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While most analysts currently agree that the actual set of variations
in Anton Webern's Varia tions for Piano, Op. 27 is to be found in the
third movement, Webern 's own co=ents
suggest that the initial
eleven measures of that movement serve as a thema not only for the
subsequent five variations, but also for the composition as a who le. In
a letter to Eduard Steuermann, in which he included a copy of the
piece, Webern wrote:
[The Variations] are div:ided into three indepe nden t movements . I do not
display th e thema explicitly (at the top, like before). It is almost my wish
that it could stay as such unrecognized . (But if people ask me abou ~ it, I
wou ld not hide it from them.) Neverthe less it is bette r that it stay ba ck
the re. (It is- to you I tell it right away-the first eleven measures of th e
third movement.)' (Webern 1983, 32 -33; author's trans lation)
' "lch schickc Dir mit gleicher Post meine 'Variationen' u . bin se hr glucklich , de
Dich meine Widmung an Dich freut. Wie ich Dir , glaube ich, schon angedeutet habe,
sind sie in fur sich abgeschlosse ne Satze (drei l aufgetcilt . !ch st eUe auch das 'Tbema'
gar nich t ausdru ck:lich hina us [etwa in fruherem Sinne an die Spitze]. Fas t ist es mein
Wunsc h, es moge al s so lch es unerkannt bleiben. (Aber wer mich danach fragt , dem
werde ich es nicb t verheimlichen) . Dach moge es lieber gleichsam dahinter stehen. [Es
sind -D ir vecrate ich es natiirlich gleich-die ersten 11 Takte des 3 . Satzes]."
30
In Theory Only
TheThema
Example 1 shows the thema of Op. 27 with Webern's remarks about
the performance of the piece, as they appear in the Stadlen edition
(Webern 1979).3The thema contains three phrases (A, B, and A'), each
of which comprises a single member of the work's row class. There are
a multitude of ways to hear this musical surface. The specific
articulation of the thema phrases invites us to hear several prominen t
groupings. For example, one may hear strands of long and short notes,
in which the long notes can be described as a melodic part and the
short notes as an accompanying part. 5 Furthe rmore , one may hear
strands of slurred and nonslurred dyads.' Both these groupings
partition the phrases into chromatic hexachords. In addition, the
single tritone of the thema's intervallic vocabulary, marking the
midpoints of the phr as es , parses the phrases yet another way into
pairs of chromatic hexach ords: in this instance into the actual
hexachords of the rows.
Anton Webern's Op. 27 has been discussed from various points of view; see
Babbitt (11960 ) 1962, 1987), Bailey(J99 1), Hasty (1981), Leibowitz (11949) 1970),
Lewin (1962, 1987, 1993), Mead (1992, 1993), Nolan (19891, Schoebel (1984), Stadlen
(1958), Travis (1966), Wason (1987 ), and Westergaard (1963, 11962) 1972).
"These remarks were made by Webern to Stadlen as instructions for the world
premiere of the work in 1937 . Stadlen~s annotations include both verbal recollections
and comments written on the score.
4
Morris was the first to point this out in a seminar at Yale University in
1975 (Mead 1992, 123). Also Wason (1987 ,78) cites Monis as the source of his way of
construing the thema.
6An alternative interpretation of the thema that also uses the clistinction betw een
slurred and nonslurred dyads is deve loped by Lewin {1987, 39) .
31
.............
-~ ....
.,& .. l,,',cit,1,n,
(P)
,..,,..;:....,..,
~~~~~~"""=
32
In Theory Only
-slurred
6 47598
phrases
Hcxachordal areas
segmental
motivic
non/slurred
(segmental)
p
me lody 3
2
accomp . et
10
6475
98
{te0123 }
{456789}
{23 456 7)
{89te 0 !)
{6789te}
{012345)
9t
{345678}
{9te012 }
{e0!234}
{56789t}
f789te0 )
(123456}
(m otivic)
I6 P
melody 3
4
acco m p . 78 56
02el
As example 2 illustrates,
This property is shared by only on e other hexa chordal collection-class, 1024 579 ),
the diato ni c hexachord .
33
order pos itions, and the second showing the number of pcs unique to
each hexachord. As comparison between, for example, the segmental
hexachords of P and I6P shows , the hexachords at like order positions,
that is, the first hexachords of both rows, have pc intersection 1/5
sharing pc 3; the second hexachords of these rows share pc 9.
Example 3. Pc intersection between segmental and motivic
hexachordal areas of the thema
A
A'
610
P
s<9men1a1
hexachords
motivic
hexachords
l5P
~
(345678}{91e012}
11e0123X456789J
~
(234S67XB9te01)
(e01234){58789t)
(456789){1.0123}
2/4
{B9teD1){234567J
34
In Theory Only
A/seg
A/mot
{{23l{leH01) {67){45H89))
{{23H67){45) {teH01H89})
ac::c.
rMI.
Biseg
Bimot
{{34}{78H56) {eOH12H9t))
{{34HeOH12) {78H56){9t}}
-
acc.
P:
rmn
rFi1
3et210
647598
n
0
}->{{23){te }{01){67){45}{89)}
RTsP: 23e 1 t O
67845/
Rl9 P: 32647
.rlJf3d
u LY-I
n rr=r,
A/mot
u 1u1
)....c{23}{67){45l{le){01){89)}
l5P:
267345
l u I LJ
tUJU
lsP:
378456
l nln
JJJl9~
RloP:
1JI_ijj
Oet219
8/seg
B/mot
ri9-,
RT7P: 3 4 () ~ 1
~{{34}{78){56l{eOH12){9t)}
u UJ.J
1fJ~n1
r{{34){e0}{12}{78}{56}{9t}}
T1P:
1u u
oef21
758619
LWU
The relationships
articulated
in the thema have further
consequences. One may group the rows of the work's row class into six
equivalent four-row families (eight -row families if one distinguishes the
retrogrades) that represent the relationships between the rows yielding
the ordered sets of segmental and motivic dyads of phrases A and B.
35
JJ,
Ord.
Ord.
Nmot Nseg
ord.
Nmot
Ord.
Nseg
,U,
Ord.
Blseg
Ord.
Blmol
Ord.
Ord.
Blseg B/mot
Among these six families, the four-row families containing P and 16P
(ex. 6) will be referred to as the two main four-row fam ilies.
One may consider partial orderings of the hexachords yet another
way, as unordered sets of unordered ic l dyads. This approach yields
two additional rows (and their retrogrades) that produce se ts of dyads
connected with the thema phrases, in this instance the unordered sets
of the dyads within the hex.a.chordal areas. Example 7 illustrates th is
by showing the rows yielding the unordered sets of dyads of the
segmental hexachords of thema phrase A. The six four -row families,
es tablished above among the rows of the work's row class, comprise
rows that yield the ordered and unordered se ts of segmental, mot ivic,
and slurred/no n slurred dyads of phrases A and B. Thus, in addition
to the two main four -row families, which are closely connected to the
thema, one has four additional four -row families that reflect to various
degrees th e thema through the properties arising from its segmental ,
motivic, and s lurred/nonslurred
hexachords.
Most significantly,
howeve r , these additional four-row families produce the same
relationships between them and among their rows as the two main
four-row families . In this manner , the relationships arising from all the
various hexachordal areas of the thema may be expressed to represent
the relatio n ships among the rows of the two main four-row families.
36
In Theory Only
n5
76 598
t23e01
LilJ
796845
II IIU
8rhe diagram shows the rows related by T and I; operation R would reverse the
num ber of pcs shared and held unique between hexachords of the rows.
9As an exam.p ie, by inserting the main row pair P-1 P into the nodes marked by
0
asterisks (P at the top} and by inserting rows into the rest of the nodes according to
example 8, the eleven other members fulfilling the two conditions are found by
r eorienting the net of dotted lines until the initial position is reached . These eleven
37
~
I
etc..
et,.
same hexachordal
areas
other row pairs of the same set are l;P-1,P . . . T,P-l;P. (The row pairs also represent
th eir retrogrades, tbat is RP-RIJ', etc.)
38
In Theory Only
between hexachords
''
,
I
'
1/5,'
I
o/6
''
''
\1/5
'
''
Additionally, the same two conditions are fulfilled in the twelve discrete
sets of transpositionally re lated row -pairs, thus allowing extension of
pc intersection to transpositionally related rows. 10
In example 10 the index number of inversion between the rows of
the row class is indicated by showing the two patterns that arise from
even and odd indices of inversion. A given index groups the rows into
twelve sets of row pairs that share pc pairs determined by the index
but do not maintain the same degree of pc intersection. 11
For example, the hexachords of P and T,P have pc intersectio n 1/5 in the same
In example 10, by inserting rows into the nodes like in example 9, the net of
solid lines indicates all twelve members of one set of inversionally related row pail's
sharing the same index of inversion . In example !Oa the rows are related by 16. The
[, related row pairs are P-1,P, T,P-1,P . .. TJ' l,P (and their retrogrades). A
reorientation of the net of solid lines yields a different set of row pail's sharing another
39
Example 10. Relational diagrams of rows related by (a) even and (b)
odd index numbers
lOa.
index of inversion.
40
In Theory Only
Example 10 (cont.)
lOb.
41
segmental hexachords.
linking dyad .
'
''
'
,,
\\ I
\ I
I l
I I
I
I
t
I
I
//
'-"'..r-.,,;:
le
/
I
//
/
Jsn,2.
,,,,.,,,/'
"'
I
\
\
12
42
In Theory Only
Ex ampl e 11 (cont.)
15:
l5P
1p
8
I 1.
sm
TsP
loP
T1P
T7P
Ism2:
43
des ign and its surface realization. Each analysis begins by e=ining
the underlying design, continues by illustrating some of th e specific
properties inh erent in the design, and then moves to a demonstration
through brief examples of the ways in which the design becomes vivid
on the musical surlace .
Example 12. Two types of km relat ions in the fou r -row family
contain ing P
P:
I l
1 1 11,..........
3 .!.!,2 ~ 6 4 7 5 9 8J
111111
sm
leP:
80..........
1 9te
.._. 5 74623
l5P:
,..........
2 6 7 3 4 5 e 1 to 9 8)
lsm1
T5P:
954876
011 e32
lsm2
44
In Theory Only
row
pairs
An examination
IEJ
T.
I!]
100100
T.
T.
.0100
T.
~
I.,,,'
Yet another deep structural level emerges if one interprets the row
pairs as hexachordal areas (ex. 15). In this interpretation two identical
chains of hexachordal areas permeate the movement. In both chains,
adjacent hexachordal areas have the same degree of pc intersection,
that is, intersection 1/5, between hexachords at like order positions.
45
End Epilogue
6(0
-- ..- --
46
In Theory Only
10~
nn
TilxP:012345
6789te
V"-.._/
T3
g:
T5
$:
(f)
.....
:f
~
'--'
..........
.:.......,
Ri,Pn,P
RT7P/T7P
,1.1
....-clyld)
. .~
34
t~-
JJ
1,m2
RloPnoP
"'*'Ing
"'
RlsP/lsP
RT7PIT7P
3402e1
165987
uu
nn
789561
43
1 e20
, U
'--- --
::i
.....
i$
J10 I 1:e---54'B
2
2 6 7 3:45 erf'1
u l..'.t"- --- 0 9u8
RTgP/1,P
.IS,
-..J
48
In Theory Only
The Second
Movement
Example 17. Connections between the opening and conclud ing measu res of mvt. I
I I I
~
0
~<
~
@
121
(D
""
"'
s
:t
tj
0
1
5
H'-
(IQ
E;::
0
s
0
::l
rt
firs! R rel.
row pair
@5G)t@
last R rel.
e 7 a:i)s@
rowpair
: ~21
: t It
348
'
.i,.
\()
50
In Theory Only
Like the fir s t movement, the formal layout of this movement can
also be considered as an interaction among various aspects of its
underlying design (ex. 18). The 16 -related row pairs of the second
movement are RP-RlJ' and RTJ'-RlJ' in the first part, while the second
part employs RT2P-Rl,P and RT5P-Rl,P. As example 18a indicates, the
16-related row pairs form Ism1-related row -pair couples, whic h articulate
the bipartite shape of the movement. The T, chains (eit. 18b), wh ich
run in opposite direction s, form a continuum over the entire
composition connecting the last and first row pairs as adjacent
members of the chains.
In this movement, the degree of pc intersection proves importan t
both between ad jacent and simultaneous hexacho rdal areas, as it
reveals the overall rhythm of change of the mus ic . In hexachords of
adjace nt rows the degree of pc intersection decreases until the last row
pair returns to the hexachordal areas of the very beginning (ex. 18c).
Example 18. Underlying d esign of mvt. II: (a) row pair couples, (b) row
pairs" and (c) pc intersection between hexachordal areas
18a.
18b.
T,
1
'
51
~
.-----;
. .
b/0
.5
'
16
11/5 15
/3 15/1
..._____,,,
.
~
:'>/3
A/seg
B/seg
B/mot
A/ mot
1
''~
'r.{o
Bisi
A/sl
A/seg
B/seg
52
In Theory Only
Example 20. Opening and concluding dyads (mm. 1-2 and 20 -21) of
mvt. II
mm.12
53
opening elements
conduding phrase
tniddf.eelement
concludingelement
\
upboatrstinger
P:
l5P:
~c:
89574
t91e2
\\\\
I
8697
t09e
1 Oe32
56734
54
In Theory Only
areas of the thema phrases, which comprise those rows that can
produce the ordered or unordered dyads of the segmental and mot ivic
hexachordal areas of the thema. Since the third movement is based for
the most part on the partitioning scheme of the thema, the use of the
discrete A and B areas makes possible an unfolding of the same dyads
and te trachords within one area.
ln this manne r the surface composit ion of the variatio n s may
employ the various possibilit ies inherent in the dyadic sets of the
segmental and mo tivic hexachordal areas of the thema to form an
intricate motivic interplay based on the thema phrases. The first two
variations are based on discrete A and B areas , whereas th e fourth,
the culminating variation, intermingles various relationships of the
thema in the same fashion as th e first and second movements ; the two
variations surrounding it, the third and the fifth, initiate and conclude
these chains of re lationships.
The first and second variations' underlying des igns are based on
discrete A and B areas . In the first variation (ex. 21), the rows of th e
B area belong to the main four -row family, whereas the rows of t he A
area are based on P and the two invers ionally related rows that extend
its hexachordal areas (Mead 1992, 127-28).
~p
ordered/
unord.. sets
ot dyacss
R16P
Ord.
Ord.
B/mol Blseg
Rl1P
Rl 1P
Rl 7P
unon:t
. unord. unocd.
Ord.
A/seg A/seg A/seg AJseg
~1 0P
or<!.
Blseg
The underlying design of the second variation (ex. 22) employs row
pairs from the two main fou r -row families, in this ins tance those
generated by R. from P and 16P and their I.m1-related row pairs. Hence,
the relationships, which in the thema are interpreted with one row, are
in t he second variation interpreted with two consecutive rows that
produce the sets of dyads heard in the corresponding phrase in the
thema. Example 23 sketches some of the ways in which the
possibili ties inherent in the underlying des ign become vivid on the
musical surface. The example shows the variation's three ph r ases by
aligni ng their corresponding elements . It further shows the main
partitioning scheme as it is applied to the first two rows. This scheme
follows closely the partitioning of the thema , thus producing the same
set of dyads (with one exception). A quick compariso n with the t hema
and the first variation reveals how th e mo tivic material introduced in
55
the thema and further developed in the first variatio n forms the bas is
of the surface inte rpretation of this parti tioning. In additio n to the
obvious motivic connections based on the various articulations of the
ic 1 dyads , one could mention, for example , the accented four-not e
fort e gesture (mm. 25-26). This gesture echoes, through its contour
and pc content, m. 10 of the thema and its various elaborations in the
first variation (mm. 13-14 and 18-22) . The Ism1 r elation between the
rows offers opportunities to shape the phrases as well. For instance,
the Ism 1-related row pairs produce an invarian t tetrachord at order
numbers (2345) and these invariances are employed to connect the
soft ritardando figures within the phrases.
unord.set:s
of dyads
RlsP
R,,P
on! .
on!.
AJmot A/5'Jg
@
RloP
Rlof'
R1 P
Ord.
On!.
Ord.
Blseg
Blseg
Btmot
56
In Theory Only
,if . - - --
_ ___
.. _ ,.
- - - --
>
Rl5P:
89
TeP:
_:]3
rn-,
Ot 1 e
43
j1l9 6
78
76
'2
45
57
With th ese dyads th e climax reaches the extreme high register of the
entire work (A6,mm . 53- 54), a strncturally significant pc all through
the piece. The pass age concludes with the dyadic sets of the B area,
first with its melodic tetrachord and second with its accompanying and
melodic hexachords.
Example 24, Underlying design ofmvt. III, var. 4: interlocked row -pair
chains
culmina
lin9 passa~e
'3Le"''in
calls the
entire fifth variation a coda !l 987, 183). The final passage of the
Example 25 . Dyadic areas of hexac hords a nd tetracho rds in the culminatin g passage of
v,
00
lf
~t
~ '
'
....
>
4,
~
,
.,.!A,{(
'
U"!:
of.I
>
I!
~-
>
S'
~0
t:J
0
~
T6P
ord./unord.
sets of dyads
ord.
Rl0 P
T9 P
Rl2P
tetr.
A/ace
Ord.
hex.
Almer
hepta.:
dyads
A+B/acc
unord.
tetr.
B/mel
unord.
hex.
8/acc
{le}(01)
{23)(67)(45)
(10}"(01){76J(le)9
{ 12)(34)
{56){91}{76) {12){34){eOJ
unord.
hex.
8/mel
59
Examp l e 2 6 . Symmetrical
......
A4
'-v.-'
9
1
t
'-;-v--'
~
q:)61'1ir.g
phrue/ m..t, II
60
In Theory Only
'I
:;;-
'I
J ..
"'
.e.
~
'I'
'
..
~
i't'~
ii
'l> >
o:'o
'
"c
8
J~
]J
l]}..
..
J~
]
61
----
a.
"
---- '
'
,...-,,
'
--
,........A.....
-1\
i~
',\
,,
,;,.,.,.m,,,a,.._
_________
II
Ill
~~
l,i,
1
1
'I
I
'
I
'I
''
'
''I
I
,.
'
'
I
I
b.
A"
u,
II
I
I
1
A"
'I
I
B
AB
1,:
:I
A'
A'
Jhemavar.1
Ill
A
2
'
A'
I
I
I
Conclusion
As suggested at the outset, this work shows Webern's deep interest in
symmetrical structures that interac t with through-composed aspects.
This has been illustrated with =mples from the first and the second
movements, as well as with an anal ysis of the manner in which the
coda encapsulates the qualities of the piece as a who le. However , this
dialectic exists in the formal layout of the entire composition (ex. 28).
The third movement's first two variations reflect the second movement,
and the concatenation of variations three , four , and five echo the
tripartite structure of the first movement. The structural similarities
arise from the use of the same hexa chordal areas but motivic
connections also occur .
62
In Theory Only
The ma
var. 1
motbAc
connections
:II:
Mvt. ti
same
hexachordal
lsm2
tOW$
row
the Thema
araas
paira
enter
of
coMections
areas
11,
motivlc
same hexachordal
l/
:II
l 1 1
!!
A'
Mvt. I
14\Vason
has noted the $t!'UCtural sunilarity between the second variation and the
second movement by pointing ou t common inversional-symmetrical aspects of the row
organization in these two sections ( 1987, 70, 86) .
63
framed by gestures that evoke the mid dle phra sal elemen ts of the
second movement through their pitch contents and melodic contours.
Lastly, when trichords belonging to the collection class [016! enter for
the first tim e in the third movement's second variation, they are
exactly those cho rds hear d before in the second movemen t's opening
part (ex. 29d ).
The opening of the third variation signals its similarity to the first
movement by being the only variation to employ mirror-synunetrical
phrases. ' 5 On a deepe r strnctural level, the connections betw een
variat ions t hre e, four, and five and th e first movement arise from
aspec ts in th eir unde rlying designs (ex., 28). The symmetrical phrases
of the third variation and the first movement's A section are based on
the same hexachordal areas yielding the slurred/nonslurred
dyads of
thema phrase A and th e motivic dyads of thema phrase B. The fourth
variation and the first movement's middle s ection are based on row
chains formed from kn 2 -rela ted row pairs. 16 Th e fifth variation and t he
first movement's A' section are punctuated by a return of the rows of
the tbema.
Example 30 illustrates the vivid manner in which the associations
betwee n the first moveme n t and the third variatio n 's opening phrases
are emphasized by regj.stral connections. Examp le 31 t h en shows the
manner in which the opening of the culminating , the fourth, variation
prominently invokes the climax of the first movement's middle section :
at these moments the row -pair chains feature t h e same row , and the
associations are emphasized by surface composition. The sense of
return in the fifth variation and in the first movement's A' section as
\\ell as their structu r al similarities have been pointed ou t and
discussed by Lewin (1987, 183).
"'wason presents the idea that the third varia tion grew eventually il'.ltothe firs t
movement/ ' by pointing out similarities in the retrograde symmetrical aspects
between the third variation and the first movement (1987 , 70, 87) .
61.ewin
has discussed
64
In Theory Only
~-.
l'f
, o@
29b.
ri+.-- - --- __ __ _
~
=-
kmfO, !aI
. +
and
phras e
II,
phrasal
65
,n@
! "-
'
f. 1,
:i.
1'-
29d.
mvt. i i:
m. 24
26
30(33
31
mvt,ij;
m,8
;._
Xi&)
IVV'N
.,
..
'"
66
In Theory Only
Eltalllple 30. Ass ociat ions betwe en mvt. III, var 3, opening (mm .
33-35) and mvt. !, opening (mm. 1-4)
__..,..,. _______
,__ @ ,
.,
'"'
f'-
.
I
r--
'I
'
~-J
.,,
~
I
f-/< ' /
f\Ji,
' _
t'f<_~ii.
~=
~
CJ
''--'!
lli'~
. tt
LJ
67
The structural similarities between variations one and two and the
second movement, and between variations three, four, and five and the
first movement, clarify the manner in which the thema lies a t the focal
point of a large -scale symmetrical structure. This large-scale structure,
as well as the series of nested symmetrical structures within it ,
dupli cat es the tripartit e formal layout of the thema (ex. 27b, p. 63).
Hence, as comparison between examples 27a and 27b reveals, the
entire work's large-scale formal shaping manifests the dial ectic
between the balanced, symmetrical structures and the sense of
progression, a quality that charac terizes the work in various spans of
time, as well as the thema itse lf.
In this music, the strong sense of progression, interacting with the
symmetries, arises from continuous, multilayered accumulation of
relationships and events . In the process of hearing the entire work , the
thema emerges as the defining moment : it enters at the focal point of
a large -scale symmetrical structure,
bu t at the same time it
crys tallizes the relationships of the two previous movements. This
crystallized interpretation then serves as a basis for the varied
elaborations introduced in the subsequent five variations . The coda
concludes the piece by capturing the relationships of the ,thema
through their interpretations in the first and second movements .
The wealth of relationships inherent in Webern's Variations for
Piano, Op. 27, a composition that has fascinated musicians for
decades, cannot fully be enjoyed without taking into account the
interaction between the surface composition and the underlying
without
structures,
just as it cannot fully be appreciated
acknowledging the dialectic between its symmetrical structures and
the sense of temporal accretion. By inspecting these dialectics,
whether between the surface and deeper levels, or between symmetry
and temporal accretion, one may learn more about this music than by
inspecting any element alone. It is only through this interaction that
in such concise idioms of composition as Webern's a piece may become
an intensified moment with depth that penetrates all its structural
layers .
68
In Theory Only
Bailey , Kathryn.
___
___
Mead, Andrew.
___
Morris,
Robert.
Dieter .
in Webern's
27.
69
Stadlen, Peter . 1958 . Seriali sm Recons idered. The Score 22: 12-27 .
Travis, Roy. 1966. Directed Motion in Schoenberg
Perspectives of New Music 4/2 : 85 -89.
and Webern.
--Vienna:
. 1979. Variationen
Universal Edition.