Grant. the twelve-tone method, see especially Anne C. Shreffler, "'Mein Weg geht jetzt 1. Arnold Schoenberg, Letters, ed. Erwin Stein, trans. Eithne Wilkins voriiber': The Vocal Origins of Webern's Twelve-Tone Composition," Journal of and Ernst Kaiser (London: Faber and Faber, 1964), 164. In this letter, Kalisch is the American Musicological Society 47/2 (1994 ): 275-339; for discussion of the discussing his detailed analysis of the twelve-tone rows Schoenberg employs in Klein-Schoenberg relationship, see Dave Headlam, "Fritz Heinrich Klein's 'Die this work. Grenze der Halbtonwelt' and Die Maschine," Theoria 6 (1992): 55-96; and 2. Schoenberg, Letters, 164-65. / Arved Ashby, "Of Modell-Typen and Reihenformen: Berg, Schoenberg, F. H. 3. Arnold Schoenberg, "Schoenberg's Tone-Rows" [1936], in Style and Klein, and the Concept of Row Derivation," Journal of the American Musicolog- Idea: Selected Writings of Arnold Schoenberg, ed. Leonard Stein, trans. Leo ical Society 4811 ( 1995): 67-105. Black (Berkeley: University of California Press, 1984 ), 213. Schoenberg is refer- 9. The dispute between Mann and Schoenberg is recounted in H. H. ring to Richard S. Hill, "Schoenberg's Tone-Rows and the Tonal System of the Stuckenschrnidt, Arnold Schoenberg: His Life, World, and Work, trans. Future," The Musical Quarterly 2211 (1936): 14-37. Hill puts forward a prelimi- Humphrey Searle (New York: Schirmer, 1978), 491-96; and Willi Reich, nary theory of twelve-tone modality, and his article initiates subsequent discus- Schoenberg: A Critical Biography, trans. Leo Black (New York: Praeger Publish- sion and reformulation of this topic by George Perle and Ernst Krenek. See, for ers, 1971), 224-26. Stuckenschrnidt provides Schoenberg's "A Text from the instance, George Perle, "Evolution of the Tone-Row: The Twelve-Tone Modal Third Millennium," an ironic encyclopedia entry written by Schoenberg under 336 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 337 world that is really there; the musical artwork does not so much create a System," The Music Review 2 (1941): 273-87; and Ernst Krenek, "New Devel- world as much as reveal one---or part of one-that is already and always opments of the Twelve-Tone Technique," The Music Review 4 (1943): 81-97. present.64 4. Hill, "Schoenberg's Tone Rows," 31. .In considering the Variations for Orchestra, whatever the ultimate 5. Schoenberg, Style and Idea, 213. As Leonard Stein points out, Schoen- Gedanke of this work may be, its specific manipulation of the twelve- berg cannot mean Hauer's Vom Melos zur Pauke, which was not published until tone method is not it. To cite Schoenberg, this is how it is made. But how 1925, but must have meant Hauer's Vom Wesen des Musikalischen, which first this work is made, its particular structure, is the result of playing out the appeared in 1920, but was published in a second edition in 1923. Schoenberg was sent a complimentary copy of the 1920 edition by the publisher, Waldheim- poetics against the background made possible by the twelve-tone Eberle, on 18 September 1920. Schoenberg's copy, along with the receipt from method. At best, understanding the structure of a work can lead to the the publisher, is part of Schoenberg's personal library, which is preserved at the Gedanke-and that the Gedanke itself eludes precise verbal character- Arnold Schoenberg Center, Vienna. Schoenberg made many notes in the margin ization does not diminish its importance-but understanding how a work of his copy, and these are discussed in Bryan Simms, "Who First Composed is made, is not understanding what it is. To return to Schoenberg's letter Twelve-Tone Music, Schoenberg or Hauer?" Journal of the Arnold Schoen- to Kolisch, the composer's remarks must not be taken as a warning berg Institute 1012 (1987): 109-33. A number of first-hand accounts of Schoen- against careful analysis of his twelve-tone works; close analysis plays a berg's 1923 meeting with his students is provided in Joan Allen Smith, crucial role in our understanding of Schoenberg's music. Rather, the Schoenberg and His Circle: A Viennese Portrait (New York: Schirmer Books, composer seems to warn that the aesthetic danger is in not moving 1986), 183-219 esp. beyond the specific structure of a given work; the danger, then, is not so 6. For an investigation of Hauer's theories and aesthetic approach, see my much in discovering the means, as much as in mistaking the means for study, "The Music and Theories of Josef Matthias Hauer" (Ph.D. diss., Univer- sity of Michigan, 1990), Chapters 2 and 3 esp. the end. 7. For a discussion of the Hauer-Schoenberg relationship, see Walter Szmolyan, Josef Matthias Hauer: Eine Studie (Vienna: Verlag Elisabeth Lafite, Notes 1964); Martin Vogel, SchOnberg und die Folgen: Der Irrweg in der Musik (Bonn: Verlag fiir systematische Musikwissenschaft, 1984); and Bryan Simms, "Who An earlier version of this study was presented in September 1991 at the City First Composed Twelve-Tone Music." For a discussion of the two composers' University Music Analysis Conference, London, and in October 1991 at the contrasting aesthetic concerns and the ways in which this contrast affected their annual meeting of the Society for Music Theory, Cincinnati, Ohio. I would like conception of the twelve-tone system, see my article, ''The Quest of the to thank Andrew Mead, Robert Morris, Allen Forte, and Severine Neff for offer- Absolute: Schoenberg, Hauer, and the Twelve-Tone Idea," Black Sacred Music: ing valuable comments and suggestions on earlier versions of this essay. My A Journal ofTheomusicology 8/1 (1994): 157-77. work was supported in part by a National Endowment for the Humanities Travel- 8. For a discussion of the Webern-Schoenberg relationship with regard to to-Collections Grant. the twelve-tone method, see especially Anne C. Shreffler, "'Mein Weg geht jetzt 1. Arnold Schoenberg, Letters, ed. Erwin Stein, trans. Eithne Wilkins voriiber': The Vocal Origins of Webern's Twelve-Tone Composition," Journal of and Ernst Kaiser (London: Faber and Faber, 1964), 164. In this letter, Kolisch is the American Musicological Society 47/2 (1994): 275-339; for discussion of the discussing his detailed analysis of the twelve-tone rows Schoenberg employs in Klein-Schoenberg relationship, see Dave Headlam, "Fritz Heinrich Klein's 'Die this work. Grenze der Halbtonwelt' and Die Maschine," Theoria 6 (1992): 55-96; and 2. Schoenberg, Letters, 164-65. / Arved Ashby, "Of Modell-Typen and Reihenformen: Berg, Schoenberg, F. H. 3. Arnold Schoenberg, "Schoenberg's Tone-Rows" [1936], in Style and Klein, and the Concept of Row Derivation," Journal of the American Musicolog- Idea: Selected Writings of Arnold Schoenberg, ed. Leonard Stein, trans. Leo ical Society 4811 ( 1995): 67-105. Black (Berkeley: University of California Press, 1984 ), 213. Schoenberg is refer- 9. The dispute between Mann and Schoenberg is recounted in H. H. ring to Richard S. Hill, "Schoenberg's Tone-Rows and the Tonal System of the Stuckenschrnidt, Arnold Schoenberg: His Life, World, and Work, trans. Future," The Musical Quarterly 22/1 (1936): 14-37. Hill puts forward a prelimi- Humphrey Searle (New York: Schirmer, 1978), 491-96; and Willi Reich, nary theory of twelve-tone modality, and his article initiates subsequent discus- Schoenberg: A Critical Biography, trans. Leo Black (New York: Praeger Publish- sion and reformulation of this topic by George Perle and Ernst Krenek. See, for ers, 1971), 224-26. Stuckenschrnidt provides Schoenberg's "A Text from the instance, George Perle, "Evolution of the Tone-Row: The Twelve-Tone Modal Third Millennium," an ironic encyclopedia entry written by Schoenberg under 338 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 339 the name "Hugo Triebsamen," which the composer sent to Mann at the height of Ecole, in Journal of the American Musicological Society 3/1 (1950): 57a-60b. the dispute to underline his concern that future historians would wrongly For recent studies exploring these correspondences, see Andrew Mead, " 'Tonal' attribute the discovery of the twelve-tone method to Mann. Forms in Arnold Schoenberg's Twelve-Tone Music," Music Theory Spectrum 9 10. This tendency can be traced back to Hill's 1936 article; it is continued (1987): 67-92; "Webern, Tradition, and 'Composing with Twelve Tones,'" in the seminal work of Milton Babbitt, George Perle, and David Lewin, and can Music Theory Spectrum 15/2 (1993): 173-204; and Silvina Milstein, Arnold be found in recent writings of Ethan Haimo, Andrew Mead, Martha Hyde, and Schoenberg: Notes, Sets, Forms (Cambridge: Cambridge University Press, Silvina Milstein, among many others. For a valuable discussion of trends in 1990). See especially Milstein's critique of Dahlhaus on this issue (96-97); but twelve-tone theory and analysis, see Andrew Mead, ''The State of Research in see also Severine Neff's critique of Milstein's analyses in her review of Arnold Twelve-Tone and Atonal Theory," Music Theory Spectrum 1111 (1989): 40-48. Schoenberg (Music Theory Spectrum 16/l [1994]: 110-23). 11. Schoenberg, "Linear Counterpoint" [1931], in Style and Idea, 290. . 16. In his interpretation of Schoenberg's poetics, Dahlhaus maintains that 12. Carl Dahlhaus, "SchOnbergs musikalische Poetik," Archiv far Musik- the"composer's poetics did change toward the end of his life, but that this transi- wissenschaft 33/2 (1976): 81-88; translated as "Schoenberg's Poetics of Music," tion is not seen to be motivated by the particular musical contexts in a technical in Schoenberg and the New Music, trans. Derrick Puffett and Alfred Clayton sense. See "Scl::ioenberg's Late Works," in Schoenberg and the New Music, (Cambridge: Cambridge University Press, 1987), 73-80. 156-68. 13. The influence ofGadamer's philosophical hermeneutics on Dahlhaus's 17. For his discussion of what Dahlhaus takes to be the elements in approach has been explored in James Hepokoski, "The Dahlhaus Project and Its Schoenberg's poetics, see "Was heisst 'entwickelnde Variation'?," Bericht iiber Extra-Musicological Sources," 19th-Century Music 14/3 (1991): 221-46. It den 2: Kongress der internationalen SchOnberg-Gesellschaft 1984 (Vienna, · should be noted that to the extent that Dahlhaus attempts to reconstruct how 1984), 280-84; translated as "What Is 'Developing Variation'?" in Schoenberg Schoenberg might actually have thought about his music, his methodology has and the New Music, 129-33. With regard to his discussion of the musical idea, more in common with the hermeneutics of Friedrich Schleiermacher and Wil- understood in what he takes to be the most immediate sense, Dahlhaus considers helm Dilthey than with that of Gadamer. See, for example, Schleiermacher's it possible for a rhythmic motive or even a gestural melodic contour to serve as ''The Hermeneutics: Outline of the 1819 Lectures" and Dilthey's ''The Rise of the basic idea of a work. These constitute special cases, however, and Dahlhaus Hermeneutics," both in The Hermeneutic Tradition: From Ast to Ricoeur; ed. admits that Schoenberg tends to subordinate all other dimensions in the musical Gayle L. Ormison and Alan D. Schrift (Albany: State University of New York fabric to the role of projecting pitch-class relationships. Press, 1990). For Gadamer's own discussion of the history of hermeneutics, see 18. It is worth pointing out that while one often encounters developing Part 2 of his Truth and Method, 2nd rev. ed., trans. Joel Weinsheimer and Donald variation, Grundgestalt, and musikalische Gedanke individually (sometimes two · G. Marshall (New York: Crossroad Publishing, 1989). A strongly Gadamer- of the three will arise together in discussion), it is rare to find an account of influenced introduction to hermeneutics can be found in Richard E. Palmer, Schoenbergian thinking that includes all three. Hermeneutics: Interpretive Theory in Schleiermacher; Dilthey, Heidegger; and 19. Josef Rufer, Composition with Twelve Notes Related Only to One Gadamer (Evanston: Northwestern University Press, 1969). Ormison and Schrift Another; trans. Humphrey Searle (London: Rockliff, 1952); Hans Keller, "K. also provide a helpful survey in the "Editors' Introduction" to their volume cited 503: The Unity of Contrasting Themes and Movements," Music Review 17 above. Dahlhaus discusses hermeneutic thinking in his Grundlagen der (1956): 48-58, 120-29; David Epstein, Beyond Orpheus: Studies in Musical Musikgeschichte (Cologne, 1977), 97-101, 120-38; translated as Foundations of Structure (Cambridge, Mass.: MIT Press, 1979); and Patricia Carpenter, Music History, trans. J. B. Robinson (Cambridge: Cambridge University Press, "Grundgestalt as Tonal Function," Music Theory Spectrum 5 (1983): 15-38. 1983), 57-60, 71- 85. Walter Frisch offers an overview of what he terms the "Schoenberg critical tradi- 14. Dahlhaus takes up this issue in detail in his "Zurn Spiitwerk Arnold/ tion" in his Brahms and the Principle of Developing Variation (Berkeley: Uni- SchOnbergs," in Die Wiener Schule heute, Veroffentlichungen des Instituts filr versity of California Press, 1984), 1-34. See also Janet Schmalfeldt, "Berg's Path Neue Musik und Musikerziehung Darmstadt, vol. 24 (Mainz, 1983), 19-32; to Atonality: The Piano Sonata, Op. 1," in Alban Berg: Historical and Analytical translated as "Schoenberg's Late Works," in Schoenberg and the New Music, Perspectives, ed. David Gable and Robert P. Morgan (Oxford: Clarendon Press, 156-68. 1991), 79-109; Jack Boss, "Schoenberg's Op. 22 Radio Talk and Developing 15. The kinds of problems that can occur in attempting to draw one-to-one Variation in Atonal Music," Music Theory Spectrum 14/2 (1992): 125-49; and correspondences between tonal and twelve-tone contexts arise in Hill's "Schoen- Stephen Collisson, "Grundgestalt, Developing Variation, and Motivic Processes berg's Tone Rows," and the modal concerns addressed by Perle and Krenek, cited in the Music of Arnold Schoenberg: An Analytical Study of the String Quartets" above. See also Milton Babbitt's review of Rene Leibowitz's Schoenberg et son (Ph.D. diss., King's College/University of London, 1994). 338 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 339 the name "Hugo Triebsamen," which the composer sent to Mann at the height of Ecole, in Journal of the American Musicological Society 3/1 (1950): 57a-60b. the dispute to underline his concern that future historians would wrongly For recent studies exploring these correspondences, see Andrew Mead, " 'Tonal' attribute the discovery of the twelve-tone method to Mann. Forms in Arnold Schoenberg's Twelve-Tone Music," Music Theory Spectrum 9 10. This tendency can be traced back to Hill's 1936 article; it is continued (1987): 67-92; ''Webern, Tradition, and 'Composing with Twelve Tones,'" in the seminal work of Milton Babbitt, George Perle, and David Lewin, and can Music Theory Spectrum 15/2 (1993): 173-204; and Silvina Milstein, Arnold be found in recent writings of Ethan Haimo, Andrew Mead, Martha Hyde, and Schoenberg: Notes, Sets, Forms (Cambridge: Cambridge University Press, Silvina Milstein, among many others. For a valuable discussion of trends in 1990). See especially Milstein's critique of Dahlhaus on this issue (96-97); but twelve-tone theory and analysis, see Andrew Mead, "The State of Research in see also Severine Neff's critique of Milstein's analyses in her review of Arnold Twelve-Tone and Atonal Theory," Music Theory Spectrum 1111(1989):40-48. Schoenberg (Music Theory Spectrum 16/1 [1994]: 110-23). 11. Schoenberg, "Linear Counterpoint" [1931], in Style and Idea, 290. . 16. In his interpretation of Schoenberg's poetics, Dahlhaus maintains that 12. Carl Dahlhaus, "Schonbergs musikalische Poetik," Archiv far Musik- theccomposer's poetics did change toward the end of his life, but that this transi- wissenschaft 33/2 (1976): 81-88; translated as "Schoenberg's Poetics of Music," tion is not seen to be motivated by the particular musical contexts in a technical in Schoenberg and the New Music, trans. Derrick Puffett and Alfred Clayton sense. See "Scl::ioenberg's Late Works," in Schoenberg and the New Music, (Cambridge: Cambridge University Press, 1987), 73-80. 156-68. 13. The influence of Gadamer' s philosophical hermeneutics on Dahlhaus 's 17. For his discussion of what Dahlhaus takes to be the elements in approach has been explored in James Hepokoski, "The Dahlhaus Project and Its Schoenberg's poetics, see "Was heisst 'entwickelnde Variation'?," Bericht ilber Extra-Musicological Sources," 19th-Century Music 14/3 (1991): 221-46. It den 2: Kongress der intemationalen SchOnberg-Gesellschaft 1984 (Vienna, · should be noted that to the extent that Dahlhaus attempts to reconstruct how 1984), 280-84; translated as ''What Is 'Developing Variation'?" in Schoenberg Schoenberg might actually have thought about his music, his methodology has and the New Music, 129-33. With regard to his discussion of the musical idea, more in common with the hermeneutics of Friedrich Schleiermacher and Wil- understood in what he takes to be the most immediate sense, Dahlhaus considers helm Dilthey than with that of Gadamer. See, for example, Schleiermacher's it possible for a rhythmic motive or even a gestural melodic contour to serve as "The Hermeneutics: Outline of the 1819 Lectures" and Dilthey's "The Rise of the basic idea of a work. These constitute special cases, however, and Dahlhaus Hermeneutics," both in The Hermeneutic Tradition: From Ast to Ricoeur; ed. admits that Schoenberg tends to subordinate all other dimensions in the musical Gayle L. Ormison and Alan D. Schrift (Albany: State University of New York fabric to the role of projecting pitch-class relationships. Press, 1990). For Gadamer's own discussion of the history of hermeneutics, see 18. It is worth pointing out that while one often encounters developing Part 2 of his Truth and Method, 2nd rev. ed., trans. Joel Weinsheimer and Donald variation, Grundgestalt, and musikalische Gedanke individually (sometimes two G. Marshall (New York: Crossroad Publishing, 1989). A strongly Gadamer- of the three will arise together in discussion), it is rare to find an account of influenced introduction to hermeneutics can be found in Richard E. Palmer, Schoenbergian thinking that includes all three. Hermeneutics: Interpretive Theory in Schleiermacher; Dilthey, Heidegger; and 19. Josef Rufer, Composition with Twelve Notes Related Only to One Gadamer (Evanston: Northwestern University Press, 1969). Ormison and Schrift Another; trans. Humphrey Searle (London: Rockliff, 1952); Hans Keller, "K. also provide a helpful survey in the "Editors' Introduction" to their volume cited 503: The Unity of Contrasting Themes and Movements," Music Review 17 above. Dahlhaus discusses hermeneutic thinking in his Grundlagen der (1956): 48-58, 120--29; David Epstein, Beyond Orpheus: Studies in Musical Musikgeschichte (Cologne, 1977), 97-101, 120-38; translated as Foundations of Structure (Cambridge, Mass.: MIT Press, 1979); and Patricia Carpenter, Music History, trans. J.B. Robinson (Cambridge: Cambridge University Press, "Grundgestalt as Tonal Function," Music Theory Spectrum 5 (1983): 15-38. 1983), 57-60, 71- 85. Walter Frisch offers an overview of what he terms the "Schoenberg critical tradi- 14. Dahlhaus takes up this issue in detail in his "Zurn Spiitwerk Arnold/ tion" in his Brahms and the Principle of Developing Variation (Berkeley: Uni- SchOnbergs," in Die Wiener Schute heute, Veroffentlichungen des Instituts fiir versity of California Press, 1984), 1-34. See also Janet Schmalfeldt, "Berg's Path Neue Musik und Musikerziehung Darmstadt, vol. 24 (Mainz, 1983), 19-32; to Atonality: The Piano Sonata, Op. 1," in Alban Berg: Historical and Analytical translated as "Schoenberg's Late Works," in Schoenberg and the New Music, Perspectives, ed. David Gable and Robert P. Morgan (Oxford: Clarendon Press, 156-68. 1991), 79-109; Jack Boss, "Schoenberg's Op. 22 Radio Talk and Developing 15. The kinds of problems that can occur in attempting to draw one-to-one Variation in Atonal Music," Music Theory Spectrum 14/2 (1992): 125-49; and correspondences between tonal and twelve-tone contexts arise in Hill's "Schoen- Stephen Collisson, "Grundgestalt, Developing Variation, and Motivic Processes berg's Tone Rows," and the modal concerns addressed by Perle and Krenek, cited in the Music of Arnold Schoenberg: An Analytical Study of the String Quartets" above. See also Milton Babbitt's review of Rene Leibowitz's Schoenberg et son (Ph.D. diss., King's College/University of London, 1994). r- 340 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 341 20. I have argued elsewhere that it may be possible to recover something of Schoenberg's notion of the musical idea by interpreting his remarks within the Schoenberg's writing on dodecaphony. Raimo, however, considers developing context of the intellectual and aesthetic issues of fin-de-siecle Vienna. See my variation in the context of the twelve-tone method in his Schoenberg's Serial "Schoenberg and the Occult: Some Reflections on the Musical Idea," Theory and Odyssey: The Evolution of His Twelve-Tone Works (Oxford: Clarendon Press, Practice 17 (1994): 103-18; and 'The Sources of Schoenberg's 'Aesthetic The- 1990), and extends this discussion in his "Developing Variation and Schoen- ology,'" 19th-Century Music 1912(1996): 252-62. Discussion will return to this berg's Serial Music," Music Analysis 16/3 (1997): 349-65; see also Milstein, issue below in the text. Arnold Schoenberg. 21. For a comprehensive survey and insightful critique of the various 26. See Gadamer, Truth and Method, and Palmer, Hermeneutics, for a approaches to developing variation in the English-language, Schoenberg scholar- fuller explication of this position. ship, see Collisson, "Grundgestalt, Developing Variation, and Motivic Proces- 27. Much of the twelve-tone dialectic to be discussed in the next section ses," 8-39. Collisson also provides a number of the now-standard quotations of can be seen to be implicit in some relatively recent analytical work, especially Schoenberg on developing variation. A helpful collection of these remarks can that of Stephen Peles (discussed briefly earlier) and Andrew Mead. Mead's work also be found in Appendix A of Epstein's Beyond Orpheus, 207-10. on long-range strategy in Schoenberg's twelve-tone music tends to privilege the 22. This is the approach employed, though in very different ways, by Col- static aspect of structure, while Peles has tended to privilege the dynamic aspect. lison and Boss. See Collison, "Grundgestalt, Developing Variation, and Motivic But implicit in the writing of both analysts is the possibility of reading the pas- Processes," and Boss, "Schoenberg's Op. 22 Radio Talk." See also Ethan sages in each case in terms of the static-dynaµric dialectic discussed at greater Haimo's discussion of developing variation in his ''Atonality, Analysis, and the length later on. The approach forwarded in this essay advocates a crucial shift of Intentional Fallacy," Music Theory Spectrum 1812 (1996): 167-99. analytical emphasis as well as a return to Schoenbergian terms. Nonetheless, I 23. Severine Neff has pointed out that Schoenberg's understanding of attempt to incorporate and at points synthesize some of the many often brilliant musical development in a piece should not be thought of in terms of cause and insights provided by these writers, as well as the others cited throughout the vari- effect in a scientific sense; earlier events do not cause later ones in any strict ous discussions. See Peles, "Continuity, Reference, and Implication"; Mead, sense, but rather an effect of teleological inevitability is created by purely artistic "'Tonal' Forms"; and "Large-Scale Strategy in Arnold Schoenberg's Twelve- means, and Neff stresses the importance of an organic model in Schoenberg's Tone Music," Perspectives of New Music 24/1(1985):120-57. thinking. See her Introduction in Arnold Schoenberg, Coherence, Counterpoint, 28. Arnold Schoenberg, The Musical Idea and the Logic, Technique, and Art of Its Presentation, ed. and trans. Patricia Carpenter and Severine Neff (New Instrumentation, Instruction in Form, ed. Severine Neff, trans. Charlotte M. ] Cross and Severine Neff (Lincoln: University of Nebraska Press, 1994), liii-lvii. York: Columbia University Press, 1995), 227. This remark is dated 10 June 1934. 24. Dahlhaus, "Schoenberg's Poetics of Music," 133. 29. The chronology of the composition of op. 31 is discussed in detail in 25. The notion that particular Schoenberg twelve-tone works can be seen Ethan Haimo, "Redating Schoenberg's Passacaglia for Orchestra," Journal of the t American Musicological Society 40 (1987): 471-94; and Severine Neff in her to develop dynamically from their initial measures and against a background cre- !1 ated by the particular row class employed and the constraints of the twelve-tone introduction to Schoenberg, Coherence, xlii-1. See also Haimo, Schoenberg's .; method is also taken up by Stephen Peles in his "Continuity, Reference, and Serial Odyssey, 161-62; and Josef Rufer, The Works of Arnold Schoenberg: A f Implication: Remarks on Schoenberg's Proverbial 'Difficulty,'" Theory and Catalogue of His Compositions, Writings, and Paintings, trans. Dika Newlin Practice 17 (1992): 35-57. Peles takes two observations made by Milton Babbitt (London: Faber, 1962), 52-53. about Schoenberg's twelve-tone music as his point of departure, paying no atten- 30. Op. 31 has provided the ground for a number of rich, and even contra- tion to Schoenberg's own writing on Grundgestalt, developing variation, or the dictory, analytical studies. Schoenberg himself discusses the work in his "Com- musical idea. His discussion of Schoenberg's music nevertheless ends up of:er- position with Twelve Tones (1)" [1941], in Style and Idea, 214-45; and in "The Orchestral Variations, Op. 31: A Radio Talk" [1931], The Score 27 (1960): II: ing a good deal of support for Schoenberg's remarks on these topics, and his ' careful technical discussions complement Dahlhaus's more philosop,hical ones 27-40. For in-depth analytical treatments of the piece, see Rene Leibowitz, nicely. The attentive reader need not read too deeply between the lifies to note Introduction a la musique de douze sons: Les Variations pour Orchestre, Op. 31, that I find Schoenberg's own remarks in this and many other similar passages by d'Arnold Schoenberg (Paris: L' Arche, 1949); Carl Dahlhaus, Arnold SchOnberg, other American theorists conspicuous in their absence. It is, in fact, generally the Variationenfiir Orchester, Op. 31 (Munich: Wilhelm Fink Verlag, 1968); Gra- case that those theorists who employ a Schoenbergian approach are not the same ham Phipps, "Schoenberg's Grundgestalt Principle; A New Approach with Par- scholars who write on his twelve-tone music; thus, Carpenter, Frisch, Neff, and ticular Application to the Variations for Orchestra, Op. 31" (Ph.D. diss., Epstein tend to analyze tonal music while the followers of Babbitt mostly ignore University of Cincinnati, 1976); Raimo, Schoenberg's Serial Odyssey; Tiina Koivisto, "Musical Continuities in Schoenberg's Variations for Orchestra, Op. r- 340 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 341 20. I have argued elsewhere that it may be possible to recover something of Schoenberg's notion of the musical idea by interpreting his remarks within the Schoenberg's writing on dodecaphony. Haimo, however, considers developing context of the intellectual and aesthetic issues of fin-de-siecle Vienna. See my variation in the context of the twelve-tone method in his Schoenberg's Serial "Schoenberg and the Occult: Some Reflections on the Musical Idea," Theory and Odyssey: The Evolution of His Twelve-Tone Works (Oxford: Clarendon Press, Practice 17 (1994): 103-18; and ''The Sources of Schoenberg's 'Aesthetic The- 1990), and extends this discussion in his "Developing Variation and Schoen- ology,'" 19th-Century Music 19/2 (1996): 252--62. Discussion will return to this berg's Serial Music," Music Analysis 16/3 (1997): 349-65; see also Milstein, issue below in the text. Arnold Schoenberg. 21. For a comprehensive survey and insightful critique of the various 26. See Gadamer, Truth and Method, and Palmer, Hermeneutics, for a approaches to developing variation in the English-language, Schoenberg scholar- fuller explication of this position. ship, see Collisson, "Grundgestalt, Developing Variation, and Motivic Proces- 27. Much of the twelve-tone dialectic to be discussed in the next section ses," 8-39. Collisson also provides a number of the now-standard quotations of can be seen to be implicit in some relatively recent analytical work, especially Schoenberg on developing variation. A helpful collection of these remarks can that of Stephen Peles (discussed briefly earlier) and Andrew Mead. Mead's work also be found in Appendix A of Epstein's Beyond Orpheus, 207-10. on long-range strategy in Schoenberg's twelve-tone music tends to privilege the 22. This is the approach employed, though in very different ways, by Col- static aspect of structure, while Peles has tended to privilege the dynamic aspect. lison and Boss. See Collison, "Grundgestalt, Developing Variation, and Motivic But implicit in the writing of both analysts is the possibility of reading the pas- Processes," and Boss, "Schoenberg's Op. 22 Radio Talk." See also Ethan sages in each case in terms of the static-dynaµiic dialectic discussed at greater Haimo's discussion of developing variation in his "Atonality, Analysis, and the length later on. The approach forwarded in this essay advocates a crucial shift of analytical emphasis as well as a return to Schoenbergian terms. Nonetheless, I I Intentional Fallacy," Music Theory Spectrum 18/2 (1996): 167-99. l 23. Severine Neff has pointed out that Schoenberg's understanding of attempt to incorporate and at points synthesize some of the many often brilliant ;{ musical development in a piece should not be thought of in terms of cause and insights provided by these writers, as well as the others cited throughout the vari- i ous discussions. See Peles, "Continuity, Reference, and Implication"; Mead, i effect in a scientific sense; earlier events do not cause later ones in any strict j sense, but rather an effect of teleological inevitability is created by purely artistic "'Tonal' Forms"; and "Large-Scale Strategy in Arnold Schoenberg's Twelve- means, and Neff stresses the importance of an organic model in Schoenberg's Tone Music," Perspectives of New Music 24/1(1985):120-57. thinking. See her Introduction in Arnold Schoenberg, Coherence, Counterpoint, 28. Arnold Schoenberg, The Musical Idea and the Logic, Technique, and Instrumentation, Instruction in Form, ed. Severine Neff, trans. Charlotte M. Art of Its Presentation, ed. and trans. Patricia Carpenter and Severine Neff (New l Cross and Severine Neff (Lincoln: University of Nebraska Press, 1994), liii-lvii. York: Columbia University Press, 1995), 227. This remark is dated IO June 1934. ] 24. Dahlhaus, "Schoenberg's Poetics of Music,'' 133. 29. The chronology of the composition of op. 31 is discussed in detail in I 25. The notion that particular Schoenberg twelve-tone works can be seen Ethan Raimo, "Redating Schoenberg's Passacaglia for Orchestra," Journal of the l to develop dynamically from their initial measures and against a background cre- American Musicological Society 40 (1987): 471-94; and Severine Neff in her ated by the particular row class employed and the constraints of the twelve-tone introduction to Schoenberg, Coherence, xlii-1. See also Haimo, Schoenberg's l method is also taken up by Stephen Peles in his "Continuity, Reference, and Serial Odyssey, 161-62; and Josef Rufer, The Works of Arnold Schoenberg: A I Implication: Remarks on Schoenberg's Proverbial 'Difficulty,'" Theory and Catalogue of His Compositions, Writings, and Paintings, trans. Dika Newlin Practice 17 (1992): 35-57. Peles takes two observations made by Milton Babbitt (London: Faber, 1962), 52-53. about Schoenberg's twelve-tone music as his point of departure, paying no atten- 30. Op. 31 has provided the ground for a number of rich, and even contra- f tion to Schoenberg's own writing on Grundgestalt, developing variation, or the dictory, analytical studies. Schoenberg himself discusses the work in his "Com- ll musical idea. His discussion of Schoenberg's music nevertheless ends up ofer- position with Twelve Tones (1)" [1941], in Style and Idea, 214-45; and in "The I ing a good deal of support for Schoenberg's remarks on these topics, and his Orchestral Variations, Op. 31: A Radio Talk" [1931], The Score 27 (1960): ; careful technical discussions complement Dahlhaus's more philosop,hical ones 27-40. For in-depth analytical treatments of the piece, see Rene Leibowitz, nicely. The attentive reader need not read too deeply between the lifies to note Introduction a la musique de douze sons: Les Variations pour Orchestre, Op. 31, that I find Schoenberg's own remarks in this and many other similar passages by d'Arnold Schoenberg (Paris: L' Arche, 1949); Carl Dahlhaus, Arnold SchOnberg, other American theorists conspicuous in their absence. It is, in fact, generally the Variationenfiir Orchester, Op. 31 (Munich: Wilhelm Fink Verlag, 1968); Gra- case that those theorists who employ a Schoenbergian approach are not the same ham Phipps, "Schoenberg's Grundgestalt Principle; A New Approach with Par- scholars who write on his twelve-tone music; thus, Carpenter, Frisch, Neff, and ticular Application to the Variations for Orchestra, Op. 31" (Ph.D. diss., Epstein tend to analyze tonal music while the followers of Babbitt mostly ignore University of Cincinnati, 1976); Raimo, Schoenberg's Serial Odyssey; Tiina Koivisto, "Musical Continuities in Schoenberg's Variations for Orchestra, Op. 342 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 343 31," Theory and Practice 19 (forthcoming); and Dave Headlam, "The Limita- group of four rows, Schoenberg has drawn a box around the tritones as they tions of a Row-Class: Schoenberg's Variations for Orchestra, Op. 31," unpub- return in order-positions 7 and 8. Schoenberg then appears to have begun to list lished paper (1988). I would like to thank Dave Headlam and Tiina Koivisto for the other rows that are members of row families B and C, beginning with the four making their work available to me. Since I have been focusing so much attention rows that begin with c and t#and breaking off his work before completing the on Dahlhaus's own analyses of Schoenberg's poetics, it seems only fair to four rows that begin on a and el., which would have comprised my row-family C. acknowledge that Dahlhaus's analyses of Schoenberg's works do not go very far See sketch 1537/1646a in the holdings of the Arnold Schonberg Center, Vienna. I toward illuminating the effect of the composer's poetics on the structure of his would like to thank Reynold Simpson for directing my attention to this sketch for twelve-tone works. op. 31 and Wayne Shoaf of the former Arnold Schoenberg Institute in Los Ange- 31. Throughout the following analysis prime and inversion forms les for assisting me in my examination of those documents. are labeled with "P" and 'T' respectively, and pitch class ("pc") 0 = C; the letters 34. The notion of expanding the technique of developing variation to "t" and "e" are used to designate pcs 10 and 11 respectively. Retrograde is identi- include the development of relationships further extends the work of Raimo; see fied as an operation upon P and I forms, and thus the subscripted pc integer i his Schoenberg's Serial Odyssey, n. 8, 73-74. See also Milstein's critique of remains the same for a row and its retrograde (i.e., RP4 constitutes the retrograde Haimo's view of developing variation in her review of Haimo's book (Music and of P4). Letters 73 [1992]: 62-74). For those unfamiliar with music-analytical terminology, a "trichord" is a 35. Ethan Raimo refers to P1, I1, and their retrogrades as the "referential group of three different notes, while a "hexachord" is a group of six different group of set forms" for the piece. These four row forms could also be thought of i notes. A twelve-tone row can be thought of as consisting of two hexachords I as a "twelve-tone area," following David Lewin. The sixteen row forms that con- which taken together use all twelve possible chromatic notes. When two rows stitute row-family A here could be thought of as a larger "area" formed by the can be combined such that the first hexachords of each exhaust all twelve notes collecting together of these smaller four-groups. See Raimo, Schoenberg's Serial when taken together, these rows can be called "combinatorial." Note that in Fig- Odyssey, 169; and David Lewin, "A Study of Hexachord Levels in Schoenberg's ure 10.1, if the first six elements of P1 (t,4, 6, 3, 5, 9) are combined with the first Violin Fantasy," Perspectives in New Music 611 (1967): 18-32. six elements (7, 1, e, 2, 0, 8), all twelve notes are employed. The same is 36. I refer to non-row-family A row forms here because despite the fact always true for the second hexachords as well under such circumstances. One of that B and C forms as discrete entities exist, there is no evidence that Schoenberg the many benefits of using integers to represent notes is that they make such com- exploits the two subsidiary row families as separate structural components. He parisons very easy: starting from 0, one only has to be sure that all the numbers employs rather only one large group of non-A forms: the B and Crow forms. are there up to 11 (or "e" as it appears in this chapter). For a more complete intro- 37. Schoenberg, "The Orchestral Variations," 38. duction to twelve-tone analysis, see Joseph N. Straus, Introduction to Post-Tonal 38. Dahlhaus, "Schoenberg's Poetics of Music," 78-79. Theory (Englewood Cliffs, N.J.: Prentice-Hall, 1990), 118-79. 39. See Dahlhaus, "What is 'Developing Variation'?" 132-33. In a discus- 32. An "order-number position" is the specific spot in the row in which a sion of musical organicism contained in his 1895 essay, ''The Spirit of Musical note occurs. In the case of 0, 1, 7, and 8, this refers to the notes that reside in the Technique" (trans. William Pastille, Theoria 3 [1988]: 86-104), Heinrich first, second, eighth, and ninth spots in the rows concerned. My organization of Schenker addresses this issue in the following manner: the rows in this instance is influenced by Andrew Mead's work on order- nurnber/pc-number mosaics, and row-family A could certainly be represented by In reality, musical content is never organic, for it lacks any principle of a Mead-style mosaic. See Andrew Mead, "Some Implications of the Pitch causation. An invented melody never has a determination so resolute Class/Order Number Isomorphism Inherent in the Twelve-Tone System: Part that it can say, "Only that particular melody may follow me, none One," Perspectives of New Music 2612 (1988): 96-163. For work that expands\ other." Rather, as part of the labor of building content, the composer upon a number of Mead's ideas, see Richard Kurth, "Mosaic Polyphony: Formal draws from his imagination various similarities and contrasts, from Balance, Imbalance, and Phrase Formation in the Prelude of Schoenberg's Suite, which he eventually makes the best choice. (99) Op. 25," Music Theory Spectrum 14/2 (1992): 188-208. In this early essay, Schenker goes on to argue that logic in musical develop- 33. Analogous to the terms "trichord" and "hexachord," "tetrachord" ment is relative, depending on a shared sense of propriety between the composer refers to a group of four different notes. Among Schoenberg's sketches for the and listener, but nonetheless possible. It is in this contextually based and relative variations there is a row chart in which Schoenberg lays out row-family A in a sense that I refer to "logical" development in my discussion. Writing some forty- similar manner to my Figure 10.2. He groups the four rows which begin with bi> one years later in the Gedanke manuscript, Schoenberg takes a strikingly similar and e together. Below these are the four rows which begin with g and c#. In each position to that of Schenker: 342 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 343 31," Theory and Practice 19 (forthcoming); and Dave Headlam, "The Limita- group of four rows, Schoenberg has drawn a box around the tritones as they tions of a Row-Class: Schoenberg's Variations for Orchestra, Op. 31," unpub- return in order-positions 7 and 8. Schoenberg then appears to have begun to list lished paper (1988). I would like to thank Dave Headlam and Tiina Koivisto for the other rows that are members of row families B and C, beginning with the four making their work available to me. Since I have been focusing so much attention rows that begin with c and t#and breaking off his work before completing the on Dahlhaus's own analyses of Schoenberg's poetics, it seems only fair to four rows that begin on a and el>,which would have comprised my row-family C. acknowledge that Dahlhaus's analyses of Schoenberg's works do not go very far See sketch 1537/l 646a in the holdings of the Arnold SchOnberg Center, Vienna. I toward illuminating the effect of the composer's poetics on the structure of his would like to thank Reynold Simpson for directing my attention to this sketch for twelve-tone works. op. 31 and Wayne Shoaf of the former Arnold Schoenberg Institute in Los Ange- 31. Throughout the following analysis prime and inversion forms les for assisting me in my examination of those documents. are labeled with "P" and "I'' respectively, and pitch class ("pc") 0 =C; the letters " 34. The notion of expanding the technique of developing variation to "t" and "e" are used to designate pcs 10 and 11 respectively. Retrograde is identi- include the development of relationships further extends the work of Haimo; see l fied as an operation upon P and I forms, and thus the subscripted pc integer i his Schoenberg's Serial Odyssey, n. 8, 73-74. See also Milstein's critique of remains the same for a row and its retrograde (i.e., RP4 constitutes the retrograde Haimo's view of developing variation in her review of Haimo's book (Music and of P4). Letters 73 [1992]: 62-74). For those unfamiliar with music-analytical terminology, a "trichord" is a 35. Ethan Haimo refers to P1, It, and their retrogrades as the "referential group of three different notes, while a "hexachord" is a group of six different group of set forms" for the piece. These four row forms could also be thought of i notes. A twelve-tone row can be thought of as consisting of two hexachords t as a "twelve-tone area," following David Lewin. The sixteen row forms that con- which taken together use all twelve possible chromatic notes. When two rows stitute row-family A here could be thought of as a larger "area" formed by the can be combined such that the first hexachords of each exhaust all twelve notes collecting together of these smaller four-groups. See Haimo, Schoenberg's Serial when taken together, these rows can be called "combinatorial." Note that in Fig- Odyssey, 169; and David Lewin, "A Study ofHexachord Levels in Schoenberg's ure 10.1, if the first six elements of Pt (t, 4, 6, 3, 5, 9) are combined with the first Violin Fantasy," Perspectives in New Music 611 (1967): 18-32. six elements of I, (7, 1, e, 2, 0, 8), all twelve notes are employed. The same is 36. I refer to non-row-family A row forms here because despite the fact always true for the second hexachords as well under such circumstances. One of that B and C forms as discrete entities exist, there is no evidence that Schoenberg the many benefits of using integers to represent notes is that they make such com- exploits the two subsidiary row families as separate structural components. He parisons very easy: starting from 0, one only has to be sure that all the numbers employs rather only one large group of non-A forms: the Band Crow forms. are there up to 11 (or "e" as it appears in this chapter). For a more complete intro- 37. Schoenberg, "The Orchestral Variations," 38. duction to twelve-tone analysis, see Joseph N. Straus, Introduction to Post-Tonal 38. Dahlhaus, "Schoenberg's Poetics of Music," 78-79. Theory (Englewood Cliffs, N.J.: Prentice-Hall, 1990), 118-79. 39. See Dahlhaus, "What is 'Developing Variation'?" 132-33. In a discus- 32. An "order-number position" is the specific spot in the row in which a sion of musical organicism contained in his 1895 essay, ''The Spirit of Musical note occurs. In the case of 0, 1, 7, and 8, this refers to the notes that reside in the Technique" (trans. William Pastille, Theoria 3 [1988]: 86-104), Heinrich first, second, eighth, and ninth spots in the rows concerned. My organization of Schenker addresses this issue in the following manner: the rows in this instance is influenced by Andrew Mead's work on order- number/pc-number mosaics, and row-family A could certainly be represented by In reality, musical content is never organic, for it lacks any principle of a Mead-style mosaic. See Andrew Mead, "Some Implications of the Pitch causation. An invented melody never has a determination so resolute Class/Order Number Isomorphism Inherent in the Twelve-Tone System: Part that it can say, "Only that particular melody may follow me, none One," Perspectives of New Music 26/2 (1988): 96-163. For work that expands\ other." Rather, as part of the labor of building content, the composer upon a number of Mead's ideas, see Richard Kurth, "Mosaic Polyphony: Formal draws from his imagination various similarities and contrasts, from Balance, Imbalance, and Phrase Formation in the Prelude of Schoenberg's Suite, which he eventually makes the best choice. (99) Op. 25," Music Theory Spectrum 14/2 (1992): 188-208. In this early essay, Schenker goes on to argue that logic in musical develop- 33. Analogous to the terms "trichord" and "hexachord," "tetrachord" ment is relative, depending on a shared sense of propriety between the composer refers to a group of four different notes. Among Schoenberg's sketches for the and listener, but nonetheless possible. It is in this contextually based and relative variations there is a row chart in which Schoenberg lays out row-family A in a sense that I refer to "logical" development in my discussion. Writing some forty- similar manner to my Figure 10.2. He groups the four rows which begin with bl. one years later in the Gedanke manuscript, Schoenberg takes a strikingly similar and e together. Below these are the four rows which begin with g and c#. In each position to that of Schenker: 344 Theoretical, Aesthetic, and Ethical Issues Schoenberg's "Poetics of Music" 345 An attempt to recognize and define the musical idea stands in clear and comprehensibility usually address issues that arise from accounting for contradiction to the sentimental poeticizing notion that a composition music developing dynamically. For Schoenberg, repetition enhances comprehen- might arise from the motive as germ of the whole, as a plant grows sibility but runs the risk of boring the advanced listener. In "Brahms the Progres- from a seed .... As always: what an author may have produced from a sive" (in Style and Idea, 399-400), for instance, Johann Strauss's "Blue Danube germ would be human activity-even if that germ were to grow by and Waltz" is cited as an example of a popular piece that repeats material, and of itself. Every human activity, insofar as it is not exclusively instinc- Schoenberg tends to attribute the misunderstanding of his own work to his tive, proceeds according to a plan. unwillingness to repeat material, which makes it less easily comprehended. See See Schoenberg, The Musical Idea, 109. also Schoenberg, Coherence, lvii-lxii, and The Musical Idea, 23-25. 40. See "Schoenberg's Poetics of Music," 73-75, for Dahlhaus's discus- 51. A number of other developmental paths could be traced through this sion of Schoenberg's conception of the relationship between theories of music, work-and many other of Schoenberg's twelve-tone works-- An attempt to recognize and define the musical idea stands in clear and comprehensibility usually address issues that arise from accounting for contradiction to the sentimental poeticizing notion that a composition music developing dynamically. For Schoenberg, repetition enhances comprehen- might arise from the motive as germ of the whole, as a plant grows sibility but runs the risk of boring the advanced listener. In "Brahms the Progres- from a seed .... As always: what an author may have produced from a sive" (in Style and Idea, 399-400), for instance, Johann Strauss's "Blue Danube germ would be human activity-even if that germ were to grow by and Waltz" is cited as an example of a popular piece that repeats material, and of itself. Every human activity, insofar as it is not exclusively instinc- Schoenberg tends to attribute the misunderstanding of his own work to his tive, proceeds according to a plan. unwillingness to repeat material, which makes it less easily comprehended. See See Schoenberg, The Musical Idea, 109. also Schoenberg, Coherence, lvii-lxii, and The Musical Idea, 23-25. 40. See "Schoenberg's Poetics of Music," 73-75, for Dahlhaus's discus- 51. A number of other developmental paths could be traced through this sion of Schoenberg's conception of the relationship between theories of music, work-and many other of Schoenberg's twelve-tone works-quite readily, but history, and nature. limitations of space permit only those considered above. 41. Dahlhaus takes the first movement of Haydn's String Quartet, op. 33, 52. Schoenberg, The Musical Idea, 377. This excerpt is from a manuscript no. 1 as an example of a piece that operates by reconciling contrasting material. probably dating from 1929. Translated by Charlotte M. Cross. See Dahlhaus, "What Is 'Developing Variation'?" 133. 53. Carl Dahlhaus, "SchOnbergs asthetische Theologie," in Bericht iiber 42. David Lewin, "A Theory of Segmental Association in Twelve-Tone den 2. Kongress der internationalen Schonberg Gesellschaft 1984 (Vienna, Music," Perspectives of New Music 1/1 (1962): 89-116; and Mead, "Large-Scale 1984), 12-24; the English translation appears as "Schoenberg's Aesthetic Theol- Strategy," 121 ff. ogy," in Schoenberg and the New Music, 81-93. 43. Ethan Raimo and Paul Johnson, "Isomorphic Partitioning and Schoen- 54. For a discussion of the various ways in which Schoenberg used this berg's Fourth String Quartet," Journal of Music Theory 28/1(1984):47-72. term throughout his writing, see Charlotte M. Cross, "Three Levels of Idea in 44. Dahlhaus, Arnold SchOnberg, 21. See also Raimo, Schoenberg's Serial Schoenberg's Thought and Writings," Current Musicology 30 (1980): 24-36. Odyssey, 168. 55. Carpenter, "Grundgestalt as Tonal Function," 15-16. 45. There is one other partition pattern that exhaustively extracts half-steps 56. Covach, "Schoenberg and the Occult." For an engaging consideration from the row class but is, however, conspicuous by its absence. Of course, if one of Schoenberg's aesthetic struggle with the spiritual and material dimensions of is not concerned with exhausting the aggregate, isolated half-steps can be his composing in the period before the First World War, see Joseph Auner, extracted from any row class in a number of ways. "'Heart and Brain in Music': The Genesis of Schoenberg's Die gliickliche 46. The partitioning of a single row out of multiple row statements is Hand," in Constructive Dissonance: Arnold Schoenberg and the Transforma- referred to by Raimo (Schoenberg's Serial Odyssey, 37-41) as "multidimen- tions of Twentieth-Century Culture, ed. Juliane Brand and Christopher Hailey sional set presentation." (Berkeley: University of California Press, 1997), 122-30. 47. For the classic discussion of splicing techniques in Stravinsky's music, 57. Arthur Schopenhauer, The World as Will and Representation, 2 vols., see Edward T. Cone, "Stravinsky: The Progress of a Method," Perspectives of trans. E. F. J. Payne (New York: Dover, 1969). Music is discussed in detail in the New Music 1/1 (1962): 18-26. third book of the first volume (pp. 255-67) and in the second volume under the 48. These aggregates occur in mm. 187 and 198 and are marked by an title, "On the Metaphysics of Music" (pp. 447-57). For Dahlhaus's discussion of asterisk. Aggregates where the partitioning is executed with some mixing of Schopenhauer's aesthetics of music, see his Musikiisthetik (Cologne, 1967); prime and retrograde forms are labeled with a slash m. 182, for instance). translated as Esthetics of Music, trans. William Austin (Cambridge: Cambridge 49. In mm. 324-33 the B-A-C-H motive does not appear; here, we University Press, 1982), Chapter 7, "Affectation and Idea." interlude made up exclusively of row-family A forms, another reference to the 58. For a detailed consideration of Schopenhauer's influence on Wagner's introduction. thinking as well as discussion of Wagner's role in promoting Schopenhauer's 50. Schoenberg, "The Orchestral Variations," 28. See also "Criteria for the philosophy, see Bryan Magee, The Philosophy of Arthur Schopenhauer (Oxford: Evaluation of Music" (1946), where Schoenberg writes: "Yes, the role of Oxford University Press, 1983), 326-78; for an account of some of the occult ory in music evaluation is more important than most people realize. It is perhaps aspects of late nineteenth-century Wagnerism, see William J. McGrath, true that one starts to understand a piece only when one can remember it at least Dionysian Art and Populist Politics in Austria (New Haven: Yale University partially" (Style and Idea, 127). While Schoenberg's concern for coherence Press, 1974), 93-99. Dahlhaus has traced Schopenhauer's influence on subse- [Zusammenhang] and comprehensibility [Fasslichkeit] runs throughout his quent writers in his Die /dee der absoluten Musik (Kassel, 1978); translated as work, it should be acknowledged that Schoenberg's remarks regarding memory The Idea of Absolute Music, trans. Roger Lustig (Chicago: University of Chicago 346 Theoretical, Aesthetic, and Ethical Issues Press, 1989), see especially Chapter 2, ''The History of the Idea and Its Vicissi- tudes." CHAPTERll 59. The blending of "legitimate" German philosophy with the occult philosophies of Steiner and Swedenborg is discussed in my ''The Sources of Modernism and Words Schoenberg's 'Aesthetic Theology.'" 60. It should be pointed out that Dahlhaus himself does not extend his con- sideration of Schoenberg's poetics to Schoenberg's mysticism and its relation to the Gedanke. MURRAY DINEEN 61. The poetic model as discussed in this study might also be applied to Schoenberg's earlier music; in fact, to explore the full extent of Dahlhaus's claims concerning Schoenberg's poetics of music such analysis would be crucial. He who stands aloof runs the risk of believing himself Walter Frisch, for instance, offers a wealth of detailed analysis of Schoenberg's better than others and misusing his critique of society tonal music in his magisterial volume, The Early Works of Arnold Schoenberg, as an ideology for his private interest. ... The only 1893-1908 (Berkeley: University of California Press, 1993), and one might well responsible course is to deny oneself the ideological explore to what extent the poetics apply to that repertory (even if Schoenberg did misuse of one's own existence, and for the rest to not attempt to fully articulate his poetics until after the First World War). conduct oneself in private as modestly, unobtrusively 62. Dahlhaus, "Schoenberg's Aesthetic Theology," 92-93. and unpretentiously as is required, no longer by good 63. Dahlhaus, The Idea of Absolute Music; see also his summary of this upbringing, but by the shame of still having air to position in "Schoenberg's Aesthetic Theology," 86-87. breathe, in hell. 64. See my "Schoenberg and the Occult" and ''The Sources of Schoen- THEODOR ADORNO, MINIMA MORAllA berg's 'Aesthetic Theology'" for a fuller discussion of this interpretation. Theodor Adorno--that ever trenchant devotee of Schoenberg and his freely dissonant oeuvre-presents us in the epigraph above with an ethi- cal conundrum typical of modernist thought. 1 He says elsewhere that the conventions of the collective and the past--our "good upbringing"-are no longer sufficient to guide our actions, for in the ideological excess implicit in collective wisdom lies ari uncritical certainty that leads to tyranny.2 Neither must one stand "aloof," above action, for therein lies solipsism and another kind of uncritical certainty that leads likewise to tyranny. The only responsible path is to balance action with inaction: to \ refrain from action whenever possible, but when driven to action out of necessity, to do so "as modestly, unobtrusively and unpretentiously" as possible. Adorno's is the modern condition par excellence: a state of eth- ical uncertainty, a tightrope to either side of which lie twin chasms of tyranny. In this essay, we shall consider Adorno's modernist condition as it might apply to two eminent moderns: Schoenberg the composer as seen by Adorno, and Moses of Schoenberg's opera Moses und Aron. In essence, both must strive to avoid twin excesses: for Adorno, Schoenberg must strike an uncomfortable balance between a dangerously solipsistic approach to composition based entirely on intuition and vision (embod- ied in the atonal works from circa 1905 onward, of which his op. 19 347