Contrapuntal Language and Row Derivation Technique in Chamber Music of the Second Viennese School: Analysis and Application

An Honors Thesis (HONRS 499)

by

Ayriole Frost

Thesis Advisor Eleanor Trawick

Ball State University Muncie, Indiana

May 7, 2010

Expected Date of Graduation

May 8, 2010

' D

.. T Z 8° . 71;

Zo<O . F '(Cr

Abstract

As a composer and music theorist, it is important to understand the work that came before

in order to learn and grow in one's compositional style. This project spans both the

compositional and theoretical aspects of the twelve-tone works of the Second Viennese

School of composers, consisting of Arnold Schoenberg, Alban Berg and Anton Webern.

The early work examined here in the compositional method developed by Schoenberg

spans a period of approximately a decade, from 1926-1936. I have analyzed the first

movement of a chamber work by each of the three composers. Following the analysis is

a newly composed work loosely based on the analyzed technique in the genre of string

chamber music. The author's statement consists of both an analysis of the three works

and a discussion of my own compositional process.

Acknowledgements

I would like to thank Dr. Eleanor Trawick for her unfailing guidance in this endeavor.

Without her this thesis would not exist.

I would also like to thank Dr. Murray Steib and my sister Athena for ultimately putting

me on the path toward this work.

Table of Contents

Author Statement .. ............................................... ... .... ..... ....................... ... ..................... ....... ........... 3

What is Serialism? ............................ ...................... ... ...................... ....... ......... ....... .. ................... .............. 3

Stud ies in the Twelve-Tone Chamber Music of the Second Viennese School .. .. ...................................... 4

Composition w ith Twe lve Tones: My Creation of a Chamber Movement .. .................. .......................... 10

Bibliography ............................................................................................................................................. 17

Comprehensible Dissonance: Serial Etude ......................................................................................... 19

Page 13

Author's Statement: A brief introduction

The purpose of my thesis project was to gain an insight into Twentieth Century analysis

as well as to develop my own compositional language by studying the work of three composers

whom I admire. I spent one semester studying the early serial chamber music of Schoenberg,

Webern and Berg, and my study has resulted in a chamber work movement of my own,

composed during the subsequent semester, though not strictly serial. Below is a discussion of

my findings regarding analysis over the first semester, fo llowed by an analysis of my own

composition.

What is Serialism?

Arnold Schoenberg is arguably one of the most influential composers of the twentieth

century. His writings on tonal music theory as well as development of atonal theory are

unparalleled. It is prudent to cite Schoenberg's writing on twelve-tone music when discussing

serialism since it was he who created the compositional technique. In what ' choenberg calls the

Method o_(Composing with Twelve Tones Which are Related Only with One Another, what we

now term serialism, the "method consists primari ly of the constant and exclusive use of a set of

twelve different tones. This means, of course, that no tone is repeated within the series and that

it uses all twelve tones of the chromatic scale, though in a different order." 1 From the first set of

tones, or tone row, three other rows are automatically derived. These are the inversion,

retrograde, and retrograde inversion. The retrograde is simply the twelve tone row presented

backward. The inversion is the row beginning on the same first note but with the opposite

1 Arnold Schoenberg, "Composition in twelve tones," in Classic Essays on Twentieth-Century Music: a continuing

symposium, edited by Richard Kostelanetz and Joseph Darby. New York: Schirmer, 1996, 237.

41 Page

intervals; if the first interval in the primary row is an ascending fourth, then the first interval in

the inversion would be a descending fourth, and so on. The retrograde inversion is the inversion

presented backward. Each one of these rows, the primary, retrograde, inversion, and retrograde

inversion can be transposed, starting on each pitch of the chromatic scale, thus creating 48

related rows which make up the twelve tone matrix. Schoenberg was searching for a way of

organizing atonal music that would eventually be "comprehensible" to the modem li stener.

Once Schoenberg found his method, he and two of his most notable students, Alban Berg

and Anton Webern, began using this technique in their compositions. These three composers are

known today as the Second Viennese School, and each brought his own compositional style to

this new method of organizing pitch material. What follows are analyses of the beginning

movements of chamber works by each one of these composers.

Studies in the Twelve-Tone Chamber Music of the Second Viennese School

Because my study of Alban Berg in previous courses got me on to this topic, 1 began with

studying the first movement of Berg's Lyrische Suite, a precursor to the first twelve-tone opera,

Lulu. The whole suite is not serial , only the outer movements, and Berg's ingenuity in deriving

rows in his opera is most li kely based on what he was able to accomplish in the Lyrische Suite.

Not surprisingly after my study of Berg's derivation techniques in Lulu, I found that Berg

did not limit himself to the 48 canonic tone rows of the twelve-tone matrix. He purposely picked

a row that could be used in several different ways. His row, arranged in two hexachords

separating the "white keys" and "black keys" of the piano into an all-interval pattern, could also

be arranged in two hexachords arranged in fourths or fifths or two stepwise hexachords (example

1 ). These derivatives themselves create another store of motivic material used in this movement.

Page IS

Along those lines, Berg seemed to consider at least his initial row in more of a melodic

and motivic way than harmonically. Though he plays on the use of quartal and quintal

harmonies because of the nature of his row, his rows are usually used in one instrument at a time

as a melodic gesture. Even when the row components are stacked in one or two beats, the

perception of the listener is still one of melodic content being used in each of the parts of the

quartet.

Example 1. Primary row permutations, Lyrisclze Suite

.... Priml\ry 1ow

.... Qn:11 ml vnn:mt

- •

Example 2. First theme, Lyrische Suite, mvmt. 1, mm. 1-4

, 1. Geige

=

Each of Berg's row pennutations results in melodic material with a specific purpose. The

original row form is first presented in the first violin beginning in measure 2 (example 2). The

content within the Hauptstimme is thematic material that is elaborated upon throughout the

movement. Beginning in measure 7 is an imitative presentation of this thematic material, this

time beginning in the middle of the row form on e-tlat and wrapping around to the beginning to

fi nish out the row. The first violin, then viola, then second violin, and then first violin again

.,

GI P a ge

present this material, highlighted by red boxes in Example 3. The four main rows in their

original order are generally used for thematic material. The first use of Berg's second

permutation of his row, arranged in fourths and fifths, begins in the anacrusis to measure 8 in the

cello, highlighted in blue in Example 3. The first hexachord occurs in ascending fourths and the

second hexachord in descending fifths. The quartal variant, in its entirety, is primarily used as

accompaniment, usually in pizzicato. The final permutation of Berg's row first occurs in

measure 33 beginning in the cello and continues in imitation throughout the string quartet. In

Example 4, the scalar variant is divided into the white-key hexachord, highlighted in red, and the

black-key hexachord, highlighted in blue. Berg uses this permutation here as an accelerando to

his primary tempo in measure 36. This scalar variant is used when accelerating the tempo. Berg

not only came up with different ways of varying his rows which would eventually lead to his

work on Lulu, but had a specific purpose for each variant.

Example 3. Primary row and quartal variant, Lyrische Suite, mm. 1-11

~·- • i:::--- - -~ IDlU. Da

- ~ 1._P _________ ,_- __ ,-_.- ___, .....

,n

:;:-- 1

I If

~ • i....--... I

Example 4. Scalar variant, Lyrische Suite, mm. 33-36

---

poco rit. _ _

a-a ..1. 'I

&roO ---

Page I 7

In contrast to Berg, Webern's op. 20 string trio presents his rows as sounding in all four

instruments, with no presentation of the row in any melodic fashion. The primary row, P-3, and

its retrograde, R-0, are highlighted in red and blue respectively in Example 5. Webern also uses

no row that is not one of the 48 canonic derivations in the twelve-tone matrix. His row, made up

of semitone dyads, is presented in an almost ethereal way because of his use of grace notes and

harmonics. Webern's penchant for pointillistic texture is evident in his presentation of each row,

as the dyads are often presented octaves apart because of the use of harmonics or the extreme

range of each instrument. With each row representation, Webern sometimes elides the beginning

and ending of each row, or sometimes repeats a note that will constitute the end of one row and

the beginning of another.

Example 5. P-3 and R-0, Trio op. 20, mm. 1-3

Sehr langum (.t . ca u )

Gelge

B_,-ot:sche

VloJonl!eU ,,,,

From a formal standpoint, both Berg's and Schoenberg' s first movements are in a loose

sonata form, but Webern' s first movement is not in any specific traditional form. This contrast

in attitude toward traditional forms may largely have to do with the different philosophical ideas

behind composition for all three of these composers, as Webern is often considered the "Father"

of Modernism, a movement associated with a rejection of everything past, while Schoenberg and

Berg considered themselves to be taking the next step in the development of classical music.

Bl Page

In his article "Composition with Twelve Tones" Schoenberg lays out specific rules for

composing serial music. However, in his fourth string quartet, still early in his development of

the technique, many of these rules did not yet exist. Like Berg's Lyrische Suite, the row is

largely presented as melodic or motivic content, but one important aspect of this piece is

Schoenberg's use of trichords. Breaking up the twelve-tone row into the four discrete trichords

gives Schoenberg the advantage of creating his own harmonic content without the conventions of

tonal harmony. The trichords are used in the same way as tonal chords, and the voice leading

still adheres to tonal rules. This contributes to the idea that Schoenberg felt his music was a

logical next step, and not an abandonment of the traditions of classical music. The same rules

that govern a notable melody, smooth voice leading, and formal organization still exist in his

music, but with a new regard for rules governing a system of composing without tonal emphasis.

Because Schoenberg's quartet movement was so much larger than the other movements I

analyzed, I limited my analysis of his work to the exposition, mm. 1-65. In the beginning of the

movement, Schoenberg's primary row, P-2, is presented in the violin (example 6). What is

under the Hauptstimme is entirely the primary row, unlike Berg's melody, which included a note

outside his primary row. Along with this theme, the bottom three instruments present the

primary row in trichords, which are not in any particular order, but demonstrate smooth voice

leading. In the anacrusis to measure 7, the second violin has a contrasting theme that is a

presentation ofl-6, an inversion of the primary row (example 6). Along with this theme, the

other three instruments are again sounding accompaniment figures of the trichords, this time

presented in order from 1 through 4. Another statement of the first theme in the violin at

measure 10 is a presentation ofR-11, the retrograde of the primary row (example 6). Again, the

other three instruments sound the trichords in the same order as the beginning, which lends some

credence to the idea that Schoenberg conceived these trichords as a kind of harmonic progression

Page 19

outside the confines of tonality. At measure 21 Schoenberg uses the trichords of 1-6 as melodic

content grouped together by his use of triplets. Beginning in measure 25 he begins to pair

instruments together in their presentations of first the primary row and then 1-6. First the second

violin and viola are paired, then in measure 27 the violins are paired and the viola and cello are

paired (example 7). Throughout the exposition Schoenberg uses the notion oftrichords both

harmonically and motivically.

Viola

Violone.llo

Example 6. Fourth String Quartet, mm. 1-15

ALLEGRO 1'1Cl.TO; ENERGICO J • m ~1 2 ~G~ . 5 , 6

, I f ,--- _

• £ .. ,

J -, .. . r- .,- ·--.,.,

£ .. - ,- , ---I .. ♦ • ,. ,. A . -

- -

f I f,

Ji,

/' 1-r

~ f

.. ~ .,. ;.. .. ....

.. -

Example 7. Instrument pairings, Fourth String Quartet, mm. 25-31

.25 Jl5 I 2T ~ 29 ,,,.._ ~~ .. >j ►l': .,,

I{" . -· ~ :-:!-.., -I • -= p ..... ~ - ~ -=-- ✓

, -, *'~ ··- -· - ·~ >Y ,. ~-= ~ / - ..,n ,,.,_ ,_ , _ ,_ .. , ,

- p L.:W ----- - ., -;,;•·.,. , I , , '

, , r. .-, , ~

, .. ,_

_,,___, ...... .,. --=:::: .f' ' -, .If ~ : ? /J

The approach of each composer to twelve-tone composition is markedly different. Each

composer decided what the focus of his composition would be and used that to govern how he

used the twelve-tone method, as he would with any other compositional method.

10 I Page

Composition with Twelve Tones: My Creation of a Chamber Movement

It is important to note that although this piece was not my first chamber work, it is the

largest ensemble for which I have composed. As a string player, I have played string chamber

music from the Baroque Era to the Twentieth Century, and my only other chamber work aside

from this string quartet did incorporate the viola, which I played; however, this was my first

endeavor writing for a group of strings. When first conceiving this piece, I considered replacing

one or two of the string parts with a double reed instrument, partly to get away from the

imposing genre of the string quartet, but I eventually decided to keep the original instrumentation

as part of my own learning process. One goal of mine in composing for the quartet was to create

equality throughout the string quartet. As a violist, I have often experienced being an

accompanimental instmment and wanted to refrain from limiting any of the instruments to just

that role. As such, the viola has a big role in presenting thematic material. I used a lot of varied

repetition and imitation to help give each instrument equal weight, and there are small portions

where three of the instruments are accompanying one other instrument. My biggest challenge in

writing for string quartet, however, was writing for violin. The first violin part in particular has

some challenging parts with regard to register. Being familiar with the technique of the

instrument but less familiar with the comfortable range caused me to second-guess myself

several times when writing for the instrument. Ultimately, after consulting some violinists, I

kept much of the original material I wrote for the violin.

Since this project was not my first interest in serialism and other twentieth-century

compositional techniques, I decided to begin with a row I had created for another piece and think

about what I liked and disliked about that row before creating my new row. After some

examination of that row, I decided to switch the two middle trichords in position and keep the

outer trichords where they were, which incidentally created tonal pockets inside the atonal row

Page I 11

(example 8). I liked the augmented triad created by the first three notes, A, C# and F, and

wanted to keep that sound in the row.

Example 8. Primary row, Comprehensible Dissonance

E major ni11 d E-flat major ni11d

Once I had a row established, conceptualizing the piece was the next step. I have often

composed with text to guide the formal structure of my works, so with instrumental music where

text is lacking I often tum to strict instrumental forms to help structure a work. With this work, I

decided to use sonata form. This posed some interesting questions, since sonata form is

traditionally tied to a specific tonal plan, and the absence of tonality creates some issues with

distinguishing the different parts of the form.

Sonata form has three major parts: the exposition, development, and recapitulation. The

exposi tion normall y consists of a first theme in the tonic key, a transi tion which generally

modulates to a contrasting key, where the second theme, often contrasting in character, and the

closing material cadence in the contrasting key. The development is associated with harmonic

exploration as well as motivic development, which may consist of the fragmentation of the first

or second theme and sequencing of those fragments. The development section is also sometimes

associated with a storm, often because of the tonal instability. At the end of the development,

there is generally a dominant prolongation, or extension of the dominant harmony, to prepare fo r

the return of the tonic key in the recapitulation. The recapitulation is generally a repeat of the

exposition, with two important differences: the second theme is presented in the tonic rather than

the contrasting key, and there is sometimes a coda after the second theme.

12 I Page

One can see that marryi ng a form based on tonaJity to an atonal pitch structure can be

difficult. Some problems I had to reconci le were how to differentiate between the first and

second themes, and then how to approach the second theme in the recapitulation in order to

aJlude to the trad itional key change. The development was aJso a challenge because tonal

instability cannot be established without tonality, and it was difficult to deveJop or sequence

fragments of my first or second theme without becoming formulaic.

I decided to begin the piece with a short two-measure introduction that took advantage of

a leap-step gesture inherent in my row (example 9). Two leaps in opposite directions resolved

by step became a motivic constant throughout the piece. The introduction was presented in two

gestures, the first ending quietly and the second ending in sforzandi . The first theme, beginning

in the viola, is loosely based on the implications of the two-measure introduction. The rhythmic

gesture accompanying the melodic content, two sixteenth notes followed by an eighth note, is

prevalent in the first theme. The accompanying long notes in the other strings serve to offset the

angular quality of the theme. An important aspect of the second measure of the theme is the duet

between the viola and cello. What were presented as three tetrachord gestures in the introduction

are reduced to three note gestures in the v iola, so the fourth note of each tetrachord is sounded in

the cello to keep the integrity of the row at this point (example 10). The remainder of the first

theme section is presented in imitation, with the first violin entering at the end of measure four

with the theme transposed by fifth. Each subsequent instrument is given its own version of the

theme, with some slight rhythmic differences, and always beginning on the last beat of the

previous theme statement.

Viola

Cello

Example 9. Introduction, Comprehensible Dissonance

J: 108 rit. a tempo rit.

Violin I

f =======-- sjJ

\ ·iolin 2

\ ·iola

f -<= sfJ

Cello

ffijf;;

Example 10. R-11 tetrachords, Comprehensible Dissonance, mm. 3-4

R-11

1

7

2

E

3

Page I 13

To contrast the second theme with the first, I not only used a retrograde-inversion of the

original row, but created a more lyrical theme in a compound meter. Since the second theme

could not be distinguished from the first tonally, changing the meter and character of the

thematic material was my way of creating that difference. In this theme, initially dominated by

14 I Page

the first violin, the accompanying strings are sounding trichords derived from the original row

form, in the spirit of Schoenberg. The harmony without tonality in this section was one

technique borrowed from my study of Schoenberg' s Fourth String Quartet (example 11). The

second theme's closing material is derived from the melodic content appearing as a result of

sharing the row form between the viola and cello in the first theme. At the end of the second

theme, I took the cello' s melody, now divorced from the rest of its row, and used it as a basis for

the sustained notes throughout the quartet. This is a technique borrowed from Berg and his

derivation techniques.

Example 11. Schoenberg Fourth String Quartet vs. Comprehensible Dissonance

ViolinoI­

ViolinoI•

Viola

Viofonc&llo

Vin I

Vln 2

\la

Vk

ALLEGRO t10LTO; ENER6ICO J • m 1 2 (Gt - . 5

., L .ii"- - <-=. q~ ~ - , . -u, .. .. ,) - .ti .... ~ , r-: r-.. •

L .8' ·- ,: ~,, A . .. .

.iTr ,

!IT ~-~ -

Foum. Suing Q,umeJ, mm 1~5

A nr, r-Fi-

.,, I li,..I.J -==:

I ._...

- 1' mp --=:=: m~

A - n .., . , ....

~ ,.,..., :-,,

pp

I -.. -.. . I /JP

.. . . .... """:' . I~ ...,.., ':! :~ pp

L....J

Comprehensible DissQluvsce, mm U -15

. (tJ,..

...

,, . --. • ~-• .

1' ...

'- ~

.. .... IT+

T"" A

5 ,

. ., --. .- .,. -----=--_,

. -... 1• " - --.. .. •

-~

ll

II'

... ~

The development section was a challenge for me because of the lack of tonal center to

help create a feeling of chaos. What the general listener would recognize as chaotic is already an

aspect of atonal music. Again, I turned to rhythmic gestures to reconcile this issue. One of the

Page I 15

main differences between the first and second theme is the change in meter, so I decided to

highlight this difference by having both meters, 12/8 and 4/4, happening at the same time. This

served as both a transition from 12/8 to 4/4 and a way of developing some of the content used in

the exposition. An extended duet between the outer voices then transitions to long notes in the

outer voices, again derived from the cello melody in the first theme, and a compression of first

theme content in the viola.

The recapitulation begins with the first theme outright, identical to the first theme in the

exposition. The transition to the second theme in the exposition was a singular event that would

not have the same effect if repeated in the recapitulation, so instead I used the introduction

material, presented here in pizzicato, to transition to the second theme. The reconciliation of the

second theme key change in the recapitulation happens in several different ways. First, the row

form is a retrograde of the primary row form rather than a retrograde inversion. This gives the

second theme an inverted contour ( example 12). The theme is also presented in the viola this

time, instead of the first violin, and the accompanying material is akin to the introduction

material rather than the trichords in the exposition. 1 also decided to carry over the pizzicato

from the transition material to help offset the theme more prominently. The second theme area

in the recapitulation is also expanded as opposed to the exposition, including the closing material

which uses similar material. Continuing the use of pizzicato, I ended this movement with the

introduction material, though the gestures are switched, beginning with the first gesture in

pizzicato and the second gesture arco.

16 I Page

Example 12. Second theme comparison, Comprehensible Dissonance

dolce J. =90

Vhl. ] I~ w r· f. ;go;t_Jffilr RJHr IF' E;q>0sition, mm. U -16.5 ~ np --===== mj'=. ---.JJ

v1a 11 IIB 1r ~T J. dtJ.J J. I JJ-ntJJP· J"1}1 sJ j ' ---

Recapihtlation, mm. 5-'-56.5

In terms of twelve-tone technique, the thematic areas often begin serial but quickly move

away from the strict rules set forth by Schoenberg. The introductory gestures are a microcosm of

this effect. Each instrument begins with a four-note gesture, with the exception of the second

violin, and each subsequent gesture sounds the next notes in the row. However, once the four­

note gesture is ended, each instrument sounds notes which are not particular to the row or any

row form. The gestural and melodic aspects of this movement were of more importance to me

than strict serialism, which is somewhat in the spirit of Berg. Though Berg's move away from

the strict rules of serialism had more to do with row form derivation than my own way of using

serial techniques, Berg is certainly an influence in my composition of this piece. I used serial

techniques as a way of deriving melodic material that could be related without the use of

tonality, but in general I preferred not to be constricted by the stringent rules set forth by

Schoenberg.

Page 117

BIBLIOGRAPHY

Boynton, Nei l. "Compositional technique 1923-6: the Chamber Concerto and the Lyric Suite." In The Cambridge Companion to Berg, 189-203 , edited by Anthony Pople. Cambridge: Cambridge University Press, 1997.

Hai mo, Ethan. "Secondary and disjunct order-position relationships in Webern's op. 20." Perspectives of new music 24, no. 2 (March I, 1986): 406.

Hall, Patricia. "Compos itional process in Wozzeck and Lulu: A glimpse of Berg's atonal method." In The Cambridge Companion to Berg, 180-188, edited by Anthony Pop le. Cambridge: Cambridge University Press, 1997.

Mead, Andrew W. "Webern, tradition, and 'compos ing with twelve tones'." Music theory spectrum: The journal of the Society for Music Theory 15, no. 2 (September 1, 1993): 173.

Perle, George. Serial composition and atonality: an introduction to the music of Schoenberg, Berg and Webern, 6th Edition. Berkeley: University of California Press, 1991.

Schoenberg, Arnold. "Composition in twelve tones," in Classic Essays on Twentieth-Century Music: a continuing symposium, ed ited by Richard Kostelanetz and Joseph Darby, 233-263. New York: Schirmer, 1996.

Comprehensible Dissonance Serial Etudc

Ayriole Frost

J= 108 a /iule slower J = 80

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-;- b Violin 2

p mf sffz p

-;- ~ l"'I V

Viola

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-;- -;-

Cello

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