Professional Documents
Culture Documents
30
Author(s): Neil Boynton
Source: Music Analysis, Vol. 14, No. 2/3 (Jul. - Oct., 1995), pp. 193-220
Published by: Wiley
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NEIL BOYNTON
IN WEBERN'S
FORMAL COMBINATION
VARIATIONS OP. 30
I
In the winterof 1969 Radio Studio ZUirichbroadcast a series of talks
entitled'Die Orchesterwerke
von AntonWebern' by SiegfriedOehlgiesser,
a formerpupil ofthe composer.In the fourthand last talkon 19 December
Oehlgiesser presented an analysis of the Orchestral Variations:
Oehlgiesser'sscriptis preservedin his modest estate,whichformspart of
the Sammlung Anton Webern at the Paul Sacher Stiftungin Basle. His
analysisis distinguishedby its economical taxonomyof motives;it is the
most extensiveanalysisof the OrchestralVariationsby one of Webern's
pupils. HumphreySearle produced a 'brieftechnicalanalysis' of the work
in which he discusses Webern's twelve-notetechnique.' Leopold Spinner
mentionsthe formof the workas describedby Webernin a letterto Reich
in 'The Abolitionof Thematicism',but declinesto go any further;2
he does
not include examples from the OrchestralVariations in his principal
theoreticalwork, A Short Introduction
to the Techniqueof Twelve-Tone
As with most of Webern's works, few statementsof an
Composition.3
analyticalnatureby Webern concerningthe OrchestralVariationssurvive.
Nevertheless,in his correspondencehe repeatedlyreturnedto the issue of
formalcombination,as describedin the followingextractfroma letterto
Reich writtensome monthsafterthe completionof the work:'formallythe
overallresultshould - as always intended- representa kind of overture,
but on the basis of variations [... ]. My "overture" is basically an
"adagio"-form.'"Thus accordingto this descriptionthe workis essentially
a combinationof variationsand adagio-formin which the adagio-formis
subordinate to the variations. The present study seeks to interpret
Oehlgiesser's identificationof motives within the formal framework
indicatedby Webern,proceedingfirstwiththe questionof variations,then
consideringtheworkas an adagio-form.
Oehlgiesserhad been a privatepupil of WebernfromMarch 1932 until
July1938,' whenhe fledfromVienna to Switzerlandbecause ofthe Nazis.6
MUSIC ANALYSIS14:2-3, 1995
193
C Basil Blackwell Ltd. 1995. Published by Blackwell Publishers,108 Cowley Road, Oxford OX4 1JF,UK and
238 Main Street,Cambridge,MA 02142, USA.
NEIL
BOYNTON
b.3,ob.
194
? Basil BlackwellLtd. 1995
FORMAL
COMBINATION
IN WEBERN'S
VARIATIONS
OP. 30
14:2-3, 1995
195
? Basil Blackwell Ltd. 1995
NEIL
BOYNTON
semiquaverrestfollowedby the semiquaverC on the harp. Value replacement obscures its derivationas a retrograde(and diminuted)formof a.
Webern's use of value replacementis occasionally documented in the
sketchesforthe OrchestralVariations.For example,the motiveplayed by
the upper winds in bs 11-12 of the finalversionwas once sketchedin an
augmentedform(see Ex. 2).25 One may surmisethe orderof sketchingas
follows:in the sketchthe last note of the motive,B?, firstappeared as a
dotted minim; then, a crotchetrest was insertedunderneaththe dotted
minim, replacingits firstbeat, and a minim B added afterthe dotted
minimto make up the remainderof its value. Webern then encircledthe
dottedminimas if to indicatethe subsequentdecision to restorethe B? to
its originaldurationofthreebeats, as it appears in the finalversion.26
Ex. 2 Sketchbook
V, p.50,st. 12-14,bs 10-11
[st.14]
[st.12]
11
10
II
Oehlgiesserdoes not attemptan elaboratecodificationof the motive-forms
of each variationin his analysis,but is primarilyconcernedwithshowing
the source motive fromwhich they are derived. Althoughhe identifies
virtuallyall motivesthat are not presentedchordally,whethertheyare in
contrapuntalcombinationor not,it is in factthe main voice of each section
withrespectto Webern's conceptionof
whichis formallymost significant
the horizontaland verticalmodes of presentationof a musical idea: 'the
presentationis horizontalas to form,verticalin all otherrespects'.27The
same idea is expressedmorefullyby Spinner:
in theirfundamental
structural
Webern... combinestheclassicalforms
of
thisimpliesthedistinction
witha polyphonic
functions
presentation;
oftheform.28
ofthestructural
functions
themainpartas carrier
of motivesa and b in the main voice of each
Oehlgiesser'sidentification
sectionis summarisedin Fig. 1. The thematiccontentof all motiveswhose
rhythmiccontent is a is x; the thematiccontent of all motives whose
rhythmiccontentis b is y, withthe singleexceptionof the second motive
of Variation 1 - the thematiccontentof motivesbeing consideredequiMUSICANALYSIS
14:2-3, 1995
196
? Basil BlackwellLtd. 1995
FORMAL
COMBINATION
IN WEBERN'S
VARIATIONS
OP. 30
ax
by
ax
ax
by ax
Variation1
bx
Variation
5 a
Variation6
a~
Variation
2
Variation
3
Variation4
'
'
a
a
197
? Basil BlackwellLtd. 1995
NEIL
BOYNTON
is the onlyreal
The Poco Adagio of [Mahler's]fourthSymphony
whichis
kindofmodified
recapitulation
exampleofthatwell-known
on a Theme... '. In some
species'Variations
closelyakinto thelyrical
mayhavebeenmodelledon theAdagiofrom
respectsthemovement
thethemeretains
Ninth.In thistypeoflyricalvariation,
Beethoven's
thataremodified.32
anditis itsmotifs
itsoriginal
structure
This type of variationis distinctfromdevelopingvariation,which both
Adler and Stein describe as the principalmeans of variationin Mahler's
symphonies.RegardingdevelopingvariationStein writes:
of the motivicmaterial,out of a different
Out of new combinations
ofthemotifs,
and a different
different
order,
development
repetitions
in
whichhavenothing
evernewmelodicshapesarisekaleidoscopically
ofthetheme.(p.16)
structure
commonwiththeoriginal
relatedto the
Thus the materialof developingvariationis not structurally
found in the
variation
of
material
of
that
the
whereas
theme,
type lyrical
slow movementofMahler's Fourthis.33
As regards the Orchestral Variations, Webern's description of the
to those of the adagiocorrespondenceof the parts of the variation-form
form offersan explanation as to why the motivic pattern appears in
Variations1, 4, 5 and 6. In a letterto Reich he writes:
The 'theme'['Thema']of the Variationsextendsto the firstdouble
Six
in character.
bar; it is conceivedas a period,but is 'introductory'
follow(each one to thenextdoublebar). The first
variations
bringing
thefirstsubject[Hauptthema]
(andante(so to speak)oftheoverture
the second the
form),whichunfoldsin full [in vollerEntfaltung];
thethirdthesecondsubject[Seitensatz],
[Uberleitung],
bridge-passage
the fourththe recapitulationof the firstsubject [Reprisedes
manner,
Hauptthemas]- forit's an andanteform!- but in a developing
Art], the fifth,repeating the manner of the
[in durchfiihrender
leadstotheCoda; sixthvariation.34
andbridge-passage,
introduction
(In cases of ambiguityI shall referto the theme of the variationsas the
'variation-theme'and the main theme of the adagio-formas the 'main
theme'.) The motivicpatternappears in those parts of the variation-form
which correspondto the introduction,the main theme, the reprise,the
retransition and the coda of the adagio-form: it is present in those parts
which, theoretically,are stronglyrelated to the main theme, and absent in
those parts which constitute the subordinate group of ideas (the transition
and the subsidiary theme), indicating that these parts do indeed provide a
contrast to the main theme.35 Webern's description of Variation 1, as
bringing the main theme 'fully developed' ('in voller Entfaltung'), implies
198
1995
cP)
Ex. 3 Periodicconstruction
of themain themeofthe adagio-form
??
t,o
zV
1. a
AntecedentII
2. bx
I
Antecedent
eI- IJ-
@
FL
Consequent
I
6. b
?
t
3. a
7. a
4. b
II
acJ4nm
'canonic
accompaniment'
a
a,_,
Reproducedby kindpermissionofUniversalEditionA.G.Wien
J 1-*,
-5
i-
- 08. b
NEIL
BOYNTON
that the formof the main theme is essentiallycontainedin the variationtheme,or rather,in the introduction,which was 'conceived as a period'.
The periodic constructionof the main theme is evidentfromthe motivic
structureofthemain voice (see Ex. 3).
Nine phrasesare formedfromthe twelvemotivesof the motivicpattern:
phrases 1 and 2 are playedby the solo firstviolin(bs 21-3, 24-6); phrase3
is played by the clarinet(bs 27-31); phrase 4 by the trumpet(bs 32-4);
phrase 5 by the firstviolins (bs 35-9); phrase 6 by the horn (bs 40-2);
phrase 7 by the tuba and trombone(bs 43-7); phrase 8 by the horn and
cello (bs 48-50); phrase 9 by the firstand second violinsand the clarinet
(bs 51-4).36 Oehlgiesserdescribesthe phraseplayedby the cello in bs 38-9
as a canonic accompanimentto phrase 5 ('kanonischeBegleitstimme',p.
2). Likewise, as the main voice is that voice which comes firstin
contrapuntalpassages, the phrase played by the winds and trumpetin bs
44-7 is a canonic accompanimentto phrase 7, and the phrase played by
the bass clarinetand viola in bs 52-5 is a canonic accompanimentto
phrase 9. Phrases 6, 7 and 8 of the main theme are motivicallyan exact
repetitionof phrases 2, 3 and 4, exceptingthe value replacementwhich
occurs in phrases 6, 4 and 8. Such repetitionis typical of periodic
construction.37 In the main theme of the Orchestral Variations, the
antecedentbeginswithan upbeat phraseand comprisesfivephrasesin all,
and the consequent comprisesfourphrases.38The value replacementthat
occurs in phrase 5 produces remoteresults.The fullvalue of the last four
notes of phrase 5 should be: semibreve,minim,semibreve,semibreve.The
semibrevedurationof the thirdnote is obscuredby the overlappingof the
two formsof a whichconstitutethisphrase,the second formof a being an
augmentedretrogradeof the first.The thematiccontentof phrase 2 (B6,
B , D, C) is identicalto that of phrase 9 (Bk,B6, C#,D), and this is the
only such correspondencein the main voice: the main theme ends by
returningto the thematic content of its firstdownbeat phrase. The
irregularcombinationof motiveb and the thematicmaterial'x' in phrase2
(the only such combinationshown in Fig. 1) thus turns out to be an
essentialpartof the means by whichformalclosureis broughtabout in the
main theme.
Webern's remarkto Reich thatVariation1 bringsthe main themeofthe
adagio-formin its 'fullydeveloped' formis explainedby the repetitionof
the double statementof the motivicpatternwithelisionsin the repriseand
the coda of the adagio-form:the motivicpatternof the main themeis not
further
developed on its successiveappearances.39 The divisionof the main
themeinto a sectionof fivephrasesfollowedby a sectionof fourphrasesis
also preservedin the reprise(bs 110-251; 1252-34).40 The dispositionof
the motivic pattern throughout the work, thus far considered, is equally
attributableto both variation- and adagio-form. The absence of the motivic
pattern in Variations 2 and 3 indicates that the putative variation-formis
interrupted in these so-called variations, unless, for example, a different
200
MUSIC
ANALYSIS
14:2-3, 1995
FORMAL
IN WEBERN'S
COMBINATION
OP.
VARIATIONS
30
'skeleton'wereused.41'
The subsidiarytheme is entirelyconstructedfromtwo new motives
statedin itsfirsttwo bars; Oehlgiesserwritesthat'motivicallythisvariation
is fashionedwithout exception from motive b' (p.4).42 I shall call the
motiveplayed by the flute'b"', and the motiveplayed by the cello and
clarinet'b2' (bs 74-5). Motive b1 is a reformulation
of the dottedrhythms
of b: it is derivedfromb throughthe retrogression
of the second halfof b
and by alteringthe proportionsof the second half so as to correspondto
the firsthalf;b2 is derivedfromb throughvalue replacement(see Ex. 4).43
The derivationof b2 fromb is documentedin the sketches(see Ex. 5).44
The sketchesforthe subsidiarythemeare on pages 64, 63, 66, 65, 68 and
67 of SketchbookV.45The contentsof the sketchesare listedhere roughly
accordingto the orderof composition:the unorthodoxnumericalorderof
the pages resultsfromWebern's practice of beginningon a right-hand
page and continuingon the left-handpage opposite; hence, forexample,
page 64 (a right-hand
page) precedespage 63.46 Staves 2-5 of page 66 are
laid out as a four-stavesystem.The contrapuntalrhythmof bs 74-5, st. 4
and 5, representsan augmentedformof b. Correctionsto the last three
notes of this formof b lead to a semiquaverthree-notechord and its
quaver repetition(b.75, st. 3), whichwhen coupled withthe firstnote of
Ex. 4 Derivationofthe firsttwo motivesofthe subsidiarytheme
bs 74-5, fi.
b'
R(b)
bs 74-5, co., cl.
r.
['
J2
44
Im
L4
Reproducedby kindpermissionofUniversalEditionA.G.Wien
MUSIC
ANALYSIS
14:2-3,1995
201
C Basil BlackwellLtd. 1995
NEIL
BOYNTON
kl.
Tr.
Fl.
Fl.75
[2112] [2]
Hm
[41
.
24
!V
[51
#.U
K1.
[614
the motive, as indicated by the arrow joining the two in the sketch,
produce the outlineof the finalmotiveb2. The finalstageof the derivation
is the arpeggiationof the three-notechord as threesuccessivesemiquavers
(b.75, st. 6). The resultingmotive b2, viewed in light of the value
replacementdescribedby Oehlgiesser,is the retrogradeof the formof b
withwhichthissketchwas begun.
Oehlgiesseridentifiesthetwo contrapuntalvoices ofVariation3 as main
voice and accompaniment,and notes that the threeappearances of bl in
the main voice of bs 74-81 are repeated in retrogradein bs 82-91.47
Oehlgiesser'sobservationshold forthe motivicconstructionof bs 74-81,
but the division of the music into phrases indicated by Webern's
202
MUSIC ANALYSIS
14:2-3,1995
>C)
IN
End offirstmodel
Transition
V1
Vn. 1: bly
I
[ lbhafl
Fl.:
Vn.1
=
Tpt.: b2x
bx
tempo
nit.
Fo
l. ]
ff
mohto
rit.
Trp.
miDp~.
US
Ob.,
90.Ob..
,TN
Vn.
2
r,:-,
'C1
SO,
ff
Fl.
,,d
Ha.
O
-IN
phrase2
phrase1
augmented
upbeatmotive
wiederleichtbewegt
S
subitole
=
l6o
2
. a12a160
sP
.-B.C1.
POb.f
Hp.
op
NEIL
BOYNTON
[zz~7_
__
--
-x
K;
204
MUSIC ANALYSIS
14:2-3,1995
FORMAL
COMBINATION
IN WEBERN'S
VARIATIONS
OP. 30
Reprise
Repetition
(bs 82-9)
Transition
(bs 90-4)
blx bly
2nd Model
(bs 95-102)
Repetition
(bs 103-9)
(bs 110-12)
bly blx
bly blx
ax
theoverlapping
oftwomotives
' denotestheelisionofonenotethrough
- these two phrases being the only two occasions where three threesemiquaverfiguresappear in succession.The sketchesrevealthatthesetwo
phrases initiallystood in a much closer relationto each other: the first
sketchforthe firstof thesephraseshas the same rhythmand contouras an
earlysketchforthe second (see Ex. 7).~o The motiviccontentofthe second
main motiveof the model (cello, bs 100-102) - considerationsof metre
apart- is identicalto that of the second main motiveof the repeat (harp,
bs 107-9)." Like the firstmodel of the subsidiarythemethe second model
is also interruptedon its repeat,the last note of the second motivebeing
dovetailedwiththe firstnote of the repriseof the main theme.The double
occurrence of the process whereby a model is set up and its repeat
interrupted
correspondsin essence to the structureof the subsidiarytheme
of Beethoven's Piano Sonata Op.10, No. 1, as describedby Ratz, where
the same process occurs twice.52The structureof the main voice of the
subsidiarytheme is summarisedin Fig. 2. The subsidiarytheme of the
OrchestralVariationsis not thereforestructurally
relatedto the variationtheme.
The transitionalidea (Variation2) comprisestwo motives,the second
being an imitationof the first(bs 56-9). The combinationof motivesin
thisidea is derivedfromthe formofb and its imitativeentrystatedby the
oboe and viola in b.2 of the variation-theme.Example 8a shows the
rhythmicreductionof motiveb and its imitationin the variation-theme;
Ex. 8b shows the rhythmicreductionof an augmentedvariationof these
two motivesin closer imitationfromthe sketchesforthe transition.53The
finalversionof the transitionalidea (Ex. 8c) was arrivedat throughthe
insertionof two quaver restsbetween the two halves of motiveb as they
appear in the sketch, and is repeated four times in all. Through the
insertionofrests,motiveb is brokenup in preparationforitsreformulation
in the upbeat phraseto the subsidiarythemeas motiveb1 (bs 72-3).5 In a
letterto Jone shortlyafterfinishingthe compositionof the work,Webern
as 'one of the
quoted b and its imitativeentryin b.2 of thevariation-theme
germcells'." It is in factthe germcell of the transition.Like the subsidiary
MUSIC ANALYSIS
14:2-3, 1995
205
? Basil BlackwellLtd. 1995
NEIL
BOYNTON
(b) Sketchforthe
transition
r,;.
.,
-m
tP
m
t,
04
94
a..
ow..
[.
,z
r "
'-
related to the
theme, to which it leads, the transitionis not structurally
variation-theme.
Given the absence of the motivicpattern'a b a a b a' or any other
skeleton derived fromthe variation-themein the group of subordinate
ideas of the adagio-form,it would be reasonable to conclude that the
motivicpatternis a featureof the main theme of the adagio-formand its
related parts, and that, as intimatedby Webern to Reich, the work
representsan adagio-formoverall.
III
But the proportionsof the work section by section, counting in bars
(20:35:18:36:25:11:35), do not apparentlysupport its analysis as an
adagio; nor, as has often been remarked,do they support the idea of
variations.Even the 1:1 proportionofthe main themeto itsrepriseand the
in the sketchesis absentin the finalversionof the work.In the
retransition
bars long, and the retransition
the main theme is thirty-five
sketches
later
is of eleven bars. Through
ten bars.56In the finalversionthe retransition
thus appear to be more closely
thischange,the repriseand the retransition
relatedto the subordinatetheme(1:1) thanto the main theme(36:35). Yet
forthe Second Vienneseschool preciseproportionwas consideredto be an
aspect of formalconstruction,as is evident,forexample,in Ratz's analyses
of worksby Bach, Beethovenand Mahler." Clearlythe proportionsof the
whenreckonedby
OrchestralVariationsdo not readilyinviteinterpretation
206
MUSIC ANALYSIS
14:2-3,1995
FORMAL
COMBINATION
IN WEBERN'S
OP. 30
VARIATIONS
207
? Basil BlackwellLtd. 1995
NEIL
BOYNTON
No. of strong
beats
Variation-Theme
bs 1-20
20
23
Main Theme
bs 21-55
35
36
Transition
bs 56-73
18
18
SubsidiaryTheme
bs 74-109
36
36
25
25
Retransition
bs 135-45
11
11
Coda
bs 146-80
35
36
Totals
180
185
36
[p.63]
[p.641
74
75pi=
.,
60-7C,
7C
79U_
7778s
GII
rco 8
82 pi=83 84
arco
T-
78
88
87 88bI B
C'1 9 1F9
strongly related to the main theme, as was ultimately the case with
Variations 4, 5 and 6.61
MUSIC
ANALYSIS
14:2-3, 1995
FORMAL
COMBINATION
IN WEBERN'S
OP. 30
VARIATIONS
of adagio-form
thatthe subordinate
groupof ideas should
requirement
of
with
the requirement
a
contrast
to
the
main
theme
conflicts
provide
variation-form
that'the courseof eventsshouldnot be changed',which
is notpossiblebasedon thedualfunction
thatsucha combination
suggests
of a singleagent.62In the finalversionof the Orchestral
the
Variations,
demands of adagio-formare met throughthe introduction
of new,
motivesin thesubordinate
contrasting
groupofideas;thedemandsofthe
variation-form
to repeatthemotivicpattern'a b a a b a' are not. One
of adagio-form
the requirements
thevariationsupposesthatin fulfilling
formwas ofnecessity
as themotivic-thematic
structure
could
interrupted,
not sustainthe conflicting
of them both. The work is
requirements
an adagio-form,
essentially
althoughthe'x y x x y' patternofthethematic
contentofthefirstfivemotivesofthemainvoiceofthesubsidiary
theme
survivesas a fragment
of the abandonedskeleton.Webern'sremarkto
Reichthattheworkis 'based on variations'
is not borneout in thefinal
but
describes
instead
the
of
its
version,
history
composition.63
MUSIC ANALYSIS
14:2-3, 1995
209
? Basil Blackwell Ltd. 1995
w0
-3
o0
'
4,,:
"
'"
.;'._ .
Tb
"
4.-"
+a
oi
/.-4,1"'0
?
.9
-J
~=~.
-s
it.:
'isi
-
..
r-
,.--
*ui
IY?
13
,:-
Ct
C',
K-
---'-.
- ---
Ct
7-
.---
.,
1~-
Uo
ca
t
Os
NEIL
BOYNTON
NOTES
1. 'Webern's Last Works', The MonthlyMusical Record,Vol. 76 (December
1946), pp.231-7 (pp.233-5).
2. Letterto Reich, Anton Webern, The Path to theNew Music, ed. Willi Reich,
trans. Leo Black (Bryn Mawr, PA: Presser, 1963), pp.61-2 (3 May 1941);
Spinner,'The Abolitionof Thematicism:and the StructuralMeaning of the
Method of Twelve-Tone Composition', Tempo,No. 146 (September 1983),
pp.2-9 (p.4).
3. London: Boosey and Hawkes, 1960.
4. Der Wegzur NeuenMusik,ed. Willi Reich (Vienna: UniversalEdition, 1960),
p.66 (3 March 1941), author's translation.'Es soll, dabei ist es geblieben,
formalim Gesamtergebniseine ArtOuvertiirevorstellen,doch auf Grund von
Variationen [...]. Im Grunde ist meine "Ouverttire"eine "Adagio"-Form.'
The Englishtranslationin Path, 'I settledon a formthatamountsto a kindof
overture,but based on variations'(p.60), does not convey the comparison
between end resultand initialplan that is implied in the German original.
This comparisonis not presentin Webern's descriptionof the formof the
work to Jone: 'this theme with its 6 variationsfinallyproduces, fromthe
formalpoint of view, an edifice [Bau] equivalent to that of an "Adagio"'
(Lettersto HildegardJone and JosefHumplik, ed. Josef Polnauer, trans.
Cornelius Cardew (Bryn Mawr, PA: Presser in association with Universal
Edition, 1967), pp.43-5 (26 May 1941)). Webern completed the
'composition' of the work in November 1940, although it was not until
February 1941 that he finishedthe fair copy (Lettersto HildegardJone,
pp.42-3 (14 February1941)).
income book duringthisperiod (Basle, Paul
5. Oehlgiesseris listedin Webernm's
Sacher Stiftung(hereafter
PSS)).
6. Hans and Rosaleen Moldenhauer,Anton Webern:A Chronicleof his Life and
Work(London: Gollancz, 1978), p.685 n. 22. Oehlgiesserdied in 1993.
7. Privateconversationwiththe author.
8. Letterto the author(12 January1993).
9. Ibid. 'Erst durch die Begegnungmit Webern wurde mein Interessefiirdie
in der Emigration,diskutierteich mit
wach. Erst viel spifter,
Zw6lftontechnik
Spinnerdarfiber.'
10. Ibid. 'Unterdem Gesichtspunktder AnalysederWerkezwecksAuffiihrung.'
11. 'Einfiihrungsvortrag',
p.10 (28 November 1969). Oehlgiesser regarded
Spinneras his senior,forat the timewhen Oehlgiesserwas goingthroughthe
basic courses of harmony,counterpointand form, Spinner was already
studyingthe twelve-notemethod (private conversationwith the author).
Some of Oehlgiesser's draftswith Spinner's annotationsare preservedin
Basle, PSS (I am gratefulto Regina Busch forthisinformation).
12. In responseto myquestionas to whichof Reich's 'books on the lifeand work
of Anton Webern' he was referring
p.10), Oehlgiesser
('Einfiihrungsvortrag',
and not
is
that
'Willi
book]
Reich['s
predominantly
biographical
replied
MUSIC ANALYSIS 14:2-3, 1995
212
? Basil BlackwellLtd. 1995
FORMAL
13.
14.
15.
16.
17.
18.
19.
20.
COMBINATION
IN WEBERN'S
VARIATIONS
OP. 30
MUSIC ANALYSIS
14:2-3, 1995
213
? Basil BlackwellLtd. 1995
NEIL
21.
22.
23.
24.
25.
26.
27.
28.
29.
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COMBINATION
IN WEBERN'S
OP. 30
VARIATIONS
ANALYSIS
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215
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NEIL
30.
31.
32.
33.
34.
35.
36.
BOYNTON
216
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OP.
VARIATIONS
30
These nine phrases correspondto the main voice of Bailey's nine sections
Music ofAntonWebern,
(The Twelve-Note
p.229).
37. cf. Schoenberg:'the consequent [of a period] is a modifiedrepetitionof the
antecedent'(Fundamentals,
p.29).
38. The identification
of antecedentand consequent suggestedby the analysisof
the motivicstructureis the same as thatgivenby KarlheinzEssl, althoughhe
offersno explanationas to why he identifiedthem as such (Das SynthesedesspdtenWebernunter
DenkenbeiAntonWebern.Studienzur Musikauffassung
besonderer
seinereigenenAnalysenzu op.28 und 30, Wiener
Beriicksichtigung
24 (Tutzing: Schneider, 1991),
zur Musikwissenschaft,
Ver6ffentlichungen
p.208).
39. Letter to Reich, Path, p.62 (3 May 1941); Der Wegzur neuenMusik, p.67.
There is also a pun on the German phrase 'in voller Entfaltung',meaning
both 'fullydeveloped' and 'in fullbloom'.
40. Furthermore,the thematic content of the firstand last phrases of the
consequentof the main theme ((B6, C?, D, F), (B?, B6, C?, D)) is identicalto
the firstand last phrasesof the second partof the reprise((F, D, C., Bb), (C?,
D, B?,Bb)).
ANALYSIS
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BOYNTON
218
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COMBINATION
IN WEBERN'S
OP. 30
VARIATIONS
r'(see Jarman,TheMusicof
MUSIC ANALYSIS
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NEIL
BOYNTON
No. ofstrongbeats
variation-theme
main theme
transition
subsidiarytheme
repriseofthe main theme
retransition
coda
23
36
18
36
25
11
36
TOTAL
185
23
90 = 18 x 5
72 = 18 x 4
220
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