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This book has been brought to completion with the collaboration of a small but dedicated group of people. Chief among them are Fred Lerdohl and Richard Coho, both close personal friends and professional colleagues of my late husband, David Lewin. By early in 1998 David had essentially nished the manuscript, which was, in his words, in not quite nal form. For at variety of reasons, including deterio~ rating health, he set it aside. He intended perhaps to get back to it on his retirement from teachingat Harvard, which was imminent at the time of his death in May 2003. I was encouraged--urged, in fatct---rst by Fred Lerdahl and then by Rick Cohn, to make every attempt to bring the manuscript to publication. Fred in particular spent many hours facilitating this project.

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Once Oxford Universiety Press accepted the book, Edward Gollin joined our
team. Ed had been Davids Ph.D. student at Harvard and is now on the faculty of Williams College; he is intimately acquainted with Davids work process, his written output, and his teaching methods. Ed was entrusted with preparing the menu-~ script for publication, reconciling inconsistencies, and. putting it into nal form. All of the gures and examples, many of which had appeared in a variety of for mats in previously published articles, were redrawn by Don Giller. My son, Alex Lewin, has advised me and helped with the creation of an electronic version of the text. Raphael Atlas, another of Davids former students, generously offered his help with the nal stages of preparation by indexing and proofreading the text. l am particularly indebted to Jeanne Barnberger, Reinhold Brinkrnaun, Joseph Kerruan, and Lewis Lockwood for their encouragement and support. Special thanks to Kim Robinson and Suzanne Ryan, our editors at Oxford Uni versity Press, and to Eve Bachrach, Norman Hirschy, and the editorial staff at Oxford. Finally, thanks are due to the Society for Music Theory and the American Musicological Society for their nancial support of this project. Our guiding principle throughout has been to present the text, as nearly as possible, exactly as David wrote it, respecting his intentions and avoiding the temptation to correct, update or improve it. ---~Iurte K. Lewin Cambridge, Massachusetts

Studio in music with text I David Lewiu. p. ctr;,-(Qxford studies in music theory)
includes bibliograplttical references and index.

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lSBN l fl i?3~0- 194-5l82()88 ISBN (l~l.9~5l82f}8~l

l. Vocal uutsie--llistory and criticism. 2. Musical analysis. I. Title. ll. Series. lvll.llO().L43 20436
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CHAPTER SiX1@@n
A Way into Schoenbergs Opus 15, Numbe/IIVy

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Angst und hoen wechselnd rnich beklemmen, Meine worte sich in seufzer dehnen, Mich bedrangt so ungestiimes sehnen, I)aB ich mich an rast and schlaf nicht kehre, V DalS mein lager tranen schwemroen, Dal? ich jede frendevogn mix: wehre, Dal3 ich keines fretmdes trost begehre.

Anguish and hope in turn seize me. ' y T My words trail offin sighing. i A Such tempestnotls longing assails me ~ V . that IV do not tnmto rest or; sleep, V: T l V l - i V that tears ood my couch, V that I ward off every pleasure, _ -A that 1 seek no friends consolation f

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The poem, an exploration of an affective disorder, is in two parts. The rst thVreeV lines expose the affects involved: Angst and Hojfen wechselrtd, ungestmes Sehnen. The last four lines catalogue the resulting symptoms: dos ich . . ., alas mein . . .., and so on. The end-rhyme supports this articulation of the poem into 3 + 4 lineszp oi b b so cc. The design is somewhat unbalanced, betting the subject matter. From Q the

rhyme scheme, it would appear that line 4 was an extra line: were it removed, the
rhyme would balance as a b b /a c c. Furthermore, the removal of line 4 would not greatly change the descriptive sense of the text; line 5, in fact, recapitulates the depscriptive content of line 4, rather more poetically. A second, and subtler, source of imbalance in the poem is the content ofiline 2: the poet is already presenting a symptom before having nished exp0sVingthc affects responsible. If line 2 began with da, and!or did not rhyme with lineV3, We

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might even consider articulating the poem into 2 lines (affect, symptorn)1gVpltts lines (affect, so . . .daj symptom, symptom, symptom, symptom). As it is, the 3 + 4 articulation maintains itself, but line 2 does create a strong medial contrastgbe
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In these connections, the broad outlines of Schoenbergs setting are very strilo-4 ing. The music articnlatesgthree, rather than two, large sections: A c i
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CHAPTER 16 A Way into Schoenbergs Opus 15, Number VII as 323 the last section, in particular, clearly recalls the sighing motive of the piano inmeasures 21/2-~3 I/2 and 31/2-4 ll/z, associated with that text. But not only does section-3 in

Section 2: Langsarrzer, 7 measures, lines 4--6 Section 3: Sehr larzgsam, 6 or 7 2/4 measures, line 7 alone.

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itself portray sighing, the song as a whole, with its continual exhaustion ofenergy,
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and its quantum leap past measure 14 in that respect, also manifests the phernorn-e~

The overloaded lines 4-~7 have rneiosized into two sections of music, each commensurate with the musical unit setting lines l~3. In this reading, the extra line of test is not the fourth, but the seventh. The inated articulation of this line, off and away from lines 4-6, draws attention to this particular symptom as contrasted with the others, and one can admire the psychological surety of the composers musical processes here, bringing to light important aspects of the text which are not so apparent at rst reading. First, the narcissistically defensive loneliness of line 7 becomes an enormously accented and apparently (see later remarks) nal stage of a psychological progres~ sion through the song. The stage attained is that in which the poet can get along perfectly well (i.e., perfectly miserably) without anybodys helpful concern. The irnportance of this psychological state in the overall effect of the song is reected by Schoenbergs setting of the piano part. The right hand can get along perfectly well without the helpful support of the left. But it would not be accurate to analyse the psychological state just discussed as

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enon described in line 2 exactly and literally: the singers words extend (past rue. 14) and expand into sighing. I do not know what one could call this device"ofIr-texts.
setting; tone-painting seems grossly inadequate? * if I Many of the features that brake or extend the music from line 4 on are obvious

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enough. One that is perhaps not so immediately evident is the rhythmic articula-a tion of the text, line by line. In the voice part, each line of text is set as a subphrase,
and these subphrases are articulated by rests (with one exception, to be adiscussed later). Section 1 establishes an eighth rest, Nicht zu rasch, as a norm in tl1is?regard;t that is, such rests separate line 2 from line 1 and line 3 from line 2. Striking, then, is the lack of any vocal rest to mark the largest structural division so far, between lines 3 and 4 at the bar line of measure 7. Naturally, a whole host of irn.portainte1'r1u+ sical and textual features are involved in this phenomenon; in our present contend-t we can (for the moment) simply observe that Schoenberg is, among otherjthings, contracting the duration between lines, the better later to esxten-d (deh\nea=.):l:For.from the bar line of measure 7 on, the expanding pattern is clear and direcff

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completely nal in the song. The poet does not seek the consolation of any friend. But, as the music moves into the nal chords, we are reminded that there is certainly one friend from whom the poet seeks something, and that something is not just sympathy. The themes of emotional need and interpersonal relationship, irn~
plicitly usriderlying the generation of Angst, Hojfen, and tmgestiimes Sehnen, are ab~ sent from the fourth through sixth lines of the poem; they are introduced explicitly

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before line 5, there is a sixteenth rest, Langsamer;

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b.if0I 58 7, there is a quarter rest, Sehr lnngsam. 1 ._ Since we do not fully respond to the change of tempo at measure 14 untiltipast

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only in line 7. Schoenberg, picking up this feature of the text, blows up line 7 into
an Abgespng as well as a coda: his music demonstrates that Angst und Ifojfjfen are a psychological result (mm. l8~l9), as well as a cause (rn. 1). This closes a psychological circle: Alternating anguish and expectation, and tempestuous longing, have driven me to such a state that I sigh while speaking, cannot sleep, sob at night, am totally depressed. (And--rn. M--so that) I do not seek the consolation of any friend. (For there is only one friend who can satisfy my wants, and that not with consolation; it is just this need which has led me to my state of---~m. 18*-alternating anguish and ex;pectation.) But the song is no more completely recursive than completely linear. This is primarily due to the enormous loss of energy that occurs over the course of the music, particularly throughout the third section. The piece indeed traces a

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quarter rest, we can actually hear an even longer rest there, still in the Laiugsamere
tempo. With this in mind, one notes that the progression of rests tabulateidiabovei spans exactly the second (Langsamer) section of the song and, indeed, is~one}of its characteristic features, contrasting with the regular eighth rests, Nicht'*zu'rusch, of

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section 1. (I am grateful to Mr. David Lyttle for having brought thisiaspec_to.f*thc~

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piece to my attention.) ~ I For those to whom this pattern may seem articial, it will suffice to read lines

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downbeats with the rests under discussion projects the gasping Seufzer of the singer,
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psychological circle, but while it is tightly wound over the rst third of its trip
(Nicht zit rasch), it has begun to loosen a bit over the second third (Larzgsamer), and is irrirninently about to give up the ghost by the time it reaches its home stretch (Sehr latsgsarn); the piece barely manages to pull into the station at measure 19 with its last bit of energy. The circular journey has worked itself out dynamically into ttital exhaustion. Schoenberg must have taken his cue for this conception from the unbalancing line 2, rrieine Worte sich in Seufzer dehnen. The sighing motive of the piano in

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The progression aims at the vocal quarter rest of measure 14, oneof the most important features in Schoenbergs separation of line 7 from the others, andtehence
1. The situation is complicated by the skewed ph2t1S-StYL1CliUI' of voice and piano in the rst section of the song, and by other musical associations involved with the piano part of measures 13'/z~il,4i"r. footnoted sentence should not be taken as asserting anything more than it actually states. ' " 2. The device seems to me to have an interesting methodological kinship with the Theory of1Iyp_es~" that Russell and Whitehead were developing in uiathernatical logic at just this time.'The~logicalthe?5 ory investigates statements that make assertions about their ownstructureandbehavior}?1?hcso1ig5 explores a condition of which it is itself a symptom. V 7' J I

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324 M eater VI Schoenberg in his conception of the song as a whole? The quarter rest is in turn involved with a whole complex of striking rhythmic features surrounding the bar line of measure 14. As a point of departure for their investigatiornwe can observe that the rest participates in apparently extending the normal duple measure of the music to a unique triple measure. The triple measure is in fact quite audible (not just visible) within the voice part itself, despite the further metric complications introduced by the piano hereabouts. Still considering the voice part itself, one can relate this (ap-

CHAPTER 116 A Way into Schoeubergh Opus 15, Number VII;

Example 16.1 investigates these matters in greater detail. Example l6.lapresents~ 1;, . , . s.

a hypothetical normal vocal setting for lines 6 and 7 of the text,

bergs pitches and following the rhythmic and metric norms section of the song. Example 16. lb simply augments the material
of measure 12 on. The rst two-measure model of Exarnple~ 16. la formed into a threeaneasure group, along the lines already discussech two-measure model of l6.la, however, transforms into a rear~measare[i;g;se;p,.< since the augmentation affects the entire model here. At this tpoint, one

parent) rnetric extension to the immediately preceding three-measure group ofmeasures 1 .l-13; the three-measure group extends the normal two-measure group which, up through measure 10, has been the metric module setting each line of text. If we now investigate how this three-measure group itself came into being, we will become aware that the technique of rhythmic augmentation, clear enough by measures 18-19, actually sets in as early as measure 12 itself. That is, measures 12-13 in the voice part ought to be only one measure (in pitch content, they specically refer to the voice and then soprano piano part of In. 2); it is the augmentation techuique that extends the one-measure model to two here, and thereby the two-measure group to a three-measure group.
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the genesis of the quarter rest at measure 14: part of this

eighth rest of the basic model for setting a line of text. L if 4 l

Example 16.1c transcribes the rhythm and meter of the song itselflThet-.three+~ measure group of Exa-rnp~le*16.1b carries through as such to 16.lc~, was
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mic variation already discussed. The four-measure group of

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comes condensed into a second three-measure group of *1 c. The rst coco; measures,
of that four-measure group specically condense into the single 314-.;.measareii.;ar 16.1c: measure 14 of the song. This is whyl earlier referred tothat} an apparent expansion of a normal 2/4 measure: one can certainly

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What makes it difcult to notice this phenomenon on rst hearing is the dotted rhythms of measure 12, conitinuing from the last half of measure ll. If the four pitches of measure 12 were equal eighths, augmenting the rst half of measure 2

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such, but one can also hear it, in other contexts, as a contraction;a
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literally, -the aural effect of the augmentation would be overwhelming. The rhythmic variant smooths over the .critical joint between measures ll and 12, reinforc-

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ing the already linking text doggerel of je-de freu-defend the linking pitch pattern of llrroken thirds, along with the locally recurrent A4. All this (but particularly the rhythmic variant of the augmented measure) makes measure 12 sound very much lilte an extension of measure l 1, so that one hears the group (locally and inip

tening, afeature much toSehoenbersgs technical purpose in sustaining. cal impu.l.sae a long and.s1ow- nal section,
much at measure 14;. That.i.s, the augmientatiotn in sures 12-.13 is to a large I extent; locally covered, as .d.i-geu.ssed eai*l;i_i=,ti,,,;f;;;;; sure 14 as one comes into it is heard more in contrast with. Exarnp-le'

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technique exactly at the bar line of measure 12, a phenomenon which led to our preceding analysis of the metric group as ll, then 12-and-13. As I shall explore

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shortly, it is important for Schoenbergs purposes that the listener only gradually become responsive to the augmentation underlying measures 12-19 of the piece.
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strongly contributes to a feeling of substantial energy loss asone s:wi{r1gs.iuto~-the. nal section. Continuing to listen past measure 14, however, one.becot:nesfgrad.u'ally aware of the augmentation in the voice part, conrmedby ,measurestl1,8-#119. In the process, one compares ones residual impressions of measuref 1j4*mlore and

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three-measure group of Example l6.1c, not only as an expanded relaxation; of the corresponding normal two-measure group of Example 16.la, but also, and. progressively rnore, as a contracted tautening of the corresponding four~.Ittle?lSnre group of Example 16.1b. This, too, generates an urge forsubstantialrhythniic laxation following measure 16. It is just these reservoirs of energy, in

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3. To my ear, there is a hint that the progression of rests actually continues beyond this point, to the vocal hag! rest of meature 17. This can be heard as a pause between the cadence of measure 16 (in the voice) arlid the unsung but imagined text Angst over the chord of measure 18. Later discussion will clarify impression more formally. But the effect, ifheard, is onlyia subtle afterthought; there is no question; that the quarter rest of measure I4 is the denitive vocal rest of the piece.

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that enable the singer to keep going for so long, so slowly and with soiiicli~ttlec,ilnrate}
4. in the present connection,_l am not making any functi_onal norrnative distinction blweenv,6[8v 2/4 measures (of section 1). The discussionllats hand will involve heatsonly-at the
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326 N Paar v1 Schoenberg

rial after measure 14, projecting at such length the sighing Dehmmg discussed

CHAPTER 16 A Way into Schoenbergs Opus I5, Number VII or "327 I have already observed that the gure recalls the piano motive of measures 21/2-31/2. The closeness of the transposed pitch-t is involved in the association. So

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Returning to Example 16.1: the condensation of 1.6.lb into 16.1c is specically effected by the setting of keiues freundes: the eighth notes of l6.1b here become dis-augrnented, reverting to the sixteenths of the original model 16.1a, in forming the last beat of measure 14. If it were not for this specic transformation, Example I6. lc would be hardly distinguishable from 16.lb in overall metric effect. It is a telling psychological detail that the singers abrupt shift of metric level should be triggered by keines freun.des--the signicance of that text in Schoenbergs conception was discussed earlier. It is, I maintain, equally no coincidence that the original shift of metric levels in the vocal line, at measure I2, was triggered by the assonating freude. George points to the association himself by the parallel placernent ofjede freude in line 6 with keines freundes in line 7, although the words in the poem do not set off anything like the rhythrnic/metric complexities of the music here-abouts, complexities forcefully pointing the singers emotional discombobulation in relation to the friend, along the lines discussed earlier. Returning to Example 16.1 once more: the vocal line, having projected measures 1l--13 and 14-16 as three-measure groups, will naturally group the following tacet as yet another. This notion is parenthetically sketched at the end of Example lo.1c. There is nothing in the piano part to contradict such a metric reading of measures 17--19, and I hear that reading very strongly in the music as a whole.
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is the dynamic swell and fall, portraying sighing. But perhaps strongest is thc?s.ense
of the motive as characteristically going across the (audible) bar line dened by the voice in each case, what I have earlier called the skew t of the instruments.

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The gure also, however, strongly recalls the total content of measure in:-the
piano. Relevant are the untransposed pitch identity of the upper lines, the "articulation between the second and third chords of the group, and the tenutornark on the BB of the third chord, in each case. (Yes, the Bi in tn. 2, as in-the-.oriiginal>;Universal Edition, not the G as corrected in the Gesamt Ausgabe.) The association is

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further fortied by the transformational link of the voice part in measures I%2--13-.
In sum, the motive under consideration strongly recalls both the four eighthnotes spanning measure 2, metrically a strong pair of eighths followed bye-aweale pair, and also--sirnultaneously--the four eighths linking the last and rst7ifhalvesl (respectively) of measures 2 and 3, metrically a weak eighth-pair followed-.by a strong. The motive thereby becomes skew, in the sense I have used the_"term;here, against itsel The unique rests in the piano part of measures 13-+14 ttingly-frame and highlight this gesture which, to my ear, underlies the inordinate amountof tension projected here, tension sufficient to sustain the unwinding of the piano,

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The sighing chord of measure 17 (identiable as such from the bar lines of m. 3 and espe1cial_ly rn. 4, where it underlies and doubles seuf-) takes the stress of the
entire group. Both the Angst and Hoffcn chords, thereafter, are metrically weak afterbeats to ithe sigh on this rhythmic level. The effect ts neatly with the earlier discussion of the role the latter two chords play here, in contrast to their impetuous dramatic role at measure 1. I I Exargnple 16.1c thus presents three groups of three measures each, which begin with an ieighth rest, a quarter rest, and (as symbolically sketched) a half rest, respectively. This is the notion I was getting at, less formally, in note 3. It relies, of course, on the supposition that the singer participates, somehow, in measures 18-19 but not in measure I7. Having reached this stage in the rhythmic analysis of measures 12--19, we can begin toiattack some of the analytic problems raised by the piano part here-abouts, starting the four-chord motive across the bar line of measure 14. This gure, whose bieginning articulates the opening of section 3 a quarter note early, is rich in associative functions. Some are local, involving reference to the voice in measures and to the augmentation process more widely; I shall return to these later. the moment, I shall focus on the larger-scale associations, recalling material diifectly from section I: it is these associations that make us respond to the motive initiating a new section of the piece, rather than simply extending and echoingiilthe voice part of measures 12-13.
5. Qt course the unwinding of the rhythmic]metric complexities in the piano part after in the piano part after measure 14 also contributes to the kinesis of the music as a whole, but it does not particularly the singer in sustaining the vocal through-line.

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part so slowly, with so little material, over the rest of the song. I tI t Thatis, there would already be considerable obvious rhythmic and rnetric-iten;+ sion about the placement of the (motive in relation to the piano part immediately preceding, and to the voice part hereabouts (which, as I have noted, is sitsellfcou siderably convoluted). And, takingthe motive as t-framed by the rests outofs
rounding context, there would still be considerable tension generated).its.,intcr~

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nal rhythmic irregularity, compounded by the sudden tempo change.

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the level of tension to the nth degree beyond all this is the further -i'n?terna-lmetric self-skewness of the motive as referred back to the prototypes of section 1, giving it a metric character which is not just ambivalent but strictly self-contradictory: we are not at all unsure of the metric relation between the rst and secon_d<chord

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pairs of the gure; rather, we are sure that the relation is strong to weak,following the model of measure 2, and we are also sure that the relation is weak-to

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strong, following the model of measures 21/z--3 /2. The motive syncopates against itself, even while syncopating with everything else in hearing around measure (14.6
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6. To be sure, there are other associations with section 1 involving parts of the motive, but no others I can hear so obviously involving the motive as a whole, that is as a Leitmotln any case; no further associations I hear substantially -change the self-skew character of the gure as heard in the light of section I and, in fact, some further associations quite reinforce that character (an example appears later in this note). That section 3 should take consequent matter, from mm. 2 and 3, as a principal rnotivic point of departure bets its thematic function as an Abgesrmg. This contrasts to the second Smllen, which began at measure 7 with a strongly recognizable and extended variation on the.-an-. tecedent matterfrom measure I. " j J These broad outlines, rm as they are, are qualied by further associative nuances, not even-yet considering nonassociative factors in the music. For example, the freshness of the piano attacltori the rst three-note chord of the motive, after the preceding trailing-offin the piano-part, certainly taunts ' the effect of the attack on the rst chord of the piece. This strengthens the overall strotsgafoaivealcf ' metric sense of the motive. On the other hand, the return to an augmentedwtriad coutainingiiii" asa-

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328 -== PART vt Schoenberg

If we look for a textual clue to this musical state of affairs, we can nd it logically enough over the crucial pair of eighth-notes, in the last half of measure 2, that pivotally connect the two models for the motive. The key word is beklemmen. A person presenting Beklemmtmg as a medical symptom would not simply be generally feeling anxiously oppressed, but would be complaining of such sensations spe cically in the chest, affecting the heart and!or the breathing, that is, of arrhythmia. Such a. condition would naturally result in spasmodic and rhythmically erratic syncopation, and this is precisely what we have been examining in connection with the piano part in section 3.7 The idea of skew syncopation in the piece begins precisely under the text beklemmen, with the pair of eighth-notes that led us to the word. Those eighth-notes, in turn, initiate the sighing motive of measures 2/2-31/'2, whose role in the Dehmmg of section 3 has already been mentioned. The

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CHAPTER 16 A Way into Schoenbergs Opus 15, Number VII as (32.9, sorting out the complexities of the motive-as-incipit to be very immediately receptive to its function as commentator on measures 12-~13. But when the motive recurs over the following measures to accompany the entire last line of the text, we have more leisure to aurally ponder why just this material should be so persistent. And, aided by the text link of keines freundes back to jade freude, which has had:

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plenty of time to sink in by the end of measure 15, we can hearthe piano, by~mea~
sure 16, much more explicitly as a beklemmt commentator on measures I12--elt?1.t*Iilie galling ruminations of the piano over section 3 thus underlie and unify the chain of associations, from jedefreude, through keinesfreundes, to the friend, and back? to

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Angst and Hoffen, discussed earlier as closing a psychological circle in the piece.
And, beyond simply linking these ideas, the associative technique of the music projects the gradual way in which the existence and the binding power of the chain dawn and grow. i "e T' Hearing the piano motive as an amplied reverberation of the voice in Inca.-

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sighing of section 3 (in the piano at least) is then beklemmt. The extra dimension rnakes these Seufaer better translated as groans. The notion of Beklemmtmg

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also gives the pianist a certain hint as to how to perform the inverted carers midway through measures 2 and 3. This is useful background for an eventual performance confrontation with the bar line of measure 7, where the caret reappears, now at the end of a measure, indeed a whole section--a feature that is surprising in the present context, and will bear further study later on. At present, though, we should return to discuss the motive further, as it asso-

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sures 12-13 adds even further complexity to its already complex interngtdmetric sense. We have noted that the relation of the rst chord~pair to the second within
the motive is heard both as strong-to-weak (specically l-2), following the

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model ofjmeasure 2, and also as weak-to-strong (specically -2 1),iefollowinig measures 2*/2-31/2. The association with measures 12-13, thelatter two measuresoicf
a three-measure group in the voice, suggests yet another metric contexti the motive might be heard: as --2--3 of a large triple gesture. T T 7

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a local, as well as a large-scale context. The point of departure for such ex-

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ploration is evidently the relation of the motive to the vocal line of measures

12-13,. I noted earlier how that line initiated the process of rhythmic augmentation
persisting through the rest of the piece. I also noted how the effect was largely cov-

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ered at that point by the techniques making measure 12 sound as an extension of

measure ll. It is only with the entrance of the pianos motive that the impact of

It is not easy, though, to hear where the preceding I of such ta-gesture,-tat appropriate rhythmic level, could be heard in the music, even isolating part. One could, to be sure, force such a reading by leani.nglespecially
pi.anos Gihalfway through measure 12, hearing not just a functional ten but a strong measure beginning there. But the prole ofithe rnelodic contour and dynamicsmakes this seem far too articial "tornyear. Note that the same problem arises if one tries to lead into the motive as -2 ~|1..*"5 The problem can be avoided by imagining that one accompanying instru-

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what. happened in measures 12-13 begins--and only begins--to dawn on the listener. The rhythrnic augmentation, while beklemmt, is now clear. For the moment, though, the listener largely responds to it as an apparently new feature of section 3, belonging to the piano with its motive as incipit for the section. Yet to the extent that the motive also reverberates and amplies the vocal line of measures 12-~13, one begins (and just begins) to become aware that the augmentation in the piano is instead a comment on a rhythmic!metric process initiated and controlled by the voice, as discussed earlier in connection with Example 16.1. In that discussion, it became clear how important it was that the rhythmic structure of the vocal line over measures 12-19 dawn on the listener only gradually; the piano motive begins the process of enlightenment. The powerful large-level associations of the motive discussed earlier prevent the secret from coming out too soon: we are too busy
sociates the third chord of the motive equally strongly with the rst chord of the piece, strengthening the overall weak-to-strong sense of the motive. All of this works to the greater glory of the metric paradox by now sufficiently discussed. It is perfectly logical that there should be fragmentary an-

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rnent trails off ametrically into the rest in measure 13, and a new i.nstru1nent*-en.
ters after the rest to play the motive: the new instrument can pan in *out-of%the

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blue in its own metric context, specically as if beginning the second measureof
either a two- or a three-measure group. The latter -2-3 idea, unfo-rtunately,*still will not work out: even milking the syncopation for all it is worth, one couldnot avoid hearing the rst chord of the subsequently repeated motive as the (duly syncopated) I to which such an extended anacrusis would lead; this wouldrresult-in a much sharper immediate metric transformation of the motive than the.musicodramatic context can support. That is, the gradual sense of the unwinding would be violated as the motive, including no downbeat at this metric levelon iits=rstappearance (as -2-3), would immediately thereafter begin with a downbeat"l on

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its second appearance. (The eighth-rests, while suggestive, are justnot.long~_enough

to function as beats, down or no, on this metric level, where the beat corresponds to an entire measure at the Langsamer tempo.) T t T

tecerient" associations here hack to tn. 1, as well as larger~level and over-riding consequent ones: the motiive provides a forceful beginning for its own new section which, on a larger and overriding level, is an;jAl1gesar1g'for the song as a whole. 7. Cf. l;ieediovens treatment of the subject: the beklemmt violin during the middle section of the Cavatina from the Bl Quartet, Op. I30.
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So the possibility of hearing the motive as M2-3, reverberating, measures

12-13, is ultimately untenable to my ear. It is still useful I think, for two reasons.

First, it can help the pianist play the motive without unduly over-projecting) itas
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330 W PART VI Schoenberg

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either strong-to-weak or weaketo-strong, maintaining the important tension of the Beklemmtmg. Second, it helps the pianist, frustrated nally in any attempt to project -2-3 here, to feel a corresponding release at the end of the piece, where an analogous potential strong/weak or weak/strong ambivalence about measures 18-19 is very successfully resolved by hearing the Angst and Hoffen chords as --2-Z> of a three-measure group. Example 16.1c, in fact, indicated how that threemeasure group is naturally commensurate with the vocal three-measure group of measures ll-13. It makes a certain sense, then, to attempt to refer the motive, as both a reverberation of measures 12-~l 3 and a pianistic point of departure leading to the pianos solo cadence of measures 18-19, to the --2-3 metric prototype underlying the vocal span of music so linked. There is a sense, that is, in which the motive ought to" scan as --2--3 on this level; the fact that it cannot should be savored in that connection. This is, of course, another and further complicating aspect of the Beklernrmmg hereabouts. Example 16.2 shows how the pianist, without having to come in out of the blue, can still rebar his part so as to attack measure 13/z as if beginning a measure. The trick is to consider the rst half of measure 11 as if it were a third beat of measure 10-, following the suggestion of measure 9. The larger meter can then be worked out so as to project the two measures of the motive on its rst entrance as either strong-to-weak (Ex. l6.2a) or weak-to-strong (Ex. l6.2b). I would caution a pianist against over-projecting the rebarring, though, in either version. First, Schoenhergs phrasing, as well as the inertia of the hitherto heavily duple measures, works considerably against hearing measures 10-~l15z uneqpuivocally as a triple measure. (Nor is any other rebarring of the passage any more plausible.) Beyond that, neither Example 16.2a nor Example 16.2b allows one to hear the two measures of the motive on rst appearance as --2 l 1 or --2-3. This was discussed earlier. Example 16.2b does allow the motive to enter weak-to-strong, but only as *3 I 1, which does not adequately represent the metric sense of the augmented reference to measures 21/2---3/2. In any case, one should presumably not try to project any one chosen solution to these ambiguities at measure 131/2; one should on the contrary try to keep them allin the air, at least up to measure 17.. Note that this involves maintaining (to the extent possible) the ability to hear the rst half of the motive as if it were the second measure ofpa two- or three-measure group. And that, in turn, involves being able to dispense entirely with the rebarring of Example 16.2, simply letting the music trail off from -measure 11 to measure 131/2 in the piano, in metrically unorganized quarters; then coming in on a cold second measure of a rneasurogroup at measure 13l2. It would be helpful to have a dynamic after the diminuendo of measure 12, to compare to the piano attack of measure 131/2. But perhaps Schoenberg was wiser to give the pianist some leeway here for personal maneuvering, to achieve a suitable balance among all the ambiguous metric sensations at hand. The outcome of all the rhythmic, metric, and associative nesses we have been discussing is to strengthen all the more the downbeat effect of the pulse at the bar line ofilmeasure 17. There we recognize a completely unambiguous association to

2.

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the bar line events of measure 3 and especially measure 4, with the Seufz-er chord extending the singers words. This association makes it clear that measure 17 is unY

r-1; 4Y=

332 so PART Vi Schoenberg questionably stressed metrically at its appropriate motivic rhythmic level. And that

CHAPTER 16 A Way into Schoenbergs Opus 15, Number VII <'-as 333 1,,,
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rhythmic level is now clear, there being no further syncopations from here on to
confuse our perception of the straightforward augmentation. Interacting strongly with these factors is the pitch organization of the music over the nal section of the piece. The Seufzer chord at the bar line of measure 17 is 211 goal of the wedging process that has been converging audibly from measure 13/2 on. Example 16.3
amplitied revere second echo

The poetic effect of the disruption, with its reference to Hojferz, is strong enough,

"fi'

-ll

but the tonal function of the particular disruption in evidence is not yet clear
any positive sense. A 3 As a result of these errors, the wedge fails to continue converging to the indicated goal of (unison) E4. So we go back to the rst chord of the motiveiangd try again. Now, as Example 16.3 indicates, the voice leaves the descant line and moves into the upper line of the wedge itself, exactly at keines freundes. The~voice con? tinues to take control over the upper line of thewedge, so that by the time we pass

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the penultimate chord of the motive at measure 151/2 the situation is much changed. Specically, in contrast to the earlier errors we have here the following
corrections: A

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51 li iii;
i

an

1. The voice now arpeggiates, all on its own, the chord A-F--El, which should

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have been there all along as the nal chord of the motive. It does so with a
cadential sigrnoff at begehre. The word-~pla.y, about the begehrte sonority, is a nice touch. ii 2. The weight of this vocal cadence goes especially on F4, and very much in re~ lationto the following El-4, the two providing the .niis$i11g.memberep;airac.0fthe wedge. The relation is particularly highlighted because the

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Example 16.3 attempts to expose and clarify this process, starting from perti-

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nent elements of the voice part in measure 12. The motive involves two wedges, one
between the outer and one between the lower two voices in the piano part. Example

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16.3 claries what I hear to be the case: the former wedge is greatly subordinate to the latter, which is identied on the diagram as the wedge. The primary function
of the top voice in the motive is rather displayed as continuing to reverberate the voice part of measures 12-13, the material arising from measure 2 and setting off the augmentation process at freude. The material, in this view, forms a descant for the upper voice of the real wedge, which starts from the C4 and Al4 in the rst chord of the motive. Following Example 16.3 along, we note that the rst attempt of the wedge to converge is frustrated by the last chord of the motive in measure 14. (As with other disruptive sonorities in the song, the chord has Hoen rather than Angst structure.) Several things are wrong about this chord. For convenient later reference, we can tabulate the following errors: i p 1. The chord does not follow the mechanical pattern of sernitone-convergence
3.4 y
21* I"-I

in <11 ~".

been generally drifting down in sernitones, in its overallfihructucre, C5 of measure 12. One expects the F to continue this drift,at le.asttouchiog.l on E before El enters the vocal scene. One expects this all the more since the fth and sixth lines of the text have previously cadenced with descending semitones. Indeed, every preceding line of text hascadencedp
form of the pitch-class interval .1 or ll.aThe P-~E-l cadential.gestn.re,p;is;ethus

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much highlighted. And, in particular, it is tied in a very contplescofasjliionfito

the E for which the El substitutes at the cadence. That is, of course, theE

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to which the wedge as a whole is to converge, to which the I?-and=-Ellpair of

the wedge, in particular, are about to resolve---the E4 at the bar flineof measure l7. 3. The mist nal chord of the motive, with its BB3, does recur in the piano,

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but its disruptive effect on the wedge is much attenuated. The chord, is now
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established by the first three chords of the motive. If it did, it should read A4-F4~l?.l>4.
2.. Specically missing from the above norm is F4. Although El is present (as A is the descant A) the wedge cannot continue as long as the F, wedge-partner for the El, is missing. 3.. Instead of the F, the chord contains BB3. This tone apparently participates V. in none of the essential tonal activity for the phrase that the example y sketches.

. 1', pg ' '91-

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heard as a pick-up from the immediately preceding vocal cadence on begehre, leading into the chord at the bar line of measure 17. The mist chord, besides being heard after the correct harmony of bgehre, no longer has an accent mark, nor is it followed by a rest; itis preceded" by an inverted caret (the Beklemmtmg symbol) and pushes strongly forwardilaway from the preceding three chords of the motive and toward the following Seufzer chord. T T T As a result of these developments, the wedge now can and does converge. This

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conrms and contributes to the downbeat at the beginning of measure liiiiwhich

has been discussed in other connections. The tonal effect is much enhanced

recurrence of the C and the Al in the Seufzer chord there, symrnetrically disposed

*
._. _. ..._.........._._._,__,__._._.,._..._.,....._....._......._.,_.,,,,,,,,,__________,,i,_,_,,___,_,,,,,,,,,______________,,,_________________*__________,_______,,_,,___,_______,_____,___,___,________>_____>_______>___ ___ ______ ,_>_______,_____,____,__,,_,__ __ __ ___ ____ >______ ___________ _______ ____ >>__ '>>>_>>_>>_>>_>pp um mi

334 we PART Vt Schoenberg about the wedgegoal E and referring back to the Cs and Abs from which the wedge has twice begun to converge. This, as indicated by the dotted slurs in Example 16.3, ties together all of the wedging action from measure 13% to measure 17. The Seufzer chord at measure 17 thus retroactively organizes the most directive overall tonal feature of the sighing nal section of the song. It remains, in connection with Example 16.3, to ponder the tonal function of Bl 3 in the mist chord of the motive. The note does not t into the wedge. Or does it? if one ignores register, the Bl as a pitch-class is its own partner in the pitchclass inversion~about- E: in fact, that operation cannot be distinguished functionally from pitch-class inversion about Bl--both rules reect C into Al, Cll into G, etc. In this sense, the Bl is as much of a tonic representative for the pitch~class inversion as is the E; it can stand by itself to that extent. It would not be comfortable to let it so stand here, though. We are very aware of the pitches in register as we hear the wedge, not only the pitcheclasses involved. Frorn that point of view, the problematic Bil: of Example 16.3 ought to be answered by Bl-4. And this in fact actually occurs: the answering Bi is just that one which appears in the middle of the Angst chord of measure 18, and recurs in the following Hoffen chord. Those chords are indeed almost completely symmetrical about that Bl, continuing to project the same pitch-dass inversion as did the wedge, now represented with pitch center BL4 rather than E4. Only the Hoffsn chord is slightly asymmetrical, continuing to display the disruptive behavior which chords

CHAPTER 16 A Way into Schoenbergs Opus 15, Number VII so 335

I-.11,

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resenting the Al an octave higher, particularly as the latter appears in anaug; merited triad. More striking is the wrongness of the final Hoffen chord (which-

is, of course, the original structure from the latter half of rn. 1): the wrong.-1f10te,c
here is Fl, as a substitute for Flt. Example 16.4 makes this reading of the chordiquite plain. W ' The Ft that ought to be in the nal chord as wedge-partner for the sEl>-that is there, projects once more the pair F-El with which the converging

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had such difficulty, which the voice nally succeeded in supplying at its 'final>ca%.
dance. When we recall, from (2) of the earlier corrections list (p. 333),.

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expected Eh rather than Eb as the last note for the voice, the whole tightly tied up: the pitch~class pair F~and-El= is thematicallyabound
discombobulating substitutions. The E,or Fl, between thern can, in

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texts, be heard as one of the centers for the tonic inversion of the piece, iai'.;cnte{1*. to which the F and the El, as wedge-partners, can resolve (this as, _e,.g., But in other contexts, the Fl can be heard as a wrong note, substitutingifor Fiinpf~'tlie inversionally balanced pair F-~El (this, e.g., as in the preceding discussio.niof1thei*Fl; of Ex. l6.4d, in the context of the rest of Ex. 1.6.4). That actual Pl in1measurc1il1c9..i$,,e
to be sure, heard this way. But it is also heard the other way ing and reverberating the tonic E from measure l7. That is,b-assiof chord of the piece is at one and the sarne time a wrong blue-note a

of this forrn have exhibited over the piece. Example 16.4

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The potentiality for this parnbgivalence was naturally; that measure as a whole stakesooutgginversionabout-(Bl as disruptive substitute for F. The spelling supports that Eh, although Schoenberg does have some general
sevenths rather than ditninishedi octaves). Note, to*o,*the

lee

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notation about the Bl on the center lineiof the treble symmetry is reected by enough pitch symmetry so that one
' '1j:ji_j-i ei.
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Example 16.4 works out these matters more systematically, analyzing the tonal content of measures 17~l9 as a somewhat transformed and diffracted reverberation of the wedge. Example l6.4a shows the wedge making another pass at converging, up to the F-~El that was earlier so touchy. In l6.4b, this model is transformed by inverting the last intervals of the wedge, so that they center about B54 rather than Ea. The =pitch-class structure of the wedge is not affected thereby: the same pitchclass inversion is still being projected. This notion is further reinforced in Example 16.44:: the addition of the local pitch center Bis themselves. Considering the power the preceding pitch-center E4 at measure 17, this gesture (so to speak) COfI1p0St;;f3Se0t1I the equation: pitch~class inversion about E equals pitch-class inver~

equivalent. What is not yet suggested strongly, in measure fl, is

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the ultimate ambiguity at measure 19: that the Fl, perhaps respellede1aslTElt, also have a tonic, rather than blue-note function, as another centerof?b.alaehcifopr
tonic pitch-class inversion. It is the establishment of just thatother.branchiiibffithe

ambiguity with which the nal section of the piece is so concerned in its-;pitch# structure, so that the nal Fl in measure 19 can be heard in relation to Eofttlie
5?? *- .
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Seuzer chord in measure 17. The close of the song thus leads the singer to aisortof meta-stable equilibrium in her juggling of the relations of Hojjfen (rn. 1,9) to Angst
-

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.

(m. 18), via the Seufzer (m. 17) the situation generates; all -this is worlcedloutffroni
the suggestions of the initial impetus itselff i T ' i

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Exarfnple 16.4d has the tonal content of the three measures themselves. The two Hoffen chords disrupt the stability of the inversion. The Al 3 of the rst is the trans~ posed arialog of the rnist BB3 in Example 16.3; we may take it as analogously rep8. I am deliberately avoiding casting the present remarks into more Schenkerian terminology. Those who niay wish to invoke such terminology are of course free to do so. I can see the point. But, per sonally, think that Schcnkerian assertions would be theoretically. contentious here and would not yield much analytic mileage in describing the music beyond what has already been said without them.

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9. I find it irresistible, at this point, to quote Schoenberg himself on his text settings (The Relationship to the Text, 1912): inspired by the sound of the rst words of the text, I had composed. many;Vof~my songs straight through to the end without troubling myself in the slightest about the,contitu1ation-of the poetic events. . . . It then turned out . . . that 1 had never done greater justicejto) poet when, guided by my rst direct contact with the sound of the beginning, It divined'::eveiytl1~irtg;&.tliat obviously had to follow this rst sound with inevitability. The article is reprintedin Idea, ed. Leonard Stein (New York: St. Martins Press, 1975), 141~l45. D" i E Q11 pf The reader has possibly been wondering at what pointl will direct notice to rny on In.versional Balance as an ,C)rganiai.ng Force in Schoenbergis Music and New Music 6/2 (Spring/Surnames l968):i 1--21. Now. The interested reader should-i also,cfbei.ere;fei?iied.tori

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336 at PART VI Schoenberg The pitch. structure exposed in measure l continues to develop logically

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CHAPTER 16 A Way into Schoenbergs Opus 15, Number VII N 337. itself in the upper register. The piano breaks off here with a beklemmt caret, but

in "I Vi
\-J M.

through the remainder of the opening subphrase. The two minor thirds in the rst
half of measure 2 balance each other by inversion about Bl, a feature that is projected aurally by the way in which the voice contours the broken thirds and visually by the spelling of the second third. The piano ends its subphrase here, stopping short of the voice with the inverted caret that signals the Beklemmung to come, as

the I)-El>-~F is passed on to the voice, to begin the new large section of the song at
E.-We.

mmmmlw if n With this event, the linear incipit gure of minor second-rnajor second nds

: ..;.
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that word of text appears. Piano and voice remain askew for the rest of the rst section. The voice continues its subphrase through to the end of the measure. Worried, as it were, by its earlier mistake of El--Fl for El--F, it gives that touchy pitchclass pair another try in inversion, so producing Fl--Eb for F-El. The tenuto

its downbeat, as we as its correct pitch-class level. That gure has been ubiquir tons as an intervallic incipit since measure 2. Every subphrase, in fact, has led offwith
it: vocal Cli-D-~E in measure 3, vocal A-BlC in measure 5, and piano Bl]-T-Cl-~Clgl

1. w
M

in measures 4/2, 5/2, and 6/2. The clicking into place of the gure rnetrically,'as
well as transpositionally, at the bar line of measure 7 is a strong indication that the
i
.-

indication over the pianos Bl here (not under the G!) belongs to the associative
complex: This picks up the Bl center of inversion from measure 1, specically from the middle of Hoen, recurring now in the middle of beklemmen. The musical treatment makes it clear poetically that it is Hoffen, which is responsible for the Beklemrmmg, not Angst. The failure of the blue-note Pi to correct itself here indicates that its inversional imbalance will be a strong generative feature in the music (leading ultimately to the solution of m. 19 in connection with rn. 17, but also leading elsewhere rst, as we shall see presently). Indeed, this failure makes the Fl-for~F-natural issue of the highest moment: not only does the mistake repeat itself, it intensies itself by the

..

voice, in the new section of the song, is ready to take over initiative from the piano
in working on the problem at hand. The downbeat vocal D4 of measure 7{sgpeci;?

so ~

cally refers us to the downbeat vocal D5 of measure 1, the only other vsqsiigaswsv beat in the song that begins a line of text: we are dealing with that D, and
segg gi s:~>:s$; :e = <'g" :;g.
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lem arisin 8 from the erroneous structural line that be 8 an there, as the voice , ,, _. 3ctsev . underway here. it fl ~ Let us restate yet once more the problem that the piano solved in the*rst.sec~
1 7

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tion of the song, which the voice is to deal with presently: given astrong D-and El; to follow this by F-not~Fb~. The strength of D-and-El as a point of departure for
the voice hereabouts is plain enough: the new lines oftext at measure 7 aindat

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1- . _ ~:5i."-:~.. l
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big rhythmic!metric accent that establishes the Fl powerfully in the upper register
of the voice. This gives rise to an erroneous structural line carrying the voice over

sure 9 both depart therefrom. Beyond that, the voice cadeuced on a strongipili)~-E,;i
the end of measure 6, going on without pause into the openieng D~4~'El$

its rst subphrase: from the D of Angst, through the El of Hojfen, to the Fl-ratl1e1=
than~li of beklemmerz. A good deal of the large tonal action of the piece can be fruitfully regarded as working around the problem posed by this erroneous ges ture. The problem can be stated as follows: given a strong Dto-El as a point of departure, to follow this by F-not-Fl. One notes such work going on rst in the piano under the third line of text. l-iavtnpg abandoned its high register after the D5-El5 of measure 1, the piano returns to that register next only at measure 5, where its E5 picks up the wrong note in this connection. An effort to hear across, from the BB5 of measure 1 to the E5 of measure 5 in the piano, is aided by the possibility of hearing measures 41/2W5 as a varieid retrograde of measures ll2--2l/2 (across the caret). Having thus picked up the Wrong note at measure 5, the piano now very clearly projects the idea of fl-nogt-Fl via the transformation of measures 5/z-61/2, in relation to measures 4/z--5 The E5 (or Fl) of measure 5 is thereby corrected to F5 on the second eighth of measure 6. The correction is celebrated in the last half of measure 65 after the by; now familiar lead-off of the rst three thirds, one hears the crucial D-El-~P
my remarks on song Number XI of this cycle in Toward the Analysis of a Schoenberg Song, Chap-

7. (The piano also keeps the two pitch~classes in the air through
inner voice of its chords.) if T 3 i ii T if i it iH

_: .. "F V -" 1 e u t,.

.;.; .,_. .. . .-

'.s'> .3. #1 .._

~l .

'

Goingon in thetvoice part, one is strongly aware of F~not~Fli at .ithe.cade11Q in measure "8. The cadential E~up-to~F is striking, for one thing,
only line-ending in the text at which the voice cadences in fact, more than a local event; it very strongly summarizes an overallii1:tonali,in,otio.ia for its entire two-measure vocal subphrase. The vocal line of measures 75-T-8 iarticulates naturally into two segments: Dali ich rnich an rast and undschlaf 'kehref

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cadential gesture of E-to-that-F that I have just discussed. The cadence gure thus
10. Note again in this connection that there is no vocal rest at the beginning of measure 7, a feature that helps the singer pick up where the piano left off. The absence of a rest also tone-paints tlieflocal text particularly if the singer can actually get from measure 5 through measure 8 withouti*[taking% a breath. In that case, the exhaustion to which the text refers will be quite audible in the ~vo;al~,quality. What is the dynamic in the piano at the end of measure 6? Does the riterd go into the*nesvrterupo or under it? How is the ritard to be paced? It would be nice to have denite answers to theseques tions, but there do not appear to be any. ' . ' i Y i 11. Over the pianos G--Bl in measure 2 we heard the wrong F l of beklemmen. Under the when it returns in m. 3, we hear E4 in the voice. This makes it plausible to regard that E, like-t,he:Flz4 at the end of measure I, as a wrong E: one that should be an F. One can then.furthe1rrefgardthe Cll~-D-E in the voice at measure 3, the rst occurrence of the irzcipivt gure, asbeing alrt8dYi~hatged with an urge to correct itself by moving up a semitone, following the correcisiorffof its That urge would then specically discharge at the D--El-F with which the voice begins measur_e_ 7.

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ter of the present volume; Ian Maegaard, Studien zur Entwicklung des dodekaphonen Satzes bei Arnold Schoenberg (Copenhagen: Hansen, 1972); and Edward T. Cone, Sound and Syntax, Perspectives pfNew Music 13/1 (Fall/Winter): 2l-40. This essay was written in 1975. During the intervening time an interesting article on Opus 15, by Richard Domek, appeared in College Music Symposium 19/2 (Fall 1979): 111428. In the nal section of his article, Dornek engages some of the same material from No. VII that I discuss in the present c.hapt__er, and he relates this material to a larger overview of the cycle as a whole.

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338 W EIART VI Schoenberg summarises the relation of the two segments whose progression, one to the next, cotnposesout the idea of F-not-Fl, following D-El> as point of departure.2 Having accomplished its work in the lower octave over measures 7--8, the voice is now ready for the scene 1 fairs in the upper octave, over measures 9-10. This is a

CHAPTER 16 A Way into Schoenbergs Opus 15, Number VII as 339 The piano then does not really support the voices large~scale push up from E

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to F here, beyond the local support it supplies during the melisma itself. The piano is already playing with resolving F to E as well, trying both ideas out alternately.
Nevertheless, the accompaniment does in fact project a large structural pushiupa

touchier matter, recalling much more directly the Hojfen and Beklemmung issues
of measures 1-~2. But, with the aid of the melisma (unique in the song) to get up the octave from the already established F4 to the high~F-instead-of-highE, the

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voice manages the task, albeit in highly beklemmt rhythmic fashion. The notion of
Beklemmung is particularly apt because the line of text is, uniquely, missing one foot. This, to me, is clearly the climax of the piece. Although the voice has been on

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higher pitches (about which more later), it did not have to work so hard to get to
them, nor was its work so dramatically thematic. And, this climax past, the voice immediately begins to head for the nal cadence, aiming for the augmentation ma~ terial of measures 12-13 that will work itself out to that cadence. Having accomplished the job of correcting Fl to F, in both octaves, the voice is willing and eager to supply the correct P-El for the wedge at measure 16, as discussed earlier. It will be left to the piano at that point to say for the singer what the singer cannot consciously say to herself: this corrected F-and-El pair itself can be heard resolving, through begehre and beyond, all to the greater ultimate glory of E as tonic cen-

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the Hojfeo in measure 19 will turn out to be in some part right after all, as prolonging the tonic E.

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y The earlier vocal climax at measure 4, while not so hard-earned as theF5, of measure 10, presented the highest pitch of the voice in the song. It was powerfully accented not only by the rocketing anacrusis, but even more by the .oc.tave

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The piano is in fact already beginning to warm to that new job over measure 9 and follwing. Having already nished its F-not-Fi work some time ago, it isby
no means so taken with that idea now as the voice is. Rather, it is already toying with the notion of letting its P resolve back down to E, foreshadowing measure 17. Example 16.5

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between voice and piano. The poetic function of the accent was to attach bolic Seufzer label rmly to the chord in the piano at that moment, but is far greater than neces.sa~ryi for that purpose alone. So strong is it to my ear
little trouble hearing the pitch material picked up by the piano in

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as indicated in Example 16.6. This recall of G5. and Al 5 from measure dis cetttai-nly
one of the salient aspects of the particular chords used here as variants..of.rneas.ure Through that intermediation, one hears the pitch complex in question moving up a semitone to the pianos climax at measure 10"/2 (anticipated a measure be?-

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fore). Like the earlier vocal climax, that of the piano presents the highest pitch for the instrument in the piece. The climax is also analogously accentediby a sharply rising anacrusis. Finally, the striking octave coupling between voice .and~piano.re;
curs, even more striking now that the voice is an octave below. These large.-scale

By means of the arpeggiated Hoen forms displayed in Example 16.5, the piano
plays rst with moving F5 down to E5. Then, supporting the vocal thrust up, the E5 with its Hojfen form moves back up to P5 with its form, and apparently stays there for good as the piano moves on to its own climax elsewhere. But, after vocal and piano climaxes are past, the arpeggio moves F5 back down (yet again) to E5 with its Hojfen form. and leaves off there. . .
I2. A suhtle touch here: the gesture has denied E (or Fl) as a local center-otlinversion, for the rst segmenu} replacing it by F as a local center-of-inversion. But E, while wrong as a blue substitute for F, is absolutely right when functioning as a centerof-inversion, as ultimately at measure 17. So the ambivalence is displayed here. The piano is certa.inly unhappy about something on the last half of measpre 8. ls it about the voices having denied E as centeoof-inversion? The strange behavior of the actcompaniment at any rate calls added attention to the cadence of the subphrase. 13. The rpader who is familiar with my essay on Number XI of the cycle (the previous chapter of this volunae) will recognize familiar material in the top line of the piano from measure 105: to 11372. Compare the discussion of the approach to measure 20 in the chapter on Number XI. The appear-

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associations, then, project the sense of a powerful push up a semitone at measure 10/2 in the piano. Even though the voices E-to~P is not specically involved in
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8IllC of such magic chord material here indicates a denitive articulation of the action. There is to be no more work on the F~not~Fl idea; now we are heading elsewhere (toward tn. 17). Compare also the right hand in measure 13 of Number XI. I14. Interesting here is the unique resolution in this song of a Heen form to a fourth-chord. Indeed, the fourth-chord Bl-Ei--Al: is the correct one to go with the augmented triad from the beginning of measure 7, by analogy to the correctness of the nal two chords in Example l6.4c. One can hear, latent in the texture of the piano part in measures 9-11/1, a good deal of flirting with various pose sible resolutions of Hoen forms to fourtlvchords. The signicance of all this cannot, in my view, be satisfactorily discussed in the context of the present song alone. Reference to events in other songs from the cycle would be necessary.

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340 as PART V1 Schoenberg Continuing with Example 16.6 from measure 10%: the model of measure 4 is still followed in transposition. The minor ninth leap down is now composed

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CHAPTER 16 A Way into Schoenbergs Opus 15, Number V11. N 341 I will stop here, having outlined a way into the song, as the title of this chapter promised. A myriad of analytic and performance problems are left untouched.

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out elaborately, via the attacks on the successive quarter-note beats of measures
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1 hope only to have conveyed enough sense of what I perceive as the througliflines
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measure 41/2, lends support to the notion entertained earlier that the pianist can
project at least measures Ill/2--13/2 as if an arnetric cadenza, in the interests of trying to project the beat on measure 131/2 as if for a second measure of a measure-gron.p. We can now easily hear the Al and the G on the quarter-beats of measure 12 hooking up with the subsequent entrance of the wedge from Example 16.3. In this connection, one recognizes the mist chord of the motive as the clirnax chord from measure 10.1/2, down an octave. The extraneous Bl>3s of measures 9 and 10, alternating with the Bl>4s on the bottom of the climax chords halfway through those measures, are the same Bl3s as the mist Bis from Example 16.3.

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sure 4, the point of departure for Example 16.6. Thinking over the large~scale relation of measure 4 to measure 1072 to measure 17 as involving the notion of up a sernitone, then back down again, the specic
pitches one hears in connection with the large-scale structural sigh are surely Gt (orAi, of Seufzer at tn. 4), to the high A of the piano climax in measure 10/2, and then back down to the A1 of measure 17, via the mist-to-Seufzer upper voice. This Al~and-A relation, in the pitch organization of the piece, seems to go along with the idea of given D~and-El> . Example 16.7 indicates what I mean, at least through measure 10. One notes particularly that measures 4izff., in addition to their retrograde character discussed earlier, can also be heard as a varied inversion of measures 22ff. The inversion is about A-and-Al. And that is the same pitch-class inversion as inversion-about-D-and-El. The inversion is apparently being used as a technical means to contpose-out the function of its central dyad-pair(s), just as the little vocal segments in measures 7--8 composedout their respective centers Fl and F.
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