The Early Instrumental Style of Kurt Weill

THE EARLY STYLE OF KURT WEILL
Presented by
Michael David Luxner

To fulfill the thesis requirement for the degree of
Master of Arts
Department of Theory
Thesis Director: Dr. David Russell Williams
Eastman School of Music
of the
University of Rochester
June 4, 1972
- ------------------

The author gratefully acknowledges permission to
include in this thesis short examples from Kurt Weill's
Symphony in One Movement, granted by Belwin-Mills Publishing
Corporation, sole selling agent in the United States for the
copyright owner, B. Schott's Sohne. Acknowledgment is also
made to Theodore Presser Company, sole representative of
Universal Edition in the United setates, Canada, and
for permission to use examples from the following works by
Kurt Weill: Concerto for Violin and Wind Orchestra, String
Quartet No. 1 op. 8, and Quodlibet for Orchestra op. 9.
At this point, the author would like to express his
deep gratitude to Dr. David Russell Williams for his time
and effort spent in guiding this project to its completion.
Special thanks are also due to Beverly Wilcox for her help
in translating various materials from the French and German.
ii
'/ .
. I
ABSTRACT
Kurt Weill is known primarily as the composer of The
Threepenny Opera and other German stage works written in
collaboration with Bertold Brecht. There exists, however,
a remarkable body of work from Weill's early years (1920-27)
that is virtually unknown today. The works of this period
are distinctly different from the later works in many im-
portant respects, not the least of which is that they include
purely instrumental compositions (after 1924, Weill was to
compose without the use of the voice only once, in the com-
missioned Symphony of 1933).
It is with the instrumental compositions that this
study is concerned (the early vocal works serve as a sty-
listic transition to the later Brecht operas, and are not
representative of the early style). Written during the
years 1920-24, they are the work of a young composer at-
tempting to discover the musical language through which his
creative impulses could best be expressed. The result, in
some cases, is bold experimentation in the areas of harmony,
melodic structure, and form, partially in an attempt to trans-
late the expressionism of German drama into a musical idiom;
other attempts resulted in a more traditional approach. Over-
all, the early instrumental works represent a fascinating but
neglected body of music.
iii
Of the eight instrumental works written between 1920-24,
two have been lost. One of the others (the 1920 cello sonata)
has never been published.and is unavailable; a fourth (the
1921 ballet Zaubernacht) exists only as an unpublished set of
orchestra parts, the score having been lost. The remaining
four works have been published in score and are still in
print, and form the basis of this study. They are:
Symphony in One Movement, 1921
String Quartet No. 1, op. S, 19231
Quodlibet for Orchestra, op. 9, c. 19232
Concerto for Violin and Wind Orchestra, 1924
The purpose of this study is not to provide a note-by-
note analysis of the four works, but to attempt to define the
musical style they represent. This is accomplished through
discussion of the following musical parameters in individual
chapters: harmony, melody, texture, form and motivic
rhythm and meter, and orchestration. No single
analytical technique is used; the compositional techniques
used by Weill are, for the most part, verbally described and
illustrated with examples drawn from the music.3
!Although the op. g Quartet was designated "No. 1," no
other work in that medium has ever been published.
2The Quodlibet is a suite drawn from the lost ballet
"Zaubernacht."
3Generally, musical examples are included individually
where referred to in the text. Where there are a large
number of short examples related to a particular aspect of
style, they are collected on a page of examples placed
immediately after the page of the text on which mention is
made of the first example.
iv
It has been found that the four works differ from one
another in many respects. This situation, attributable to
the fact that the young composer was exploring many avenues
in search of his own particular musical language, makes it
difficult to determine an overall early style. Nevertheless,
important compositional techniques and principles are common
to all of the early works, and the differences between them
result largely from shifts of emphasis of the various tech-
niques from one work to another. Thus, although the
predominantly atonal harmonic idiom is altered by tonal
influences to a different degree in each of the four works,
the techniques through which atonality and tonality are
achieved are basically the same throughout the early music.
Similarly, differences between the textural constructions of
the four works can be seen as a shifting of emphasis. The
Violin Concerto is dominated by complex non-imitative counter-
point to an extent not approached by the other works, but the
counterpoint itself is similarly constructed in all of them.
Many different types of formal structures are created, but all
make use of certain methods of return and restatement and are
unified by a few governing principles of motivic transformation.
In order to clarify the differences between the four
works, the general characteristics of each are discussed in
Chapter II. The main body of the thesis explores in greater
depth the techniques used throughout the early instrumental
music and indicates to which of the works each technique is
most relevant.
v
TABLE OF CONTENTS
ACKNO\\'LEDGMENTS

PART I. BACKGROUND
CHAPTER I. BIOGRAPHICAL SKETCH

CHAPTER II. THE EARLY MUSIC
PART II. ASPECTS OF STYLE

CHAPTER III. HARMONY
CHAPTER IV. MELODY
. . . . . . . . . . . . . . . .

CHAPTER V. TEXTURE

CHAPTER VI.
CHAPTER VII.
CHAPTER VIII.
CHAPTER IX.
BIBLIOGRAPHY
FORM AND lTOTIVIC
RHYTHM AND METER
ORCHESTRATION

PART III. CONCLUSION
AND OBSERVATIONS

. . . . . . . . . . . .

vi
ii
2
7
17
51
72
100
131
145
161
167
PART I. BACKGROUND
0
CHAPTER I
BIOGRAPHICAL SKETCH
The art of Kurt Weill is inseparably linked to the
remarkable era in which his best works were written. The
idealism of the young postwar German intelligentsia, and,
later, the boiling tensions of pre-Hitlerian Europe, are
given powerful and remarkably direct expression in Weill's
works of the 1920's and early 1930's. The purpose of the
present chapter is to outline the important events and
influences of Weill's life (with an emphasis on the early
years) in the hope that some impression of the crucial and
artistically vital era between the wars and its influence on
Weill's music can be given.
Kurt Weill was born on March 2, 1900 in Dessau, where
his father was a composer and Cantor of the Synagogue. His
gifts were discovered early, and musical studies began when
Weill was about eight years old. In 1914, Weill began
private lessons in theory and composition with Albert Bing,
Conductor of the Dessau Hoftheater, with whom he studied for
four years. From Bing, Weill learned rudimentary tools of
composition, but he could not find in him or in the city of
e s s a ~ the inspiration to put those tools to creative use.
The city of Berlin, in which a stimulating battle for ar-
tistic dominance was being fought, held an attraction for
2
Weill; at the age of eighteen he moved to that city to begin
study at the Hochschule fur Musik.l
Weill's composition teacher at the Hochschule was
Engelbert Humperdinck; his influence on Weill would prove to
be small. The young composer's first major student work, a
symphonic poem based on Rilke, was written and performed at
that time. Weill found the atmosphere of the Hochschule un-
sympathetic, and remained only one year.2 His conducting
studies with Rudolf Krasselt, first Conductor of the Deutschen
Opernhaus in Berlin, enabled him to secure a position at the
Hoftheater in Dessau under Bing and Hans Knappertsbusch.
After a short time, he advanced to the position of first
Conductor in the small Westphalia town of Ludenscheid.3 Thus
began Weill's connection with the theater, which was soon to
become the focal point of his creative efforts.
Weill returned to Berlin in 1920 and finally found the
m u s i ~ l environment that he needed. He and five others were
accepted by Ferruccio Busoni as members of a new Master class
in composition at the Prussian Academy of the Arts. The
members of the class were not given instruction in the usual
sense, but helped to develop a sense of musical taste and
aesthetics through Busoni's insights to the classics and the
!Helmut Kotschenreuther, Kurt Weill (Berlin: Max Hesses
Verlag, 1962), p. 5. ----
2David Drew, notes accompanying recording (Weill,
Symphony No. 1, Angel S-36506).
3Kotschenreuther, pp. 5-6.
4
works submitted to him. In addition, Busoni made no effort
to force the incorporation of his ideas into the styles of
his pupils, although he would not hesitate to make his re-
actions known. Busoni showed favor to Weill, who impressed
him as an intelligent young man who knew how to listen and
how to think,4 but reacted unfavorably to Weill's Symphony in
One Movement and its overstated expressionist idiom. Weill
worshipped Busoni and remained in the class until the Master's
death in 1924.5
The social and political environment in which Weill
found himself in Berlin made s ~ m u c h of an influence on his
art as did his musical environment. Weill became a member of
the nNovembergroup," a band of idealistic young artists that
saw itself as the cultural arm of a new humanism based on
individual freedoms and other socially leftist principles.
The artistic idiom of the group was expressionism, as repre-
sented by the drama, paint.ing, and music of the time; although
the humanitarian message might seem contradictory to the over-
stated pathos, even distastefulness of expressionism, they saw
it as an idiom of moral integrity. Weill's Concerto for
Violin and Wind Orchestra, the most thoroughly expressionist
of the early works, must be approached from this standpoint.
In it, the rhetoric of Strauss and Mahler, with which Weill
had been ingrained, is transformed into a radical aesthetic
principle, an expression of the idealism of a generation.6
4Ibid., p. $. 5orew, cit.
6Kotschenreuther, pp. 10-12.
5
After 1924, Weill turned exclusively to music for the
theatre. It was perhaps inevitable, as the result of his un-
finished experiments in Ludenscheid and the success of German
expressionisrn as a dramatic medium. His first collaborations
were with Georg Kaiser, one of the leaders of the expressionist
movement. The early operas, including Der Protagonist and Der
Zar lasst sich photographieren, met with acclaim from pro-
gressive critics but did not attract any significant popular
following.? Gradually, however, Weill was working toward a
more accessible, more personal idiom that was to define the
works of his second major style period. The turning point
came when Weill decided to collaborate with Bertold Brecht.
The result was the works of 1927-1933, the best known today
being The Threepenny Opera. Here Weill embraced a new
aesthetic, in which the music was tonal and jazz-influenced,
the forms strophic in the manner of cabaret ballads, and the
text political, though in a satiric, understated manner
{admirably reflected in the music) especially appropriate to
the underground tension of the uneasy years before Hitler
came to power. Weill won wide acclaim from critics and
audiences alike, and for the first time came to the attention
of America through an article by Virgil Thomson that appeared
in 1933. Thomson wrote of Weill as a "new model" of German
composer, without the "flavor of scholasticism or officialdom
about him."g
1Hans F. Redlich, "Kurt Weill," Music Review, XI
(August 1950}, p. 20e.
Svirgil Thomson, "Most Melodious Tears," Modern Music,
XI, p. 13.
6
The political message of Weill's operas, as well as his
Jewish descent, was not lost on the Third Reich. Hitler
issued an order banning all his works, and, faced with
imminent arrest, Weill fled Germany for Paris and London.9
After several uneasy years, devoted mostly to the composition
of sundry ballet scores and incidental music, he carne to
America, where he remained for the rest of his life. In
America, Weill set out to become ingrained in the ~ u l t u r of
the new world, and began to write for the musical stage in
collaboration with Maxwell Anderson and others. The American
works of 1936-1949 form the third style period of Weill's
output, in which the music is of a less complex, less pungent
nature. It brought him his greatest measure of popularity
and success. The more significant German works of 1927-33
were forgotten, and remained so until the process of re-
discovery began in 1954 with a highly successful revival of
Threepenny Opera in New York.
While planning an opera on Huckleberry Finn,lO Weill
suffered a heart attack. He died in a New York hospital on
April 3, 1950.
9"The Story of Kurt Weill," Music Journal, XIII (March
1955), p. 28.
10Ibid., p. 30.
CHAPTER II
THE EARLY INSTRUMENTAL MUSIC
Thepresent study of Kurt Weill's early style is based
on the four published instrumental works he composed in the
early 1920's: the Symphony in One Movement of 1921, the
String Quartet and Quodlibet for Orchestra of 1923, and the
Concerto for Violin and Wind Orchestra of 1924. The present
0
chapter is intended to serve as a general introduction to
each of the four works, and to present pertinent facts per-
taining to them that do not logically fit into the main body
of this thesis, which is organized by parameter. The works
are discussed here in order of musical importance.
Concerto for Violin and Wind Orchestra
The last of Weill's purely instrumental works until the
Symphony of 1933, the Concerto for Violin and Wind Orchestra
(hereafter referred to as "the Concerto"} was composed in the
summer of 1924 and first performed in Paris by ~ ~ r l Darrieux
the following year. The full score remained in manuscript
until its publication by Universal Edition in 1965, although
a reduction for violin and piano (made by Weill himself) was
published by Universal as Op. 12 in 1925. The work enjoyed a
modest popularity in Europe for several years, but was seldom
7
if ever heard between 1930 and 1955, when it was revived with
great success in Central Europe, the United States, and
Israel.l Several recordings have been made since that time.
The Concerto bears the influence of the post-Romantic
expressionistic style of Strauss and Mahler, although to a
lesser degree than does the earlier Symphony in One Movement.
Harmonically, the Concerto is in a free atonal style,2 al-
though intimations of tonal stability appear at various
places and grow stronger as the work progresses. In addition
to the solo violin, the Concerto is scored for two flutes
(second alternating with piccolo), one oboe, two clarinets in
B-flat and A, two bassoons, two horns, one trumpet, contra-
basses, and percussion. The demands on the soloist are great;
the violin is active almost constantly throughout the thirty-
three minute work, and the solo part is written in a highly
virtuosic vein.
The Concerto is in three movements. The first is
organized along the principles of arch form, and is unified
throughout by a motto chord consisting of a short vertical
sonority generated by the interval of a fourth, lightly
accompanied by the snare drum. The movement opens lyrically,
building to a climax of great dramatic power, then gradually
. falls away through a jazz-like passage and a return of the
lnavid Drew, "Two \'leill Scores," Musical Times, CVII
(September, 1966), p. 797.
~ t a performance of the Concerto in New York's Town
Hall in April, 1957, the concert program incorrectly
identified the work as a twelve-tone composition. See Philip
C. lenni, "Music for Moderns Begins Series" in Musical America,
LXXV I I Oia y , 19 57 } , p 2 5 .
9
opening section. The first movement is the freest of the
three as far as tonality is concerned, although it ends on a
G-sharp minor chord. The outstanding feature of the movement
is the skillful manipulation of broad, sweeping themes into
elaborate non-imitative counterpoint.
The second movement forms a central triptych, with its
three sections bearing the individual titles "Notturno,"
"Cadenza," and "Serenata." Although each section stands in-
dependently, the references to "night music" in the titles of
the outer components and the contrasting nature of the
"Cadenza" seem to imply the existence of a symmetrical
organization of the Concerto as a whole. The influence of
tonality is stronger in all three sections than in the first
movement, although not dominant, and the outer components
rely more heavily on secundal harmony than does the first
movement. The dominant texture throughout the second move-
ment. is one of solo melodies with distinctive accompaniment
figures, rather than counterpoint.
The third movement begins with a saltarello rhythm that
may have been suggested to Weill during his visit to Italy
immediately preceding the composition of the Concerto. A
perpetual, forward-moving rhythmic impetus dominates the
movement, while form and texture are less distinguished. The
tendency toward tonal stability is strongest in this movement,
finally ending on a dominant-tonic cadence in the key of F
major.
10
Symphony in One Movement
The Symphony in One Movement (hereinafter referred to
as "the Symphony") was composed in Berlin in April, May, and
June of 1921, while Weill was attending Busoni's newly-formed
Master class. Never having been published or released for
performance, the score disappeared in 1933.3 It fell into the
hands of the German musicologist Walter Fleischer, who guarded
the manuscript throughout the war years, and did not re-emerge
until 1955.4 The long-delayed first performance of the work
took place in Hamburg in 1957, and was followed by a New York
premiere in 195S. A study score ~ s published by B. Schott's
Sohne, Mainz, in 196$.
Although the Symphony has no specific program, Weill
added to the title page of the autograph an epigraph taken
from the play Festspiel by Johannes R. Becher. The play
concerns world war, revolution, and man's relationship to God,
and is written in the expressionist idiom then in vogue in
Weill's Berlin.5 It is not impossible to relate certain parts
of the Symphony to the action of the play, although to do so
in no way enhances the effect of the music.
The Symphony shows the influence of two strikingly
different idioms: the post-Romantic expressionism of Mahler,
3David Drew, notes accompanying recording (Weill,
Symphony No. 1, Angel S-3b506).
4Chris Nelson, "'Lost' Kurt Weill Symphony to have N.Y.C.
Premiere," Musical Courier, CLVIII (July, 195S), p. 4.
5nrew, .2.12. cit.
ll
and the neo-classicism of Busoni. The expressionist idiom
dominates most of the work, although it proves to be extremely
compatible with the fugal and chorale passages. Other, more
specific influences might be mentioned: the single-movement
structure and the use of the melodic fourth reveal an in-
debtedness to the Chamber Symphony, op. 9, of Schoenberg,
whose work Weill respected tremendously; also, the use of a
richly divided string section shows the influence of the 1916
Chamber Symphony by Franz Schreker, with whom Weill had con-
sidered studying.6
The resulting style is a fascinating one, combining
elements of tonality and atonality in sharp contrast. The
use of tertian triads is far more important to the Symphony
than to the Concerto, as is the use of quartal harmony, al-
though the influence of the fourth on harmonic structure is
not as great as its extensive use as a melodic interval would
seem to indicate. The orchestra consists of a wind section
identical to that of the Concerto, plus one trombone and bass
clarinet (played by the second clarinetist) and a somewhat
larger percussion section, and a large string section divided
into a minimum of nine parts.
Although nominally in one movement, the twenty-five-
minute Symphony actually consists of three major sections,
framed by a prologue and an epilogue.(theterms "introduction"
and "codan do not effectively communicate the importance of
6Ibid.
n
these sections to the overall structure). The three major
sections are referred to throughout this $tudy as "movements,"
because they are delineated and function as such, and because
they contain elaborate structures of sections and subsections
within themselves. The prologue, three "movements," and
epilogue are unified by two cyclic motives that recur both by
quotation and transformation throughout the work. The first
"movement," a modified sonata form, includes several strident,
march-like sections, perhaps evocative of the highly mechanized
modern armies of Becher's play, as well as passages of repose
and lyricism. The second "movement," an ABA structure which
takes on the function of a slow movement, is marked "andante
religioso" and contains some of the most lyrical writing of
the Symphony. The third "movement," in which the influence of
Busoni is manifest, contains two fugal sections, a chorale,
and a passage in which the chorale melody acts as a cantus
firmus of a contrapuntal texture. The epilogue dramatically
sums up the preceding material, at first jubilantly, but
ultimately with a grave final cadence in the key of C minor.
A detailed study of the form of the Symphony is made in
Chapter VI.
String Quartet
Very little can be determined concerning the genesis of
the String Quartet, op. 8. Written in 1923, the score
(bearing a dedication to Weill's father) and parts were
published by Universal the following year. The fact that the
13
third movement relies almost entirely on material borrowed
from the Symphony might seem to indicate that the work was
written to fulfill a commission on short notice or for some
other expedient purpose. An early performance was given by
the Hindemith-Amar Quartet.?
The primary stylistic difference between the String
Quartet (hereinafter referred to as "the Quartet") and the
other works is that the original thematic material is based
on short motives rather than long themes. This affects the
overall form as well as the nature of the thematic material
and its development, in that long sections are replaced by
many short subsections, each based on various combinations
of several motives (excepting, of course, the material
borrowed from the Symphony). Harmonically, too, the Quartet
differs from the other works; although it is almost completely
atonal, the sense of atonality is achieved through more con-
t r i v ~ means, such as polyharmony and tritone relations.
The Quartet is in three movements, although they are
not numbered and the rehearsal numbers run consecutively from
beginning to end. The three movements are marked "lntro-
duktion," "Scherzo," and "Choralphantasie," and are to be
played without pause. The brief opening movement is in a
modified A B A form and is predominantly vertical in texture.
The sec.ond movement is a scherzo and trio, in which the trio
is a humorous march parody borrowed from the Quodlibet for
Orchestra. The third movement adopts the subject of the fugal
7Kotschenreuther, p. 9.
14
sections from the third "movement" of the Symphony, and
develops it similarly (though less extensively); the chorale
and part of the epilogue material are also used. The over-
all structure, however, is substantially different from that
of the Symphony, and includes a new "recitative" section,
consisting of a series of cadenzas.
Quodlibet for-Orchestra
In 1921, Weill provided an orchestral score to Zauber-
nacht, a dance-mime by Vladimir Boritch that tells the story
of a fairy who brings toys to life.8 Although the score of
that work has since been lost, Weill extracted a suite from
it that was published in 1926 as the Quodlibet for Orchestra,
op. 9. The suite was probably compiled in 1923, at about the
same time the Quartet was being composed. It is subtitled "an
entertainment music" ("Eine Unterhaltungsmusik") and bears a
dedication to Albert Bing, Weill's first teacher. The u o d ~
libet for Orchestra (hereinafter referred to as "the Quodlibet")
is organized according to symphonic principles, its four move-
ments {numbered but not titled) corresponding to those of a
traditional symphony.
The Quodlibet is specifically pictoral and written in a
deliberately simplified idiom, perhaps reflecting the influence
of his earlier teacher, Humperdinck. It is the least inspired
of the early works. It is predominantly tonal, and almost
gJohn Aroloin, "Orchestras," Musical America, LXXXIII
(April, 1963), p. )6.
completely vertically organized with only the most rudimentary
types of counterpoint; themes are repeated rather than de-
veloped. The slower sections contain some lyrical ideas that
are interesting from the standpoint of melodic structure, but
the thematic material of the faster sections is, for the most
part, "busywork" constructed around various rhythmic patterns.
The orchestra. employed is the largest of the three symphonic
works, consisting of pairs of flutes, oboes, clarinets, bas-
soons, horns, trumpets, and trombones, in addition to strings
and percussion, but is the least imaginatively used. The
Quodlibet is most useful in studying the various approaches
Weill takes to establishing tonality.
Of the four movements, the best is by far the third.
It is organized according to a harmonic principle (tritone
relation) and successfully unified by it, despite great
variety in the thematic material and the lack of any sub-
stantial recapitulation. This movement is described in
detail in Chapter VI.
PART II. ASPECTS OF STYLE
CHAPTER III
HARMONY
The difficulty in attempting to define an overall style
in Weill's early instrumental music is felt most acutely,
perhaps, in considering the subject of harmony. Although
many of the harmonic techniques discussed in this chapter are
used in each of the four pieces under consideration, others
may pertain to only one of them, and many techniques, of
course, play a more important role in one or two of the works
than in the others. Thus, the discussion of chromaticism in
a melodic line concerns itself chiefly with the Violin Con-
certo, although chromaticism is certainly present in the
other works; it is simply less important in determining the
harmonic nature of those works.
The most important aspect of Weill's harmonic language
is his own particular brand of free atonality, that is, music
which does not rely on any one pitch as a place of harmonic
repose, yet is not based on a pre-existing principle of pitch
organization that would automatically impose this condition
(i.e., serialism). Tonality is also an important part of the
harmonic style, established by traditional tonal harmony in
some p ~ c e s and by more irregular means in others. The present
chapter considers first both the extended and isolated tonal
17
18
passages and the methods by which tonality is established,
followed by an analysis of the atonal music in an attempt to
discover exactly how "free" atonality is successfully achieved.
This is followed by a discussion of overall harmonic structure,
including relationships between some of the segments of an
entire movement.
Tonality
Extended sections of tonal music are found only in the
Quodlibet, which makes greater use of tonality than the other
works. Several of the extended tonal sections are based on
traditional functional harmony. The C minor theme at figure
2 of the third movement proceeds over a tonic pedal and ends
with an imperfect authentic cadence. In the second movement,
the key of A minor is established in the passage extending
from figure 16 to figure 17. This is accomplished through
the use of a functional bass line somewhat in the style of 8
Baroque passacaglia (see Example 1). The vertical structures
in this passage are not complete chords, but imply a
functional progression. A tonic pedal is present throughout.
Ex. 1. Quodlibet, p. 37, m. 5-p. JS, m. 5
1
Vc F F!lf.rd
t "'"df :t;;i.
k\,
r
molto cresc.
lKurt Weill, Quodlibet, op. 9 (partitur), C 1926,
Universal Edition, used by permission of the publisher.
Theodore Presser Company sole representative in U.S.A.,
Canada and Mexico.
19
The first movement of the Quodlibet includes a modulation
from G minor to A minor, proceeding with strict adherence to
the traditional practices of tonal harmony. In this pro-
gression, a diminished seventh chord on the raised seventh
degree of the G minor scale resolves enharmonically to a
second-inversion tonic chord in A minor.
Other extended sections of the Quodlibet are firmly
tonal,. but make use of chord progressions that are somewhat
beyond the realm of traditional tonal harmony. A typical
section of this type can be seen in the first movement, be-
ginning at figure 7. The chordyrogression of this passage
can be outlined as follows (melody excluded):
(-e-)

Fig. 1
Harmonic Outline of Q_uodlibet, p. 10, mrn. 1-5.
Although extended passages in a definite tonality exist
only in the Quodlibet, the other works include many examples
of brief sections that establish a temporary tonic. Many of
these make use of functional or quasi-functional progressions.
One of the most extended examples apart from those in the
Quodlibet can be seen at the end of the first "movement" of
the Symphony (mm. 220-224). This passage establishes a tonic
of D major through a progression involving the tonic, sub-
dominant, submediant, and Neapolitan chords of that key; no
dominant harmony is used. A temporary tonality of E minor is
20
reached at the end of the Symphony's third "movementr also
through functional harmony. In this case, atonal lines in
the brass, violin, and low strings merge to form a dominant
chord in the key of E minor, which resolves in measure 390.
An example of a somewhat similar type of quasi-functional
progression can be found in the third movement of the Concerto
{Example 2). The solo violin reaches a series of higher and
higher peaks, aiming toward the in the 2/4 measure. The
accompanying wind chords are non-functional, but by combining
the notes of the violin with the third wind chord (otherwise
identical to the first), a dominant ninth chordinG minor is
formed, which resolves on the downbeat of the 2/4 measure.
This type of progression is also common in the Symphony,
Ex. 2. Concerto, p. 98, mm. 4-62
Ob.
Cl.
(A)
fg.
Co.
(f)
VI.
l'l
-t)
"
..
.;
3
4
"

..,
Jp
""
tJ
-
,.
3 '!!:.
4
p
..
II
I)
P.
h;
I
,..
":;_

3
J.
i'
v

II
v
2,J
II
4
q;_
....

!"

3

4
2Kurt Weill, Konzert fur Violine und Blasorchester
(partitur), C 1965, Universal Edition, used by permission of
the publisher. Theodore Presser Company sole representative
in U.S.A., Canada and Mexico.
21
usually involving a chromatic approach to a dominant chord
which resolves to a temporary tonic. In the example from the
Concerto, however, the element of tonality is not permitted to
become an important one. The passage quoted in Example 2 is
rollowed immediately by a similar progression in which the
violin aims toward an ultimate peak of ~ ; a diminished triad
on g-sharp is formed, but as the violin resolves to a the
basses enter on a g-sharp and the winds fall silent, entering
one-half beat later with the triad d ~ Thus the expec-
tation of a second tonal cadence is set up and rrustrated.
The beginning of the second "movement" of the Symphony
shows a dirferent approach to the use of temporary tonality
through quasi-functional means. In this case, the temporary
tonic is not arrived at by progression; it simply begins
directly arter a substantial break in the texture and is re-
inforced arterward. The passage is shown in Example 3. The
opening E minor triad gives the feeling of tonic, and the f
diad on the next beat that of a Neapolitan. The return to the
E minor triad on the next beat establishes the n o t e ~ as tonic.
Ex. ). Symphony, p. JB, m. 6.
22
Following this, the tonality is subverted by a series of non-
functional sonorities beginning with the ~ bb diad on the
fourth beat.
Not all the brief, temporary tonics in the music are
established by functional or quasi-functional means. A
common technique, especially in the Symphony, involves a
linear, predominantly chromatic approach to the notes of an
emphasized major or minor chord. Example 4 shows one instance
of this technique, taken from the Symphony; only the string
choir is shown, as the winds and brass simply double the lines
of the strings. The approach to the root of g in the basses
is chromatic, while the cello, viola, and third violin lines
are stepwise and at least partially chromatic. The first and
second violins approach the tonic with a series of descending
fourths, the fourth being the primary melodic interval of most
of the Symphony.
_Ex. 4. Symphony, p. 46, m. 3.
Sehr breit
23
In some cases, it is not the tonic that is approached
chromatically, but a dominant chord immediately preceding the
tonic. The chorale harmonization contains an example of this
technique, taken in Example 5 from the Quartet. The last
chord in the measure preceding the A-flat tonic is its domi-
nant with an anticipation in the first violin; each member of
this chord is approached by half-step.
Ex. 5. Quartet, p. 31, mm. 9-10.3
One other method of establishing a temporary tonic, in-
frequently used, may be mentioned. This involves the sounding
of a tonal theme in unison, with no chordal support. Example
6 demonstrates an application of this principle from the Quartet.
Ex. 6. Quartet, p. 11, mm. 7-13.4
3Kurt Weill, Streichguartett No. 1, 8 (partitur),
C 1 9 2 ~ Universal Edition, used by permission of the
publisher. Theodore Presser Company sole representative in
U.S.A., Canada and 1-'!exico.
4Ibid.
24
One important group of brief tonal sections has not been
mentioned; that is, the endings of those movements that do, in
fact, establish a final tonality. Because of the importance
of these tonal endings to the overall harmonic structure of
the various movements, they are discussed in the last part of
this chapter.
Atonality
The use of tonality is an extremely important aspect of
Weill's early harmonic style, but much of its effect derives
from the fact that most tonal sections are brief interludes
in a predominantly atonal texture. It is the atonal aspect
of the music, then, that is the more important. It merits
closer study not only because it is the dominant feature of
the early harmonic style, but because Weill's approach to
free atonality is a highly personal one involving many origi-
nal and effective techniques. In attempting to define these
techniques, the present discussion divides them into two large
groups. The first deals with those that create the phenomenon
of atonality in a single line, an important consideration due
to the highly contrapuntal nature of much of the music; the
second with those techniques that cause the overall texture
to be termed "atonal."
The most obvious method of creating an atonal line is
by avoiding the duplication of any one pitch until all twelve
tones have sounded, thus attempting to make each pitch of the
chromatic scale equal in importance. Although Weill never
resorted to full-fledged serialism in linear construction,
many of his melodies avoid pitch duplication to a significant
degree. Nine- and ten-tone rows are not uncommon, especially
in the Concerto. Example 7 shows a typical approach to this
technique. In this important horn theme from the Concerto,
the first note is repeated at the octave, and is then followed
by nine consecutive different pitches. As in this case, it is
Ex. 7. p. 24, m. 3 - p. 25, m. 2.5
common for a theme to break a "rulen of tone-row construction,
yet seem to be otherwise based on the principle of avoiding
pitch repetition. Another example can be seen in Example 8,
again from the Concerto. In this first entrance of the vio-
lin, the note d is duplicated at the octave fairly quickly,
yet the first twelve notes of the theme contain eleven
different pitch classes.
Ex. 8. Concerto. p. 3, mm. 3-6.6
6rbid.
26
One other example of a theme in which pitch duplication
is avoided might be mentioned; that is the important fugato
theme from the third "movement" of the Symphony (used again
in the Quartet) shown in Example 9. This theme makes use of
ten different pitch classes in its first eleven notes, but
also works against the emphasizing of any one pitch by using
equal time values for most of the pitches and a regular sub-
division of the basic time value for the others. Thus the
pitches are made equal in status through the elimination of
agogic accent. A more thorough study of this phenomenon will
be made in the chapter concerned with melodic construction.
Ex. 9. Symphony, p. 50, mm. 2-3.
Interestingly enough, one of the most common methods or
avoiding tonality in a single line involves the irregular use
of blatantly tonal pitch materials. This technique can be
described as a rapid succession of small groups of pitches,
each small group functioning within a key but not remaining
in that key long enough to establish it as tonic. In some
cases; the pitches fall into clear scale- or arpeggio-
patterns that are repeated rapidly in a series of
VI.
27
contrasting keys. An example from the Concerto is shown in
Example 10.
2.7
A somewhat less contrived and more typical application
of this principle can also be shown by an example from the
Concerto (Example 11). In this passage, the solo violin at
first shapes its theme out of pitches from the G minor dia-
tonic scale, but switches (in measures four and five) to the
scale of F-sharp minor.
Ex. 11. Concerto, p. 44, rnrn. 1-68
VI. I@ -;anquillo ~ ~ Rndanfe ,_.---
A related technique that might logically be considered
at this point is the use of sequences. They are, in fact,
comparatively rare, and usually involve atonal material
repeated at a different pitch level. A typical atonal
(partitur), C 1965, Universal Edition, used by perm1ss1on of
in U.S.A., Canada and Y.exico.
erbid.
28
sequence is illustrated by Example 12, taken from the Quartet.
The sequence occurs in both the first and second violins.
Ex. 12. Quartet, p. 15, r r ~ . 22-26.9
"t ~ i . ~ ~ ~ ~ ~ ~ v/
'J.. -
:2 .
Melodic chromaticism is another important method of
avoiding tonality in a single line. In the present study,
the term refers to the use of linear half-step relations to
weaken the potential stability ef a pitch. The chromaticism
does not imply a shift to a group of tones representative of
a specific tonality, as in the technique previously described.
It is one of the more subtly used devices, and the best
examples can again be found in the Concerto (see Example 13).
Ex. 13. Concerto, p. 53, m. 5-p. 54, m. 1
10
9Kurt Weill, Streichguartett No. 1, 8 (partitur),
C 1924, Universal Edition, used by permission of the
U.S.A.,. Canada and Mexico.
in U.S. A. , Canada and t>lexico.
29
The use of successive melodic fourths is an important
method of avoiding tonality, now recognized as common practice
in the works of the early twelve-tone composers and in other
schools of twentieth-century composition. Weill adopted the
technique in a characteristically individual manner. He does
not, for instance, appear to make any substantial distinction
between the perfect, augmented, and even the diminished
fourth., using all three forms interchangeably and the first
two fairly equally. This technique is used most consistently
in the Symphony, which is, in fact, systematically and
thoroughly based on the of successive melodic
fourths, and makes use of either disjointed or unbroken stacks
of fourths in virtually every important theme. The use of
fourths in the other works is equally important, but less
systematic and all-pervasive; in addition, the augmented
fourth tends to outweigh the perfect fourth in importance,
whereas in the Symphony reverse is true. Examples 14
through 18 show some of the typical applications of this
technique. Example 14 illustrates a stack of perfect fourths
used melodically, Example 15 the use of disjointed fourths,
Example 16 a melody whose framework outlines a tritone, Ex-
ample 17 the use of disjointed tritones, and Example lS
isolated tritones (Example lS is from the beginning of the
third moverr.ent of the Quodlibet, which is based on tritone
motion throughout).
A fairly simple but highly characteristic technique
is the deliberate avoidance of octave duplication in scale
30

. -
- cF;>.; _ tt/
J;;r-- ---
(dH\
. -1 ,
,.
w'
j' .. _""
Ex. 15. Symphony, p. 18, mm. 1-3.
Ex. 16. Concerto, p. 113, mm. 1-4.11
Ex. 17. Concerto, p. 57, mm. 1-2.12

. . "j;

Ex. 18. Quodlibet, p. 44, mm. 3-4.13
v.... \,
llKurt Weill, Konzert fur Violine und Blasorchester
(partitur), C 1965, Universal Edition, used by of
12Ibid.
13Kurt \veill, Quodlibet, .2..E 9 (partitur), C 1926,
Canada and Mexico.
and arpeggio figures, and also in the general contour of a
melodic line. In these cases, the expected octave duplication
is replaced with a major seventh or a minor ninth. Example
19 illustrates this technique as applied to a scale figure,
and Example 20 as applied to an arpeggio. In Example 21, the
peaks and valleys of the overall contour show constant
avoidance of 9ctave duplications.
A somewhat related technique, and- one that is often used
in combination with the above, involves the employment of a
half step as the final melodic interval of a descending line;
in most cases, the note resulting from the final half step is
not one o:f those that naturally occurs in the diatonic scale
upon which the rest of the line is based. This leaves the
listener with the somewhat unstable sensation of an out-of-
place leading tone. Examples 22 and 23 illustrate this tech-
nique as used in the Concerto and the Quartet. A slightly
more complex application of the same principle is illustrated
by Example 24. In this case, the half-step interval at the
end of the descending line creates an octave duplication of
the first note of the figure; the implication of C-sharp
minor within the line is subverted by the two 's at either
end.
Many of the most important harmonic techniques are not
relevant to the treatment of a single line, but are concerned
with the problem of creating an overall atonal texture. Some
of these procedures give a definite sense of working against
the seemingly natural tendency of the music to become tonal,
Ex. 19.
32
2.14
Ex. 20. Concerto, p. 12, m. 3.15
cb. ;,,
. ..
Ex. 21. Quartet, p. 6, mm. 1-2.16
Ex. 22. Concerto, p. 2, mrn. 6-8.17
C(.
*I
..
{ill-
''"' ~
~ i ~
(Sh) s
maHo &>pr.
,.....
Ex. 23. Quartet, p. 6, mm. 7-8.
18
I .. ,, il
; Ell ~ ~
15Ibid.
16Kurt Weill, Streichguartett No. 1, 2. 8 (partitur},
C 1924, Universal Edition, used by permission of the publisher.
Canada and Mexico.
17see fn. 14.
l8see fn. 16.
33
Ex. 24. Concerto, p. 53, mm. 2-).19
.;
!1-
while others reflect a very natural manipulation of pitch
materials into an atonal texture.
Perhaps the most obvious method involves the contra-
puntal combination of individual lines which are in themselves
atonal as the result of one or more of the techniques mentioned
above. The counterpoint is in some cases imitative, such as
the fugal section of the Symphony (beginning at measure 2S9);
the subject of the fugato is a wedge-shaped theme that in-
cludes ten different pitch classes in its first eleven tones.
More frequent than this, however, is the contrapuntal combi-
nation of independent atonal lines, not in imitation; an
example of this type can be seen in Example 25.
Another method of creating an atonal texture is by com-
bining tonal and quasi-tonal lines, each of which emphasizes
a different pitch. This is distinguished from polytonality
(discussed below) in that the individual lines do not
necessarily establish two clear tonics through functional
means that remain recognizable when combined; they merely
represent different emphasized pitches. An example of this
type of counterpoint is shown in Example 26. In this passage
(partitur), C 1965, Universal used by permission of
34
Ex. 25. Quodlibet, p. 19,. mrn. 7-12.20
'.fl
1V:."1po
I
--
I M
7.

.,

dolce e:!>pr; -
r.
VI.
2..
I"'
...

VIQ. ;j;

21'
Ex. 26. Concerto, p. 7, m. 1-p. S, m. 1.
lJ.n poco piU. anaa.nte
VI.
pp
i
..
I
20Kurt Weill, Quodlibet, op. 9 (partitur), C 1926,
Canada and :t<Iexico.
(partitur), C 1965, Un1versar-Edition, used by permission of
35
from the Concerto, the soloist plays a series of arpeggio-like
figures that emphasize the note ~ by repetition and by using
it as its highest note. It is combined witha tonal theme in
the winds and basses that comes to rest on a. The result can-
not be said to be true polytonality, but the unsettled
harmonic feeling is due to the contrast of pitch emphasis of
the two lines. This type of contrast is often complicated by
the use of additional tonal or atonal lines, such as at the
beginning of the third movement of the Concerto. The two
clarinets are genuinely polytonal, playing similar lines in C
minor and B-flat minor. The accompanying pizzicato bass, how-
ever, is atonal, as is the violin at its entrance on beat four
of the first measure.
Another type of tonal contrast based on this same
principle can be seen later in the same movement, in the meno
mosso section after figure 25 (Example 27). The bass pedal of
~ combines with the oboe to imply G major-minor, while the
flutes and clarinets imply A major through different means in
a contrasting textural style.
True polytonality is also used, but never for an ex-
tended period of time. This technique is reserved almost
exclusively for the Quartet, which takes a generally more con-
trived approach to atonality than do the Concerto and Symphony;
indeed, the brief polytonal effects of the Quartet, consisting
mostly of parallel scales and arpeggios from two different
keys, ~ n be considered a more rigid equivalent of the tech-
nique discussed above, which is used primarily in the more
36
Ex. 27. Concerto, p. 125, mm. 5-6.22

Un poco meno
,-:: -...
Fl.

- --
---- pp
f)
-=
=----=

-

.
=><- '!".,"...____.
"'PP
II 1'!:>-fl-

()b.
-
..,
pp
A
-====
... pp
fl
Cl.
-
--
"
;..-
(p)

Fg.
pp
J
- ...
rpiuJ
Cb
...
PP
sophisticated Concerto. Examples 28 through 30 show some of
23Kurt Weill, Streichouartett No. 1, 8 (partitur),
C 1924., Universal Edition, used by permission of the
U.S.A., Canada and Mexico.
. .
37
Ex. 29. Quartet, p. 7, m. 1.24
Ex. JO. .Quartet, p. 16, mm. 13-16.
2
5

. =-
v/
-
f-=

-
l r
: :;=.
v/'
E ---4.
f
---
--k.
c;.
J
J __
.
./
B
...

-
b
Jl.:i--:t. !)
lt._._ ...
J
L

.,/
f
In many cases, a theme that might otherwise imply a
tonality is prevented from doing so by the harmonic nature of
the accompaniment. This is accomplished in a variety of ways.
In the first measure of the Quartet, for example, the first
violin theme strongly implies the key of F mi.nor. The other
three voices, however, play a progression of three atonal
chords made up entirely of the pitch materials of the C-flat
major scale, with all seven pitches represented; thus, the F
minor implication is destroyed by pandiatonic harmony in the
key most distant from it.
publ1sher. Theodore Presser Company sole representative in
U.S.A.> Canada and l,1exico.
25Ibid.
)8
One of the most common methods of subverting the implied
tonality of a melodic line is through the use of tertian
triads elsewhere in the texture that work against the tonal
direction of the theme. Two instances illustrate typical ways
of employing this technique. In the second movement of the
Concerto (beginning at figure 10), the solo violin embarks on
a melodic line that descends in sequence, clearly aiming
toward an implied tonic of G. The expectation is reinforced
by the fact that the line leads to small ~ the violin's
lowest note. As it arrives, however, the wind accompaniment
forms two successive vertical sonorities such that the ~ fits
in not as a root, but as the third of an E minor triad, and
on the next half-beat, an E-flat major triad. Earlier in the
same movement, the xylophone plays a figure with an implied
harmony of tonic-dominant in A as part of a long theme. On
the beat in which the xylophone melody implies tonic harmony
(third measure of figure 3, beat two) the accompaniment con-
sists of an A-flat major triad; as the melody shifts to
implied dominant harmony in A major on the next beat, the
accompaniment moves to a diminished triad on a. In these two
instances, then, foreign tertian triads are used to weaken the
tonal implications of the melody, in one case by incorporating
the melody into the sonority and in the other by clashing with
it.
Contrasting sonorities functioning in this manner need
not be tertian triads. Many tonal themes are weakened by
accompanying sonorities of various types that create a
39
dissonance or non-functional relationship with the theme. An
example can be found in the third movement of the Concerto.
The A-flat major theme beginning on the third measure after
figure g descends from dominant to tonic; as it reaches tonic
in the fourth measure after figure 8, the accompanying
sonority consists of gb, and b.
The various types of vertical sonorities used by Weill
are, of course, important to creating an atonal texture.
Many specific varieties can be found, including non-functional
tertian, quartal, and secundal sounds, along with various
combinations of these. Following the enumeration and illus-
tration of the types of sonorities, the more important
question of progression of vertical sonorities will be

Tertian harmony as part of an atonal texture is more
common in the than elsewhere. Example 31 illustrates
harmony in triads and seventh chords, although the melodic
motion is primarily in fourths and minor seconds.
Quartal harmony is also important in the Symphony, al-
though the term must be modified to include the augmented and
diminished fourths in most cases. In addition, very few
sonorities are by fourths alone; it is very common
for a predominantly quartal sonority to be firmly rooted with
tertian materials in the lower voices (see Example 32). A
most important vertical sonority--the motto chord of the first
movement of the Concerto--is generated by fourths (Example JJ).
40
Ex. Jl. Symphony, p. 43, rom. 1-2.
Ex. )2. Symphony, p. 1, m. J.

I
(
)
)
.
' /
:;
C
26
Ex. JJ. oncerto, p. 1, m. 1.

'
}
t.,
I
"""''
,
,
'
ir
(partitur}, C 1965, Universal Edition, used by permission of
41
Ex. 34. Concerto, p. 79, mm. 1-3.27
...
Ex. 35. Quartet, p. 31, mm. 3-8.28
--. -
--=

'P- - - ---= I

The general lack of quartal constructions in the Concerto
helps the motto chord to stand out at each of its entrances.
Although there are examples of pure secunda! sounds in
all of the works, they do not occur with great frequency; it
is more common for a vertical sonority to combine secundal
ingredients with other intervals, particularly fourths and
fifths (see Example 34). Another common construction involves
the juxtaposition of several pairs of tones in a secunda!
relationship.
A particularly characteristic vertical sound is that of
a major or minor triad with one of two added notes in secunda!
(partitur}, C 1965, Universal used by permission of
the publisher. Theodore Presser Corr.pany sole representative
28Kurt Weill, Streichguartett No. 1, QE 8 (partitur),
U.S.A., Canada and !viexico.
42
relation to the notes of the triad. They occur even in as
carefully constructed a vertical passage as the chorale
harmonization (See Example 35).
The final point to be considered with respect to those
techniques that cause an overall texture to be termed atonal
is that of chord progression. In general, progressions of
vertical sonorities in atonal passages are of three basic
types. The first and most common can be described as a
series of tertian triads (or, rarely, seventh chords) based
on non-functional, usually random root movement. The second,
which is most common in the Symphony but present in the other
works as well, involves a progression of sonorities, the com-
ponents of which are determined by chromatic motion in some
or all of the voices. The third type can be described as a
progression in which the components of each successive chord
are manipulated so as to increase the degree of tension,
primarily through the addition of dissonance.
Examples of non-functional progressions of tertian
triads are plentiful throughout the early music. One such
instance already quoted can be seen in Example 31. This par-
ticular series is unordered as are most of the others.
Example 36, however, illustrates an ordered series of non-
functional tertian triads; the root movement is by whole step
throughout.
To illustrate clearly the type of progression in which
the structure of each sonority is determined by chromatic
motion in the individual voices, two examples are given.
43
Ex. )6. Symphony, p. 66, mm. 3-4.
Viol.
Vlo.
Vel
Ex. 37. Concerto, p. 67, mm. 1-4.29
~ ; ~ ~
t I
:
1::
=
I ~
-
Ex. 38. Symphony, p. 9, mrn. 3-4.
44
Example 37 is a relatively simple application of this tech-
nique, taken from the beginning of the "Cadenza" section of
the second movement of the Concerto. Example )8 illustrates
the application of this procedure to a thicker texture. In
moving from the first sonority to the second, the top three
voices descend one half step and the bottom three ascend one
half step. In moving to the next chord, all six voices
descend, four of them by half-step; the same number move by
half-step to the next sonority (all but one descend) and again
all six to the downbeat of the next measure, four descending
and two ascending. Thus the quality of the chords is
constantly changing and doublings affect different members of
the structure with each progression.
An example of the third type, that is, manipulation of
the components of each chord to increase the degree of tension
in the progression, can be seen in the 'pesante' section of
the first movement of the Concerto, !rom five measures before
figure 16 to figure 17. The first several chords of the pro-
gression can be described as either tertian triads with added
tones or quintal sounds with added tones, none of which in-
cludes a severe dissonance. Beginning with the fifth measure,
however, the chords begin to contain tritones, minor seconds,
and major sevenths. The climax of the progression is reached
at figure 17, at which point all the members of the chord are
in a half-step relation with some other member (b and , e and
f, A somewhat different application of this
technique is illustrated by the second phrase of the chorale
45
harmonization, as shown in Example 39. The first violin line
is stationary for the duration of the example, while the other
three voices ascend towards it in predominantly chromatic
motion. The "tightening" of the texture, as well as the
alteration of the intervallic structure of the sonorities, pro-
vides a perpetual increase in harmonic tension.
Ex. 39. Quartet, p. 31, mm. 10-14.30
t!'lpr.
y./
+-
..,../
---
w""
- .---
,.../
Overall Harmonic Structure
For the most part, Weill exhibits a deliberately casual
approach to overall harmonic organization. Many thematic
sections, for instance, are returned with completely con-
trasting harmonic schemes, and the briefly established
tonalities, including most tonal endings, show little relation
to each other and seem to be selected almost at random. An
examination of some examples of this "random" harmonic
structure will be made, following brief mention of the only
significant exception to this general tendency.
30Kurt Weill, Streichauartett No. 1, 8 (partitur),
C 19-24, Universal Edition, used by permission of the
46
The third movement. of the Violin Concerto reveals a
deliberate attempt on the part of the composer to work toward
and establish clearly a final tonality of F major (ironically
enough, an overemphasis on the dominant of the key causes a
certain amount of confusion in the final aural impression,
which seems to give as much weight to the key of C major as
it does to F). Various hints of this appear throughout the
movement, beginning as early as the third measure; at that
point the timpani begins an intermittent series of entrances
on the note c which ultimately resolves down a fifth to f at
figure 2, even though the harmonic scheme of the rest of the
orchestra bears no relation to either or f at that point.
The third major section of the movement, extending from
figure 18 to the meno mosso after figure 25; is punctuated
throughout by the timpani with interjections of the notes f,
and in various rhythmic patterns. The final notes of the
are foreshadowed in the transition to this section
(Example 40}. At the very end of the section (figure 25),
Ex. 40. Concerto, P 115,m. 2.31

.PJ ../
pmarc.
47
there is a brief polytonal passage in which the F-sharp minor
tonality of the violin is overpowered by the full orchestra,
half of which emphasizes the key of C major and the other half
F.
The effort to establish the tonality of F is strongest
in the coda, which is based on the.same thematic material as
the section discussed above. In the coda, however, this
material is presented in the key of F major instead of the
previous key of A major (beginning four measures before
figure 36). The timpani continues its reiteration of the
notes c and f, sometimes in shown in Example 40 and
sometimes reversed, in the manner of a half-cadence. For the
last measures of the the trumpet plays
only the dominant note Example 41 shows the final four
measures of the work, providing further proof that Weill's
intention was to end in F major: the trumpet {the only
rhythmically independent yoice) and the soloist preserve the
dominant note, while the cluster in the rest of the orchestra
(based on the notes of the E major scale) resolves to a
dominant seventh chord on The timpani's final strokes are
clearly meant to represent the missing resolution of the
dominant chord. As stated above, however, the ear does not
substantiate what was clearly Weill's intention on paper.
The predominance of the note for so long, the brevity of
the C major-minor seventh chord, and the somewhat unfocused
pitch inherent in the timpani all contribute to a final aural
impression that emphasizes C, rather than F major.
48
Ex. 41. Concerto, p. 155, rnm. 5-8.32
I':!!-- - - -
-------------
.a_
>'

Fl.
.:;:_,:
t -.
h':
Ob.

Cl.
tT.: -:_
(A)
fg.
I .0:
....
,..
;.
::-

Co
rJ=r'i.

....
II l
>
Tr.
(c)
r'"'
Timp
... .
8'15!- - - - - - - - - - - - - - - - - - - - - - - - - - - -- - -I
.H ...
ll ,...fi!
:K
1t..
!l'
VI.
..,

,...
+
Cb.
;ins
For most of the other movements in the early works, any
ambiquities in overall harmonic structure are clearly in-
tentional. Several recurring techniques seem to indicate the
existence of what has already been termed "random" harmonic
organization. One of the most important of these involves
the return of an earlier thematic section with a completely
different harmonic scheme. In the Quartet, for instance, the
passage beginning at figure 4 is returned at figure $ with
similar materials: each passage contains a pedal note, a
variant of the main theme, a chromatic line (descending at
figure 4, ascending at 8), and a free voice (similar in
?2Kurt Weill, Konzert fur Violine und Blasorchester
in U.S.A., Canada and
49
contour and rhythm in both places). The pitch relationships
of the various lines, however, are completely altered: At
figure g, the pedal note is a major third lower than at 4,
the thematic variant is lowered (or raised) a tritone, the
chromatic line begins one half step higher, and the free voice
is raised a minor third. A similar though less involved ex-
ample can be seen in the Concerto. At two measures before
figure 20 in the first movement, a theme is stated in the horn
with a chordal accompaniment in the winds; two measures later,
the theme is restated in the trumpet a perfect fourth higher,.
yet the sequence of wind chords is repeated verbatim.
One other, somewhat different application of this tech-
nique might be mentioned: the return of the opening theme of
the Syrr.phony at the end (measure 40) of that work. The
initial quartal setting of this motive is replaced at the end
with a harmonization in simple triads, thus showing an en-
tirely new concept of harmonization other than the alteration
of the relationship of various lines.
Another evidence of "random" harmonic structure is
Weill's tendency to make use of overall schemes of unrelated
keys and temporary tonicisations. Both the first "movement"
of the Symphony and the "Serenata" section of the second
movement of the Concerto recapitulate entire sections in keys
one half step away from the key of the original setting. In
the Quartet, the tonalities emphasized by the chorale near the
end are A-flat major and C major, yet the work goes on to
close in G major.
50
The entire question-of endings is relevant to the
problem of overall harmonic schemes, since Weill shows a
preference for tonal conclusions (ten out of thirteen move-
ments end tonally, counting the Symphony, Concerto, and
Quartet as consisting of three movements each). In most cases,
no hint is given of the ultimate tonality; the "Serenata,"
which ends the second movement of the Concerto, contains im-
portant tonal sections in A major and A-flat major, yet ends
in B-flat minor. In many cases, the immediate approach to the
final tonality is through a distantly related key. In the
first movement of the Concerto, a sudden whole-tone shift in
the violin from a double stop of and -sharp to b and d-
sharp precipitates an ending in G-sharp minor, one half step
away from the A major implied by the original double stop.
One more example, out of many, might be cited: the third
movement of the Quodlibet settles on an implied A-flat
tonality over a pedal of d; the last three measures, however,
unexpectedly outline the notes of a D minor triad, thus ending
the movement with a tritone relation.
CHAPTER IV
MELODY
Throughout the early instrumental music, Weill takes
many different approaches to melodic structure. To a certain
extent, this is due to the use of specialized techniques which
are applied to one of the works and not to the others; thus,
the melodies of the Violin Concerto can generally be described
as long, sweeping, and often lyrical, while those of the
String Quartet are short and motivic in nature. Melodic style
is not solely determined by the general characteristics of
each overall work, however, as there is usually great variety
in approach to melodic structure within individual movements
and even sections. Melodic technique, in fact, shows very
little standardization and is one of the most problematic of
the parameters with respect to determining an overall style.
The first part of this chapter is concerned with the
pitch materials drawn upon by Weill in his various approaches
to melodic structure, and primarily with his manipulation of
these pitches so that one of them or none of them is empha-
sized. The remaining four parts of the chapter deal with
further aspects of melodic organization: contour, type of
motion, phrase structure, and repetition.
51
52
Pitch Materials
The first group of melodies to be considered with respect
to pitch materials are those that avoid emphasis of a single
pitch as a point of reference. This usually involves the use
of many different pitch classes and the avoidance of dupli-
cation, in the manner of tone-row construction. With respect
to pitch only, this is an important method of creating
t o n ~ i t y in a single line and is illustrated in the previous
chapter (Examples 7 and 8}.
Equally important to melodic structure as pitch variety,
however, is the problem of the relative importance of the
<
pitches, as influenced by agogic and metric accent, peaks and
valleys, and beginnings and ends of phrases. In many themes,
there is a conscious effort to avoid emphasizing any single
pitch through careful manipulation of these parameters. The
subject of the fugato from the Symphony, quoted again in
Example 42, provides a case in point. The theme is presented
mostly in even eighth notes, thus avoiding agogic accent. The
few sixteenth notes that are used appear on different beats in
measures one and two; thus, the regularity of the quadruple
meter is disturbed and metric accent is lessened. The wedge
Ex. 42. Symphony, p. 50, mm. 2-5.
53
shape of the theme provides frequent new peaks and valleys, so
that none stands out as an emphasized pitch.
These techniques, particularly the use of equal note
values, are used in many melodic constructions in all four
works. Mention should be made of two important themes that
bear a strikingly close resemblance to the fugato subject
quoted in Example 42: the wind theme at six measures before
figure 6 in the first movement of the Concerto, and the wind
melody at 14 measures before figure 4 of the first movement of
the Quodlibet.
In a sizable number of melodic structures, pitch ma-
are manipulated so that a single pitch class is
successfully emphasized, even though as many as eleven or
twelve tones may be used in all. Rhythmic considerations are
often the most important in this regard, as can be seen in
Example 43. This theme from the Symphony shows no emphasis
by virtue of pitch succession alone, yet the c in the fourth
Ex. 43. Symphony, p. 6, mm. 3 - p. 7, m. 2.
Nicht schleppen
; Solo _(Solo)
Vn. 1 J r r . F I cj . t'IWfFP' r I f"
- - - df . p..,-.
full measure (the first used in the melody) is successfully
emphasized by agogic accent, and also by the fact that it
comes at the end of a phrase. Metric accent is also used
frequently, especially in the strident, heavily accented
passages of the first "movement" of the Symphony. An example
{not quoted) is provided by the theme introduced in the cellos
.
54
and bassoons at measure seventy-one, in which the note is
heard on the downbeats of the first two measures. As a re-
sult, is made to sound like a pitch of reference, or "home"
pitch, despite the interpolation of the distantly related
notes f-sharp and a-sharp between the two c's.
Another method of emphasizing a particular pitch class
is by intermittent but frequent reiteration of that pitch in
the course of a melodic line. The best examples of this tech-
nique can be found in the "Cadenza" section of the second
movement of the Concerto, in which the note ~ f l a t is empha-
sized in several important thematic statements by reiteration.
A brief example is quoted in Example 44.
Ex. 44. Concerto, p. 6S, m. 4 - p. 69, m. 1.
1
. Perhaps the most obvious method of emphasizing a par-
ticular pitch, the use of repeated notes, is fairly uncommon
in Weill's early music. Examples do exist, however, such as
in the long xylophone solo extending from figure 3 to figure
4 in the second movement of the Concerto. The fifth and
sixth measures of this theme are based on repeated e's and
f-sharps in a dotted eighth-sixteenth note rhythmic pattern.
Other instances of pitch repetition take place mostly in
lKurt Weill, Konzert fur Violine und Blasorchester
55
short, motivic themes, such as the opening motive of the
second movement of the Quodlibet; this melodic fragment con-
sists of six repeated ~ s (one measure of 6/8 meter) framed
by a d-sharp anacrusis and a g-sharp on the downbeat of the
following measure.
It should be pointed out that in some cases the nature
of the emphasis given to a single pitch and the techniques
used to achieve that emphasis cause the melody to become
tonal, either by functional means or by implication. The
first phrase of the main theme of the "Serenata" (oboe, be-
ginning four measures before figure 27 in the second movement
of the Concerto) is in the key of A major because it is
constructed primarily of the notes of the A major scale, and
implies functional harmony in that key. Similarly, the first
theme of the "Notturno" section of the same movement (partly
quoted in Example 45) can be said to begin in the key of G-
sharp minor because of the g-sharp valleys in the first and
third measures of the theme and the use of the G-sharp minor
diatonic scale.
Ex. 45. Concerto, p. 51, mm. 2-4.2
(partitur), C 1965,. Universal Ed1tion, used by permission of
56
A third approach to the problem of pitch is
applied so often as to merit attention. This involves me-
lodic structures which begin with an emphasis on a single
pitch and later move away from that emphasis. In some cases,
the nature of the shift is such that a clearly tonal melody
becomes atonal, as in the oboe theme from the "Serenata"
mentioned above. The first phrase, as noted, establishes A
major.and ends on a half-cadence in that key; the second
phrase, however, gradually loses the as a point of refer-
ence and becomes atonal. Example 46 quotes an important
Ex. 46. Concerto, p. 7, m. 3 - p. 9, m. 2.3
lp; ! : n r
j i > i si ti l:ffi J lq fifi I
theme from the first movement of the Concerto which is a
special case insofar as pitch emphasis is concerned. The
theme is divided into the two phrases, the first of which
clearly as tonic; the second phrase begins
atonally but the is re-emphasized at the end by the me-
lodic cadence on the 2/4 measure and by agogic accent of the
tonic.
(partitur), C 19b5, Universal Edition, used by permission of
57
Contour
There is a definite sense of shape in most of Weill's
melodies, but few actual patterns are used often enough to be
singled out as predominant, recurring ones. In addition, the
substantial length of many of the melodies causes problems in
determining an overall contour. The examples on the following
page illustrate the various types of general patterns commonly
found,_ as discussed below.
Example 47 can be described as an arch contour, with a
peak of in the eighth and ninth measures. The term
"arch" is applicable, even though the rising and falling
motion is not perfectly smooth from beginning to end; indeed,
it would be extremely difficult for so long a theme to make
use of continually rising and falling motion and to remain
interesting. This melody, then, demonstrates the problems
involved in assigning an overall shape to an extremely long
theme. Example 48 illustrates an inverted arch contained in
the first two phrases of a theme from the Quartet. There are
also examples of inverted arch contours within a single
phrase, such as in the violin melody quoted in Example 49.
Examples 50 and 51 illustrate contours that are con-
tinually rising and continually falling, respectively. A
fairly common practice involves the successive use of these
two types of contours in consecutive, but distinct melodic
ideas, resulting in an overall arch made up of contrasting
material. An example can be seen in the Symphony, in the
passage extending from measures ninety-five to ninety-eight;
53, m. 5.4
,3--.r
,
Ex. 48. Quartet, p. 13, m. 23 - p. 14, m. 1.5
Ex. 49. Concerto, p. 107, m. 1-5.6
)
! l 3;10,
;,.t ; I
1 r
(partitur), C 1965, Universal Ed1t1on, used by permiss1on o
the publisher. Theodore Company sole representative
5Kurt Weill, Streichouartett No. 1, 2 g (partitur),
U.S.A;, Canada and Mexico.
6
See fn. 4.
._,
59
Ex. 50. Concerto, p. 30, m. 1- p. 32, m. 1.7

a.!
.,.
.J
J.l
J
if
J
no
;ra
j
>
... ...
,..
> >
.f
.. iii
l
t
j
g

,..
>
v./
i; !
t
=!
t
_g;_
..

. .
;;;;;;;
J ,.. ...
,.. ,..
>
Ex. 51. Quodlibet, p. 57, m. 7 - p. 58, m. 1.8
Ex. 52. Symphony, p. 57, mm. 5-8.
the rirst two measures end a theme with an. upward contour, and
the following two measures add a codetta to the theme in a
falling contour. On a larger scale, the series of recitatives
in tpe third movement of the Quodlibet can be observed to
follow a similar pattern. Beginning at figure 5, the flute
recitative reaches its peak near the end, and the succeeding
clarinet statement descends throughout. The following pair
of recitatives played by the bassoon and solo cello stand in
a similar relationship. On yet a larger scale, an entire
(partitur), C 1965, Universar-Edition, used by permission of
BKurt Weill, Quodlibet, 9 (partitur), C 1926,
Universal Edition, used by permissTon of the publisher.
Canada and Mexico.
60
subsection of the first "movement" of the Symphony follows
this same pattern. The passage extending from measure forty-
one through measure sixty consists of a series of predominantly
rising lines, finally reaching a peak of followed by
a series of descending lines to the end of the section at
measure seventy.
The use of a wedge-shaped contour is particularly im-
portant to the third "movement" of the Symphony. The subject
of the fugato that begins the "movementn (quoted in Example
42) shows the influence of wedge contour on the first two
beats of the first two measures and in all of the third
measure. Another example of wedge contour in this movement
is quoted in Example 52. At the end of the Symphony (measure
411} the wedge-shaped theme quoted in Example 43, first heard
in the beginning of the work, is returned. The extensive use
of wedge contour in the final gives this return a
part;icularly satisfying effect; the theme now "fits" as a
result of its relationship to the materials of the third
"movement" (It is also rhythmically related to the chorale).
The contour of a fair number of melodies (especially
longer ones) can be seen as combinations of various smaller
shapes, without an overall pattern. Certain of the Quartet's
themes fall into this category, such as the first long theme
of the Scherzo (nine measures before figure 9); the contour
of this theme is determined by the shape of the various
motives that serve as its components. Other melodic structures
lacking a consistent pattern as far as shape is concerned can,
61
at least, be described as having a smooth or jagged contour.
There is often an effective contrast between simultaneous or
consecutive melodies in this regard. The theme extending from
five measures before figure 16 to figure 18 in the first move-
ment of the Concerto is in two parts, of fourteen and eight
measures, respectively; the first part is extremely jagged,
while the second consists of a series of small arches, all
outlining a smooth contour.
A most important aspect of melodic structure, the tech-
nique of theme widening, is most logically along
with the topic of contour. In its most common form (used to
some extent in virtually every movement) theme widening in-
volves immediate repetition of one segment of a melody
with the distance between its peak and valley increased; often
the other intervals are correspondingly ''stretched out." Ex-
amples 53 through 56 illustrate several uses of the technique
of theme widening in this .manner. A different application of
the same concept involves the widening of a repeated segment
separated from the initial statement by several measures, or
situated at the beginning of a new phrase. An important ex-
ample from the Serenata is quoted in Example 57.
As a final aspect of melodic contour, the question of
overall range should be mentioned. In fact, the broad,
sweeping nature of many of the longer themes is as much the
result of range as it is of shape. The theme played by the
solo violin at its first entrance in the Concerto (extending
from figure 2 to figure 3 of the first movement) covers two
62
Ex. 53. Concerto, p. 67, mm. 1-4.9
1 rb 1 7ET
l
Ex. 54. Symphony, p. 4, m. 3 - p. 5, m. 2.
. ()b. r
--.. .. 1--1
fEtHk:ctf tm
L,__....JL_._j >
Ex. 56. Quodlibet, p. 2, mm. 9-17.10
Kl. z. r=Mt
(C) , Ff .
ftit?t J
Ex. 57. Concerto, p. 80, m. 3 - p. 81, m. 2.11
(partitur), C 1965, Universal Ed1tion, used by permission of
lOKurt Weill, Quodlibet, 9 (partitur), C 1926,
Canada and Nexico.
llsee fn. 9.
63
octaves and a sixth, an unusually wide range for a lyrical
theme in a single voice. When more than one voice is used,
the total range covered by a single theme can be extraordi-
narily wide, such as the melody starting in the basses at
figure 8 of the same movement. The theme is eventually
doubled by the oboe, and ultimately moves to flute. All
voices considered, the melody extends from B-flat to 4, or
a total range of over five octaves.
~ of Motion
Concerning the question of conjunct vs. disjunct
motion,l2 few concrete conclusions can be drawn. Weill's
melodies are rarely entirely conjunct or disjunct, and al-
though the two techniques are often combined with very
effective results, no one specific pattern of combinations is
used more than any other.
Several varieties of conjunct motion can be identified,
and are used in all types of melodic lines: thematic, contra-
puntal, accompanimental, and ornamental. Scalar motion is
very common, especially in the Quodlibet and in the figurative
cadenza-like solo passages of the Concerto. Many of the
melodic ideas of the first "movement" of the Symphony rely
heavily on o n j u n ~ scalar motion, especially accompanimental
ones. Some themes are made tonal by the use of conjunct
motion centered around a particular pitch, as in the first
12For the purposes of this study, "conjunct" and
"disjunct" refer to stepwise motion and motion involving
melodic leaps, respectively.
64
phrase of the wind theme quoted in Exarr.ple 46. Another
frequent type of conjunct motion involves alternation between
two pitches (See Example 58).
13
Ex. 58. Concerto, p. 82, rnm. 1-6.
j

;J
i
___,.. :
;
@
l

I
--
..____
Disjunct motion also takes many forms, including ar-
peggiated triads in the figurative passages of the Concerto
(particularly the "Cadenza" section of the second movement)
and in many places in the Quartet. In addition, the atonal
style allows for the use of arpeggio-like figurations that are
not triadic, such as in the important passage quoted in Ex-
ample 59. Many melodies are made disjunct by leaps of perfect
Ex. 59. Concerto, p. 9, mm. 1-).14
and augmented fourths, especially in the Symphony. In the
other works, leaps are used less systematically, but remain
an important part of melodic construction. Certain passages
in the Concerto show the use of extremely wide and frequent
(partitur), C 1965, Universal used by permission of
14Ibid.
leaps, such as that quoted in Example 60, which the horn is
called upon to perform.
Ex. 60. Concerto, p. 24, m. 3 - p. 25, m. 1.15
J jv/
...
The melodic structures that are of greatest interest with
respect to type of motion are those that combine and
disjunct progression in various ways. Occasionally, a theme
will begin with a disjunct figure and continue in stepwise
motion, in the manner of the familiar arpeggio-scale pattern
of music. In Weill's early music, however,
the reverse is much more frequently encountered; many themes
begin with conjunct motion and gradually become disjunct. In
at least two important cases (one of which is quoted in Ex-
ample 46) the change from conjunct to disjunct accompanies,
and partially causes, a shift from tonality to atonality.
Other themes mix conjunct and disjunct motion in a variety of
ways. Example 61 illustrates a fairly typical type in which
the melodic structure is basically conjunct, but contains
certain crucial leaps. In other cases, small melodic units
consisting of pitches in conjunct motion alternate with
similar groups in.disjunct motion; this is particularly
(partitur), C 1965, Unl.versal Edition, used by permission of
common in the Quartet, in which long themes are constructed
out of short, individual motives.
Although more pertinent to texture than to the structure
of an individual melodic line, it is interesting to observe
how two melodies sounding simultaneously will make use of
opposite types of motion. Such is the case in the second
main section of the first movement of the Concerto, in which
the melodies of Examples 46 and 59 are heard in counterpoint.
Phrase Structure
Almost all of Weill's melodic structures show clear
phrase divisions, but only rarely (such as in "Serenata"
melody quoted in Example 57) are these divisions marked by
strong or implied cadences. Phrase endings are usually indi-
cated by long notes, rests, or the beginning of a new melodic
idea. Phrases within a single melody tend to be regular and
fairly equal in length (especially in the Quodlibet) although
it is not uncommon for the second phrase of a two-phrase idea
to be longer than the first. In some extremely long melodies,
the divisions delineate sections rather than phrases, as in
the unbroken solo violi.n line extending over the first
16Kurt Weill, Streichguartett No. 1, g (partitur),
67
forty-six measures of the third movement of the Concerto.
More conventional phrases can be discerned within the sections.
Another type of melodic division occurs when a short
motive is heard and isolated, and is then followed by a full
f
melody based on that motive. This type of "head motive" is
used sparingly by Weill, but always at an important place in
the music. Example 62 illustrates the application of this
technique to the opening theme of the concerto. The same
Ex. 62. Concerto, p. 1, m. 1 - p. 2, m. 2.17
procedure is followed at the return of this section near the
end of the movement, with the nhead motive" repeated twice
{See Example 6J}.
Ex. 63. Concerto, p. 49, mm.
1-8.18
! _;_! ide:
pmaHao.spr.
Of Ji I t
;:,..- ____ _
18Ibid.
68
Some melodic structures resist division into phrases,
although internal contrast may be present. In the opening
theme of the Quartet (quoted in Example 64), the nature of the
melody in measure is different than in measure one, be-
cause of the elimination of the eighth-note rests. These
rests return, however, in the fourth measure. This three-part
theme, then, undergoes significant change but no real divisions
by are apparent. Other "seamless" melodies are of a
Ex. 64. Quartet, p. J, mm. 1-5.19
. Sostenuto,con malta espressione
t.v.onne J p J:
quite different kind; these are the nperpetual motion" melo-
dies of the fast sections of the Quodlibet. In these themes,
rhythmic impetus is stressed over other aspects of melodic
structure. The theme extending from four measures before
figure 4 to figure 4 in the first movement makes use of
running sixteenth notes, with the accompaniment manipulated
so that there are always four sixteenth notes on every beat.
Melodies made "seamless" through rhythmic impetus are usually
very regular harmonically, and thus rely on other parameters
to provide the stability that is lost through the elimination
of phrases.
69
Repetition
One of the most important aspects of melodic structure
is the reuse of material within a single melodic line. The
most common type in Weill is immediate repetition of a melodic
segment of the same pitch level, and, less often, at a differ-
ent pitch level (sequence), while other melodies make use of
return of a melodic segment after a certain amount of con-
trasting intervening material. Some melodies, of course,
contain no reused material at all; most of these, interest-
ingly enough, are of the extremely long, "sectionalized" type
of structure mentioned above (Concerto, third movement,
measures one through forty-six).
The Symphony is particularly rich in examples of immedi-
ate repetition of a melodic segment. One instance of this can
be seen in the closing theme to the prologue of that work, the
first phrase of which is quoted earlier in this chapter (Ex-
ample 43). Example 53 illustrates the generation of a theme
by the repetition of a motivic cell in the first measure, and
by the subsequent modified repetition of the first two
measures as a melodic unit in itself. Most of the thematic
material of the section from which the example is extracted
{the "Cadenza" section of the second movement of the Concerto)
is based on immediate repetition of the original motivic cell.
The most extended example of melodic sequence, or im-
mediate repetition at a different pitch level, can be seen in
the second movement of the Concerto beginning at figure 9.
The violin theme in this passage consists of a short figure
70
which is heard three times, one half step lower at each repe-
tition. The entire sequence is then repeated with melodic
figurations. Example 65 shows two consecutive melodic
sequences in a theme from the Quartet. The material of the
first measure is repeated a perfect fourth higher in the
second measure, and the material of the third measure a di-
minished fifth higher in the fourth measure.
Ex. 65. Quartet, p. 11, mrn. 24-28.20
Very few themes employ exact return (as opposed to
repetition) as an aspect of melodic construction. Many, how-
ever, make use of a highly modified return, an aspect of
structure that is often paralleled by Weill's approach to
overall form. Just as later sections of a movement can often
be described as showing a relation to an earlier one, so can
a later melodic segment be shown to be derived from a previous
segment, although exact repetition is not employed in either
case. The opening theme of the Quartet, quoted earlier in
Example 64, demonstrates this phenomenon. The material of
measure one and the material of measures four (beginning on
the second beat) and five are related by virtue of the shared
rhythmic pattern and the similar mixture of conjunct and
20Kurt Weill, Streichouartett No. 1, op. 8 (partitur),
U.S.A., Canada and fJ:exico.
ob.7.
71
disjunct motion. The intervening material contrasts the two
related segments by eliminating the characteristic eighth-

note rests and employing syncopation. The resulting melodic
form can be described as ABA', which, interestingly enough,
is an accurate description of the form of the first movement
as a whole.
It should be added at this point that repetition of
rhythmic patterns is a very common technique, and serves as an
important unifying device both within individual themes and
throughout entire movements. For this reason, discussion of
repeated and recurring rhythmic.patterns will take place in
the chapter on Form and Motivic Development . More relevant
to the p r ~ s n t discussion is the illustration of a theme from
the Quodlibet (Example 66) in which rhythmic repetition is the
primary aspect of melodic structure.
Ex. 66. Quodlibet, p. 56, mm. 1-5.21
21Kurt Weill, Quodlibet, 9 (partitur), C 1926,
Canada and Mexico.
CHAPTER V
TEXTURE
Weill's mastery of compositional skills is best seen in
the study of texture. Working with the various types of
melodies discussed in the previous chapter, he builds textures
involving highly inventive accompaniment figures which nearly
always challenge the melodies for the listener's attention.
There are also examples of extensive and complex counterpoint,
primarily in the Concerto and the Symphony. Even in basically
vertical sections made up of a melody and chordal accompani-
ment (as in the Quartet), the individual lines seem to acquire
a character and direction of their own.
The present chapter is in three main parts. The first
of these outlines the types of texture used by Weill, in-
cluding imitative and non-imitative counterpoint, melody and
accompaniment figures, vertical harmony, and single-line
texture; detailed descriptions of some of the more important
passages are included. The remaining two parts deal with
simultaneous combinations of the various types of textures and
textural development (chronological alteration of texture).
Types of Texture
Weill's use of non-imitative counterpoint is one of the
most striking aspects of the early music. In its most common
72
73
form, it can be described as the simultaneous presentation of
contrasting and independent lines of equal importance. Non-
imitative counterpoint is present to some extent in all of the
works, but is far more important as a characteristic of the
Concerto than of the others; indeed, the first movement of
that work serves as a veritable catalogue of non-imitative
contrapuntal techniques. Parts of it are discussed in detail
below.
The first two main themes of the movement, extending
from the beginning to figure 2, are stated by the clarinets in
two-voice counterpoint. An excerpt from the second of these

themes is quoted in Example 67. Although the lines are
Ex. 67. Concerto, p. 2, mm. 9-11.1
melodically and rhythmically independent, they are combined in
a note-against-note style that is revealing in terms of the
harmonic intervals that result. An intervallic analysis of
these two themes shows 2$ thirds and 12 sixths, 12 seconds and
8 sevenths, $ perfect fourths, 3 perfect fifths, 9 tritones,
and 4 unisons or octaves. The comparatively heavy reliance
on seconds, sevenths, and perfect and augmented fourths is
fairly typical of many contrapuntal and harmonic passages.
(partitur), C 1965, UnJ.vers"Bl"EdJ.tion, 'US'ed by permission of
Fl.
VI.
74
It should also be noted that many of the thirds and sixths are
actually spelled as augmented seconds, diminished fourths, and
diminished sevenths, so that there appear to be an even greater
number of dissonant intervals than actually exist.
At figure 2, the violin enters with its first extended
theme. The two-voice counterpoint in the clarinets moves to
the flutes and takes on an accompanying role; now in strict
note-against-note style, the flutes contrast with the violin
melody rather than each other (see Example 68}. Within the
Ex. 68. Concerto, p. 3, mm. 3-7.2
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flute counterpoint, there is an even greater emphasis on
seconds and fourths than previously. As the violin reaches
its melodic peak of g3 in the third measure before figure 3,
there are no less than three additional independent contra-
puntal lines in the texture.
Another kind of non-imitative counterpoint determines
_,.....-f-
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the texture of the next major section, beginning in the third
75
measure after figure 5. In this type, strikingly independent
and contrasting lines are sounded simultaneously so that any
one might be considered the most important. They are set
against one another rather than combined in the manner of the
opening clarinet passage; therefore, the nature of the counter-
point would not be illuminated by an analysis of the resulting
melodic intervals. The beginning of this passage is quoted in
Example 26 in Chapter III. It shows contrast between the two
lines in harmonic scheme, range, and type of motion. At figure
6, a third line enters which further contrasts the first two;
it is rhythmically independent, more melodic, and includes an
important ornamental triplet figure. As shown in Example 69,
Ex. 69. Concerto, p. 10, mm. 1-3.3
(partitur), C 1965, Universal Ed1tion, used by permission of
76
this ornamental figure becomes an important ingredient of a
kind of rhythmic "double counterpoint" that takes place
between the new melody and the original wind theme (now in
the basses only).
The important thematic section beginning at figure 12
illustrates another method of combining independent, con-
trasting lines of equal importance (See Example 70). The
Ex. 70. Concerto, p. 16, mm. )-8.4
VI.
:::
3
4
2
4
tension created by the contrast between the two lines is great
enough to sustain the texture, although only two instruments
are used. As before, additional contrapuntal lines join the
texture {this technique is discussed more fully at the end of
this chapter as an aspect of textural development), but in
(partitur}, C 1965, Universal Edition, l.i"S'ed by permission of
77
this case they show a relationship to the original material.
The oboe theme that enters at figure 13 is based on the pairs
of sixteenth and thirty-second notes shown in the horn line
in Example 70, while the bassoon counterpoint that enters one
bar later is based on the dotted-note rhythmic patterns of
that same theme.
Thetechnique of contrapuntal combination of independent
lines of equal importance is a major aspect of Weill's compo-
sitional style, and can usually be found in the most efective
passages of his early music. Examples are plentiful in all of
the works except the Quodlibet {although one instance from
that work is quoted in Example 25); Example 71 shows a par-
ticularly successful use of non-imitative counterpoint from
the Symphony. The cello melody, which is the main theme of
the second is particularly suited to the smooth
clarinet counterpoint that invariably accompanies it because
of its "delayed" start and its long rests between phrases .
Additional contrapuntal lines are again added in the ensuing
measures.
Ex. 71. Symphony, p. 3S, m. 5 - p. 39, m. 1.

78
One additional variety of non-imitative counterpoint is
significant enough to merit attention. This involves con-
trasting independent lines in which one is clearly more
important than the others. One typical application of this
principle involves a theme and an independent {though less
important) bass line, as shown in Example 72. Another kind,
Ex. 72. Concerto, p. 66, mm. 1-5.5
\,'V/
in which vertical harmony is skillfully handled so as to give
the supporting lines an independent melodic structure, is
shown in Example 73.
Ex. 73. Symphony, p. 44, mm. 4-8.
Anmutig

.5Kurt Weill, Konzert fur Violine und Blasorchester
79
Weill also makes use of imitative counterpoint, although
less consistently. Only one major portion of a work is domi-
nated by imitative texture: the third "movement" of the
Symphony. The imitative passages of this "movement" can be
described as fugal, although there is no absolutely strict
imitation and the conventions of traditional fugue are not
adhered to. Weill's approach to imitative counterpoint as
demonstrated in this "movement" is described below.
The fugal subject is the atonal, wedge-shaped theme
shown in Example 42. It serves as the basis of two fugal
sections of ten and twenty-four measures, respectively, which
are separated by the first statement of the chorale. The
first section gives the effect of being interrupted, and the
second that of a more complete development of the subject.
The first section, in fact, includes only two complete state-
ments of the theme; they are quoted (except for orchestral
doublings) in Example 74. It will be observed that the
answer begins on the same pitch as the subject, but is not an
exact repetition of it (except rhythmically); it is, in fact,
Ex. 74. Symphony, p. 50, mm. 2-9.
80
a fairly free variant of the subject with regard to pitch
content. Both, however, end with the distinctive descending
thirty-second-note scale which serves to identify the subject
in the more complex texture of the second fugal section. The
countersubject is a fairly traditional one, based on fragments
of the theme. The section ends with an episode that is re-
markably iikea typical model of Bach, also based on fragments
of the. subject (not shown). It is cut off, however, by a
transitional passage leading to the chorale.
The second fugal section (measures 317-340) begins with
a statement of the subject as h ~ r d in the first section, but
with the first four notes removed. Before the answer, the
basses enter with an unrelated line that continues for nine
measures. The answer is in the bassoons in the measure
following the bass entrance, and is an exact repeat of the
subject on the same pitch. It is joined after one and one-
half measures by the violas, who at first play a matching but
different line, then simply double the bassoon. The next
entrance is in the clarinets a perfect fifth higher, but this
statement overlaps the previous one in stretto fashion. The
next two entrances also overlap: the third violins and then
the second violins play the theme at different pitch levels
within two beats of each other. The third violin statement,
however, jumps from the beginning of the subject to the end
and concludes only two and one-half measures later. All of
the statements mentioned above end with the descending scale
and are followed by free counterpoint which tends to parallel
Bl
itself in the various voices. Starting at measure 328, the
second fugal section concludes with a six-voice stretto on
different pitch levels, starting in the highinstruments and
continuing down. Most orchestral doublings drop out in the
middle of each statement, and there is no free counterpoint
afterward; upon completing the subject, each voice falls
silent, leaving the basses unaccompanied on the final
descending scale.
It should be pointed out that although the third move-
ment of the Quartet uses the same subject in imitation as the
fugal sections of the Symphony, the two show little textural
similarity. In the Quartet, no two statements of the subject
are alike, and there is no rigid structure of entrances,
stretto, or other deferences to traditional fugal writing.
There are some parallel passages between the two works, but in
general, the counterpoint of the Quartet is much more free
than in the Symphony.
Aside from these larger fugal sections, there are
several shorter, more isolated examples of imitative counter-
point. The most successful of these can be found in the
Symphony. In the other works, the examples of imitative
counterpoint tend to be fairly simple, such as the excerpt
.from the Quartet quoted in Example 75.
The second main type of texture to be considered is that
which involves a single important theme and accompaniment
figures. The use of distinctive, highly individualistic
accompaniment figures is very characteristic of Weill and an
82
Ex. 75. Quartet, p. 10, mm. 21-26.6
important aspect of the texture of all the early works. The
accompaniment figures are often as important as the melody it-
self, but should not be considered contrapuntal since they are
repeated rather than extended and would not, in most cases,
stand very well independently.
There are many different types of accompaniment patterns,
six of which are mentioned and illustrated here. They are
divided into two groups: the first three are perpetual ac-
companiment figures (used throughout a section or movement),
and the last three are intermittent (used sporadically).
The first of the perpetual types is epitomized by the
accompaniment figure that is used throughout the "Serenata"
section of the second movement of the Concerto. It is com-
prised of a characteristic rhythmic pattern that is altered
in various subtle ways, a recurring contour similarly treated,
and often makes use of secundal harmony. It is heard at the
outset.of the "Serenata," before the entrance of the theme
6Kurt Vv'eill, Streichauartett No. "*-' QE. $ (partitur),
C 1924, Universal used by perm1ssion of the
publisher. Theodore Presser Company representative in
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(see Example 34 in Chapter III). It is shown in Example 76
with the main theme. An embryonic form of this motive can
Ex. 76. Concerto, p. $0, mm. 3-6.7
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be found in the Quodlibet, written three years earlier (see
Example 92)
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The next type to be considered involves the use of
ostinato rather than varied repetition. In several places
in the first movement of the Concerto, continuous sixteenth-
note accompaniments (often in the two horns) play an im-
portant role in establishing an effective texture. In
Example 77, this type of accompaniment is combined with non-
imitative counterpoint and a pedal point.
The third type of perpetual accompaniment figure is less
substantial, but no less striking; it involves a novel treat-
ment of an absurdly simple accompaniment pattern, used to
create a special effect of some kind. The best example is the
"oom-pah-pah" accompaniment to the first theme of the
"Notturno" section of the second movement of the Concerto; it
7Kurt Kon.zert fur Violine und Blasorchester
(Partitur), C 1965,- Universal Edition, used by permission of
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Ex. 77. Concerto, p. 5, mm. l-3.8
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is given added character of a satiric nature by the use of
secundal harmonics and the employment of the quasi-comical
xylophone {see Example 78).
Ex. 7$. Concerto, p. 51, mm. 1-4.9
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The three intermittent types are illustrated on the following
page. The first is the type that fills in a gap in the theme
with kind of connecting figuration (Example 79); the
second punctuates the theme, and is very common in the Quartet
because of its motivic nature (Example 80}; the third is the
somewhat curious phenomenon that arises in the third movement
of the Quartet when the imitative counterpoint is itself ac-
companied by sporadic, but recurring figures (Example 81).
One additional variety of accompaniment texture might
logically be mentioned at this point; that is, the type of
undistinguished "background" accompaniment usually involving
an unimaginative ostinato rhythm and a redundant series of
pitches. This is actually a "catch-all" category for most of
the weaker textural writing. Two typical examples are shown
in Examples 82 and $).
The third major type of texture used by Weill is that
which involves a melody and an accompaniment consisting
primarily of vertical harmony. The vertical accompaniment
may be throughout the passage, or might sireply con-
sist of a series of short sonorities used to punctuate an
otherwise unaccompanied theme.
Sustained vertical harmony occasionally consists of
static chords (slow or missing harmonic rhythm) under a moving
melody, such as in the passage quoted in Example 37 in Chapter
Irror in the case of the chords supporting the cadenzas in the
Quartet (figure 57) and the third movement of the Quodlibet
{figure 5). Much more often, however, vertical harmony is
86
Ex. 79. Symphony, p. 16, mm. 4-7.
Ex. 80. Quartet, p. 10, mm. 5 1 ~ . 1 0
II'
Ex. Sl. Quartet, p. 21, m. 26 - p. 22, m. 3.11
10Kurt Weill, Streichquartett No. 1, E S (partitur),
Theodore Presser Company sole representative in U.S.A., Canada
and l\1exico.
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Ex. 82. Quartet, p. 25, 2-4.12
Ex. 8). Quodlibet, p. 11, mm.
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established by the combination of moving lines that show some
individuality and melodic interest in themselves, but not
enough independence to be classified as counterpoint. This
type of vertical writing is very characteristic of the early
style and is used in all of the works, including the Quod-
libet. Two examples are given: in Example 84 the melody is
in the flute, emphasized by a doubling in the trumpet one
octave lower (not shown); the melody i.n Example 85 is carried
by the first cellos. In both cases (as well as in most others)
the melody relies on at least some use of disjunct motion,
12Kurt Weill, Streichguartett No. 1, E. 8 (partitur),
Theodore Presser Company sole representative in U.S.A., Canada
and Nexico.
13Kurt \'Jeill, Quodlibet, .QE. 9 (partitur), C 1926,
Theodore Presser Company sole in U.S.A.,
Canada and 1-1exico.
88
Ex. 84. Concerto, p. 116, m. 1 - p. 117, m. 5.14
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while the voices comprising the vertical harmony move mostly
by step, often chromatically. In some vertical passages,
little or no concern is shown for the individual lines, but
these are comparatively rare. One instance is shown in Ex-
ample 3 in the Chapter on Harmony.
The other variety of vertical texture, that which
consists of a series of short sonorities used to punctuate a
theme, is used in a number of different settings. It is
frequently employed in the virtuosic display sections of the
Concerto to provide a rhythmic and harmonic background for
the soloist. The harmonic progression described earlier and
illustrated in Example 2 is effectedby vertical sonorities
arranged in this manner. Example S6 provides an additional
example, in which the first main theme of the Scherzo of the
Quartet is punctuated by vertical sonorities as well as by
the motive that appears in the accompanying voices in the
fifth measure.
Ex. S6. Quartet, p. 9, mm. 1-10.15
15Kurt Weill, Streichquartett No. 1, g (partitur),
U.S. A., Car.ada and !:exico.
90
The final type of texture to be considered is that in
which only a single line is used. In Weill's music, this is
as likely to consist of a solo voice as it is a tutti section
with many instruments playing in unison or octaves, although
neither variety is relied upon heavily. The most extensive
use of solo texture is found in the "Cadenza" section of the
second movement of the Concerto; most of the sub-movement, in
fact, is based on unaccompanied material played by the soloist
and the trumpet. The final note of the "Cadenza" is a single,
unaccompanied !-flat2 in the trumpet over six
measures.
Tutti scoring on a single line is usually melodic, as in
the passage from the Quartet shown in Example 6. In one place
in the Concerto, however, an effective orchestral "blur" is
created with this type of texture (Example $7). Although only
one line is heard at any one time, the effect is that of a
thicker texture with many more instruments playing.
Combinations of Textures
Part of Weill's skill in creating effective textures
lies in his ability to use the above-mentioned types of
textures in combination as well as individually. The several
possible combinations are discussed below, along with the
various ways Weill approaches their use.
Counterpoint and accompaniment figures are most
successfully combined in the Concerto, where the texture is
generally richer throughout. One instance of this type of
combination is quoted in Example 77. The oboe melody is
91
Ex. 87. Concerto, p. J$, mm. 1-2.16
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92
actually a repeat of the second main theme of the movement,
heard originally at figure 2 (twenty-one measures earlier) in
simple two-voice counterpoint. The change in textural setting
effectively disguises the return of the theme. A somewhat
similar type of combination occurs later in the same movement,
and is quoted in Example SS. In this passage, the sixteenth
notes in the horns have the effect of "anchoring" the wind
theme,. which is made disjointed by wideleaps and sudden
shifts of instrumentation.
Ex. SS. Concerto, p. 11, 3-5.17
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Combinations of counterpoint and vertical harmony are
particularly common in the Symphony. In most cases, the
counterpoint is emphasized and supported by an independent
vertical progression, as is the two-voice counterpoint shown
the publisher. Theodore Presser Ccmpany sole representative
93
with its harmony in Example 71. Another method of combining
counterpoint and vertical harmony is shown in Example 89,
taken from the Concerto. In this case, the contrapuntal line
in the trumpet is itself harmonized, independently of the
violin.
Ex. 89. Concerto, p. 121, mm. 4-6.18
"'n!-.
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The two types of combining counterpoint and vertical
harmony are paralleled by similar methods of combining ac-
companiment figures with vertical harmony, as illustrated by
two excerpts from the Quartet. In Example 90, the "quasi
Tromban accompaniment figure in the viola is added to a pre-
dominantly vertical texture; in Example 91, the rhythmic
accompaniment figure is itself presented in three-voice
vertical harmony.
Concerning textural combinations in general, it can be
shown that some of the most elaborate juxtapositions occur
where the materials being used are the simplest. In the
lBKurt Weill, Konzert fur Violine und Blasorchester
in U.S.A., Canada and Kexico.
94
Ex. 90. Quartet, p. 13, mm. 23-25.19
Alia marcia
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passage from the Quodlibet quoted in Example 92, five distinct
ideas are heard and the overall texture makes use of counter-
point, accompaniment figures, and vertical harmony.
Textural Development
The topic of textural development deals primarily with
the manner in which one textural section leads to another and
with recurring patterns of textural contrast. Mention should
be made, however, of a related phenomenon which has been
19Kurt Weill, Streichouartett No. 1, .QE. $ {partitur),
20Ibid.
95
Ex. 92. Quodlibet, P! 13, mm. 1-2.21
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alluded to at various places in this chapter, that of in-
creasing textural complexity in the Violin Concerto. This
technique is employed in various places in the first and
third movements, and contributes significantly to the overall
textural sophistication of that work.
The second major section of the .first provides
a case in point. It begins with the arpeggio-like violin
theme accompanied only by the motto chord, but this is soon
combined with the tonal wind theme, as shown in Example 26
21Kurt Weill, Quodlibet, oo. 9 (partitur), C 1926,
_._ -
Canada and Kexico.
96
(Chapter III). To this counterpoint is added a third line,
part of which can be seen in the oboe and clarinet in Example
69. At figure 8 the counterpoint is again in only two voices,
but the increase in complexity is continued through the ad-
dition of the accompaniment figure in the horns (see Example
88). This in turn grows stronger with the addition of the
trumpet to the horn accompaniment and the thickening of the
orchestration the wind theme at figure 10, at which point
another new contrapuntal line enters in the basses and
bassoons. These materials build to a great climax at figure
12, where a new section commences. This section, the be-
ginning of which is quoted in Example 70, follows a similar
pattern of increasing textural complexity.
In moving from one type of texture to another, the
progression involves either a sharp contrast or a smooth
"dovetailing" procedure. Sharp contrasts of textural styles
can be found on all levels of organization, such as between
large sections or within a theme. In the Concerto, for ex-
ample, the long, gradual increases of textural complexity
discussed above are often resolved by reaching a climax and
then suddenly shifting to an entirely new type of texture.
On a somewhat smaller scale, very sharp contrasts of texture
can be found in the third "movement" of the Symphony. In
fact, the contrast of textural styles epitomized by the alter-
nation of the fugal sections and the chorale 289-357)
is one of the major structural aspects of the "movement."
97
Sharp textural contrast within a thematic section is
illustrated by the first main theme of the "Notturno" in the
second movement of the Concerto (see Example 93). In the
Ex. 93. Concerto, p. 51, m. 7 - p. 52, m. 2.2
2
fourth measure of the excerpt, the obtrusive accompaniment in
the basses and xylophone is dropped and the agitated parallel
fourths in the flutes are replaced by smoothly flowing
parallel thirds in the violin. Although fewer instruments
are involved in this example than in the abrupt shifts
following the climaxes of the first movement, the aural
effect is no less striking.
Examples of sharp textural contrast on an even smaller
scale can be found in the Quartet, due to the motivic nature
of that work. In the theme from the Scherzo partially quoted
in Example $6, the texture is altered every few measures: it
in U.S. A., Canada and
98

is unisonal in the first measure, vertical for the next three,
accompanirnental in the next, and then vertical once again.
Dovetailing of different textural styles, as opposed to
sharp contrast, is found frequently in the Quartet and the
Symphony. One important dovetailing technique involves the
"merging" of contrapuntal lines into less independent ones
that act as parts of a vertical sonority. In Example 94, the.
four voices are independent in the first measure, but begin
to parallel each other rhythmically (although not exactly) in
the second. In the third measure they are rhythmically
identical, and compriSe .a texture Jn which the primary interest
is vertical rather than horizontal.
Ex. 94. Q ~ a r t e t p. 3, mm. 7-9.23
The reverse procedure is also used. In Example 95, the
vertical harmony from the beginnine of the second "movement"
of the Symphony "dissolves" into independent contrapuntal
lines.
Occasionally, the succession of textural styles within
a movement determines an overall textural "form." This is
23Kurt Weill, Streichquartett No. 1, 8 (partitur),
99
Ex. 95. Symphony, p. 38, m. 6 - p. 39, rn. 4.
true of the "Cadenza" and "Serenata" sections of the second
movement of the Concerto, both of which comprise three main
textural sections in a symmetrical relationship. In the
"Cadenza," the textural form can be described as ABA', in
which the middle section has the thickest texture {an or-
chestral tutti) while the first section is mostly unaccompanied
and the third primarily soloistic with short vertica.l sonori-
ties. In the "Serenata" this pattern is reversed, with the
simplest texture coming in the middle. The textural form is
A B A, in which the outer sections of twenty-nine and twenty-
four measures (as well as the eight-measure introduction) are
dominated by the main accompaniment motive {see Example 76).
The middle section consists of a fourteen-measure interlude
in which a lute solo is accompanied only by pizzicato chords
on the violin.
Other movements, such as the third movement of the Quod-
libet, show clearly defined textural sections but lack the
logical overall organization necessary to determine a textural
"form."
CHAPTER VI
FORM MrD YCTIVIC DEVELOHfENT
The study of form in Weill's early music is of particular
interest, since it is in that aspect of style that the early
works stand completely apart from the operas of the following
years. Weill's early experiments in harmony and melodic
structure were to have an important influence on The Three-
pennx Opera, but his varied and intriguing approaches to the
organization of large structures found no place in the simple
strophic songs that were to become his chief vehicle of
expression.
In his approaches to form, it is the problem of unity
that seems to have been uppermost in Weill's mind. In his
first major work, he set for himself the formidable problem
of working the extremely varied materials of the Symphony into
a single unified moverr.ent of nearly one-half hour's duration.
In the other works, too, individual movements present a large
number of highly contrasting themes that require a unified
overall structure in order to make any formal sense. To this
end, Weill makes use of the principles of recapitulation and
restatement, but in his own particular manner; he also experi-
ments with a large number of smaller unifying devices,
including cyclic motives of various types. Inherent in the
100
101
problem of unity and variety on a large scale is the thematic
process of the music: how are individual themes varied, or
two "independent" related, and how does this affect
overall structure?
The present study of approaches to form will
first consider four individual movements (including the en-
tire Syrnp&ony} in some detail, in order to illustrate the
methods he uses to create a unified overall structure.
This is followed by a of the formal and developmental
techniques used throughout the body of early instrumental
music.
Overall Structures
Given below are formal analyses of the first movement of
the Concerto, the entire Symphony, the second movement of the
Quartet, and the third movement of the Quodlibet. The manner
of description used in each case (verbal, graphic, outline,
etc.) is that which is best suited to the formal character-
istics of the movement. The selected movements are those of
each work that show the greatest formal interest; in ad-
dition, they display between them a great variety of important
structural and developmental techniques.
The first movement of the Violin Concerto is in seven
large sections, two of which are restatements of earlier
sections. Characteristics of arch forrr. can be seen in the
first section and in the movement as a whole, both in terms
of thematic restatement and psychological effect. The movement
102
is unified throughout by the motto chord, which is usually
heard at the beginnings and ends of themes. Its first
appearance quoted in Example 96. The themes themselves
tend to be broad, sweeping melodies that are extended for
long periods of time; ten basic themes have been identified.
Ex. 96. Concerto, p. 1, mm. 1-3.1
Corm'
(Fa)
Trombe
(R--.,)
TamL.-.u.ro piccolo .1 '1 ) l
PP

. .,/
Section A is an arch form thematically. It extends from the
beginning to the fifth measure of figure 5.
Theme A is stated by two clarinets in non-imitative
counterpoint (see Example 62). The motto chord
is heard at the beginning of the theme (see Ex-
ample 96) and at the end,
2
one measure before
figure 1.
lKurt \'ieill, Konzert fur Violine und Blasorchester
(partitur), C 19b5, Jnivcrsal 8dition, used ty perrrission of
in U.S.A., and
2At this point and at several others, the specific
pitches of the motto chord are slightly altered. The orches-
tration and rhythrr:., unless otherwise noted, remain unchaneed.
103
Theme B begins at .figure 1. It is stated by the same
instrurr.ents as theme A and remains contrapuntal,
but a clear phrase division identifies it as a new
idea. Theme B ends two measures before figure 2
with a statement of the motto chord.
Theme C is the first statement by the solo violin. It
forms the center of section A (from one measure
before fieure 2 to the fermata after figure 3) and
does not return. The motto chord is heard near
the end.
Theme B' begins exactly as does theme B, but is eventu-
ally transformed. The textural setting of theme
B' also contrasts that of B (see Example 77 in the
previous chapter). The motto chord is not heard
during the course of this theme, but at the be-
ginning of the following one.
Theme A' begins two measures before figure 5, accompa-
nied by the motto chord. Its melodic structure,
contour, rhythm, texture, orchestration, and
ending formula are identical to those of theme A,
but the actual pitches are somewhat different.
Section B(a) extends from the sixth measure of figure 5 to
figure 8. It includes two main themes and elaborate
contrapuntal combinations.
Theme D is the two-phrased wind theme shown with its
violin counterpoint in Example 26. Theme D alone
is quoted in full in Example 46. The motto chord
104
is heard first with the violin counterpoint (which
actually begins two measures before the theme) and
is heard again at the end of each phrase of theme
D.
Theme E begins in the clarinet, in the third measure of
figure 6, along with a repeat of theme D and the
continuation of its counterpoint. Theme E is in
two parts, divided by a shift to the flute after
figure ?. Themes D and E and the violin counter-
point all end at fieure 8, accompanied by the
motto chord.
Section B(b) represents a continuation of section B(a) in
terms of tempo, rhythm, and textural development, but
includes new thematic material.
Theme F extends throughout the sub-section (figure 8 to
figure 12), serving as the backbone for a dramatic
buildup of textural complexity (see Chapter V).
It begins in the basses but moves to the winds at
figure 9. The beginning of theme F with its
counterpoint and accompaniment is quoted in Ex-
ample 88. It reaches a climax just before figure
12, and is linked to the next section with a
single fortissimo drum stroke used in place of
the motto chord.
Section C(a) [along with section C(b)] represents the
emotional and technical center of the movement, and
includes the peaks of rhythmic activity, violin
virtuosity, and dissonance.
105
Theme G begins in the horn at figure 12; it is shown
with its violin counterpoint in Example 70.
Additional lines are added, and theme G eventually
dissipates into figurations in the winds and
basses, accompanied by a new version of the motto
chord (without the drum) at figure 15.
Section C(b) beeins at the 'Pesante' before figure 16.
Theme H is in two parts. The first part (a fragment
of which is shown in Example 60) leads to a
series of extreme dissonances at figure 17 which
culminate the textural, melodic, and harmonic
tension that has been building since the beginning
of section B. The final eight measures of theme H
(part two of the theme) represent a dying away of
the massive texture of the 'Pesante'. This is
followed by a long silence.
Section B(a) is returned at figure 1$. The first three
measures present the wotto chord and a variation in
triplets of the violin counterpoint heard at the first
statement of theme D.
Therr.e D is returned in the key of B-flat; it is heard
in its entirety only once, along with the varied
counterpoint in the violin.
Section D replaces the expected return of section B(b), and
extends from 2 measures before figure 20 to the 'Furioso'
after figure 21. Its texture is somewhat similar to that
of section C(b), but is of a lesser degree of intensity.
106
Theme J is heard twice, in the horn and then the
trumpet (it is quoted in Example 50). It is ac-
by the violin counterpoint, continued
from the previous section. Theme J dissolves
into figurations, and ends with two fortissimo
statements of the rr.otto chord in the full
orchestra at figure 21. This is followed (at the
'Furioso' after figure 21) by a non-thematic
transition, partially quoted in Example 87. The
mood again calms and leads to the next section.
Section E begins four measures figure 24. It is
surprisingly reminiscent of the texture, rhythm, and
overall mood of theme B' in section A.
Theme K . is in the violin, and extends until figure 25.
At that point, the melodic activity consists of a
fragmented extension of theme K. The accompani-
ment is light jazz-like.
Section A returns at figure 2$ and ends the movement.
Theme A2 combines the "head motive" from theme A and
the continuation (after the "head motive") of
theme A'. It is played by the soloist in double
stops rather than by the clarinets; the motto
chord is heard at the beginning and end. The
movement concludes with a sustained G-sharp minor
triad punctuated by a series of snare-drum figures
derived from the motto chord.
Thus the movement is clearly sectionalized and relies to
some extent on the principle of returnand restatement. The
.107
overall form can be represented as A Ba b Ca b Ba D E A, with
the motto chord serving as a connecting link between sections.
The movement is also given organic unity by the elements of
arch form that are used: the outer sections are related,
while the penultimate section is reminiscent of part of the
first and the second section is returned in the latter part
of the piece. In addition, section C serves as a center of
gravity for the whole, containing the dramatic and rhythmic
peaks of the work. The movement also forres a strict rhythmic
arch; this will be discussed in the following chapter
..,
The formal interest of the Symphony in One Kovement
lies in the remarkable complexity of its divisions and sub-
divisions; and in the motivic and thematic relationships that
unify the whole. The Symphony actually consists of three
main "movements" framed by a prologue and an epilogue. Two
cyclic motives are introduced in the prologue and recur
throughout; they are shown in Examples 97 and 98, respectively.
Ex. 97. p. 1, mm. 1-2.
108
Ex. 98. Symphony, p. 4, m. 3 - p. 5, m. 2.
Ob.
Many of the themes of the sections and subsections are also
cyclic, in the sense that they recur in later sections or
"mover.1ents." In order to represent the complexities
and thematic relationships of the Symphony in the clearest
possible manner, a diagram of the work's structure is given
on the following page. Read from left to right, the diagram
gives a chronological outline the major sections and their
subdivisions. Beneath the formal analysis is a summary of
the appearances of the two cyclic motives (Example 97
represented by an asterisk, Example 98 by a five-pronged
star) and an indication of those themes and
that are based on earlier mc.terial. The two cyclic motives
occasionally recur in dir.inution; this is indicated by the
abbreviation "dim." in parentheses below the appropriate
symbol. Themes or accompaniments that are based on previous
material are connected by lines in blue ink to the first
appearance of that material. Not conriected, of course, are
reused themes within the same section or subsection that are
shown to be identical by structural designation (a b a, etc.).
numbers above the analysis give the location of the
various structural phenomena; those not parenthesized desig-
nate formal divisions, while those that are indicate the
appearance of a cyclic motive or reused thematic idea. It is
Pro\co.ue
\\ J._ 1/
F i Move.....-, e.Y)I
I S" 13 (li) -:;1:1 , 3t (4c) 4\ (PI) (bS) (6G.) "'t '21 "14 'i'1 lo'1 i";.'J. (t'H)(i:,\{) P-'1 ii>\ lb,- ,_:-lll
E 'X.fOS itio \"'\
A IB
b Puv"t Pa..tf?",t lq Jb P.::.v-t I Pa.tj P"<vt'
I. li J!r_
filaterio.l: I *
1' *
JY1 (t9 ;() 1'13
)(
P,eca..p'itu\cttov-.
p,.. t
JY_
a.
1'1 <l i 1'\
I .t "* +
1' II ,. (d,.)
)o'N -;(11']
,,() I@ :L n. Tit: I
(8
(*) )f
ld.i .. ,,)
* IJ'.
X}
l=F
1
1'

li. II H t''
Second rlove.me..\'"11 Th,,-J f'1u'Je..Me_v,
?.1'1 L'2'11-() :ZI\l"J 'l.S''l ?.0 7.1:."7 (?..'76) (J.'t&) C-;o'{) 3Gl -?'71 '3"t.). Jq3
A I,{\evluJe B Tra h.,it\on A B A I A B Tn\.nS.
a.. Pc.{t :rrr. a. a.. b c b I
(m.
-,1.:_ ' \,l
T ... -t,.. 0 ,.- l"la. .., 1ho"e. -;f. Tlo,eW>a K 1' To." Ch . .:.r.:<"clct t
T
- =rl t .- t 1 ::r::: 1'
(d., .... ) (J;..,) I T
Erdo']ue.
-
3'1'1 t.to3 wc'7 y(l
P"tl P.,tlr,,;t Pn,t
1r; jt
Fig. 2
Symphony in One 1!.ovement:
Structure and Thematic Relationships
cyclic motive )'?. cyclic motive b
f
.....
0
'-0
110
beyond the scope of the diagram to show the nature of the
relationship between a reused theme and its original ap-
pearance; most are exact quotations, but some are modified
by fragmentation or transformation. Examples of these modi-
fied restatements are included in the summary of developmental
techniques at the end of this chapter.
The second movement of the Quartet is a rather con-
ventional scherzo and trio. Within this large A B A, however,
the structure is very much affected by the fact that the
thematic material is motivic rather than melodic. Instead of
large sections made up of long, spun-out themes, the Scherzo's
outer sections consist of a series of small subsections uni-
fied by recurring motives. Occasionally the motives are
extended or are combined to form themes, such as in the opening
viola idea quoted in Example 99, but in most cases the sub-
sections consist of disjointed motives. Subsections are
delineated by new thematic ideas, changes in texture, cadences,
or combinations of these. The motives themselves are quoted
and identified on the following page; in their various ap-
pearances they are often partially transformed in interval and
pitch content while rhythm and contour remain constant. This
and other aspects of thematic transformation are discussed
later in the chapter.
Section A
Subsection 1 (theme only) is shown in full in Example 99,
ending with the violin entrance. Many important
motives are included in this opening statement.
111
Ex.
LQ--l Lb...J

. \/
... -, . y T +<" -.
Lc...J L-Cl.'--1
Ex. 100. Quartet, p. 9, mm. 28-29.4
v;
Le__j ,
Ex. 101. Quartet, p. 10, mm. 5-9.5
Ex. 102. Quartet, p. 11, mm l-io.6
.--h---.
v ...
t
v.
1
-. pfu .
3Kurt Weill, Streichouartett No. 1, oo. 8 {partitur),
C 1924, Universal Edition, used by permissiOn of the
4Ibid.
6Ibid.
112
a: a melodic motive, heard in the first measure
in all voices.
b: used primarily as a rhythmicmotive through-
out; first heard in the fourth measure.
c: characterized by a descending second and
fourth; first heard in the thirteenth
measure.
a': a free inversion of used here and
elsewhere as an ending formula.
Subsection 2 extends from figure 10 to figure 11, and
begins with the violin theme quoted in Example 99.
It includes the following motives:
d: beginning at figure 10 in the violin, this
motive is characterized by a strong ana-
crasis, an even eighth-note rhythm, and a
descending, disjunct contour.
c: restated three measures before figure 11.
Subsection 3 extends from figure 11 to figure 12, and
contains new material in the inner voices.
first heard at figure 11; characterized by the
rhythmic pattern and close conjunct motion.
a: forms part of the interpolation that follows
motive heard in the fourth measure of
figure 11.
Subsection 4 states a new theme in the second violin
and extends from figure 12 to figure 13.
f: comprises the first five measures of the new
theme, and recurs in identical form in the
113
last section. An inversion of motive c is
heard in the fourth full measure.
c: heard in the accompanying voices, in the ana-
pestic rhythm of motive b.
a': used again as an ending formula in the first
violin.
d: appears in varied form in the second violin,
immediately following motive f.
Subsection 5 extends from figure 13 to the seventh
measure of figure 14.
d: a variant of this motive begins the subsection
in the first violin.
~ characterized by a group of three ascending
eighth notes in stepwise motion, usually
representing the first three scale steps of
a diatonic scale; appears at this point as
part of the first violin theme.
h: heard in the violins after figure 14. Com-
prised of the dotted rhythmic pattern and
always heard in two voices simultaneously,
beginning in parallel thirds.
g: precedes and accompanies motive h.
a': identical to the two previous hearings, used
as a closing formula.
Subsection 6 extends from the seventh measure of
figure 14 to figure 16.
i: a rhythmic motive; last new motivic idea.
114
a': used as an ending formula in the cello; trans-
posed from G minor to C minor.
i: continues to end of subsection.
Subsection 7 extends from figure 16 to the start of the
trio, and includes a codetta to section A.
d: cello, at figure 16.
i: second violin and cello, fifth measure.
c: before and after figure 17 in all voices;
uses anapestic rhythm of motive b.
d': rhythmically varied, but identical in pitch
to figure 13.
d: first measure only, in fourth measure of
figure 18.
d: forms basis of codetta (last fourteen
measures of section A).
Section B is marked "alla marcia" and begins in the tenth
measure of figure 21. It is in compound quadruple
meter throughout, and contains no material from section
A. The main theme is borrowed from the ballet Zauber-
nacht, where it probably depicted toy soldiers being
brought to life; it is shown with its accompaniment in
Example 90. Section B ends with a codetta beginning
at figure 25. A retransition in 3/8 begins three
measures later, the final measures of which (eight
measures before the 'Tempo I' after figure 28) are
based on motive d.
Section A returns at the 'Tempo I' after figure 28.
115
Subsection 1 continues until figure 30.
d: first violin.
b: measures four through seven, all voices.
g: in inverted form, six measures before figure
30 (cello).
Subsection 2 extends from figure 30 to figure 32 and
includes much unrelated material.
in inverted form in various places after
figure 31; premonition of f in first violin
at figure 31.
Subsection 3 extends 32 to figure 33.
h= more fully developed than previously.
4 extends from figure 33 to figure 34.
f:. returned in the cello at figure 33.
accompanies f.
g: accompanies fin the seventh measure (inverted).
Subsection 5 new and unrelated material between
figures 34 and 35 (fifth measure).
Subsection 6 parallels subsection 3 of the first A
section and extends rrom the sixth measure or
figure 35 to figure 37.
returned and extended.
Subsection 7 extends from figure 37 to the 'animate'
before figure 38.
h: returned in lower voices.
a: used as an ending formula (violins).
Subsection 8 forms a coda, beginning at the 'animate'
116
before figure J$; it is pervaded by a new
pattern.
a: first violin before figure 38 and in
second measure after figure 38.
c: various places between figures 39 and
in the third measure of figure 41.
lower voices at figure 44.
h: violins, fifth measure of figure 44.
g: figure 45 to the end (first violin).
the
40 and
a': used as a closing formula three measures be-
fore figure 46.
The third movement of the Quodlibet is far superior to
the other movements of that work, although similar to them in
structure. The fact that the Quodlibet is a suite results in
a highly sectionalized form without significant return; the
third movement follows this pattern, unlike the other
movements, shows imaginative thematic and textural contrast
between its five unrelated sections. In addition, the third
movement is unified by a recurring timpani motive, shown in
Example 103. The tritone leap of this motive also becomes a
Ex. 103. Quodlibet, p. 44, m. 1.7
Pauke
7Kurt Weill, Quodlibet, ..QE 9 (partitur), C 1926,
Canada and Mexico.
117
structural principle incorporated into many of the themes,
thus further unifying the diverse elements of the movement.
Section A, extending from the beginning to figure 5, is in
three parts. The first is introductory in nature; it
is based on the melodic tritone and is accompanied by
the drum motive (Example 103) throughout. One motive
from this section employing the melodic tritone is
quoted in Example lS. After a small climax is reached,
a series of descending scales leads to the second part
of section A, in which the first major thematic idea is
presented. It is quoted in Example 104. Its two
settings are separated by the drum motive. Section A
ends with a closing theme in sixteenth notes that is
somewhat similar to the introductory material. A
fragmented statement of the drum motive is heard in the
final measures.
Ex. 104. Quodlibet, p. 46, mm. J-6.S
doJcq tzS-rJr:
-----=- . .
-- r+ . . .----.... - -
K:i.
(C.) [" p . -
- a
Section B consists of a series of recitatives by the flute,
clarinet, bassoon, and cello over triadic and seventh-
chord harmony. They are unrelated to each other, and
are followed by a transitional passage based on a
SKurt Weill, Quodlibet, 9 (partitur), C 1926,
Canada and Mexico.
118
dotted-note rhythmic figure first heard in the trumpet.
The rhythmic freedom of the recitatives is partially
retained through the use of changing meters. The drum
motive acts as a connecting link to the next section.
Section C extends from figures 7 to 9. The first part of
t:.:!>5f: eection (to figure 8) makes use of the tritone
figure from section A (Example 26) and a rhythmic
transformation of it in triplets. The drum motive
continues throughout. From figure g to figure 9,
these ideas are replaced by a new motive derived from
the rhythm of the descending scales that connect the
second and third parts of section A.
Section D, beginning at figure 9, is based on a motive in a
recurring dotted rhythm (unrelated to the earlier
dotted material following the recitatives). A theme
based on this motive (quoted in Example 66) is pre-
sented in rhythmic canon and set against a broader
theme in the cellos. At figure 10, both the dotted
theme and the cello theme begin a second phrase; the
cello ends after three measures, but the dotted ma-
terial continues until three measures before figure 12,
at which point the drum motive introduces a transition
consisting of non-thematic material (reminiscent of the
earlier recitatives) and a solo cello theme that leads
to the final major section.
Section E, beginning eight measures before figure 14, is
marked "marcia funebra" and consists of several im-
portant themes. The first is a two-phrase idea in
119
dotted rhythms which is based on a tritone relation, and
is similar in rhythm and contour to the dotted theme set
against the cello at figure 9 insection D. It is
partially quoted in Example 105. A central idea be-
ginning at figure 14 is shared by the strings and winds,
with the "funeral" r}?.ythm used as an intermittent ac-
companiment figure. The first theme returns in a
somewhat more complex texture at figure 15, and is
rhythmically altered. A six-measure coda, based on the
rhythm and pitches of the drum motive, ends the movement.
Ex. 105. Quodlibet, p. 60, mm. 6-9.9
Tft) l@!J ;;:; 'j J
(c . .
.tr.Je:::g F Ll r
.
i
a 1
.- - -
The remaining movements of the various works can be
rather easily summarized. The first movements of the Quartet
and the Quodlibet are basic A B A' structures; the third move-
ment of the Quartet is also of this general type but should be
considered separately because of its particularly important
coda (the chorale harmonization). The third movement of the
Concerto and the second and fourth movements of the Quodlibet
are sectionalized and without significant return or restate-
ment, as is the Quodlibet movement discussed above. The
9Kurt Weill, Quodlibet, Q 9 (partitur), C 1926,
Canada and Mexico.
120
second movement of the Concerto is a special case, as it
consists of three separate pieces, each with its own form.
Summary of Formal and Developmental Techniques
Some of the methods used to achieve structural unity
through manipulation of motives, themes, and sections are
described below. They are divided into three main categories:
principles of return, unifying devices, and thematic transfor-
mation.
Among principles of return, the traditional technique of
recapitulation of a large section containing contrasting themes
is used least by Weill, and is highly modified when used at
all. The only examples of recapitulation in the early music
are in the first "movement" of the Syyr.phony and the "Serenata,"
both of which are actually only sections of larger structures.
Both recapitulations are drastically shortened. In the
"Serenata," the exposition contains four themes, while the
recapitulation uses only fragments of three of them. In the
first "movement" of the Symphony, the exposition contains two
contrasting sections (each with two main subdivisions) sepa-
rated by three short "interlude" themes; in the recapitulation,
only part of the first subdivision of each of the contrasting
sections is returned, along with only one of the "interlude"
themes. The recapitulation in the "Serenata" is one half step
lower than the exposition; in the Symphony, the material of
the first section is returned in the same key, but the second
section is one half step higher.
121
Much more frequent than the sonata-form type of reca-
pitulation discussed above is the modified return of a large
section after contrasting material in the manner of an A B A
structure. The Quartet movement described above is typical
of Weill's adaptation of this form in that the material of the
first section is returned in the last, but in a different
order and with different textural settings. The third move-
ment of that same work follows a similar pattern, as does the
second "movement" of the Symphony, in which material from the
contrasting middle section appears in the return of the first
section. The first movements of the Quartet and Quodlibet
show even greater modifications in the return of the first
section, but there remains enough similarity in terms of
tempo, texture, and thematic material to consider the overall
form as ABA'. Return of a major thematic section does not
necessarily occur within the context of three-part form, how-
v r ~ in the Concerto movement discussed above, two early
sections are returned near the end of the work and contribute
to the overall feeling of arch form.
The final type of return to be considered involves the
reuse of a specific theme without implying the return of an
entire section. An example is provided by the third movement
of the Concerto, in which the Coda begins with a theme from
an earlier section (in a new key) but continues in an entirely
different manner. Many of the reused themes indicated in the
diagram of the Symphony are of this type, such as the premo-
nition of the third "movementn chorale melody in the second
.. _
.110::
122
section of the exposition of the first "movement," the return
of the theme of the third "interlude" of the first "movement"
in the third "movement," and many others.
Unifying devices are of two main types. The first, and
less frequently used of the two, involves a recurring idea
that is an entity in itself and that returns intact in recog-
nizable form . Several have already been discussed,
including the motto chord of the first movement of the Con-
certo (Example 96), the cyclic motives of the Symphony
(Examples 97-9g), and the tritone drum motive of the third
movement of the Quodlibet (Example 103). Some of the motives
of the second movement of the Quartet also fall into this
category, such as motive (see Example 99) which recurs
intact in four different places, always used as an ending
formula {although transposed on one occasion). The various
themes of the "Notturno" are similarly unified; the motive
quoted in Example 106 recurs four times in that
each time as a component of a longer theme.
Ex. 106. Concerto, p. 51, mm. 6-7.10
VI.
The more frequent type of unifying device can best be
described as a structural principle that is incorporated into
lOKurt Weill, Konzert fur Violine und Blasorchester
123
several themes (or even movements) in various manifestations,
but is not an entity in itself. Many of the motives of the
second movement of the Quartet are of this type; motive h, for
example (see Example 102), can be described as a structural
principle consisting of the characteristic rhythm and its in-
variable appearance in two voices beginning in parallel thirds,
but is actually used differently at each appearance. Rhythmic
patterns alone are frequently used as unifying structural
principles (see Chapter VII for a more detailed discussion of
this technique). Most of the themes of the "Notturno," for
example, are based on a single rhythmic fragment consisting of
two pairs of notes in a dotted sixteenth-thirty-second-note
relationship. A unifying structural principle may be even
less specific. In the case of the Symphony, the melodic
fourth functions in this manner; although the leap of a fourth
is hardly distinctive in itself, the fact that virtually every
important theme makes noticeable use of that principle helps
to unify the work effectively.
In the Quodlibet, two recurring structural principles
are used throughout. One of these, the melodic tritone, is
particularly emphasized in the third movement but can be found
in the first measure of each of the four movements. The other
is a rhythmic motive that is featured in nine different themes,
again in all four movements. Examples 107 through 110 show
four of its appearances.
The accompaniment motive of the "Serenata" (see Examples
34 and 76) is a special type of unifying device in that it is

124
Ex. 107. Quodlibet, p. 2, mm. 9-14.11
Ex. 108. Quodlibet, p. 41, mm. 4-7.12
. r ~ (I_
p ! _E L E i- I F
Ex. 109. Quodlibet, p. 78, m. 3 - p. 79, m. 1.13
VI.
1
pa JqP ~ r u a a : r l,r rfr1 [1 ;E!E ~ v
1---. ____ _.t .
Ex. 110. Quodlibet, p. 85, mm. 5-7.14
/(/ ..
(c)
perpetual rather than recurring. It is also somewhere between
an entity and a structural principle, since it is constantly
altered throughout the piece.
Many of the restatements of themes and motives shown in
the diagram of the Symphony and the outline of the second move-
ment of the Quartet are not literal repeats but variants of the
llKurt Vieill, Quodlibet, .QE 9 (partitur), C 1926,
Canada and Mexico.
12Ibid.
14Ibid.
13rbid.
125
original material. The manner in which these variants are
transformed differs in each case, but several frequent patterns
can be cited. By far the most common is the type of transfor-
mation in which the pitch materials of a theme or motive are
changed while the rhythm and/or contour remain constant. The
alterations in pitch content do not serve to disguise the
theme, perhaps because the atonal nature of the music results
in more or less of an equality of the different pitch classes.
The three varied settings of the "second theme" of the third
movement of the Concerto (at figures 8, 12, and 14) illustrate
a fairly simple application of this type of transformation. A
less obvious relationship exists between the third and fourth
measures of the chorale in the Symphony and its derivation
five measures earlier. The chorale is shown in Example 112
and its derivation in Example 111; Examples 113 and 114 quote
two later transformations of this fragment, as indicated by
the diagram in the first part of this chapter.
Ex. 111. Symphony, p. 50, mm. 11-13.
Ex. 112. Symphony, p. 51, rnm. 4-5.
126
Ex. 113. Symphony, p. 58; mm. 2-4.
Ex. 114. Symphony, p. 63, mm. 3-7.
3 4
. n. 4 4
r-f lw'
Many of the motives of the second movement of the Quartet are
similarly transformed when reused. Examples 115 through 119
show some of the many returns of motive d in that work in
their various transformations. The rhythm and contour are
constant in all of these except Example 117; in that case,
the rhythmic alteration is compensated for by the fact that
the pitches are identical to an earlier transformation (see
Example 116). The original form of motived is quoted in
Example 115.
Ex. 115. Quartet, p. 9, mm. 17-20.
1
5
v.,
I
15Kurt Weill, Streichguartett No. 1, .QE. 8 (partitur),
127
Ex. 116. Quartet, p. 10,_ mm. 9-19.16
Ex. 117. Quartet, p. 12, rnm. 5-8.17
Ex. llS. Quartet, p. 16, mm. 1-12.18

I.
fl
accel. aema [;i.. .,......._
-
.

y

........

'-.:
.
.
--
J
0
,./
ff
o) ..,.
}
.... T
....
'Y
....
_::-
.
l
---
=-= .-_-
p
.._.
l!

"';;+
::T

?";
T

'
:_: seaua sord._ff
-=
. The type of thematic transformation that involves
rhythmic alteration while pitch relationships remain constant
is used in only a few specialized cases. One instance from
the Quartet is shown in Examples 116 and 117. Most of the
others occur in the Symphony, such as the various appearances
of the two cyclic motives in diminution. The main theme of
the first section of the first "movement" is transformed
rhythmically in two instances: in its premonition three
16Kurt vleill, .!reichauartett No. 1, QE. g ( parti tur),
U.S. A., Canada and 1-1exico.
17Ibid.
18rbid.
128
measures before the initial statement, and in its jubilant
return in the winds at the end of the work. The main theme
is shown in Example 119, and the transformations in Examples
120 and 121.
Ex. 119. Symphony, p. 9, mm. 1-2.
4
4 .

(c) .. ,
Ex. 120. p. 8, mm. 5-7.
Ex. 121. Symphony, p. 65, m. 2 - p. 66, m. 1.
6
4=

!v ....
.JT
Finally, some pairs of themes can be described as
closely related although no single aspect of structure is
exactly duplicated throughout both of them. In these cases,
the themes may show partial duplication at the beginning and
then proceed differently, or may share a rhythmic scheme and
textural setting. Themes A, A', and A2 of the first movement
of the Concerto are related in this way, as are themes B and
of the same movement. Another example is provided by the
main theme of the third rr.ovement of the Quartet, which was
originally the fugue subject of the Symphony; Examples 122
through 124 show three versions of this theme.
129
Ex. 122. Quartet, p. 21, m. 26 - p. 22, m. 2.19 .
Ex. 123. Quartet, p. 22, rnrr. 2-6.20
Ex. 124. Quartet, p. 23, m. 7 - p. 24, m. 2.21
Vc. J tt=!

ip;,o m'iirc. .
The structural similarities and differences between the
third movements of the Quartet and Symphony, which use much
of the same thematic material, might logically be mentioned
as a conclusion to this discussion of forrr. and motivic
development. In the Quartet, part of the material of section
A of the Symphony "movement" and part of the epilogue is used,
but is altered and reordered. The two fugal sections are
paralleled by similar though less complex contrapuntal
sections at the third measure of the Quartet movement and at
two measures before figure 50. Whereas in the Symphony the
19Kurt Weill, Streichauartett No. 1, g (partitur),
20Ibid. 21Ibid.
-
130
chorale harmonization alternates with the fugal sections, in
the Quartet the chorale melody is worked into the contrapuntal
texture and the harmonization itself is saved for the coda.
The use of the chorale in the counterpoint (the first phrase
in the first contrapuntal section and the second phrase in the
second) was probably suggested by the beginning of Section B
of the Symphony "movement," where the chorale melody is used
as a cantus firmus in the bass voices underlying free counter-
point in the high winds and strings. Although Section B of
the Symphony "movement" is not used in the Quartet, there is
a corresponding segment that shares the rhapsodic, soloistic
nature of Section B, ending with the recitatives at figure 57.
After the return of the opening material, the Quartet adds a
lengthy coda. This begins with both phrases of the chorale in
harmonized form, followed by an "extra" chorale phrase with
staggered entrances. The sources for this passage in the
Symphony are the identical harmonization at measure 302 and
an "extra" chorale phrase with staggered entrances (though
different from the Quartet phrase) at measure 357. The final
passage in the Quartet (beginning at figure 69) is taken from
the beginning of the epilogue of the Symphony, and even dupli-
cates the meter change in that passage (see Example 114).
Finally, the first two introductory measures of the Quartet
can be traced to measures 378 and 379 of the Symphony. The
mood created by the natural harmonics in the latter passage
(it is marked "mystisch") is clearly transplanted to the
Quartet through the use of similar vertical sonorities.
CHAPTER VII
RHYTHM AND METER
Theimportance of rhythm in Weill's melodic structure
and deyelopmental techniques has been partially indicated in
the previous chapters. The present chapter deals with the
rhythmic characteristics of the music on a somewhat larger
scale and in greater detail. It is divided into four main
parts, dealing, respectively, with the unification of themes
and sections by rhythmic properties, rhythmic development
(chronological alteration of basic rhythmic properties),
simultaneous rhythmic contrast, and meter and pulse regularity.
Unifying Rhythmic Patterns
A rhythmic figure that serves to unify a theme or section
may be either perpetuai or intermittent. The accompaniment
motive of the "Serenata," for example (see Examples 34 and 76),
is essentially a rhythmic figure that is repeated perpetually,
although not always in exactly the same form. The only passage
in which this motive is not heard makes use of an accompani-
ment figure (pizzicato violin chords) that is also presented
as a perpetually repeated rhythmic pattern; it, too, is not
always heard in exactly the same form. The perpetually
repeated rhythmic figure is rarely used as a unifying device.
;1.31
132
Another, much more frequent type does not involve re-
iteration of a specific figure, but consists instead of a
continuous rhythmic background based on a single metric unit.
Many sections of the Concerto and Quodlibet are unified in
this manner. In section B of the first movement of the Con-
certo, for example, a group of four sixteenth notes comprises
each beatof the forty-seven-measure passage. This rhythmic
ostinato serves as a background for the intense buildup of
textural complexity that occupies the section. The perpetual
sixteenth notes are incorporated into both the important
thematic material and the accompaniment (see Examples 26 and
88). In some cases, this type of perpetual rhythmic motion
is-accomplished by dividing the pattern between two or more
lines. Thus, when a melody does not make use of the rhythm
of the perpetual background, it is sustained in the accompani-
ment. Example 125 shows a fragment of a theme from the
Quodlibet that is constructed in this manner.
Ex. 125. Quodlibet, p. 7, m. 1.1
1.
II A --r.
- --
Ob. Z.
rf
v
A
K/. 1.
0
(c) z.
r
if
----.
-....<--=--
' !
p - - - ~
'i
...
Fag.
= - ~ ... '
p
lKurt Weill, Qaodlibet, QE 2 (partitur), C 1926,
Canada and Mexico.
133
Intermittent rhythmic patterns are used much more
frequently than perpetual ones in unifying a theme or section.
Section B of the first movement of the Concerto, mentioned
above as an example of the latter, also makes use of the
former; it is unified by a one-measure rhythmic motive first
heard at the beginning of the oboe theme three measures after
figure 6. The same motive is used at the beginning and end
of two subsequent phrases: the bass melody extending from
figure 8 to figure 9, and the continuation of that theme in
the winds extending from figure 10 to the second measure be-
fore figure 12.
The outer sections of the first movement of the Quartet
are similarly unified, but by a much less specific motive.
The rhythmic pattern of the opening theme, with its charac-
teristic small groups of notes separated by short rests, can
be seen as the basis for much of the thematic and accompani-
mental material of the first section. Examples 126 and 127
show part of the opening theme and a later idea that is based
on a diminution of the initial rhythmic pattern.
Ex. 126. Quartet, p. 3, m. 1.
2
. Sostenuto, con malta espressione
J ffw
2Kurt Weill, Streichquartett No. 1, 8 (partitur),
134
Ex. 127. Quartet, p. 4, m. 6.3
The middle section of this same movement presents an
extreme case of unification by recurring rhythmic motives.
Virtually every musical idea in this fourteen-measure section
is based on one of three rhythmic patterns. Example 128
quotes a short thematic fragment in which all three motives
are used.
Ex. 128. Quartet, p. 6, mm. 3-5.4
Entire movements as well as individual sections can be
effectively unified by recurring rhythmic patterns. Although
small, the two syncopated figures shown in Examples 129 and
130 (the second of which might be considered a broadened
version of the first} recur recognizably throughout the first
movement of the Concerto and help unify the themes in which
they appear. The rhythmic unit shown in Example 129 returns
eight times in the course of the movement; the broadened
version (Example 130) recurs five times, is always used to
3Kurt Weill, Streichguartett No. 1, QE 8 (partitur),
4Ibid.
--
135
emphasize a melodic peak at the end of a theme, and
appears in a similar contour.
Ex. 129. Concerto, p. 2, 1-2.5
Ex. 130. Concerto, p. 3, mrn. 1-2.6
J&Jbt
(B\,)
The-unifying function of the motto chord is discussed
elsewhere, but it remains to be pointed out that its dis-
tinctive nature (hence its success as a motto} is due
primarily to its rhythmic setting. The actual pitches of
the chord are varied, but its short, percussive statements
(usually in groups of two} make it instantly recognizable,
and contrast the broad, sweeping melodies of the movement.
It is usually stated on weak beats, especially when accompa-
nying a theme that starts on a weak beat or an upbeat (see
Example 96); in section B(a}, however, both of the contra-
puntal themes begin on strong beats, and the motto chord
proceeds similarly.
6Ibid.
136
Rhythmic Development
Throughout the four works, formal sections tend to be
characterized by a particular type of rhythmic motion or
specific recurring pattern. The contrast between the patterns,
then, is an important determinant of the overall effect of the
work. In some cases, the contrast is one of extreme rhythmic
rigidity and extreme freedom, such as in the third movement of
the Quodlibet where the perpetual sixteenth-note background of
the last part of section A is followed by the recitatives of
section B. This type of contrast can also occur within a
section, as in the third movement of the Quartet. The middle
section of that movement, which in itself contrasts the outer
sections, is in two parts; the first has a rhythmic background
' of constant sextuplets (see Example 82) while the second is an
unmeasured recitative-like statement of the same theme that
the sextuplets have just finished accompanying.
Sometimes the rhythmic contrast between sections is
based on a conflict between specific motives. The clearest
example of this is provided by the second movement of the
Quodlibet, in which the alternation of the "scherzo" and "trio"
sections provides the major structural interest. The "scherzo"
material is based entirely on an eighth-note motive in com-
pound duple meter, while the "trio" sections are based on a
dactylic motive (an eighth note followed by two sixteenth
notes) in simple duple meter.
More subtle contrasts involve various aspects of the
psychological effect of rhythmic organization. In the first
137
"movement" of the Symphony, for example, the heavy, march-like
quadruple meter of section A with its relentless emphasis on
the downbeat is strongly contrasted by the following "inter-
lude" themes, the first of which is of a deliberately less
decisive pulse and is notated in alternate measures of 5/4
and 4/4. The second interlude theme is also irregularly
organized, and is notated in groups of three measures of 3/4,
3/4, and 2/4.
Rhythmic contrast is important to the Symphony in an-
other way. Throughout tbat work, individual themes and motives
are given distinctive rhythmic characteristics; thus, chrono-
logical contrast becomes an important method of signaling the
reuse of earlier material and of isolating that material and
making it recognizable. An example is the theme quoted in
Example 131, first heard in section B of the first "movement."
Ex. 131. Symphony, p. 28, m. 3 - p. 29, m. 3.
The melody begins with the interval of the fourth, which is
not at all uncommon, and it is the characteristic rhythm of
the theme (the anacrusis and the smooth, even eighth-note
pattern) that distinguishes it. It is significant that this
theme is never transformed, and thus creates a similar 6/S
feeling at each of its reappearances that makes it immediately
recognizable.
On the smallest level of organization, the contrast be-
tween thematic sections can be determined by the manner in
which individual beats are divided. In the prologue of the
Symphony, the themes of the first and second sections are set
against each other in this way. The strong downbeats and
steady quarter-note rhythm of the first theme (Example 97)
are contrasted in the second, in which quarter-note patterns,
sixteenth- and thirty-second-note patterns; dotted patterns,
and triplets are all used _equally and sometimes simultaneously.
In some extended sections there is little or no chrono-
logical contrast. This is particularly true of certain
passages in the fourth movement of the Quodlibet, but can also
be observed in the Symphony. The entire second "movement" of
that work is in a relentless compound meter, with only slight
(and much-needed) relief just before the return of the first
section (measure 263) and at the very end.
Occasionally the progression of sections delineated by
rhythmic characteristics seems to suggest an overall scheme.
In several cases, a tendency for the rhythmic activity to
quicken and grow more complex as the work progresses can be
discerned. A clear example is provided by the return of the
first section in the third movement of the Quartet. This
begins at figure 59, where the chorale melody acts as a cantus
firmus and the basic rhythmic motion is in eighth notes.
Eight measures later the pace is quickened by the addition of
sixteenth notes at irregular intervals, which become perpetual
after four more measures. The second phrase of the chorale
139
melody is now used as a cantus firmus, but in diminution.
After figure 62 sextuplets are introduced, which are soon set
against sixteenth notes in simultaneous contrast. The last
three measures of the section are comprised of perpetual
thirty-second notes.
There are also examples of overall rhythmic schemes in
the form of an arch. The first section of the first movement
of the. Quartet functions in this as the rhythmic motion
quickens until reaching figure 4 and then relaxes to the
original meter and pulse. The most important and extended ex-
ample, however, is the first movement of the Concerto, in
...
which the progression of rhythmic motion as determined by
each forms a nearly perfect arch. Section A is per-
haps the least rhythmically consistent (because it is a small
arch form in itself), but the basic overall unit of rhythmic
motion is the eighth note. In section B, as discussed above,
it is the sixteenth note, and in section C(a) (as shown in Ex-
ample 70) it is the thirty-second note. In section C(b), the
rhythm becomes indeterminate, as it consists of trills and
tremolos. The "eye of the hurricane" is reached with the
return of section B(a), which is dominated by the triplet
figure of the violin counterpoint. With section D the basic
rhythmic motion is again indeterminate (although the violin
triplets continue), and the process is reversed to the end.
The rhythmic arch of the movement is depicted in Figure 3.
Ob.
VI.
140
Formal section: A B Ca Cb
Basic rhythmic unit: ) <:>) J } J
Fig. 3.
Ba
1
m
I
D transition E A
1 ' J J
)
Rhythmic arch form in the first movement
of the Violin Concerto
Simultaneous Rhythmic Contrast
Cont-rasting rhythmic schemes are often used to accentu-
ate the independence of lines in contrapuntal passages. This
is sometimes done with themes of equal importance, as shown
in Example 132. It is more commonly used, however, to help
Ex. 132. Concerto, p. 80, mm. 3-6.7
~ ' ~ v..-
.....--;:;;:. ,-..,
..... ~
- --
--
-
~
c=
-
I
-- . .
-
. -.
I
..
,., r
it. r
~ ~ ~ ~ t ; - ~
-r
- ------ ~ ~ ~ ~
:-:!:i
' ' P ' ; ~ ~ ~
distinguish melody and accompaniment. Very often, a theme
with a distinctive rhythmic organization is balanced by a
relatively simple accompaniment (as far as rhythm is con-
cerned), such as in Example 78. In parts of the "Serenata"
the roles are reversed, with the rhythm of the main accompani-
ment figure being far more distinctive than that of the theme.
Simultaneous rhythmic contrast often takes the form of
actual polyrhythm. The most common type involves contrast
141
between basic simple and compound meter, usually in a measure
containing two or three main pulses. There are many examples
in the first "movement" of the Symphony, but.few are of sig-
nificant duration. This technique is of far greater

importance to the third movement of the Concerto, where, in
fact, the entire rhythmic impetus of the movement is based
on the contrast of simple and compound meter. In some
sections one clearly dominates the other, but there are many
periods of extreme tension resulting from the superimposition
of the two. In several of these passages the contrasting
voices are actually assigned different meter signatures, as
in Example 133.
g
Ex. 133. Concerto, p. 120, mm. 1-3.
1"
II b,
'1=1=
--
- -
n.
..,
pp
II
Ob.
...
t: .j..j!.;. .;.. i f=' i j;
PP
.. ...
.;.. .,.;. ;...

p- p::
II
,. ; ;. . . . .
Cl.
(A)
fg.
VI.
."'
! a.Z
9
Bc.,,m.]
II
..,
p-
T
11
':>
..
-

>

I
p
, ii ....
:t=
--
.

..
-
...

./
/
.v
,I
There are several unique examples of different types of
polyrhythm in the Symphony, the most important occurring at
gKurt Weill, Konzert fur Violine und Blasorchester
142
the superimposition of the premonition of the chorale melody
and the string counterpoint in the first "movement" _{Example
134). Another instance occurs at the return of the second
Ex. 134. Symphony, p. 26, mm. 1-7.
4 Nlcht schleppend (ruhige ganze Talde)
191
4 Die J den J. der Streidler

Tr. 8
. m '
Nicht schleppend (ruhige g:rrrzeTakte) __
lit
i:.J

-

I . . ..
I
!
I
v
l I
-., 'II/
--=== ---=
cyclic motive in measure 126. At that point the motive (shown
in its original form in Example 98) is rewritten in triple
meter, but the accompaniment retains its duple setting.
Much of the music, of course, makes little or no use of
simultaneous rhythmic contrast. In the Quodlibet, for example,
there are no examples at all, except for a single measure in
the finale in which a triplet is set against a sixteenth-note
scale figure.
Meter and Pulse Regularity
Extremes of pulse regularity and irregularity can be
found throughout the music. Passages such as the "military"
music of section A of the first "movement" of the Symphony
and the string counterpoint shown in Example 134 have
~
Vn.
143
decisive, regular pulsesthat agree with the metric organi-
zation. Many of the most interesting themes, however, do not
show a decisive pulse; no beat is stressed over any other,
and the theme might fit into any one of a number of different
meters. Examples include the tonal wind theme from the first
movement of the Concerto (Example 46} and the first cyclic
motive of the Symphony (Example 97), which actually does ap-
pear in a different meter (J/4} in one place, with the notes
unchanged.
Meter changes are used primarily to establish a series
of irregular pulses, especially in the Concerto (see Example
135). They are also used to destroy any feeling of pulse,
as shown in Example 1)6. Occasionally a pulse is set up that
Ex. Concerto, p. 54, m. 2 - p. 55, m. 2.
Ex. 1)6. Concerto, p. 3, mm. 4-8.
10
2
4
r
6
8
9

3
4
in U.S. A., Canada and fw1exico.
10Ibid.
144
conflicts with the meter, as in Example 137, but this o ~ u r s
very infrequently.
C
0. 11
Ex. 137. oncerto, p. 4o, mm. 4-7.
1/
llKurt Weill, Konzert fur Violine und Blasorchester
CHAPTER VIII
ORCHESTRATION
The ensemble called for by Weill and the manner in which
it is employed is considerably different in each of the three
orchestral works. The richness of the large, complexly di-
vided string section of the Symphony is one of the most
striking characteristics of that work, while the equally
effective scoring of the Concerto relies on an ensemble of
only fourteen wind, percussion, and bass players (in addition
to the soloist); the Quodlibet employs the largest orchestra
of the three but is the least imaginative in its scoring.
Thus, the discussion of certain individual techniques may be
relevant to only one work.
Many of the most effective scoring techniques of the
Concerto and the Symphony are the result of the unusual body
of instruments that comprise the orchestra in each case
(given in Chapter II). Weill employs only one trumpet and
one oboe but relies heavily on these soloists in both works.
The amount of percussion used is somewhat large considering
the size of the orchestra, and the percussion instruments
are often put to surprising use. The unusual function of the
basses in the Concerto results, of course, from the omission
of the rest of the string choir. Weill's manipulation of
these forces results in a wide range of orchestral effects,
145
146
some of which reflect his modifications of traditional scoring
practices and some which are thoroughly original. The present
chapter will consider first the former and then the latter,
followed by a discussion of successive changes in orches-
tration.
Traditional
Techniques
Herein discussed is Weill's use of solo instruments,
doublings, orchestral choirs and tutti scoring. It is these
basic techniques that determine the overall orchestral style
of the music, both in the in which each is employed
and in the amount each is used in comparison with the others.
Most orchestral composers, for example, use solos on occasion
but not to the extent Weill does in certain places; the over-
all style is thus greatly affected.
The use of solo instruments to introduce important
thematic material is the modus operandi of the Concerto, due
to the nature of the ensemble and to the predominantly contra-
puntal texture, which is best served by solo voices. The two
clarinets at the beginning forewarn the listener of the im-
portant role this type of scoring is to play throughout the
work. The most important solo voice is, of course, the violin,
but it is not always the most prominent; in many passages the
relationship of the violin to the rest of the orchestra is a
contrapuntal one between soloists rather than the traditional
solo with tutti accompaniment. Also important are instruments
not normally used extensively in a solo capacity, such as the
147

trumpet (throughout the "Cadenza"), thebasses (Example SS),
and the xylophone (in the "Notturno"). The other wind instru-
ments are also used frequently, and the flute often with great
effect in the low register (see Example 138). In general,
Ex. 138. Concerto, p. 55, mm. 4-6.1

Fl. If; ,.> m m:. fittrti J
- . p .. _: :- ." .. .. .
almost all of the important thematic ideas (especially in the
first two movements) are announced by solo voices, and some
extended sections (such as the ttNotturno") consist almost
entirely of solo statements.
Solo wind instruments are also used frequently in the
Symphony, but are not as important in the exposition of the-
matic material as in the Concerto. An important exception is
the trumpet, which is entrusted with the first main theme of
the first "movement" (see Example 119) and other thematic
material, particularly in the strident "military" sections of
that "movement.n The trumpet is the primary melodic voice in
many additional places, but is frequently doubled by other
instruments. Some attempts at solo wind writing reflect
Weill's inexperience with orchestral textures in this early
work; in the passage quoted in Example 139, for example, the
solo flute cannot possibly be heard over the tutti in a live
performance.
(partitur), C 1965,--Universal Edition, used by permission of
148
Ex. 139. Symphony, p. 11, mm. 3-4.
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vi
More important in the Symphony than solo wind writing is
the use of solo strings. Occasionally a section leader will
play alone in an obbligato role, but the most effective
passages combine several string soloists in a concertina-like
ensemble. The last theme of the prologue, for example, is
played by a solo quartet of one violin, one viola, one cello,
and one bass. Another example, this one contrapuntal, occurs
in section B of the first "movement" and is partially quoted
in Example 134. To the solo violas shown in the example are
149
later added two solo violins and one cello. Solo strings are
also used in pairs, as in the two-voice counterpoint shown in
Example 140.
Ex. 140. Symphony, p. 5S, m. 7 - p. 59, m. 4.
_,.,..tu'f'UIIfdWif'llldil

Salol
.

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-
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-l:

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..
SoloZ
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I ---= =--
I
The quodlibet relies very little on solo instruments to
introduce important thematic material; more common are tutti
statements and "standard" orchestral doublings, such as flute
and violin. There are, however, the important cadenzas played
by the solo flute, clarinet, bassoon, and cello in the third
movement.
A very typical procedure in the Symphony is to present
a thematic idea with parallel scoring in the wind and string
choirs; this type of doubling is discussed as an aspect of
tutti scoring below. Aside from this basic technique, how-
ever, there are many examples of effective doublings that
make ingenious use of the limited resources of both the Con-
certo and the Symphony. Examples involving the winds can be
found in both works. Theme D of the first movement of the
Concerto (Example 46) is heard in the flutes, oboe, clarinets,
and basses, all in different octaves with the basses two
octaves below the clarinets. The result is a hollow, airy
sound that contrasts the arpeggiated violin counterpoint. An
\./
150
effective use of the winds alone is shown in the scoring of
the second cyclic motive of the Symphony (Example 98); it is
scored (in the third measure of the example) for flute, oboe,
and two clarinets all in the same octave, resulting in a dark,
nasal sound characteristic of the middle symphonies of Mahler.
In both the Concerto and Symphony, many important themes
are introduced by a doubling of the trumpet and some other
instrument or instruments. In most cases the orchestration is
carefully manipulated to avoid balance problems, but occasion-
ally the trumpet overpowers the rest of the texture. A
typical doubling involving the trumpet, in this case success-
fully balanced, is shown in Example 141.
Ex. 141. Symphony, p. 35, mm. 2-3.
n.
2 J
Ob. ./
t
! Trp.
./
~ c . )
Other effective doublings include both the cantus firmus
setting of the chorale in the Symphony, where the combination
of solo trombone and low strings evokes a solemn, liturgical
mood, and the first "interlude" theme earlier in the same
work, where the mellow combination of clarinet and violas
151
helps contrast the harsh military quality of the preceding
section.
Scoring techniques involving the use of instrumental
choirs pertain only to the Symphony and Quodlibet, since the
Concerto has only one full choir and its use as an entity is
discussed as an aspect of tutti scoring. Of primary interest
is the use of the string choir in the Symphony. Its basic
division is in nine parts, with three violin parts and two
each of viola, cello, and bass. Further division within this
is very common, and in at least one place (measure eleven)
the string choir is divided into thirteen parts. The inde-
pendence of each part is generally preserved, even in the
bass part. Example 142 illustrates a typical division of
Ex. 142. Symphony, p. 39, mrn. 2-3.
PP
==---
.
,./
molto cspr.. =::=- "if' --==- ==-- f-=-
consol"d. --
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pp
Solo
152
the strings, taken from the second "movement." Occasionally
a choir is formed out of a single section, such as in the
second "interlude" where the theme is stated by the cellos in
four-part harmony.
The wind choir is rarely used independently in the
Symphony, the primary exception being the chorale harmoni-
zation. in addition, neither the string nor the wind choir
is heard in unison, with a few exceptions: the string ac-
companiment to the first theme of the first "movement," and
an occasional unison statement by the brasses alone.
The use of individual choirs in the Quodlibet is, for
(
the most part, undistinguished. The string choir retains
the standard division of two violins, one viola, one cello,
and one bass for the entire work, and the pairs of wind
instruments are usually scored in unison or in parallel
figures, such as in Example 143. Throughout the work, there
is a fairly even balance between the separation of choirs
(usually with the theme in one choir and the accompaniment
in the other) and cross-choir doubling, a method of tutti
scoring borrowed from the Symphony.
The technique of cross-choir doubling is the predomi-
nant method of using the entire orchestra in the Symphony.
Typically, the wind and string choirs show parallel con-
struction from top to bottom, often with the solo trumpet
doubling the flutes and violins one octave lower. The first
two measures of the work present the first cyclic motive
orchestrated in this manner, and the theme of the prologue's
second section, which is contrapuntal rather than vertical,
153
Ex. 143. Quodlibet, p. 30, mrn.
2
5-7
F!. 7.
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=+==!=-+
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-
f'l
. .
... .
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-
-
-
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>
t
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.:;- >
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'1.
Ob. Z.
.,

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7.
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:::.. >
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.,
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.J

.,.
:::> ::>
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.:;-
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.;c:L .....

is similarly scored. Although the Concerto has only one
choir, a related technique is used in some of the more
thickly scored sections of that work; it involves several
lines that contribute to an overall vertical texture but re-
main somewhat independent, each of which is scored with a
distinctive doubling that helps to individualize it. The
passage quoted in Example 84 provides an example; the flute
melody is doubled in the trumpet one octave lower as is the
bassoon line in the basses, although these two lines are not
shown.
Another effective use of the tutti is typical of the
first movement of the Concerto; this involves the use of
Weill, Quodlibet, oo. 9 (partitur), C 1926,
Canada and Mexico.
154
fortissimo trills and tremolos as an.accompaniment
The amount of sound created by this technique is remarkable
considering the size of the orchestra. A passage employing
this type of tutti scoring is quoted in Example 144. The
doubling of the clarinet theme in the horn and flute is not
shown.
Ex. 144. Concerto, p. 23, mrn. 1-3.3
r;,. - l)p.P "t.
II b.a.
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-
-
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.-
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tr
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=- .. ...._
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3
Pesanfe
4
JJ.
e ?; ,.. ,..
""'
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iii :f
.ff
di.,. :p_
i:I:P.

_ __::':t==::=:: .
... lF
.,.
The entire orchestra is rarely used in the Quodlibet;
the full tutti is saved for a few places in which sheer
volume and power is desired. In these cases, the orches-
tration consists mainly of massive doublings of a
predominantly vertical texture.
155
Other Techniques
Of those scoring techniques that are particularly
characteristic of Weill's early music, one of the most im-
portant is his use of percussion. There is an unusually wide
array of instruments used in both the Concerto and the
Symphony, including timpani, snare drum, bass drum, xylophone,
triangle, suspended cymbals, glockenspiel, tam-tam, and
chimes. In general, the percussion writing is much more ef-
fective and evenly balanced in the Concerto than in the
earlier Symphony, where it is overused in some places. The
use of the snare drum illustrates this point. In the epilogue
of the Symphony, the snare drum plays a loud roll throughout
one passage, and extends it into what is a silent beat for the
rest of the orchestra (measures 395 and 397). This obtrusive
use is contrasted by the subtle addition of the snare drum to
the motto chord of the first movement of the Concerto, where
it ~ s distinction and helps make the motto recognizable in
its unifying role.
The timpani is used in traditional style in most places,
consisting of pedal points and short figures involving leaps
between the tonic and dominant notes of a given key. Oc-
casionally it seems to parody itself with similar leaps but
between two notes in tritone relation; this occurs in the
Symphony and throughout the third movement of the Quodlibet.
The familiar timpani pedal point is often taken over by the
bass drum, presumably to provide a pitchless foundation to
the thematic activity. The string counterpoint shown in
Example 134 is accompanied in this way.
156
The other instruments are employed sparingly, often no
Eore than once or twice (although the xylophone is very im-
portant to the "Notturno"). They are often used to create a
particular mood or effect, such as the glockenspiel in the
"jubilant" segment of the Symphony's epilogue, or the jazz-like
suspended cymbal (played with drum sticks) in the Concerto.
Most of the other characteristic techniques are also
aimed at creating a specific effect suitable to the thematic
material or texture. One type is the orchestral "blur," of
which two highly contrasting varieties can be found in the
Concerto. The first is employed in the 'furioso' section of
the first movement (see Example S7) and the second in the third
movement (Example 27), where it evokes an elegiac mood.
Certain techniques are used in the second movement of
the Concerto to help create the ghostly, mysterious atmos-
phere of the triptych. The use of flutes in the low register
has already been mentioned; they are combined with bassoons to
create the hollow quality of the main accompaniment motive of
the "Serenatatt (see Example 34). The orchestration of the
openings of the first and third movements of the Quodlibet are
not without inspiration; the combination of high string tremo-
los and glockenspiel at the beginning was probably very
successful in conveying an image of the world of spirits and
fairies in the original ballet, and the third movement com-
bines isolated fragments from the various families of
instruments very effectively.
Those scoring techniques often referred to as "special
effects"--common in much music of the early twentieth century,
157
including little used by Weill. At one point in
the Symphony the horns are directed to play with their bells
high, and there is one passage in the Quodlibet marked "col
Successive Changes in
Orchestration
An technique used frequently in the Concerto
the addition of instruments toa melody as it
progresses; thus, a solo voice grows into a doubling and
tripling. This type of orchestral crescendo is often used
in conjunction with the technique of increasing textural
f
complexity to help build a It is also used at vari-
ous places in the Symphony, including several of the statements
of the second cyclic The Symphony also includes ex-
amples of orchestral decrescendo, although these are less
frequent. The passage beginning with the material quoted in
Example 141 is treated way; after beginning in the winds
and trumpet (shown in the Example) the theme continues in the
winds alone, with the next phrase heard only in the horn and
the phrase after that only in the cello.
Because of the larger orchestra employed in the Symphony,
it is possible for themes to switch from one instrument to an-
other. This technique is employed in the second phrase of the
chorale harmonization, where the melody moves from the clarinet
and horn to the flute and oboe. Another example occurs at the
return of the first section in the second "movement." The
original clarinet counterpoint (quoted in Example 71) returns
158
with the same pitches as previously but is divided between the
clarinet and horn. In some parts of the passage, which ts
quoted in Example 145, the voice which is not at that point
concerned with the original counterpoint has its own free
counterpoint.
Ex. 145. Symphony, p. 47, mm. 5-S.
. I . _ 1
, Andante (wie friiher)
' " . r--T"""""'"'!
:r,
.....
Jaor.t
itt)
lid.
..
---::- .,
dim. T
(8'-)
. Fag. 1
.L
~ ~ ~ ~ ~ ~ ~ ~ /
vi
It is interesting to observe, by way of summary, the
close relationship between orchestration and texture in Weill's
early music. In those parts of the music that are primarily
contrapuntal the emphasis is almost invariably on solo voices
and isolated tone colors, such as in the string concertina
passage of the Symphony (Example 134) and other places. The
Concerto, which is the most contrapuntal of the early works,
has the smallest orchestra and is even more dependent on solo
voices and isolated tone colors, such as the trumpet, xylo-
phone, and even the violin itself, which is isolated due to
the elimination of strings from the ensemble. Important ac-
companiment figures, such as the motto chord and the
accompaniment motive of the "Serenata," are also characterized
159
and emphasized by the orchestration. Only the Quodlibet lacks
a distinguished orchestrational style; in that work, the
scoring serves only as a vehicle for its melodic emphasis and
primarily vertical texture.
PART III
CONCLUSION
CHAPTER IX
SUMMARY AND OBSERVATIONS
The conclusion to this thesis must, to some extent, be
a contradictory one. The differences between the individual
instrumental works of Weill's early years make it very diffi-
cult, in the final analysis, to define an overall style as
represented by those works. The differences are manifest in
the compositional techniques used in each, as discussed in
the preceding chapters, but the real basis for distinction is
at the aesthetic level.
Throughout Weill's early instrumental music, the picture
emerges of a highly gifted and skilled young composer searching
for an appropriate means of musical expression. On a technical
level, the result is (as with many young composers) a marked
indebtedness to the styles of his teachers and contemporaries;
thus, the contrasts in Weill's early music are due in part to
the extremely diverse influences of Busoni, Mahler, Schoenberg,
Humperdinck, and even Stravinsky and Hindemith, all of whose
works were familiar to Weill. Aesthetically, the motivations
and influences were even more urgent, as they must have been
in the artistically, socially, and politically turbulent
world of post-war Berlin. The combination of all these forces
necessitated for Weill the extensive experimentation evident
161
162
in the early music, ranging from the religious expressionism
and neo-classicism of the Symphony to the Humperdinck-inspired
"entertainment music" of the Quodlibet and to the radical
humanitarianism of the "Novembergroup" in the Concerto. Only
after these excursions was Weill able to find an aesthetic
home in "topical" theatre music, and even there his youthful
experiments remained an important influence.
~ s p i t the inconsistency of style, some generalities
can be made about the best of Weill's early instrumental
writing. As an art, it is very much at home in the early
twentieth century. The free atonal harmonic style represents
'
a logical continuation of the dissolution of tonality begun
by Wagner and continued in the German-Austrian lineage of
Strauss, Vhler, and Schoenberg, all of which stands somewhat
apart from the revolution of Debussy. It is significant that
Schoenberg's application of the twelve-tone system, the next
step in that evolution, began at about the same time Weill was
completing his experiments in free atonality. In the Violin
Concerto, too, the twentieth century's return to counterpoint
is clearly reflected. Although lacking the scholasticism of
Hindernith, Weill's contrapuntal style is a valid return to
the aesthetic of Palestrina and Bach, where harmony is created
to a large extent by the combination of independent lines. In
this respect the influence of Wagner is not as great; in the
works of that master, contrapuntal lines are superimposed on
a pre-existing harmonic structure, and the passages with the
most inventive counterpoint are often the most conservative
harmonically.
163
In terms of extra-musical aesthetic, too, the early
music of Weill clearly reflects its times. Shaken from its
proud tower by the First World War, the human experience was
irrevocably altered in the years following the Armistice. A
new life- and world-consciousness brought with it a struggle
for a new concept of morality and individual freedom, and a
feverish search for the means to express that struggle; just
as the social and political structure could not remain aloof
from this new consciousness, so could art no longer remain
aloof from the struggle itself. Wagner had erected a shrine
to which people would come as pilgrims to hear his music,
presumably forever; Weill and his colleagues in the "November-
group" wrote for the moment, for the expression of the
idealism of a generation. His search for an appropriate
musical language, however, was not fulfilled by his early
experiments, and it was one particular aspect of the new
awareness of the human condition that led him to the popular
musical theatre, where his most important and lasting contri-
bution was made.
After the war, society adopted a new attitude concerning
the responsibility of men for their fellow men. The exploi-
tation of the working class and the callous indifference to
its social plight that accompanied the Industrial Revolution
gave way to a new ethic which ended forever the notion that a
ruling class could exist in blatant disregard of the sufferings
of humanity. It was in this atmosphere that Weill must have
decided that the elitist intelligentsia that provided the only
accepting audience for his early music should not be the sole
164
judge of his art. He wanted to reach the people, and did so
with success by turning to the theatre. Using the convenient
and accessible framework of the strophic popular song, Weill
communicated the vital messages of Brecht with a strikingly
original and effective harmonic and melodic idiom. In The
Threepenny Opera of 1928, the musical language sought by
Weill is reached and perfected; the writing is completely
assured, the text effectively conveyed, and audiences and
critics have responded to it with enthusiasm (except for the
initial disappointment of the avant garde in 1927) ever
since.
The style of Weill's theatre music could not have been
synthesized had the early music never been written. Although
the later music is tonal, it relies for much of its effect on
a disturbing harmonic instability that aptly conveys the
mysterious and barely sinister nature of Brecht's words. The
instability is the result of occasional disruptions of normal
functional root movement and especially of chromatic triad
progression, both techniques that are fundamental to the
Symphony of 1921. The Overture to The Threepenny Opera, in
which the twisting chromatic lines that comprise the vertical
harmony are individualized by their melodic structure and
orchestration, is related to the early music texturally as
well as harmonically. f..iany operatic passages can be shown to
be specifically derived from places in the early music, but
to proye such a relationship is not the purpose of this study.
It is, rather, to propose the re-evaluation of a practically
165
unknown body of music, the connection of which to the more
successful works of the same composer serves to hint at its
importance and musical worth.
BIBLIOGRAPHY
BIBLIOGRAPHY
Book
Kotschenreuther, Helmut. Kurt Weill. Berlin: Max Hesses
Verlag, 1962.
Articles
Aroloin, John. "Orchestras." Musical America, LXXXIII
(April, 1963), p. 36.
Drew, David. Notes accompanying recording. Weill,
Symphonies 1 and 2. Angel S-36506.
"Two Weill Scores.tt Musical Times, CVII
(September, 1966), p. 797.
lenni, Philip C. ':P..1usic for Moderns Begins Series." Musical
America, LXXVII 1957), p. 25.
Nelson, Chris. "'Lost' Kurt Weill Symphony to have New York
City Premiere." Musical Courier, CLVIII (July, 1958),
p. 4.
Redlich, Hans F. "Kurt Weill." Music Review, XI (August
"1950) ' p. 208.
"The Story of Kurt Weill." Music Journal, XIII (March,
1955), pp. 27-30.
Thomson, Virgil. Melodious Tears." :P.1odern Music, XI,
pp. 13-17.
Waterhouse, John C.G. "Weill's Debt to Busoni." Musical
Times, CV (December, 1964), pp. 897-99.
Scores
Weill, Kurt. Konzert fur Violine und Blasorchester. Vienna:
Universal Edition, 1965
Quodlibet (Eine Unterhaltungsmusik), op. 9.
------=vTienna: Universal Edition, 1926.
. 1. Sinfonie (1921) in einem Satz. Edited from the
---TAu-tographs by David Drew. Mainz: B. Schott's Sohne,
1968.
167
168
___ ':!:"':". Streichquartett No. 1, op. 8. Vienna: Univ_ersal
Edition, 1924.
Recordings
Weill, Kurt. Concerto for Violin and Wind Orchestra.
Westminster WST-17087. - --
Concerto for Violin and Wind Orchestra. MGM E-3179.
-------- String Quartet No. 1. Privately recorded under the
supervision of the author.
Symphonies 1 and ~ Angel 5 ~ 3 6 5 0 6

The Early Instrumental Style of Kurt Weill

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THE EARLY STYLE OF KURT WEILL

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