the harmonie language of arnold schoenberg's second string...
TRANSCRIPT
THE HARMONIe LANGUAGE OF ARNOLD SCHOENBERG'S
SECOND STRING QUARTET OP.IO
by
Kyung-Eun Kim
Department of Music
McGill University, Montreal
January, 1990
A Thesis submitted to the Faculty of Graduate Studies
and Research in partial fulfillment of the requirements for
the degree of Master of Arts
o Kyung-Eun Kim, 1990
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Abstract
Arnold Schoenberg's Second String Quartet, Op.IO, completed
in 1908, is the last of his works in which a key signature is
used, and is generally regarded as a transitional work leading
towards his 'atonal' period. Each of the first three rnovernents
has a key signature, whereas the last rnovernent has no key
signature--a characteristic of his later atonal works.
This study traces how the harmonie language evolves over
the four rnovements of the quartet. The present analysis of each
movernent shows the structural procedures, the nature of the
polyphony and the compositional techniques ernployed, including
those which result in the dissolution of tonality. These
changes contribute to the significance of the quartet as a
critical work within the transition from the tonal to atonal
medium.
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Résumé
Le Deuxième Quatuor à cordes (opus 10) d'Arnold Schoenberg
composé en 1908 est la dernière oeuvre dans laquelle il utilise
une armature. En génét'al, ce quatuor est considéré comme une
oeuvre de transition vers sa période atonale. Une armature est
utilisée dans les trois premiers mouvements du quatuor, mais non
dans le dernier mouvement--un trait caractéristique de ses
dernières oeuvers atonales.
Dans cette étude, on retrace comment le langage harmonique
évolue à travers les quatre mouvements du quatuor. L'analyse de
chaque mouvement démontre les processus structuraux, la nature
de la polyphonie et les techniques de composition utilisées,
incluant celles qui mènènt à la dissolution de la tonalité. Ces
changements montrent que le deuxième quatuor à cordes est une
oeuvre majeure dans la transition du médium tonal au médium
atonal.
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Acknowledgements
l am very grateful to Professor Brian Cherney for his
valuable suggestions and criticism throughout the study.
Without his patient guidance and encouragement, this work would
have been impossible.
1 am deeply indebted to Professor Janet Schmalfeldt, now
with Yale University, who introduced me to the fascinating field
of music theory.
l also would like to extend my sincere thanks to Professors
Bo Alphonce and William Caplin for their encouragement and
criticism at various stages of the study.
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Table of Contents
Introduction 1
Chapter l Schoenberg's Second String Quartet ..... . 3
Notes ................................... 10
Chapter II An Analysis of the First Movement ....... 12
Notes ................................... 31
Chapter III An Analysis of the Second Movement ...... 32
Notes ................................... 50
Chapter IV An Analysis of the Third Movement ....... 51
Notes ................................... 66
Chapter V An Analysis of the Fourth Movement ...... 67
Notes ................................... 95
Conclusion 96
Appendix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. l 00
Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 103
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INTRODUCTION
Arnold Schoenberg's creative career may be divided into
four periods.(l) The music of the first period (1895-1908) is
àescribed as tonal, but the extensive use of chromaticism
foreshadows the dissolution of tonality, which occurs in his
second, the
beginning of
Schoenberg
so-called 'aton11' period (1909-1914).
the 1920s, after several years of
entered the third period (1923-1933),
At the
silence,
1. e. ,
'twelve-tone' composition. The works from the la st period
(1933-1951), which was spent in the United States, show a great
stylistic diversity including the occasional return to tonality.
The Second String Quartet, Op.10 (1307-1908), is generally
regarded as a transitional work, concluding the first phase of
Schoenberg's career and leading to the second. The transitlonal
nature of the piece with respect to tonality ls immediately
evident in the use of a key signature for the first three
movements but its omission in the fourth movement, in which the
key center is F# major. The highly chromatic writing, involving
the exploitation of non-harmonie tones and augmented chords in
the first two movements as well as the increasing dissonance of
the third movement, resulting from the extensive contrapuntal
texture, make the chards that open and close each movement
referential features rather than functional tonies. Although
the final rnovement ends with an F# major triad and the tonal
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center is stated sporadieally, the harmonie structure of sorne
passages reaehes far beyond the principles of traditional
harmony.
My thesis will investigate the evolution of Schoenberg's
harmonie language by tracing the path to atonality within the
framework of the Second String Quartet.
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Schoenberg's Second String Quartet
Bef OTe the Second String Quartet, Schoenberg had composed a
number of important works. These include Verklarte Nacht
(1899), a string sextet later arranged for ~tring orchestra, a
symphonie poem Pelleas und Melisande (1902-1903) for large
orchestra and the First String Quartet, Op.7 (1904-1905) aIl in
a single-movement structure. The gigantic cantata Gurrelieder,
written in 1900-1901, is also rega~ded as an important
composition of this period, although the orchestration was not
( completed until 1911. The works from the first period are
àescribed as post-romantic, still remaining within the
boundaries of tonality. Schoenberg considered that the climax
of the period was reached in the Kammersymphunie, Op.9
(1906).(2) The principal key of the piece is E major, as
indicated in the key signature, but the work contains melodic
and harmonie elements built in fourths and fifths as weIl as
pitch structures based on whole-tone scales. Thus the work is
considered to be the turning point in Schoenberg's evolution
from 'explicit' tonality to 'implicit' atonality.(3) Further
steps towards atonality were, however, not so conspicuous in the
next two works, Friede auf Erden, Op.13, which could be
described as pan-diatonic (4), and Zwie Balladen, Op.12, the
( irnrnediate predecessors of the Second String Quartet, which are
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still very tonal.(S)
The Second String Quartet was finished in 1908. During the
same year Schoenberg started to compose the pieces of Das Buch
ger hangenden Garten, Op.IS, one of thè first of a series of
atonal composi tions wh)_ch includes Drei Klavierstuck~ Op .11 and
Fùnf Orchesterstucke, Op.16. In 'My Evolution', Schoenberg
described the quartet as a work which marks the transition to
his second period. He also discussed the main features of the
work.
In the first and seco~d mov~ments there are Many sections in which the individual parts proceed regardless of whether or not their meeting results in codified harmonies. Still, here, and also in the third and fourth movements, the key is presented distinctly at aIl the main dividing-points of the formaI organi~ation. Yet the overwhelming multitude of dissonances cannot be counterbdlanced any longer by occasional returns to such tonal triads as represent a key. It seemed inadequate to force a movement into the Procrustean bed of a tonality without supporting it by harmonic progressions that pertain to it.(6)
Schoenberg himself admitted that this quartct played a great
role in his career, although he denied a definjte progression
towards atonality within the work. He commented that "Within
[the quartet], one finds Many sectional endings on more or less
remote relatives of the key .... the obstacles to comprehension
have to be found in the inclusion of extra tonal progressions in
the themes, which re~uire clarification by remotely related
harmony progressions, which are themselves obstacles to
comprehension. "(7) These are regarded as important transitional
features of the piece.
In his book Schoenberg, Anthony Payne considers the quartet
as one of the rnnst fascinating of all transitional work~ because
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it takes steps to sever the tonal bond completely while at the
same time parts of it are overtly tonal.(8)
Egon Wellesz writes that the piece forms a bridge between
the works of the earlier and later styles. "Here the new
tendencies become more obvious, and in the final movement one
can clearly recognize the complete change in style." Wellesz
goes on to say:
with this quartet, which shows Schoenberg in full possession of technical power, he abandons traditional form and devotes himself to new problems. And this it is which makes the decisive step.(9)
This decisive step was pro0ably towards 'atonality'.
Malcolm MacDonald begins his book on Schoenberg with a
discussion of the Second Quartet. He explains the reason for
the public scandaI at the first performance of the quartet i~
1908 as the undermining of the listener's basic assumption about
the key, i. e., "its unheard-of rapidi ty in modulation plunged
the audience into a half-familiar yet unsettling world." He
maintains that " [the piece is] an important stage in
Schoenberg's own musical and spiritual d€velopment, and a
crucial document in twentieth-century music.N(lO)
Because of its significance among Schoenberg's works, the
Second String Quartet has received a fair amount of
consideration from scholars. Most of th2 discussions are
descriptive, mainly dealing with form and motivic content--thus
they are limited in scope. Sorne studies deal with the
programmatic aspect and the relationship between text and music
in the third and fourth movements (Lessem, Eversen, Baily).
There are also severa] scholars who attempt rather comprehensive
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analyses of the piece. Five of these studies will be summarized
according to the chronological order.
Philip Friedheim's dissertation, uTonality and Structure in
the Early Works of Arnold Schoenberg," in 1963, includes an
analysis of the quartet. His work is"a special study of the
musical structure of the early works of Schoenberg as influenced
by the movement away from tonality toward atonality,"(11) and
in~ludes numerous works from the early period to the atonal
composition, Three Piano Pieces, Op.ll. The anal~sis of the
quartet begins with a short description of each of the four
movements. It is devoted to the harmonie and motivic aspects of
important local events in each movement as weIl as the overall
formaI design. Friedheim statps that it is possible to trace
the dissolution of tonality from the Brahmsian opening theme to
the final movement which goes far beyond the limits of
traditional harmony. But an integrated view of the entire
piece, which would support this assertion, is not presented.
John C. Crawford's study of Schoenberg's vocal works, "The
Relationship of Text and Music in the Vocèl Works of Arnold
Schoenberg, 1908-1924," contains an analysis of the Second
Quartet. The author describes the musical structure of each
movement, stylistic differences from the earlier works, and the
texts of the last two movements. Since his study is devoted to
Schoenberg's vocal pieces, a major portion of the discussion lS
concentrated on the relationship between the text and mUS1C in
the third and fourth movements, dealing with form, harmonie
language and musIcal symbols. There follows a summary of the
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stylistic innovations apparent in the piece's instrumental and
vocal writing and an analysis of the considerable influence of
the text on the music of the third and fourth ~ovements.
Crawford concludes: "AlI the innovations
however, whether they are attributable
musical considerations, take place
of the Second Quartet,
to textual or purely
within a traditional
framework of musical form and tonality. "(12)
The 1973 master's thesis by John Kimmy, "prolegomena to a
Phenomenology of Music: a Comparative Study of Arnold Schoenberg
and Edmund Husserl," features a detailed study of thematic
development in the quartet. The author traces the
transformation of the main motives throughout the whole piece.
He proposes that an initial motive could be the basis of aIl
musical material in a movement or work and regards the quartet
as sueh a work, built on a germ motive. (13) Although he
includes a brief analysis of cadential devices used in the
pieee, he does not present a
aspects of the work.
general discussion of the harmonie
"Tradition and the
Quartets of Ives and
dissertation by Gwyneth
Breaking of Tradition in the String
Schoenberg,· is the title of the
Walker which contains full analyses of
four string quartets, the first and second by each composer. In
the analysis of Schoenberg's Second Quartet, Walker illustrates
important features of each movement: patterns of harmonie
modulation and the role of tempo markings and dynamics in
determining the phrase structure in the first movementi motivic
content and harmonie vocabulary of the second movementi and
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cohesive construction achieved by contrapuntal technique in the
third movernent. The analysis of the four th movement is rather
extensive with an intervallic analysis of the introduction, and
discussion of the harmonie duality in the thematic material and
postlude. Walker considers Schoenberg's arrivaI at atonality as
a graduaI process involving the emancipation of dissonance
through an increased awareness of and dependence upon other
compositional procedures." (14) She also proposes that the
progression toward atonality is a graduaI process from movement
to movement rather than a sudden change. The author then
surnmarizes the characteristics of the piece revealed in her
analysis as follows:
The first movement combined a tonal-thematic clarity with extreme delineation of the formaI structure. The second movement tightened the motivic construction while essentially discarding a triadic vocabulary ... The third movement relied upon reiteration of the tonie triad and pitch identity for stability. The motivic-contrapuntal considerations were primary ... The fourth movement completed the process of the previous movement by abandoning both a triadic center and supportive structures. The resulting atonality was the final link in a chain whose connections were based not only on the progressive rejection of tonal procedures, but also on the increased cogency in motivic derivation and formaI delineation. (15)
Sorne of the se views are shared by Jim Samson who offers a
concise and complete interpretation of the quartet as a whole in
his book, Music in Transition, a study of early twentieth
century music, published in 1977. He, too, explains the
important harmonie and melodic features of aIl four movements
through well-defined musical examples that support his points
convincingly.(16)
The works of Samson and Walker are relevant to the
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viewpoints whieh will be eonsidered in the present study. By
presenting a more detailed harmonie analysis than most erities,
the eharaeteristies surnrnarized by bath Walker and Samson will be
elarified. Their points of view will be referred to wherever
neeessary as the analysis progresses. The pitch structure of
the.first and the final movements will be subjeeted t~ harmonie
analysis. A study of sorne harmonie elements from the second and
third movements will eontribute to the understanding of the
evolution of Sehoenberg's harmonie language toward the atonality
of the final movement. The analytic methods will include
reduetive technique for long-range harmonie progression) general
harmonie analysis, and pitch-elass set analysis for atonal
passages.
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NOTES: INTRODUCTION & CHAPTER l
(1) Sorne scholars divide Schoenberg's musical development into three stages as presented in the writings by E. Wellesz and N. Demuth. Patricia Kerridge adapted this view in her master's thesis of 1986. Since Schoenberg's music from the American period varies in style from his previous period, a four-period view is a suitable division for his compositional output, and the same view can be found in the writings of O. Neighbour, J. Machlis, P. Gradenwitz, W.R. Martin and J. Drossin.
(2) Arnold Schoenberg, ~My Evolution~, in Style and Idea: Selected Writings of Arnold Schoenberg, edited by Leonard Stein (Berkely: University of California Press, 1984), p.84.
(3) Nicolas Slonimsky, Music since 1900 (New York: Charles Scribner's sons, 1971), p.104. The term 'explicit' is defined as 'clearly expressed' and 'implici t'as 'not directly expressed but contained or understood'.
(4) Philip Alan Friedheirn, "Tonality and Structure in the Early Works of Schoenberg- (Ph.D. dissertation, New York University, 1963), p.363,
(5) Schoenberg, Style and Idea, p.S17,
(6) Schoenberg, HMy Evolution~, p.86.
(7) Ursula von Rauchhaupt ed., Schoenberg, Berg, Webern: The String Quartets: A Documentary Stud~ (Hamburg: DGG, 1971), p.43.
(8) Anthony Payne, Schoenberg (London: Oxford University Press, 1968), p.16.
(9) Egon Wellesz, Arnold Schoenberg (New York: Da Capo Press, 1969), pp.1l1-113.
(10) Malcolm MacDonald, Schoenberg (London: Dent, 1976), pp.1-S.
(11) Friedheim, op. cit., pp.371-401.
(12) John C. Crawford, -The Relationship of Text and Music in the Vocal works of Schoenberg, 1908-1924" (Ph.D. dissertation, Harvard University, 1963), pp.21-53.
(13) John Kimmy, ·Prolegomena to a Phenomenology of Music: a Comparatlve Studyof Arnold Schoenberg and Edmund Husserl" (M.A. thesis, North Texas State Unlversity, 1973), pp.8-94.
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(14) Gwyneth Wa1ker, -Tradition and the Breaking of Tradition in the String Quartets of Ives and Schoenberg(D.M.A. dissertation, University of Hartford, 1976), pp.70-99.
(15) Ibid., p.99.
(16) Jim Samsom, Music in Transition (New York: W.W. Norton, 1977), pp.104-113.
CHAPTER II
An Analysis of the First Movement
Unlike the First String Quartet, which is a single-movement
work, the Second String Quartet consists of four separate
movements. The first and second movements are solely
instrumental, while the last two movements contain settings of
poems by Stefan George, for soprano voice.
The first movement is in f# minor and follows the outlines
of sonata form. The exposition (mm.l-89) has two thematic
groups: the main thematic group consisting of two themes, and
the subordinate group of three themes. The development
(rnm.90-l59) begins with a motive from the main theme, but
subsequently it is mainly based upon the subordinate themes. In
the recapitulation (mm.l59-20l), the main themes are stated in
reverse order in the home keYi the subordinate themes are not
fully recapitulated, but provide motives for the coda whieh
begins with the long-held tonic pedal note (rnm.202-233).(1)
The first main theme (rnm.l-12) begins with the tonie and
ends with the dominant of the home key (Ex.la). It features a
periodic design, in which the consequent restates the basic idea
in the key of a minor rather than in the relative A major key.
The modulation is achieved not by a pivot chord but by a note
that enharmonically belongs to both keys--B#, the root of vii/V
in f# minor, becomes C natural, the third of the a minor triad.
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Schoenberg, String quartet Op. 10, l , mm.1-12. Ex. la.
r~ _----4_
}IJ ~~~ ~~ r7' !7 • t:: J . .. 1-•
< J ~-d, l!if ..::(;-- ..,.-111 L.-.:::: :P /;1-4 ~I.-- 1 ~I pp L.-.J- '--~. " 1 ,,,.,,.. "" C'\
,-1
--, 1. ...,,.. J'
l' q-, - . 11 ~ 1 1 , .'
i (vi' VI\7,m)
( ~~~l~ 11
T
c ~., 'f'-"-+ ~ r
vllf.L.. • " v l" v, 11..,_ 11Il1."
'- ,~ ---------~--'
14
Ex. le. œ 1 ~ JI. .Il œ ( -11 --.-
11:(,.
J -& tt: -~.e--~
.l
1-.- : 4'1 1 -.-1 v- iii. ~, ,
0 r~ 1 --"""'1
ft-; r , ., . y.
Ill~
The theme ends on the dominant of f# minor in bar 12, introdueed
in measure 9 by the same vii/V, which was left unresolved in bar
4. It seems that the resolution of the previous vii/V is
fina1ly provided at the end of the theme. The dotted 1ine in
Ex.1b indicates this voice-1eading. The two upper voiees, A and
C#, are supported by the tonic at the beginning of the theme and
there fo11ows a voice-exchange between them in bar 3. The Ab
and C natura1 that appear in bar 5 can be regarded as neighbour
notes to A and C"i A is restored in bar 8, as is C# in bar 10.
The top voice line suggests a motion from sca1e degree 3 ta 2
spanning the whole theme; this is accompanied by the long range
bass progression from tonie to dominant of the home key.
Example le shows the fundamental triadie structure of the main
theme. The arpeggiation of the tonic triad, which occurs in
bars 3-5, paralle1s the bass progression of the theme from F#
through A in bar 8 to Cff in bar 12. The prolonged C natural in
the middle of the theme (a note foreign to the home key of f#
minor) foreshadows the 'F#'-'C' duality of keys which occurs in
the fourth movement. The above analysis elearly shows the
triadie structure of the first main theme within a regular
phrase grouping and formal design.
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Ex. 2. Schoenberg, String quartet Op. 10, l, rnm.12-24.
@ s"'p. J 1 1 1 AJt~
< J {~r r r l j j .
1 . ~
t f~-: V -
.. JI- .i: <.
~ .. ~r~rrlr
1 -". T --"t"'"
f#-·. ii~ ~7 ft,E,
1 1 - 1 1
1
. --1 •
1 l'i ; -1
1 1 1
l +
iv
1
1 1 i-
~/'v /1
1
l,
1
1_
-ïtfA r r.u -
,
'1 rrrrcrr .. +
1
--"l:yqJ[ 1 . .
~.tP 1 -
1 1 1 1 1
:"l"~ ,. 1 1 -
~j ][ ï# 1 ]I , \E:~) :2f\1 (ru. lt7)
1 \ .. 4 Il 1
1 1 1 1 1 1 + -+-
-~ rqr T "
1 '-:J7 .. 1 Il? 1
1
'1 r~T r J + +
... of'_
1 1
'1~_ r r_IJ - ..-
J'j'. ~ ~' ..
1 1
~~ r -r [ =- .f-
i!'-
.. . 1/(, 16
% vil
fi": iV~
fr'yllL
iV7 i~ y. - 1-(o.lt v'7)
15
-
1
1
1
16
The second theme of the first thematic group immediately
follows at bar 12. The melody line is first stated in the viola
part (mm.12-24) then partly repeated by the first viol in
(mm.24-33). This theme sounds harmonically unstable because of
its highly ehromatic structure, supported by bass and the second
violin which move almost continuously by semitone. As shown in
the harmonie analysis (Ex.2), the first part of the theme may be
analyzed in the key of f# minor, though the tonie chord only
appears in its major form (alternative readings of sorne chords
are given in braekets). Here, the cross rhythm of the melody
and bass, and the chromaticism in the second violin part not
only accelerate the rate of harmonie change, but aiso make it
difficult to distinguish non-harmonie tones. This passage may
weIl be one of those Schoenberg referred to as "many sections in
which the individual parts proceed regardiess of whether or not
their meeting results ln codified harmony.-(2) By making the
melody and bass move in the same rhythm, a clearer view of the
harmonie progression of the same passage emerges (Ex.2 second
stave; non-harmonie tones are marked by crosses). The harmony
of the latter part of the theme (mm.20-24) briefly deviates from
f# minor tonality. The presence of c minor triad (mm.20 & 22)
suggests the key which is related to the home key by a tritone,
while the melody arpeggiates the F major trlad. The
voice-Ieading between the outer voices which aiso features
tritones in rneasure 22 and 23 is another indicatior. of the
weaker tonal frarnework of the Iast phrase. Thu5, the tonal
center of this phrase i5 not clear. At the end uf ltH' theme ln
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( 24, the V of f# minor appears to begin the restatement of the
therne in the first violin. Although the chrornaticism and
irregular progressions greatly weaken the key center of the
second theme, it still remains within the boundary of tonality
and maintains the structures of triads and seventh chords.
Following the partlal restatement of the second theme, the first
main theme returns briefly and leads ta the subordinate theme
group which begins in bar 43.
The tirst subordinate theme again features a periodic
structure with a regular phrase grouping. Indeed the second
phrase begins almost identical to the first, with the basic idea
that is supported by the sarne chord or pitch collection (Ex.3).
Ex. 3. Schoenberg, String quartet Op.lO, If rnrn.43-S1.
4-
........... ~ 1 1 o.pp 1\ ~ 1 ~
!J --- -*: ...--. 1;1 li+ 'f -+ ..... l~ Ei ~ ~ ~ ~1 J- --....J J 1 1 1 1 1 1 1 ---- ----=; -
[··!l'.LT! 1t.d Il.. -A~:I ~' E: Vl\~ ~k:,.~6 _ 'j"-J -i~ 1 111 7
/2 3 A<ft r r---
" ri le b!p- ---::::::: 1 1
J ~-l3. "'--r-? 1---.- - ...... L-.l...] 1 ~
1 J 1 4 J 1 JI J '1 1...- '-
~ - .. ( A+, ~~t--- . ;,,\ rr;1I 1 -~
[ .. (ft-6!D) ---cre.- 6 Ys#
---------------------~J:r~;.
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The beginning of the theme is preceded by vii7 of A major. The
key is supported by the presence of dominant seventh and other
diatonic seventh chords as weIl as the melodic line which moves
by semitones from C# (m.43) to A, and finally to G# which is
supported by the dominant seventh chord in measure 46. Because
of the absence of the tonie tridd, the Key is only implied here
and not fully established. Furthermore, the main referential
sonority is not one of these chords in A major but an aJtered
German sixth chord which consists of an augmented triad and a
diminished third/major second--Forte's set 4-24 composed of four
notes from the whole-tone scale.(3) This functions as a
structurally important chord that begins each idea and helps to
delineate the phrase structure (marked by squares in EX.3).
Towards the end of the theme, the German sixth chord of the Key
of A major (m.49) progresses to an altered dominant triad
containing a raised fifth degree which is followed by a French
sixth chord in measure 50. The altered German sixth chord
(4-24) appears to be Schoenberg's substitution for a tonie chord
in traditional harmonie writing.
There is another pitch collection used linearly in the
first subordinate theme. The pitches used in the first four
bars of the theme contain two 4-2 sets. This set was used
previously at the end of the transition (Ex.4a) which leads to
the beginning of the subordinate theme in measure 43 (Ex.4b).
Each of the four parts ends with the same pitch collection
(whole-tone + semitone + semitone).(t)
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Ex. 4. Schoenberg, String quartet Op. 10, l, mm.39-40, mm.43-44.
• Vn.1. b)
~ ~y 1---__ 4-,z __ -...JI
A transition which carries the melody of the theme in the
celle immediately follows in bar 51 and leads te the second
subordinate theme which begins in bar 58. The theme consists of
a two-bar idea and its repetition which is accempanied by its
inversion (m.61). This is followed by a stretto which produces
a contrapuntal texture (Ex.S). The thematic idea linearly
implies the whole-tone sonority (only one circled note of each
group in squares does not belong to the whole-tone scale,
C#-D#-F-G-A-B), and is accompanied br the chords aiso based on
the sarne whole-tone scale, except for C in bar 58.
Ex. 5. Schoenb~rg, String quartet Op. 10, l, rnm.S8-63.
4 -'24
~ ~ ~ ( ) J~ • .. h] ~
~~ v~~'S __ ~ ~ rr--r--- ~
1'-' ~'X-/ 1 ____
...t:
-yJJJ1~ . .. ~
Ad. ~ I~ " J- I. .~,.:~ .1.. • ..- ~ .. . . '" l':-----T
t:fo 1-
A
--;; "'" 75~ 1 .t+-~.
20
Although the first chord can be labelled as c minor triad with
added 6th, it is not followed by a chord progression which
implies any tonality. Instead the third statement of the
thematic idea in the cello, inverted (rnm.6l-62), suggests a
dominant seventh of Bb major. Here again, the following
progression is not in the same key. It should be noted that the
first four pitches from the motive, excluding the circled one,
crea te a different form of the seventh chord of the first
subordinate theme (4-24), the whole-tone tetrachord.
The following rhythmic acceleration leads to a section
which presents an alternation of remotely related chords
resulting from movement by semitones (Ex.6). The first chord is
a collection of ·black· notes (marked by squares in Ex.6) and -- the next one consists of aIl ·white" notes (mm.68-69).
Ex. 6. Schoenberg, String quartet Op.IO, I, mm.68-72.
~
iil 6 biii" IlL ~ lEZ rh •• '7 ,,, r (bI) bill ; 9 6,~'
r Il sb
b.&~·
The third theme of the subordinate group begins at bar 70.
- This theme is characterized by less dissonance than the , preceding passage, but the key of C maJor becomes apparent only
21
at the end of measure 71 where the dominant chord is stated,
then followed by the tonie ninth in measure 72. The continuous
use of Eb along with E, makes the tonality of the phrase
ambiguous. The following closing section retrieves the notes
belonging to f# minor until we get the dominant ninth to the
tonie progression in measure 85. But the following chord
progression is no longer in the home key, while the first violin
brings out the first main theme idea. The idea is harmonized by
hal.f-diminished chords (mm. 88-89), and the exposition quietly
ends on the German sixth chard of D (enharmonic ,!qui valent for
the dominant seventh of Eb) which proceeds to a d minor triad at
the beginning of the development (Ex.7).
Ex. 7. Schoenberg, String quartet Op.IO, l, mm.87-92.
III
The development (mm.90-145) begins with the basic idea of
the first main theme now harmonized by a d minor triad. The d
minor chord is immediately followed by the iv and V chords of
the home key, f# minor. The key center then shifts ta C major
(Ex.7). The rapid modulation here makes the tonality of the
development section unstable from the beginning. The (
development also fealures canons by inversion and augmenlation
exploiting the matprlal from the subordinate themes.
- Vlo.
'le
22
The first main theme reappears as early as in measure 146.
While the viola plays the theme in a minor (as in the
presentation of the theme in bar 8), the cello part restates the
augmented form of the same theme in d minor (Ex.8). The main
theme is stated in f# minor by the cello from measure 150, and
the return of the home key is prepared by its dominant which
arrives in measure 152, though the semitone content clouds the
harmonie structure of the second beat in measure 151.
Ex. 8. Schoenberg, String quartet Op. 10, l, n~.146-152.
1 !~hl.-1(1\ ~. H
'v ~. 10-'
A~ ~ ----.
J 1 Ld ' ..---.
1· •
1
Q..-; j[
1 '6 l-t
.~~ @ ~~~~ ~ ~ -t9 -----1
~ .. ~ .
1 ~. ~ ~ ~T~ cr T l J.~ ".---... '~ '~,.. --I~O "'- ....
T 1 l 1 1 1 T "j:;'- ~--:-a - .1 ,--- W .......
• .. 7 fil""
lj 1 1 1 L.--" --1 li, vii j ][0
Here, the sarne main theme has been presented in different forms,
whereas in the fourth movement, which is also in sonata form,
the main theme and the subordinate theme are stated
sirnultaneously in the recapitulation. Since the main theme here
is not presented in the home key, this section could be regarded
as a false recapitulation. Schoenberg stated that "the
recapitulation proper begins in F and only gradually turns to f#
minor."(5) 1 think that he referred to bar 146 where the F
major triad appears. The restatement of the second theme in the
home key begins ln measure 159 and 15 usually regarded as the
23
( beginning of the tonal recapitulation (6), but clearly the
recapitulation begins with the main theme statement (m.146) as
Schoenberg intended.
After the second theme reappears in the home key, the
restatement of the first main theme begins in bar 186. It
features an extensive contrapuntal texture--a stretto among the
lower three instruments, and the first violin adds a
sixteenth-note figure as a counterpoint. The main theme is not
fully restated in here; only the basic idea of the theme and its
fragments are presented. The idea is first stated in a minor by
the celle and secondly in cff minor by the second viol in, then in
f# minor by the viola. The second statement of the idea in
three instrumental parts begins a major third above the previous
( entry. The second violin also carries the thematic idea
although not in exact form (Ex.9). The three thematic
statements implying different minor keys linearly often result
in chord progressions in relative major keys.
Ex. 9. Schoenberg, String quartet Op.lO, l, mm.186-190.
( L.-____ ~) ~_--
t'ii~~ Y1JL-./I!L\~
e:t"/3
l 24
In measure 187, the sixteenth-note figure in the first viol in
displays the pitches that make up a dominant eleventh chord
which is followed by its resolution in the form of a thirteenth
chord, the root of which is implied. The same progression
occurs in measure 189 in a different key as if in sequence.
After fragmentations and intervallic expansions of the
first main theme, the coda begins in bar 202. The beginning of
the coda is supported by an F# pedal note affirming the home
key. The coda features sorne thematic ideas from the subordinate
theme group, then ends on the tonic chord.
The above analysis of the first movement shows how the
harmonic language evolves: the first main theme has a clear
triadic structure; the less stable second main theme still stays
within traditional harmonic language; in the first subordinate
theme the function of a major triad is replaced by an augmented
seventh chord (a whole-tone tetrachord); the second subordinate
theme presents a nearly whole-tone melodYi while the third
subordinate theme is preceded by the alternation of black-key
and white-key chords which contributes to the lack of a strong
sense of key. Sorne of these approaches are developed fully in
the remaining three movements.
Concerning the overall structure of the piece, Schoenberg
wrote that the key was presented distinctly at all main dividing
points of the formal organization.(7) The main formal divisions
and the chords that begin each section are presented in Figure
1. Among the main dividing-points, only the development section
does not begin with the tonlC of the home key.
(
(
Fig. 1. The key presented at the main dividing-points of the first movement.
IEXPOSI T!ON 1
A.t ~ (
~I ..
l · ·
AU.~ ,
) ~ ( .
/JjJ. ~
( ""' ~ J
1, ..
, 1 ·
A.JJ. ~ (7 .a-
l'' 1,
( ,..
Mil (i)
-#-
STE
9 fiT .... ...
la ... •
i OdOb -:o:t-~ ~v (c-)
.fQ./~ ~eCA.{J. ,...--.... ...... .....
/::t ..... '-" .....
il • l' + ~
iii (a-)
"'fTI @
.,
. 16 ~
i,j(rr)
• \-4". ,
:+
...
·V· "'1
biii6 bI "Y-~ ~~ (C. ... )
ICODA 1
Qj)
Lt:l~· • , ,1
\ ~.
STI @ @
:s: ~:j: '--"
't:I .. ' M .....
~ ,.
.' oH, ~6 W'~~ =V"C~
.:Dr (At)
IOEVf-LOPHENT 1 @
f#": vi~ I 1[+ IV .3
IRECA PI TULA TI ON 1
@HTJr@
f+ ...
• .f# -; ; :z~
@ 4-
......
•
@ ...
•
@>
• 1
25
26
At the beginning of the development, the main theme idea is
- harmonized by the minor vi chord which is followed by the ii6
and a second inversion of the dominant seventh chord of the home
key. It is resolved deceptively to the minor iii instead of
the tonie. Even though the section begins with a d minor triad,
the d minor key is not supported by other chords, rather the
dominant of f# minor maintains f# minor tonality. AIso, the
main theme idea is quoted at the same pitch level which opens
the movement. The first main theme brings tonal stability after
the development, which is tonally unstable, and usually restores
a key center in between the unstable areas--thus serving as an
important unifying factor within the whole movement.
It is neeessary to consider Lhe relations between the keys
used in this movement. Figure 2 is a chart showing the
relationship between various key regions within f# minor
aecording to the principles estùblished in Structural Functions
of Harmo~, by Schoenberg.(S)
Fig. 2. The ehart of regions in f# minor.(9)
E+ c#- C#+ a#- A#+ = Bb+ (subT) (V) (D) ( #m) ( #M)
a- A+ f#- F#+ d#- D#+ = Eb+ (m) (M) (t) (T) ( # sm) (#SM)
d- D+ b- B+ 1. Close: M, T, v, sd. (sm) (SM) (sd) (SD) 2 . Indl rect but Close: D, SM.
~ 3 . Ind5 rect: m, sm, SD. 4. Indirect and Remote: #sm,
.Q. G+ #SM, #m, #M, subT, subt, Np.
(Np) 5. Distant: All other reg ions.
(
27
In the first movement, Schoenberg tried to stay within related
key regions, although the keys used in the subordinate therne
group are not clearly supported by means of traditional harmonie
progressions and do not last long enough to establish themselves
as tonal centers. The a minor key whieh cornes at the beginning
of the false recapitulation is relatively stable harmonically,
in spite of the bass which states the theme in d minor. Indeed,
C major region is not even shown in this chart because of its
remote relationship with the home key. Also in the fourth
movement, the C major region plays an important role despite its
distance from the home key of F# major.
Reference will now be made to the cadential formulas(lO),
whieh conelude the important formal divisions (Fig.3). Only the
first main theme is presentea in the tonie, thus the eliding
cadence points in this movement corne at the beginning of the
restatements of the main theme.
Fig. 3. Major cadence points in the first movement.
1. The beginning of the development (mm.89-90).
i vi f*- : iv
28
(Fig 3 cont' d)
2. The restatement of the main theme (mm.14S-146).
cl+-: :2:1:t vi 1= iJ.yrt-(pit) (ftu~')~
3. The beginning of the recapitulation (rnm.158-160).
, ~~-~ .-,
k
.} I:)'t'~ lf1 ~ 1 1 1 l ~.h~ ~ ,J
~.<111'~ o.I'l ~ ..... •• - -• 1 ""'-.11 ., - .... .., IL ,,", .. • .D
"'\ '1 ~-f r -1 t :
\.
1" :f~"'. Yl# Ek%ii YN/JJI YJ
(At; 1'L9 i:." vi) 4. The beginning of the coda (mm.201-202).
~--~--
29
c (Fig 3 cont'd)
5. The final cadence of the movement (mm.230-233).
----------1 4 - 5"
The other cadences can be found at the formal divisions where
the tonic of the home key appears. Most of these are approached
by semitones not by the fifth progression which we normally
expect at a cadence point. Cadences 1 and 2, each occurring at
( a major sectional change, lead to regions different from f#
minor. Cadence 3 cornes at the beginning of the recapitulation
and is like a deceptive cadence, that is, the bass moves up a
whole-tone instead of a fourth. The chord progression here
displays dominant chords built on the bass notes which move up
from V-vi-vii-i: an altered dominant seventh chord on Cff, the
dominant ninth on D with the fifth (A) and the raised fifth
(AH), and the dominant seventh on E with the lowered third (G)
and the third (G#). The voice-leadings of the outer parts, G-Fff
and E-F#, provide a framework for the following cadences.
Cadences 4 and 5 have voices moving by semitone, E#-F# and G-F#,
which result in a progression from an augmented sixth to an
( octave. In cadence 4, the #vii chard is followed by i ts al tered
dominant seventh (C-E#-G-Bb) instead of a regular augmented
30
sixth chord, which then progresses to the tonie within the
framework of an augmented sixth. The inner voice in cadence 5
suggests a deseent from E to D# then to C#--a clear reference to
the descending motion in the opening theme. Indeed, the
four-note figure (m.230) i~ very similar to the melody (m.2) of
the main theme. The semitone cadence is used extensively
during the course of the quartet.
Samson eonsiders Schoenberg's primary concern in the first
movement as "the refinement of traditional procedures rather
than an attempt to move significantly beyond them."(ll) It is
certain that the first movement remains within traditional
formal structure. However, the extensive use of chromaticism
sometimes results in a chord succession rather than a functional
harmonie progression, and the chords other than the tonie plays
an important role in sorne places. Sorne of these procedures are
used and further developed in the remaining three movements.
(
(
(
31
NOTES: CHAPTER II
(1) A detailed formal analysis is presented at the beginning of the score by Erwin Stein.
(2) Schoenberg, H My Evolution H, p.86.
(3) See The Structure of Atonal Music, by Allen Forte.
(4) At the beginning of the movement, the second violin plays the same pitch collection (4-2) in mm.1-2. AIso, the opening three pitches of the main theme (A-G#-F#) is a subset of set 4-2. This set appears throughout the piece whenever the first subordinate theme is used. Consecutive uses of the set are found in mm.79-81 where the set is presented three times in the first viol in part. The same set is frequently used melodically as a motive in the fourth movement.
(5) Rauchhaupt, op. cit., p.44.
(6) See the analysis by E. Stein.
(7) Schoenberg, H My Evolution H, p.86.
(8) Schoenberg, Structural Functions of Harmony (New York: W.W. Norton, 1969), p.30.
(9) The regions shown in the chart are related to f# minor either directly or indirectly. (Schoenberg, Ibid., p.74.)
(lO) The cadential formula here denotes the phrase articulation--Hthe movement toward and ultimate definition of sorne goal of momentary or final conclusion," as defined by Alden Ashforth in his article, HLinear and TexturaI Aspects of Schoenberg's Cadences,H( Perspectives of New Music 16/2 (1978), p.195.)
(11) Samson, op. cit., p.107.
CHAPT ER III
An Analysis of the Second Movement
The second movement of the quartet is a scherzo and trio in
which the scherzo consists of three parts: exposition,
development and closing section. The movement begins with an
extended pedal D in the cello part which returns in the la st few
measures of the movement, thus giving it a framing tonal center.
Although the movement has a key signature of d minor, the themes
in the exposition of the scherzo are not supported by functional
chord progressions in the key. Also, the contrapuntal texture
of the following development section features tonally ambiguous
passages. Throughout the movement, the key of d minor is not
fully establi~1ed by traditional harmonie progressions. Rather,
a pitch center serving as a referential element replaces a tonal
center. The pedal D at the beginning and its return at the end
of the movement becomes the main factor connecting the movement
to the tonality of d minor. The d minor triad makes a few
appearances and helps to suggest the key of d minor.
The exposition of the first section of the scherzo features
three themes (rnm.1-19) which are divided by fermatas. The
development of each theme follows immediately (mm.20-84) and the
closing section brings back the first theme (mm.85-97). The
trio (mm.98-164) shows a ternary design (A-B-A) in which the
middle part serves as a development section. There follows a
(
(
(
33
transition (mm.165-194) which contains a quotation from the
German folk song, MAch, du Lieber Augustin". The return of the
scherzo (mm.195-258) restates aIl three themes presented in the
exposition, and the coda (mm.259-275) begins with all four
instruments playing the same idea from the first theme of the
scherzo. The movement ends on D which is preceded by the same
pedal note in the cello.
Figure 4 shows the harmonie aspects of the themes and the
main dividing-points in this movement. There is no established
key center for the thernes and their development in the scherzo
other than d minor, the home key. The trio begins and ends in
the relative D major with C major briefly appearing in the
middle (mm.123-125). The tonic note D is frequently used in
order to support the key center and its appearance as a triad
becomes noticeable in the return of the scherzo. Besides the
tonic, the mediant triad, implied in the presentation of the
second therre, is used for several points of articulation.
Semitone motion is cornmon not only in the bass but also in the
other voices due ta the other chords used instead of the
dominant at the cadence points (m.35, 53, 85, 219, 238).(1)
The second movement is mainly composed of two textures: an
extensive contrapuntal structure of linear melodies which
frequently results in chromatic passages, and chorda1 sections
with more stable harmony. The structure of the three themes in
the exposition shows in a microcosm of that of the whole second
movement.
Figure 4.
1 Scherzo 1
The keys presented in the themes and the main divisions of the second movernent.(2)
Theme I. Oe.v. of Therne I. @ CD
( ... J
~ "-
~. .. l' 1- ...
-r d-·.
@
•
.... . 16
•
#--t-•
T
vii7~ i (4-18)
34
De.v. of. Therre. J[ Clo~;n9 $ec.tiort
 ®
1 rr )P' u.
~
\.',J • 1"
Q. ~~
lb. L-. "1~ 1. l' , ~ ... v g.
~T
d-: .. bll'
(5'-35')
1 Tr;o 1 @xpo ~ A~
lL"\'W l'I.,W' ••
(f4\- :
•
• iii i )
1 ReCClp. 0+ Sc.ne~zo 1
~W 'Th~I.
_L"'\.' Jt 1 •• MU
, :;,tf • . III
i )
L 1"1
Il .... '~
1" !'l ....
, "
d";
Dev. @)
~II :r. (S -33 '. W"f)
~ q]Ir.(C+)
1h~]( 03
,,-/ -tt ......
... S.
CT) ~.
III
~ v
DI
%~#lIt (bI ?)
'Rtca.p. @..a. ~. ~ T-W
L
r.
1lIeme 11I. ... @) •
.-.. :tt~
P T
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1 ~ • .,
L-~
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iflt
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-II' \..-
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1lY't1vi 16
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I ' .
h .. - .... #III, .
1 ( 4-;Il)
,.. 1"O"'i e-ion.
,kA @ .... l'
It _ _ !;la
CodQ.. @
• .. ... ...
-• ( :t:.)
(
35
The first theme (mm.5-13) features a sentence-like design in
which the presentation consists of a two-bar idea (EX.IO) and
its repetition. The rnelody of the idea has two motives; one
ascending, and the other descending. In this theme, the harmony
arises as a result of the linear motion of each part which moves
rapidly.
Ex. 10. Schoenberg, String quartet Op.IO, II, mm.5-7.
v·c. r r The melody of the second violin displays
A rll \
J .... ~.
_,---~l ,.
i i '-----'"
the important
intervallic content of thirds and fourths, and tends to ascend
from A to B then to C# whieh is eventually resolved to the
tonie. The viola part plays four-note ehromatic figures whieh
descend from A to G then to F, the third of the tonie triade
Schoenberg articulates the melodie lines by providing them with
a goal, the tonie triade Thus over the pedal point, the vii-i
progression oeeurs and helps to establish the regular phrase
structure. The harmonie analysis of the main theme shows a
chord progression which is not connected in a functional way,
but every two measures the tonie triad appears wlth proper
voice-leading. The continuatIon features the descendlng motive
36
twice, then its variant in rneasure Il. The melody introduces
flats towards the end of this section which ends on a chord
built on Db in the bass (m.13).
The second theme (Ex. Il) begins with the third and fifth of
the d minor triad, and is framed by the mediant triad (F-A-C).
The theme has a very important motivic figure of eighth-notes
(E-G-A-D), which originates in the cello in measure 10. This
figure is a variant of a chord built in fourths (E-A-D-G), and
followed by an arpeggiated augmented triad which is a
characteristic vertical sonority of the third theme.(3) Here,
the melodic progression with slow rhythm gives the theme a
relatively stable feeling in establishing a key center. Indeed,
the first two measures feature the pitches belonging to the d
minor key including the d minor triade
Ex. Il. Schoenberg, String quartet Op.lO, II, mm.14-17.
@ -A1 1,,-- 411 Il ~'7-
( 11 ... ... 1 ./ ,
h - lA tI J rr ," I:i ....
L\: J Il'J ",J • '- "-" r111 1· -~' ~ -~l 1 h..J
1-' ... ", 1- • ... ,- - .. ,; 1 ~
-' v
l
The chromatic third therne (Ex.12) features augrnented triads
in sixteenth- and eighth-notes along with other harmonie
elements. The third theme sounds unstable because of its
chromatic harmonie and melodic nature. These chromatic melodies
are fully realized later in the development section.
(
(
37
Ex. 12. Schoenberg, String quartet Op.lO, II, mm.17-l9.
The second movement is structured by the alternation of these
areas, thematic
following
demonstrate
between
analysis of
the harmonie
stable and
passages
aspect of
unstable sections.
from the movement
those sections and
general harmonie language of the second movement.
The
will
the
Towards the end of the development of the first theme,
which is constructed similarly to the therne in the exposition by
keeping the same rnotivic content and pitch structures, a chard
built partI y in fourths appears and leads to the development of
the second theme. This chord, which is also pentatonic, first
goes ta a G major triad in measure 31 with chrornatic voice
leading. The chord then proceeds to a d minor triad in measure
35, the beginning of the deveIoprnent of the second theme,
resulting in a similar sernitone movement in the voices (Ex.l3).
Ex. 13. Schoenberg, String quartet Op.lO, II, rnm.35-38.
"1
38
The second theme now has accompanying voices which add vertical
sonorities. In measure 36, the eighth-note figure is harmonized
by the first inversion of the supertonic triad. Following this
is a chord based on a whole-tone scale (m.37) which progresses
to the chord of A-G-B by semitone. This step neutralizes the
preceding pattern, and aino prepares for the next chordal
passage which begins in measure 38.
The foliowing phrase uses the combination of sixteenth-note
and double-dotted quarter-note as a motive that prominentiy
displays the intervai of a fourth (Ex.14).
Ex. 14. Schoenberg, String quartet Op. 10, II, mm.38-42.
--
Another characteristic feature here is the presentation of the
chords vertically as weil as lineariy. In measures 38 to 42,
the bass first arpeggiates a dirünished seventh chord
(D-F-Ab-Cb), then its resolution, the eb minor triad with raised
seventh (Eb-Gb-Bb-D). The chord built on D in rneasure 38 is a
half-dirninished chord (D-Ab-F-C) and the difference between this
and the arpeggiated chord in the cello part is Cb. Indeed, th8
four pitches which could also make up another seventh chord are
(
(
(
39
played by the first violin at the same time (Ab-F-Db-Cb) in
measures 38 to 39, and there is one tone difference ,between the
bass arpeggiation, Db instead of D. The following chord on F,
the down beat of measure 39, is a chord built in fourths
(F-Bb-Eb-Ab), the predominant interval in the melody. The next
chord is an altered dominant seventh chord (Ab-Cb-Eb-Gb)
followed by a whole-tone tetrachord in measure 40. The chord
which begins the the next segment (m.40-42) is the second
inversion of Db major's dominant seventh, which differs from the
seventh chard in measure 39 by only one note, C. The chord
built on Bb in measure 41 is the second inversion of eb minor
seventh chord (Bb-Gb-Db-Eb) which could be interpreted as the
supertonic of Db major. Again, there is only one note
difference between this and the cello arpeggiation, Db instead
of D. This four-bar phrase begins and ends on D, but in the
intervening measures the harmony fluctua tes between two tonal
areas, d minor and Db major--areas related by a semitone
foreshadowed at the end of the first theme. The repetitive use
of pitches and semitone motion are also found in the following
phrase (Ex.15), in which the melodic motives of the second theme
are used--the eighth-note figure which incorpora tes the interval
of a third. This motive is stated three times until the top
note reaches Db in measure 48. The main characteristic of this
passage is dissonances created by the semitones used against one
of the members of a triad. The first exarnple is in rneasure 43
where C and Cb clash briefly and result in set 4-18. The same
sonority is found on the downbeat of the next measure in which
the Bb is superimposed on the e minor triad.
Ex. 15. Schoenberg, String quartet Op.10, II, mm.42-52.
Db+ ...... • 113
1-
40
li - 7 ~i 1: (.1~) 1(, i"'~b 1~b 1[3°
It is followed by the dominant seventh of Eh with raised fifth,
the who1e-tone tetrachord of set 4-24. In measure 46, an eb
minor triad is played against Ch. The Ch is an added note to
the eb triad as raised fifth, B natural. The extensive use of
flats in this phrase suggests the key of Dh major, but the Db
triad first appears in measure 48 when the first vioiin plays Ab
(on the third beat) at the top voiee. Here the tonie is stated
with the fifth (Ah) and raised fifth (A), once again elouding
the triadic structure. Nevertheiess, the Db triad is stated
lineariy by the first violin as weil as vertically from measure
(
41
48, and maintains the key center. The semitone content in
vertical sonorities is also obs~rved later in the development of
the third theme. It is apparent that Schoenberg uses the triad
as the basis for the important structural points. However, the
triadic statements become less clear due to the chromatic
alterations. Although these various changes do not bring forth
the same set structure, some of the vertical structures (4-18,
4-20, 4-25) are realized linearly as the transformations of the
eighth-note figure in the following section.
The second part of the development of the second theme
begins in measure 53 with a chord of F-A-C#, an augmented
mediant of d minor or enharmonically augmented tonie of Db major
in first inversion (Ex.16). Due to the slow change of harmonie
rhythm, the first four measures sound more stable than the
preceding passage. But the contrapuntal statement of motive and
chromatic voice-leading result in unstable areas for the
following measures.
Ex. 16. Schoenberg, String quartet Op. 10, II, mm.53-56.
d- ' . .m:;. (Db
# liq
~ vi
vi .. 111
The eighth-note figure now beeomes a sixteenth-note one and the
intervallic content varies from its original (different forms
.... ..,.
42
are illustrated in Ex.17a). It is possible ta analyze this
phrase harmonically considering certain notes as non-harmonie
ton es but not in a functional way. The rate of harmonie change
is so rapid--every eighth-note--that one cannot possibly
recognize the harmonie progression. Indeed one can no longer
hear a chord progression in measures 59 and 60 where the motive,
a combination of eighth-note and sixteenth-note figures, is
repeated with voice-exchange. The pitch collection of every
eighth-note reveals four distinct sets; 3-11 (major triad), 5-27
(minor ninth chord), 5-33 (whole-tone chord), and 4-20 (major
seventh chord). The first and la st sets are linearly presented
as weIl in the eighth-note figures.
Ex. 17a. Schoenberg, String quartet Op.10, II, mm.57-62.(4)
.. ., 111-6 VII,.
~m: !
1 b '~Ç7r !dÇ2 .Jo- M~ + Pif. ./ç;;>
M~ ... M:>'-+" pl/. A (L/--23) 8(4- /6)
• .~ ... \, .. 2 ....,
3-1\ ~ -'l? .5-~3 4no (w,Tl
... ~3' 2 .......
/o.f a ~ Ha +- Ma ""3+M~-rAY.
C (/J.--25) D(J/.-Z/5)
... 5'3' 7 1
'1">13 ~ II'I~ + Pif E:(J.-/8)
(
c
43
( Ex.1 7 a cont' d )
3-11 4-l 'l 3-11 4-J7
Ex. 17b.
@) @ ® ~ -4'~ "" 1 .,.:ti..~ --.1.
{ " 'Io:.J :;,; •
~ " Y/I~];. -'-.
/J "' .....
1 -"', fiG ~_
V.C. 1 1 1J d-; J[6 ~(, ~6 #iii Jryp.
Here again, the harmony is dependent upon linear movements of
each voice which moves towards the very last chord in measure
62, the dominant seventh of F# (Gb) key, #111 of the home key d
minor (Ex.17b). The final chord is reached by semitone in the
bass. The section begins with F in the bass (m.53) and the next
section with F# (m.62)--another semitone-related region.
The beginning of the development of the third theme
-
1
44
presents the third theme of the exposition first. With a d minor
triad in pizzicato, the actual development starts in measure 65
(Ex.l8). The first violin plays the same melody line as that of
the theme in augrnented form with octave displacement. This
figure is taken from the first violin rnelody in measure 7. Each
voice moves in eighth-notes, providing a relatively slow and
stable feeling cornpared to the previous section, but the key
center of this section is not clearly supported by functional
chord progressions. Although it contains rnany triads, there is
usually one voice which carries a note that does not belong to
the chord: an exarnple of weaker treatment of the tonal frame
observed earlier in the developrnent of the second therne. The d
minor tri ad is stated twice on the down beat (mm.65, 67), again
with interference of other notes. Sorne chords in the middle
belong ta Db major--a famillar key in semitone relation to the
home key. However, the semitone content in the melody brings
about sorne non-diatonic chords which are not resolved properly.
Ex. 18. Schoenberg, String quartet Op. la, II, mm.65-80.
" ~V\l'
c
(
c
(Ex.l8 cont'd)
. .
, , 15
w,T
( 5-3~)
ni;'!) "Ir. d-'.~t~
j, o.." ".
45
These are: whole-tone chords (4-74, 5-33), a chord built in
fourths (4-23), a French sixth chord (4-25), and a minor triad
with raised seventh (4-19).(5) At the end of the development,
the d minor chord is approached by chromatic neighbor notes
making up a half-diminished chord (m.76), while the bass
introduces the thematic idea of the first theme (mm. 75-78).
46
'01 ... · " Here the pitch structure of the cadential harmony displays a
pattern consisting of seventh chords instead of a dominant-tonie
progression. The transition begins in measure 80. The eello
states the first theme in b minor in augmentation while the
viola plays the theme in d minor. The tonality of this section
is clouded by the cello, and the resulting harmony does not
secure the d minor tonality. The restatement of the first theme
in d minor ends quietly in measure 97.
The trio consists of two textures, the linear melodic
statement and ehordal section (Ex.19). The first phrase of six
measures has two melodic lines played by the first violin and
cello. It is not possible to provide a harmonie analysis for
the phrase with only two voices, nevertheless, the melody
implies a certain triadic structure. Example 19 shows the
pitch relationships between the first violin and the cello.
Ex. 19. Schoenberg, String quartet Op. 10, II, mm.98-10B.
'wt -----------------------, 3
.... '---- A -1' --t--_..J
(
(
47
The first four pitches of the cello line are presented in the
melody of the first violin in reversed order and make up the set
4-24, a whole-tone tetrachord used as an important referential
chord in the subordinate theme of the first movement. virtually
every note in the celle line is first played by the first
violin, however briefly. Six out of the eight pitches in the
cello melody line are played at the downbeat of each measure by
the first violin. The following chordal phrase (mm.l04-107)
features a prolongation of the A major triad, the dominant of
the key of D major: the dominant triad is followed by the bVI
ninth chord which is then changed into an eleventh chord. These
are built on a diminished triad arpeggiated ln the bass
(A-C-Eb). The second inversion of the dominant triad is briefly
stated on the downbeat of measure 107, and the V7 of vii
progresses to the dominant triad by semitone in the bass
(m.l08). The nature of the harmony in the chordal section, a
prolongation of the dominant chord, brings stability which was
lacking in the previous section. The recurring interval in the
trio is the third, not only in the chordal sections, but also in
the melodic sections.
The trio ends in measure 164 and a transition to the
recapitulation of the scherzo begins with a quotation from the
Viennese folk song HAch, du Lieber Augustin H in D major. The
melody is accompar.ied by the same figure which was used in the
development of the third theme in the scherzo section. The
quotation is not harmonized traditionally due to the chroma tic
first violin part and the continuous use of chroma tic neighbour
48
notes to the tonie and dominant in the cello.(6) Considering
that the quotation emphasizes the characteristic interval of a
third, its appearance here does not impair the cohesive
structure of the movement.
The return of the scherzo (mm.195-258) restates the first
theme in the key of f# minor (rnrn.195-202), the rnediant of D
major in the previous section, then the second therne and its
development (mm.203-218) in d minor. The third theme appears in
an expanded forro (mm.219-239) and the first theme reappears at
the end (mm.240-258) in the home key. The coda (mm.259-275)
begins with the melodic idea of the first theme played by the
aIl four instruments. In measure 272, the cello initiates a D
pedal, then each instrument ceases to play until only the cella
remains. The movement ends with a D, which also began the
movement, IlOW played pizzicato by aIl four instruments.
Although the second movement does not have many sections
based on traditional harmonie progressions, the key of d minor
is maintained by the tonie which is stated at certain points
including the formaI divisions. The movernent contains two
textures, an extensive contrapuntal structure made up of linear
melodic statem~nts, and chordal or homophonie secti0ns whose
vertical sonority is also realized in the contrapuntal lines.
The second movement is constructed mainly by the alternation of
these two textures while occasionally providing the tonie note.
The referential element is 'D', not necessarily the triad. In
the second movement, Schoenberg presents short themes and the
(
(
(
49
and the development which keep the individual pitch identities
and intervallie content. In this way the movement maintains
coherent structure in which the tonality is not fully
established by means of the traditional harmonie progression.
Two characteristics of the second movement, the dense motive
working in the contrapuntal texture and the use of non-diatonic
chord structure, are further exploited in the following
movements.
50
NOTES: CHAPTER III
(1) Sorne of these non-diatonic chords displaying distinct set forros (4-18, 4-22) are also found in the development section ad a result of linear melodic statements of the motives.
(2) In this figure, the inversions are not indicated for the penultimate chords at the cadential points.
(3) The pitch collection of this figure is set 4-23 which is used extensively in the fourth movement as non-tonal referential sonority. Also, the main theme motive of the fourth movement features the same set.
(4) The figures are labelled according to the set structure, not according to the intervallic content displayed within the figure. Therefore, the intervallic patterns of two figures labelled as B might be different while their prime forms are the same.
(5) These sets are used vertically in the fourth movement as non-tonal chord forms in the thematic areas.
(6) The characteristics of the harmonization of the quotation are summarized by Alan Philip Lessem in Music and Text in the Works of Schoenberg: the Critical Years,1908-l922 (Ann Arbor: UMI Research Press, 1979, p.23.)
(
(
CHAPTER IV
An Analysis of the Third Movement
The third movement of the quartet, presented in the form of
Theme and Variations, is a setting for soprano of Stefan
George's poem 'Litanei'. The form follows the outline of the
text: five variations corresponding to the first five strophes,
and the finale comprising the remaining three strophes of the
poem.
Var.I
Litanei (1)
Tief ist die trauer, die mich umdustert, Ein tret ich wieder, Herr! in dein haus ..
Var.II Lang war die reise, matt sind die glieder, Leer sind die schreine, voll nur die qual.
Var. III Durstende zunge darbt nach dem weine. Hart war gestritten, starr ist mein arm.
Var.IV Gônne die ruhe schwankenden schritten, Hungrigem gaume brôckle dein brot!
Var.V Schwach ist mein atem ru fend dem traume, Hohl sind die hande, fiebernd der mund
Finale Leih deine kuhle, losche die brande, Tilge das hoffen, sende das licht!
Gluten im herzen lodern noch offen, Innerst im grunde wacht noch ein schrei ..
Tete das sehnen, shliesse die wunde! Nimm mir die liebe, gib mir dein glück!
The text, a type of prayer, is responsible for the use of
variation form for this movement, according to Schoenberg: "1
51
52
was afraid the great dramatie emotionality of the poem might
cause me to surpass the borderline of what should be admitted in
ehamber music. l ~ expected the serious elaboration required by
variation would keep me from being too dramatie."(2) Despite
the formal restraints, the harmonie structure of sorne passages
in this movement goes beyond the traditional harmonie language.
The third movement as a whole is often deseribed as the
'development' of the quartet, as Schoenberg himself considered
it to be.(3) All the motives of the Theme (mm.1-9), taken from
the previous two movements, are presented in the key of eb minor
(Ex. 20) .
Ex. 20. Schoenberg, String quartet Op.10, III, mm.1-9.
.L~ (f) 1 1 t\
BI c ..
~ " .71'. A ~ -;,
~ P+"
1 rl IJ 1 cr ) 1 ITry. '"
r
r~r 'r rr~~
------ 6l -----.....
,.------------D --------------. AI - 1
( ... 1 "I~ .~ Cf· ~--e- ~"- --;
~
1 ~ 0 1 1 J
( .
, ... 1 1
Motive A is from the first main theme of the first movement, and
displays a broken form of the eb minor triade Motive B is the
head motive of the second main theme of the first movement. The
~ l , ;
(
(
(
53
neighbour motion is at first around Bb, the fifth of the eb
minor triad (Bl), then around Gb, the third of the triad (B2).
Each of these tones are followed by Cb and G respectively and
suggest a G major triad which is remote to the home key eb
minor--a mediant triad on raised scale degree three. Motive C
is taken from the second theme of the second m0vement, and
motive D, which begins and ends with Bb, is from the second
subordinate theme of the first movement. This motive carries
the notes C, A
towards Bb, the
and D in the middle,
dominant of eb minor.
suggesting the motion
The motive and its
variations are used extensively in the movement as 'contrapuntal
or harmonie accompaniment' as explained by Schoenberg. (4) Thus
the harmonies of the variations are affected by motive D and the
region implied in it, that is, Bb major. In the Theme ail the
motives are employed in the context of eb minor,
pitches that comprise the eb minor triad--Eb,
emphasized in the four motives. However, the
and the three
Gb, Bb--are
substitutes
borrowed from the relative Bb major region and the chromatic
neighbour notes Band G foreshadow the complex harmonie language
of the following variations. Motive A is the main motive and
maintains the pitch identity of the eb minor triad. It
stabilizes the key of the movement by framing each variation.
The continuous use of ail four motives throughout the movement
is effective in creating a coherent structure.
various ideas derived from the motives and their fragments are
employed in the course of the movement.
The first variation (mm.9-l7) begins with the first three
J
1
54
motives played at exactly the same pitch level and in the same
order as in the Theme by the upper three strings (Ex.21).
Ex. 21. Schoenberg, String quartet Op.IO, III, mm.9-17.
1 1 1
r-I ---- C ------,1 ~ 1 ~A f!III_
-r-- A 1
T r .... ••• •
( v
--- 82----'
G. (det-i'lec:l .Çroft\ A. B t c.)
"~~Ie ~ ~y VIn t· . - . - - ., - - - - - .'
,
( i1)
The soprano enters with the first strophe of the poem in measure
14 (labelled as motive E), accompanied by motive 0 in the cello.
The vocal line begins with the broken form of the eb minor
triad, but the notes which do not belong ta the key appear in
c
(
(
55
the middle over the cella which alludes to the Bb major region.
The harmony of the first variation can be described as a mixture
of two key regions, eb minor and Bb major, but not with a
harmonie progression that pertains to these keys. Schoenberg's
comments here provide an explanation for the chroma tic aspect of
the first variation:
Evidently melodic progressions like EX.13 [above example] and Ex.14, from the third movement cannot be accompanied by tonal triads, and if at aIl by chords, they would have to be transformed by alterations. Instead, one finds accompanying voices whose purpose is not narmonic at aIl; they do not aim for chord production. (5)
Although the variation begins with the eb minor triad, the
dissonant relatlonships do not allow the further chord
progression. At the end, the soprano melody is accompanied by
the other voices which form the eb minor triad but the chord
structure is clouded by the chromatic viola melody. The vocal
line consists of the first three motives A, Band C. This
soprano melody is stated as a whole or partially in the
following variations and is labelled here as motive E. Besides
motive D, the motive E and its fragments are frequently used as
harmonie accompaniment contrapuntally throughout the movement.
The second variation (mm.l8-27) has a very complicated
contrapuntal structure. According to Samson, in this movement
Schoenberg reaches a culminating point in a technique of
exhaustive motive working through variation and contrapuntal
procedure ... -(6) and this variation supports Samson's opin;on.
The variation is framed by the motive A in the instrumental part
(Ex.22a). AlI the motIves of the Theme and motive E from the
,
56
soprano melody of the first variation accompany the vocal line
of the variation which is twice as long as that of the first
variation. The beginning of the vocal melody is supported by
motive A and BI in measure 18. Motive C is presented as a whole
at the beginning (mm.19-21) and its fragmented form appears
extensively in the cello and viola parts afterwards (mm.22-24).
Motive D which begins in measure 21 is ornamented by neighbour
notes, and motive E starting in measure 22, is occasionally
filled in with passing tones. In the second variation the
motive D, mainly appearing in the upper parts, plays an
important role in the harmonic structure.
The vocal melody of the variation features motive B2 at the
beginning and is accompanied by the tonie chord. The inversion
of the head motive C (m.20) carries Band G, instead of Bb and
Gb from the eb minor scale. Along with the note A in the vocal
line, these notes briefly create dissonances against the cello
which states motive C as in the Theme. The harmonie structure
of the following measures (mm.22-24) becomes complicated due to
the motives employed in a contrapuntal texture. The harmonies
are affected by motive D which is played by the first violin
(mm.21-25). Also the fragments of motive C in the viola
(mm.22-23) state a variant of motive D. In measure 22, i6 and
vi chords are used as a structural frame. But the frame is
clouded by non-harmonie tones in the following measure. In
measure 24, the melodic statement of motive E and counterpoint
bring about a more complex harmonie structure while the note C
in the first violin completes its descent from Db to Bb in
57
( measures 24 and 25. The pitches used for the fragments of
motive C conform to the second viol in line, motive E, reflecting
Schoenberg's concern for the rnelodic progression (Ex.22b).
Ex. 22a. Schoenberg, String quartet Op.lO, III, rnm.18-27.
® .--B~----... 1
t - ""'" 1 b' r
~ .. ~= 1 1 b~~ ~l. 3t="1
, ~L----A 1
,...-::t r"::I r--:l L :::::-. 1 L _-' ~ . -T 'o •. IL . . . r L..~\ ~ l- 1 l \.V "1' '~rl*' .... ~
r _ 1
C 1 ~:::1 - 1 . .~
•
( 1.
~ ... ... ...1. 1 T • IH"'I' 1 1\
, 1'7
~ L • ~ -.... "... ~ \
"'r &J 1 1JJI" - ... -
I\. ... LI .. ...... ~op
.. D / - --r
"-:-~,------
" " u..-~ +~ - ~ - Àt ~'t! ~* I~",\ "., ~
tA. J. -.:;;;;;
1" 1.-1 1-1 Si ~ --r---
" ~ ~ 1.0 1 .,. :t. ~:r.
Vn 1 [~ LI .. ...... ~- ....... "1: ~ .::t.. _1 .) ..
D"I:j- I~ -... ...... - --;-.. la, L JJ:!L... ~~ k. '" li: 1 l Ik.-;- -~ ,. I-
V!" 1. 0
vlo, . 'fl"tNJ .... ~
, - -~ .. -- ~~ ~ ( c:s==f11 LI.. ,r.LW .- b~ /.: dl .
• .710. . V.C ... " 'f"'J c:o-- t::=I
~ ~ .... .~~ b-' . . ~
( \
1
58
1 (Ex.22a cont'd)
~ b.= b.bo?- ~ .--. ......
So p, , • 'J "-DI -----\ , ~
Vn.
" ~~ -rt---.J" ... .,..,..,.,. -; -ty..;~+ It>+ ~ -----E' , A~
A 1 ~ ~ r .-i -_L "'l -'>L ... '-~ '- 1: ""'-' ..l \In,lI
tJ , _ .... -----.;:.; -~~~
D ~
1 r- ~---. " 1 .~ 1 • _.-1 ~
.." üà "'1" -'-...I.I<'.I..W.. ua. ,
VIa 1 ' • "J, JL
"- 1 ~ ~ • D
\ c-b~ 1
" 1.. --. • ~ 1 . 1 • lt..I..
l\UI Il ~. -'. Z~" l
-'b ........ ./ ,- ~ , 16
Ex. 22b.
(J_ - t~
Vn.I ~
.. ~
" (motive Ë)
• iL 1 ... J
~ --VII.! -- "1"
J 1
~/ lIJ2A~ 1
~ ,ri"
1" / \ )-b:1:~ b • .
v,c, ,_'II •
, - 1 '1
The rnuddy sound resulting from the dense pitch structures of the
lower two strings is clarified when all four voices end on an
altered dominant seventh of Bb (F-Ab-C-Eb) in measure 25. The
59
( Bb is, however, soon incorporated into the eb minor triad.
Although sorne diatonic chord forms are found in the second
variation, one can notice chiefly the rnelodic statements which
move independently from the eb minor harmonie structure.
The fourth variation, the entry of which is accompanied by
motives BI and A, shows pervasive motive working (Ex.23).
Motive D once again proves to be an important constructional
elementi it is stated twice in the celle and second viol in
(mm.3S-39), and the transpositional level of motive B is
controlled by motive D. The placing of the motives is not
completely dictated by harmonie thinking and chromatic notes add
more ambiguity to the vertical structure.
( Ex. 23. Schoenberg, String quartet Op.lO, III, mm.36-4l.
1
, 1 i ~ ~
. r • 1 1 Sop
~ ... 1 BI
1
~
J ~t;+ ___ + tr~ ~::t~J ~"'P'--.:I" Qe ~~ .. ~ ~ ).v
4-L- D I~ III .,
'" LlJ'l -II Y
J • ,- - ,-- ~
- LD-1 ~ .< à ~ ~ 1. .h.~
-1{ -,-VIolI"'"
D
~7 1 1 -A 1 D B~ 1 1 c r
_1 1 h~~ -.. [ ... 17r..
7 .. -, .. 111'1 "' ...... 1. - ! Il. D' , ri,
( '\ v .. -.. .,
"-J .. ~
60
(Ex.23 cont'd)
1"11 1 c. 1 ,...--..... .... L L4",,~ ' .... L
--'oc l 't 1/ ~ ~-
,,) J:f", ./ ".,../ r
.., b • •• ~ ... h...t ~~ ~~ 4!: ~r: It~ ~
'-l ~ --"" 1 .1 1 1 ~ L
-&. _--M!~ .. v ~ ....... 1 ..... 1 r _. -----n 1"'-- l I~I l ..
.. " D "-W .. ~./ l "'-.:./, • , ~ .. , ...
tf+~ , - ~ l~' l''i'\l 14; a ...... b.
1').1' v. "L ... ·~ r " ,,", ,vr" : \ " \ k l' -, ' L-J
, li
-D r--- -l' n L 1 ,--
~ - 1 1 ~, ."" .
"'"" IL" "'.11..1 '.J:HI' •. "T"
... , - - 1 "'---'"
( 0.- ~-
The harmony is dependent upon melodic progression and
counterpoint which result in sorne consonant chords briefly at
certain points. But they do not seem ta follow a particular
rule. This variation is regarded as an early example of
Schoenberg's work which reveals an aspect of his seriaI
technique. (7)
The beginning of the Finale is not introduced by motive A,
but again supported by the tonie of eb minor in measure 50, The
vocal melody, which begins almost in an identical form as that
of the four th variation, is accompanied by the fragments of
motive E. When the soprano reaches a high Gb in measure 58, the
contrapuntal texture is transformed inta a more elaborated
homophonie structure (Ex.24). Here, the upper three strings
61
c. play a whole-note chord for the first time in the movement while
the cello states an idea derived from motive D. The vocal line
features not only motive B2 from lhe second main theme of the
first movement but also the following second main theme melodYi
this is clearly shawn in the example of Maegaard. (8) In the
original motive of the first movement, the scale degree five
goes to six then goes back to five of f# minor: C#-D-C#. Now it
is transposed to Gb-G-Gb, where the Gb serves as the raised
scale degree five (F#) of the Bb major, the dominant of eb
minor. The diminished seventh of Bb (A-C-Eb-Gb) by the upper
three strings leads to the Bb of the first and second violins
in the dominant seventh chord of ii in measure 59. However,
these chords are clouded by the cello which plays a diminished
(~ triad (D-F-Ab) and the non-chard tones such as E, G (m.58), then
Gb (m.59). Here, a fragment of motive E is joined by the other
parts which do not produce a chord progression.
Ex. 24. Schoenberg, String quartet Op.lO, III, mm.58-70.
.. (~ bh- '"ln!> !:ln. h~ bn . ---'" h • ~--- B~ -------
Sop A 0'" r • Iff ~
l .... l~ 1 . ~ .ive . -- -- - . - (d~l -. - - - - - - - , - .
r- , r a.lcoo"bltd) - - - - •• , '1 -= 1
~ ~~I Lo. 1 -~~ 1
... 1 1
J 'L !lof .... ... .m ... '1W ....
l'l.o . '1" r
1:;';: L--E- 'Vt(d'''~~)-J - 'J L- E
r~ 11 .. b '--'.~" ka~~ ~. ---=::- ~h.~.~~.
-- tl._ "11 IIoIllO. 10 ~ -, ... ...
Il 'Ise 1 u'-jpb .... W -- - .... 100-" ~ '--'--- 117 1-- E- l
~rJ!.~ ( Cor- d )
~lb.j h., l h-h. blk blk p~ b ,,_ 1 ~~ 1 L"',.. '1'" ,. D. O' .,.. . - --'1: lai'
J T ... -y
" r~ , .. ~ ...... ~~ ri "'" L.--...... r;. ~ 1fL:.""" ~ 10--' ....
-! -Sop.
(Ex.24 cont'd)
"', I~
,\"' U....-LI " li"
1" trf-~ Al ..
" f'-Il}oI [V, D h~
• ,
L T .
A
1
~ ./ .... 1 - ,
w,T.
,,' 'v
TI'
DU - ,-
1 o)t,
62
.------ B 1'-
.-h
""'--- -'
- ~
- ........ , ,;' \. -,. ....... '0( ~ -
~ ~ lf: ~-- ~ b'f li" -
./'
, ::.... .......
.... ' T 1 1
b~' 1 ------iL...
1 T . (, "~ 1
(
(
Aiso the extensive use of non-harmonie
harmonie reading. Thus the result is
structure which contains a succession of
63
tones hinders the
a complex harmonie
altered chord forms
which do not follow tne voice-leading rules. Motive E is played
again in measure 61 but this time it is followed by the inverted
form in the viola (m.62). This two-bar idea from motive E,
which was not accompanied by tonal triads in the first
variation, is again harmonized by the voices which do not bring
about a chord progression. The variant of the head motive E is
played by the viola in measure 63, followed by the vocal line
which is a combination of the head motive C and motive B
(mm.64-66). Otto Deri described this climax as containing the
most dissonant harmonies of the movement.(9) These harmonies
are a direct result of chromatic voice-leading in the
accompaniment which ends on an altered seventh chord on Db in
measure 66, preceded by
(m.65). The harmonie
the half-diminished
structure of this
features different kinds of chard forms
chord built on D
chromatie passage
not related in a
functional way--no longer susceptible of traditional harmonie
analysls. The last line of the poem returns to the eb minor
triad in measure 66, reminding us of motive A. Motive BI is
presented in an augmented form in the first violin (mm.67-75).
The chord built on C in measure 67 is an altered German sixth
chord of Gb, which is enharmonically the dominant seventh of G
major altered by the raised fifth. ft is then resolved ta a G
triad with lowered fifth in measure 68 (enharmonie spelling 1s
given in Ex.24). The chord forms used in measure 67 are
64
whole-tone tetrachords accompanying the vocal line which is also
a whole-tone melody. The G tri ad is changed into a diminished
seventh chord in measure 68 and held in the upper three strings
while the cello plays motive D. The diminished triad is
resolved into the ninth chord on A in measure 70 through the
common tone G. Finally, the eb minor triad appears in measure
72 over the bass Bb in the position of second inversion. After
the head motive of E is played by the lower three strings, the
movement ends on the root position of eb minor triad in measure
76.
In the third movement, Schoenberg does not establish a
tonal center other than eb minor, the home key. The eb minor
triad, mainly in the form 0, the motive A, is always present at
the beginning and ending of each variation though substitutes
are used frequently in the mièdle of the variations. At formaI
divisions, the home key is always maintained and chord
progressions follo~ the voice-leading rules. But in the middle,
the harmonie progressions which arise as a result of linear
statements of the motives in the voices give relatively small
support to the key establishment. Thus, it is very important
for the structure of the movement that the motives serve as a
unifying factor throughout the piece. In this movement,
Schoenberg introduces the motive with distinct pitch
collections, and then transforms the motive while retaining the
pitch content as a referential sonority. Through this he also
develops techniques of creating coherent structures which are
(
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65
used in certain sections of the fourth movement in which the key
center is not firmly established.
-
.... ..
66
NOTES: CHAPTER IV
(1) An English translation of the poem by Carl Engel appears in the ~ppendix.
(2) Rachhaupt, op. cit., p.47.
(3) Ibid.
( 4) Ibid., p. 48 .
( 5) Ibid., p. 43.
(6) Samson, op. cit., pp.108-109.
(7) Payne, op. cit., pp.17-18.
(8) Jan Maegaard, Studien zur Entwicklung des dodekaphonen Satzes bei Arnold Schonberg (Copenhagen: Wilhelm Hansen, 1972), Vol. II, p.IS.
No.18. Op.10. 3. Satz.
(9) Otto Deri, Exploring Twentieth-Century Music (New York: Holt, Rienhart and Winston, Inc., 1968), pp.284-285 .
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CHAPTER V
An Ana1ysis of the Fourth Movement
The fourth movement of the quartet i5 a setting of
"Entrückung H, another poem by Stefan George. The movement has
an introduction that features a motive consisting of eight
pitches from the ehromatic scale. Even though there is no
specifie key signature for the movement, the F# major triad is
frequently used in the main and subordinate themes and formaI
divisions. F# is the tonie of the movement sinee Schoenberg
explains that "Every one of the four movements ends with a
tonie, representing the tonality."(l) On the other hand, he
admits that: "the overwhelrning multitude of dissonances eannot
be eounterbalaneed any longer by occasional returns to such
tonal triads as represent a key."(2) The harmonic structure of
the movement shows "the interp1ay of tonally affirmative and
tonally evasive material" with limited reference to the F#
tonie.(3) It is difficuit to find traditionai harmonie
progressions in the 'tonaI1y affirmative' passages such as the
thernatic areas since the harmonies result from the voice
movement are highly chromatie.
'non-tonal' rnaterial which is
'Tonally evasive' passages have
systematically organized by the
use of the motives. Also, elaborate contrapuntal procedures
involving the motivic elements and the use of interval celis are
found here, With these compositional techniques, lmitative
68
combination of motives and the employment of intervallic
patterns as constructive elements, Schoenberg creates a cohesive
and contrapuntally organized structure in the fourth movement,
the tonal center of which is stated at certain points but not
fully established.
Concerning the form of the movement, Schoenberg writes that
H", 'Entrückung' recapitulates its most prominent theme,(Ex.33),
after a climatic ascension in a manner of a sonata form. H (4)
The text is divided into three parts corresponding to the three
main sections of the movement: the exposition (mm.16-66), the
development (mm.67-99) and the recapitulation (mm.l00-119).
These are framed by the instrumental introduction (mm.1-15) and
the coda (mm.120-156).
Entrückung (5)
EXPO. MT Ich ftihle luft von anderem planeten. Mir blassen durch das dunkel die gesichter Die freundlich eben noch sich zu mir drehten.
Und bàum und wege die ich liebte fahlen. Dass ich sie kaum mehr kenne und du lichter Geliebter schatten -- rufer meiner qualen
Bist nun erloschen ganz in tiefern gluten Um nach dem taumel streitenden getobes Mit einem frommen schauer anzumuten.
ST lch lèse mich in tonen,kreisend, webend, Ungründigen danks und unbenamten lobes Dem grossen atem wun5chlos mich ergebend.
DEV. Mich uberfahrt ein ungestumes wehen lm rausch der weihe wo inbrunstige schreie In staub geworfner beterinnen flehen:
Dann seh ich wie sich duftige nebel lupfen ~ In einer sonnerfullten klaren freie • Die nur urnfangt auf fernsten bergesschlupfen.
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RECAP.
Der boden schüttert weiss und weich wie molke. Ich steige über schluchten ungeheuer. Ich fühle wie ich über letzter wolke
In einem meer kristallnen glanzes schwimme Ich bin ein funke nur vom heiligen feuer Ich bin ein drohnen nur der heiligen stimme.
69
The introduction is divided into two parts by a chord in
rneasure 9. The opening motive displays the intervals of the
major seventh and major and minor thirds but has no tonal
implication (Ex.25).
Ex. 25. Schoenberg, String quartet Op.10, IV, m.l.
M '1tt\.
The pitch collection of this figure forms set 8-12.(6) The
motive transposed by a fifth appears three times in measure 1.
The levei of the transposition does not provide a dominant-tonie
relationship among pitches here. Thus, at the beginning of the
introduction, the pitches are not presented in a tonal context:
no pitch is dominant over any other. Schoenberg stated that the
introduction depicted "the departure from earth ta another
planet"(7) suggested in the first line of the poem. And this
may explain the unusual way of organizing the pitches here.
Two fragments of the opening motive are employed in the
next measurei one on D# and the other on C#. The use of
whole-tones in association wlth this figure i5 apparent here.
The figure itself begins and ends on pitches whose interval is a
whole-tone, and the two figures are played a whale-tone apart.
70
They are joined by figures in descending fifths in the two lower
strings (m.3), then they descend by a whole-tone in the
following measure (Ex.26).
Ex. 26. Schoenberg, String quartet Op.lO, IV, mm.2,4.
- • • 0 • _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _.,
B~ - -. - - - - - - - - - - - - - - - - 0- - - - - - - - - - - - - - - - - - - - - - - - i
®lt~ .~ l. h b.L_ ... ~ L. b.~~a 1
~ J l,. 1 .." Il LoO """ 1
t", J ~ 1 1 ~ 1 1 1 il
J ' ~== - ~ ~ .~ ~ ~
J. .. ~ t iL 1 tt. bit- ,.. L. ~ .... Lb. L. " '"
( JI
~ ., .... (1
... .0. "t' W' .... -" \J 'Ir ~ " la v ~ La_
al WO-.... -- ~
~- .::;;;.- ~ t t t t
The figure is expanded to a larger figure containing eight
pitch classes in measure 5 which is an inverted variant of the
opening figure. The interval of a fifth returns in measure 6 in
which different forms of set 4-23 are displayed. It is
important to notice that the first four notes of the main theme
melody (mm.21-25) aiso form 4-23. The references to the melody
appear severa! times in the introduction. These are; the
transpositional level of the opening figure in measure l, the
circle of fifths in measure 3, and the interiocking forms of the
fifth in measure 6 (Ex.27).
71
( Ex. 27. Schoenberg, String quartet Op. ID, IV, mm.I,3,6.
"" G) - ~I. Z. ___ • h .il \In 1 ~~Lq~_,.
( L
IJ I~' ~ • ./q 'JI ~ ::s11r1 ~ aa;' - 1::::; SE:: :::::::::: ..
v.c.~~~ ~-........ 1
~ J fo' B' - 1
~ 1&. 4- ,) T
c ~ .,
---------
" -23
@ .,.r=== ""C~~bL~ ~ 1 , 1
~ 1= 1 ...........
Itl ~-~-- ~-- -~-73 4 -23
.. ,1 ........ ~I .
1. ï"I ". 1 ~ A ~
(
" 1 .l-l~ 1 1 I~ -4-:z.3
1 r-ï:: .... b~ r- r"'A . " -"'1" ,.... ~ . . .
1 1 1 D. -,
72
The pitch content of the first viol in melody in measure 6 is the
same as the Fi major scale; so is the pitch collection of the
viola and cello.(8)
After the thematic element of the interval of a third is
played above the pedal E, a chord appears for the first time in
measure 9 (Ex.28). The vertical chord forms set 4-19 while the
two lower strings state 4-23 and continue the perfect fifth
relationship from the opening.
Ex. 28. Schoenberg, String quartet Op.lO, IV, mm.9-l0.
4-1~ @ 0 /l'A
d'I~ t--. - ~- -. !loC
Ilf -
1· 1
A ~ ......
~
[J 1 "'-
l' 3 -5 3 -5 3 -3 0 1 1 1 1 r ,
A -e-7! .....
-.r., . J 4-23 '-+ 6"-.+ . tf+! G '-."1"" ,,~ ,--"'''' .... ~~
p~u t:rf- 3 -,3 3 -3 '3.5" -n:.. '" A
. '\ +....;,;, • .J .... ..,.-
6 ... --- +,--' '-7 +5 ~- ~ '---"
!) - Iii- r -1'1- 1 5" -1"1-
The second part of the introduction begins with a new figure
played by the viola and cello. The first segment of the viola
melody presents set 3-5 which is later used as a vertical chord
at the beginning of the main theme in measure 21. The sets are
carefully used in measure 10; the figure displays either 3-5 or
3-3, but by voice exchange, the combined pitch content is always
(
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73
set 5-14 consisting of both sets. The same figure is used in
the development section to begin the second part of the
development. The interval of each figure is expanded in the
following bars while two pedal points of E and D are rnaintained.
The introduction ends on a c minor seventh chord in measure 15.
Here again, a reference to the main theme is made by 4-23 in the
string melodies as before in measure 6. Although the
introduction avoids any tonal implication, it provides important
motivic elements: the opening motive, the intervals of third,
fifth and seventh, and set 4-23 resu1ting from the use of the
fifth.
The main theme begins with the chord D-A-G# in measure 21
and ends on the F# major triad (Ex.29).
Ex. 29. Schoenberg, String quartet Op.lO, IV, rnm.2l-25.
, ... r-I - 3-~-f--bl+-~]
o L
LJ 3-5"
n
LJ 3-11
1 1
, *r'-t[·r'
L.J I~- - - -c.:.t 4-.a 3-1l c 4- ~
1
The D-A-G# chord contains a major seventh interval and this is
stated twice, A-G# and D-C#, ~n the preceding measure. The
----------------------------_. --- ---_._._--_._ ..
74
vocal line, which states the first line of the first strophe of
the poem, displays two minor seventh intervals. The first
interval is harmonized by a chord progression featuring the Eb
major triad, F major ninth chord and c minor triad (mm.21-23)
which suggests the key of c minor. The second interval is
accompanied by a chord progression that contains an augmented
tri ad on D followed by the d minor triad with raised seventh C#,
a G major triad and an F# major triad. The second chord in
measures 24 and 25 is formed by the linear movement of the upper
three voices in semitones. The chord progression is a result of
linear voice-leading rather than that of the functional chord
progression within F# major key. When we examine the
construction of each voice, we can find sorne distinct set forms . .... J Above the cello's 4-23, the second violin and viola play set
3-2, and the first violin states set 4-2 (the entire three-bar
melody of the first violin is set 6-2 whose subsets include 4-2
and 3-2). The semitone movement in the following two measures
results in set 4-3 in the first and second violin parts. The
first viol in melody of the main theme will be referred as motive
X since it and its fragments are extensively used throughout the
movement. There are sorne triadic tetrachords used vertically in
the main theme which are also marked in example 29.
After a brief bridge, the second line of the first strophe
continues in the vocal part (m.3I). The first four notes of the
vocal melody also form 4-23, and this is prepared in the bridge
by the cello which states the same set (m.29). This voice's
entry is preceded by an auqmented triad which is played above
75
( the neighbour motion. The combination is 4-19 which is the
first chord structure used in this movement at measure 9
(Ex.30).
Ex. 30. Schoenberg, String quartet Op.lO, IV, rnm.30-35.
23 r--r-q-
}8 --:JI; .
. 1'" *j~J 4--I~
i 'f" q+ .. -'t .. .$fi L!- 4-2 A I:tt: ~ , b 1 r .. -.,.
(7'1 , ~~ ~I'!r - ..L. "'- ..... ~ . .J r 1 VI +- f -1ft, -A
~.p:'" ).b~ .,.. ~~~.~ 1 J ) ~ 1 , ~. .... 1- , -,,-. . ....: ~ a. ÎO
, ~ -/~ ~ If -l'f lf.·llJ V '1 c
(
® ",,33 J r- 4-1/ l 1
l
Sop " .. TI .~ Il , ,J
L--tt-~ J v p" rif·
,Q r=C.'ofOl'TlM'Ic..(6 -1)
~Jr "j -4 M I/ , r-r-rlll lb Il
( A
10 1 Ir. 1
..L ~. \;,,'1 '" . rl go Il._'
J ,. .. l'
~ .J-1' T- l L Ch~mJtj(. J 1 1
1 h (5-1) 1 1 " h. ... ....... ~
~" . ...1 \4 t' ."" ( • l'a. loi .. '" .. '1 ~ r ID' .~ Ffi 1.,'
- -- q.-Z/5 ",-us '1-~
Here, Schoenberg presents the major triad and the augmented
triad in such a way that the vertical harmony and linear melody
( are employed simultaneously and equally emphasized; vertically,
the augmented triad is stated three times, and linearly the
1"\
"" 76
three voices state three corresponding major triads in measures
30-31 (Fig.5).
Fig. 5. The pitch structure of the three strings (mm.3D-31).
Vn. 1. 1 C# A E 3-11 1
Vn. II. 1 A ~ C 3-11 1
VIa. 1 F C# G# 3-11 1
3-12 3-12 3-12
The use of sets becomes more apparent in this phrase. Set 4-2,
used linearly in the first movement (Ex.4), is employed here
again in the vocal line (rnm.32-33); and set 4-24, also used
vertically in the first movement (Ex.3), appears as vertical
structure (mm.31-32). Besides these, set 4-11 is used linearly
in the first violin (m.32-33) and the vocal line (m.34). The
accompaniment becomes chroma~ic in measure 34, and the vocal
line displays the interval of a fifth. The first strophe of the
poem ends in measure 35 where a fifth bass progression occurs in
the viola parti the dominant seventh on A goes to the inromplete
seventh chord on D which lacks the third. This chord contains C
and set 3-5 (D-G#-A) which opened the main theme statement.
Although G# is resolved to A j the seventh chord on D remains
incomplete. The A is quickly changed into G, bringing dbout the
verticaJ structure of 4-23 at the eod of the mpasure. This
77
( passage, where the tonality is suspended, presents the chord
structure and linear melodic segments of the main theme. In
this way, the sonority of 'non-tonal' elements becomes familiar
to tbe listener. Here, a succession of triadic tetrachords, as
a result of linear rnelodic staternents ln voices, replaces the
functional harmonie progression. (9)
The subordinate theme is preceded by a bridge which takes
its motive from the introduction. The motive is transposed by a
sernitone while the chord G-F-A is sustained by the first violin
and cello (m.49). The chord is changed into an altered form of
the dominant seventh of c minor in measure 50. The first note,
C, of the vocal line is harmonized by the chord containing
fifths in the form of 4-23 in measure 51 (Ex.31). According ta
Schoenberg, this chord can serve as a substitute for the
dominant seventh of F# major. (10) The tonic F# follows
immcdiately in measure 52.
Ex. 31. Schoenberg, String quartet Op.IO, IV, mm.51-55.
A ® r---------____ ------------~--6---{-----------
..--' -
p.11F , Il
" f:t9- -u 1
------~--------------------
A l "-..... (JI ....t:::. ---oC f[ "IV . ,
...Yf. --.
< .. :f ~ft ~1' .".1......... ._ 4--~ - 4.-..:.. f-ê-
- -- . -/.::sn ---------!--n 0 r ... · •
I _. -;;:
"If ~ï'---'1 Il
~r Tf - - --- -(
r.t:! ... · -r'
f ,
1
.. ...
-
-
78
The chord progression in this passage is affected by the
chrornatic lines in the bass (set 4-1) and in the vocal part (set
6-1) . A whole-tone chord i5 bui1t on G (rn.53) then the
dirninished chord on G# follows in measure 54. The dominant
seventh of F# major arrives in measure 55 through three comman
tones, E#, Band G# in the cello and viola, but it is changed ta
a whole-tone chord built on A. The second violin line displays
4-2 which was used in the main theme statement for a similar
semitone chord progression. The chromatic bass line results in
a chord succession by semitone, in which the chords are
connected through pivot pitches, either B or E#/F, the leading
tones of two key regions of F# and C. The chromatic bass line
continuously ascends to E (m.59), then descends to G# in rneasure
62. The G# is incorporated into the C# seventh chord which i5
the dominant of F# major in the 'same measure. The subordinate
theme ends on a C major chord when C# pedal note descends to C
in rneasure 66 after lasting four bars. The change frorn C# to C
alludes to the duality of C and F# tonality of the subordi~ate
theme. The harmonie structure of this theme becomes more
chrornatic than th~t of the main theme due to the extensive use
of semitones.
The first part of the development section features the
chromatic motive from the vocal line of the subordinate theme in "
cunon. The beginning of the canon overlaps the end of the
subordinate theme in measure 65 (Ex.32). The sixteenth-note
fjgure displaying the ii!terval of a third is added as
counterpoint. This figure i5 taken from the introduction
79
(. (mm.8-9). The harmony is dependent upon the contrapuntal
texture of chromatic voices using linear thematic statements.
In this passage, the canonic staternents result in sorne diatonic
chords but these are clouded by the chromatic counterpoint. The
harmony becomes more complicated when three instruments play the
canons, and the second violin plays its counterpoint in measure
72.
Ex. 32. Schoenberg, String quartet Op.10, IV, mm.65-74.
lm • Tf
... 0 .fi. ..,- 1 ~..;-
11 ~ L
( !.J .. ~ - ~o _ .~ ttr' vf 9r--r r lr 1 =1::1 1
1 l
3f F r -:.t L.
r.u\ rII _
~ (.. ., '--- pIC \ - ------- r
1 - 1
.1 o;JCT IUç;;;;r
~D b& ~~ 1
>
) ,.,@- ~L.1:i+j •. b .. 4_ '- --,.. .- -- --.:;fIl"
1" ---L/ .,~ - ==s- V" r- 1 - " b-e- bn ----- ~ • ~ 4,c. ~ ~ . l ~ l-.. .- 7
rTIJIOT /1 ". L.. ... /
110.1 -- -1 1 \ 'l'
~ Ih ..... ~ ~ / ~t._~ .. _
( ,..,., ./ "-
1 •• '-- Of
, ~" ---1 1 1 ~
f
t \~
• 1
Sop.
-
80
(Ex.32 cont'd)
.., .
.. ~~ ~ ~. f*- r 1 V
Il f) 1 ~t ~*~,~ ~~!t~ F ~ 1J.1('~6>4 ~'" , , .. ,.
t J.-oI -"
,f. ,., ... L ~ .. ~a. b L~ J ~rL b~ • :D.~ "li. ..,- ~
1 ..
- ....... r:::::f """"'- J ·-1iiiI --- ~~JJ~~ -- ~ b. -- ib'. ~~ ... k_ i l ... ft., u
J '1 .J V .. k.o.! L~, La. l'T ~ ...L
Iiii~ --...
I~ ~J 1 (.., L' ~_IJ Lq.. ,.~ l' ..JIll 1
1
'0;"
6~3" 5" -l.IS g-II ~~~ - 7-137 4-:l1 1 5-3~ 1 4t-~"1 -'7-;L
~ '72 .-3_ q.t., - -L r--- Pq - -- I~ t- - -
(JI 1ft' ICI '6. ·~L· .1ttr. l10l ...Id[ ~
1 ... " 1 •
, 1
J. L~ ~§ Ml 1117 Ml. Ik Pz L.. 1 .... b...b, _.~.
( "' . . ,. 1 H 1 , 1"1.. 1.
ebl'l\. 1 1 .1 J
1
A ~ .... . .lot.
" ..,... ", ... ~e -f;ZIrIe 5c",les
The first intervals formed briefly among three voices at the
beginning of measure 72 are a minor third plus a major third
which bring about an eb minor triad. But the intervals are
expanded in the next beati a fourteenth (a minor seventh) and a
minor sjxth which form an incomplete seventh chord built on A
without the third. These are changed into a sixteenth (a major
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81
second) plus a perfect fourth, then a tenth (a minor third) and
a minor third resulting in a diminished triad. Also, the
interval of a major third played by the second violin is added
here. The vertical structure of this rneasure does not display a
chord progression, due to the chromatic canonic statements and
counterpoint. At the downbeat of rneasure 73, the intervals of a
ninth (an augmented second) and a tenth (a dirninished third) are
formed, but soon the viola starts to play the counterpoint
figure and
alternation
joins the second violin. This
of whole-tone chords in the second
produces an
half of the
measure. The vocal melody begins with the head motive of the
canon accompanied by the introductory motive in measure 74.
This chrornatic passage ends in measure 82 where the vertical
structure of set 4-23 is sustained over the neighbour motive in
the cello. The first part of the development has a contrapuntal
texture, the harmonie structure of which no longer stays in any
key region. The independent voice movement still ernploys the
thernatic material, but the chromaticism and the extensive
motivic content produce a . non-tonal , context.
The second part of the development section begins after the
doublè bar line at measure 82. The development is divided into
two parts in a way similar to the introduction. The first parts
of both sections end on similar chard structures (4-23). The
second parts
displaying the
irnmediately begin with
intervals of a tritone
the triplet motives
and a minor third which
mave independently as linear VOlces. After this instrumental
interlude (mm. 83-84) which uses thematlc mnlerial from t.he
-- Vnl
V,C ,
..
82
introduction, the soprano voice enters in measure 85. Whereas
the first part of the development makes use of the subordinate
theme material, the second part employs the motives and pitch
collections from the main theme extensively. The extended form
of the neighbor motive which was used at the end of the main
theme statement ln measures 25-26 is used first (mm.86-89), then
it is followed by the main theme melody of 4-23 (mm.89-92) in
the cello part (Ex.33).
Ex. 33. The set structure of the development (mm.86-92).
A r--4"'l 3 r- - ---,
l' l ,
4-Z ~:t 1 1 ~~+~ ~ ~~." ~~ff.&u. Il.== I\!
1 ..
Hl LJ-l 1 r 4-~
.fH.. A • ~. .. b. fi
1/
aJ
~. '1;ft • ., Cf~ ~ ;t'Il' ..... 9" ~ 1----3-1--~
~L ______________ ~_I ____________ ~
® gr~ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - l
if
1"
, .. ,
1 . .... 1 12 • l
(
(
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83
Above the bass line, the main theme idea (4-23) is presented by
the soprano vocal line (rnrn.S8-S9). Also motive X of the main
theme is pldyed by the first violin three times (rnm.S9-91) with
a rhythmic diminution. It is preceded by the second violin
which plays the set 4-2 twice and the first violin itself--the
first notes of each of its seven-note figure also form 4-2
(nlrn.87-S8). The viola part adds chrornatic notes in the rniddle
voice while the outer voices feature the motivie statements from
the main theme. The harrnony is a direct result of the rnovement
of eaeh voiee whieh displays distinct piteh collections (Ex.34).
The rate of harmonie change is rapid due to the different
pitches used in the sextuplet of the viola. The vertical
results show cornbinations of dissonant intervals such as a minor
second, a major seventh and a tritone which remain unresolved
Most of the time. Their harshness is sornewhat dirninished by the
spacing in an expanded register. But the pitch collections of
the vertical structures are rnainly non-diatonic and no longer
stay within the boundaries of traditional harmonie language,
although a few discernible chord forms are present here.
Besides, the whole-tone chord structure is found in the first
half of measure 91 in which the second violin and viola repeat
the notes Eh and F respectively. The development section
(mm.86-92) i5 closely related to the main theme by using the
motives and figures of the thematic rnaterial, although its
harmonie structure is more complieated and ehromatie than that
of the main theme.
... .. $0
84
Ex. 34. Schoenberg, String quartet Op. ID, IV, mm.90-91.
~J: ~ +
1 _ lm~ - ~ - - ~-.. - ",,, - -- - -/'lA '~.- .... A~ ..
DA Ir .... ""'~ ~ r. r ~l: •
J 1
l' ~ "", r'112 1fI2. m.a. Mt
b. b ,. - 1 1 ~ /""\. 1 -;. .. .. . -- u. ~ u. 1. - ". l
5"-6 (kb'1 4-5'
~ 71 1 ~ J..-.-
F~ [7
'" f" B'i • .: - - - - - - - - ---------- - - - - - - - - - - -,
~~ ~iL ~'" A b. h. ~. 1 b. ~
If/Il 1 "'V 1 ., le.
... 1 1 Of 1 !'4 1 _01 r '-4 0.4 l v ~. .\4 • ~ • ..., b. M .- v ~ !-4 T ..... L .,
~ . .. • u ,. ... '. \il -.. - -. loi""
---" l -, 1 .., '1 .., 1 ..,
l 1 T
b-e:- - ... 1.. ~~ ~ ""A: -.-,
...
85
( The 4-2 set from the head motive of X continuously serves
as a main motive in the following passage (mm.93-97). It is
presented by the first violin and viola and then is fragmented.
Towards the end of the development section, the fragments are
used not only in the accompaniment, but also in the vocal line
(Ex.35). The bass displays 4-23 formed above the pedal G in
measures 97-98. The introductory motive is plnyed by the second
violin, and the interval of a third in the viola adds more
chromatic notes in measure 98. The harmony is still governed by
the dense motivic statements linearly presented by different
voices. However, the pedal G suggests an important point of
articulation which it approaches.
( Ex. 35. Schoenberg, String quartet Op.lO, IV, mm.97-98.
@ ~ ~ ........ -..~ l .-P' .~ 1
.J -~
1'] bt:· 1= Ltt: ~ b~~'
'" 1
~ 4-,.l~ - .*~ 11 ~ ~ tI- .. ft ~
~ ..,
"r=s=-'" ~F~ ~ --h.~ b.-.. ~
r"I h. Î') b. . (
l' Lt 2. ') " ., 3 3
~--- 4-13--_~3_--I ----- 4-l3 - ___ --.1
86
• :tÎ' (Ex.35 cont'd)
~n--- --.... •• Jo ....
Sap
" .. , J J 1.----.. ~0!: C-J
\. ttt .. ~
~~ ---- ~.th~! JI ~ ~ ... ,.~~
~~. ~ ë;;aE .. j$ittl' :,/~~~ b.~. ~ ~ .. ~ b.".. ~ k. ..rH'-
-.b. •
'------4-23 ------
The recapitulation begins on an F# major tri ad in measure
100, and features the subordinate theme in the instrumental
parts while stating the main theme in the vocal line (Ex.36).
The main theme is presented here a semitone lower than the
original pitch level.
Ex. 36. Schoenberg, String quartet Op.lO, IV, rnm.100-104 .
.. ..
lA-." 1'1 -1.
87
( The harmony of the accompaniment is exactly the same as that of
the subordinate theme: the semitone chord progression in Fi
major. The chromatic bass line continuously moves up to A
(m.l09) and results in chord successions which consist of the
alternation of chords in the two key regions of F# major and c
minor (mm.106-109). The bass begins the statement of the main
theme melody (4-23) in measure 110 where the soprano reaches
high A (Ex. 37).
Ex. 37. Schoenberg, String quartet Op.lO, IV, mm.l09-116.
11-___ -.----=========-:--...,- 3-~ ------. 1> q.e- P.Q. ht"\ À .
IIL ~
( I ... ~~
/'\
~H .~
~L. ~ i~l~ bi-~ ~ ::=. .. ~. . ..... -""'\ 11 " 7. .. a. •
"Il'"
~I" ~r' ~ ~ t. ~J '1:l. -LI L;J.;;; ~
:::;; ~ ~ S ve. - - - -- - -~ - - - - -, A I~-n- -6-~ ....
• / 'l , ..ItI1.o..
;~ ~~ :p lfrr '1'" .::; ... 4-23
Fg
@) A'H_ ,~ ~~
1"17 '" Sop
l,LX
b~f b4 ~l>.- ~ ru4. -br ~~b -.. -, - --:.
IF .. ,l, 'l, L. L.. ,l,
~ 1" li Ll..f" 1- -- ... 1...1 fi If" ~ 1- .....
~ I~~ I~ I~l • j." L-
(~ I 1"'.
/ r::iI l'
~ ----------l
4-23 t4ths) 4-23 (4thS)
88
~,
--The first violin plays the same melody line, motive X, as in the
main theme, but the note values are augmented. The beginning of
the vocal line is exactly the same as that of the viola line
(3-2), and the vertical chord forms show the set structures
similar to that of the main theme: the D-A-G# chard moves ta an
Eb major triad, then ta an F major ninth chord. It is followed
by a chord built in fourths, an ab minor triad with raised
fourth, another chord built in fourths and an Ab major ninth
chard. Only the ending is different from the main theme
statement in the exposition. The harmony of this passage is
controlled by the motivic staLements in the voices rather than
by the functional harmonie progression of the key.
The coda begins aIl a pedal F#, the only long-held tonie
note ln the movement (mm.120-123). Then the dominant seventh of
the F# major is prolonged (rnrn.128-133) in order to support the
F# major key. However, the key establishment is interrupted by
an abbreviation of the main theme statement.
Ex. 38. Schoenberg, String quartet Op.IO, IV, rnrn.140-144.
@~ ~~ t:~ • .0 q~' q~ ~ ~ A J..""A' 11-....- 1=- W:;Z ~ ~ ., ... 1'1'-...0
1 §'{ l: ,
"""1,;k -l"l' • 41-
l'
hbJ~ 'ff'7 -, ;Y
( ,'~ fe- I, bD'.--- k ... ,-.... ..... 19 J D' ~ '...., .1 ::T
q"O" ~t - .-:/ -
89
( The above example shows the du~lity of key regions in the
thematic areas. The D-A-G# chord (3-5) of the main theme i8
reached in measure 140 through the main theme melody (4-23)
sequence started in measure 135. It i8 followed by an Eb major
chord, then the same D-A-G# chord progresses to an F~ major
triad in measure 142. The next two bars alternate a C major
seventh chord and F# major triad. These chords related by a
tritone are juxtaposed for the first time in this movement. The
D-A-G# chord appears again along with the introductory motive in
measure 152. The same chord is prolonged (mm.152-153) before
the movement finally concludes on the F# major triad in measure
15 5 ( Ex . 39) .
(~ Ex. 19. Schoenberg, String quartet Op.10, IV, mm.152-156.
Since it is diffieult to determine the cadence points in
the movement, due to the lack of funetional harmonie
progressions, the pitch content of the formal divisions should
be examined in or der to find out how Schoenberg articulates
these structur31 points (Fig.6).
..
.: Fig. 6. Four main divisions in the fourth movement.
.. ''Il
1. The end of the introduction (mm.15-16).
2.
15 I:~ ~ ~ f1i.~ ~~ ~~ ~~
le.
f1~ 1';'
_"f -rJIJVP
.. PlI
b.,.
1 !YI 1 ,. ,.
,
--.:;: ... ~'"'
li-
f'I",-.. ~ ... r.-
I g.
9'1+· i~~it~"-r
Q---G4t c--ci
The end of the exposition (mm.6S-67).
,,([f) -P'Lff T
"" 0 .ft. ..,-. 1 !:f+
17
/1 '\
.J .~ - ~Q .f. ~ ~. v[ 9r'-r r 1 r 1 3f r ~ -"<S il:! 'Il-1.11 _ -;;?
·vv
.!!J (..1 .., .. -;::::::: _t:fC 1 --=--
CfIf CAb) G~ ...... 1- .~ -= ,
/' ."-'
~D b& 9~
1
1
--
90
91
(Fig. 6 cont'd)
3. The end of the development (mm.99-100) .
...,
50p mT .~ ~
IV .. ::-t b~ r---...... ~~~ U-
r7[ lIT --.- .. "f
~
.J - ~-i '-~ ~ ~
.. ~. L fj~q~ 1 J-. Â:
1lT, ri 171" I;.Oi -v '-_
1- a:c:: ..... r:;::s:; 'éi: E::l ..... 'fr~ q~
~Ib"~ 61 b; LI ï ;s 1
Ill" &:4 -10 ...
~ liJ ;~ ;u&7
OW ....
b~
" Tl. 7
7
4-J3 f\U
4 . The end of the recapitulation (mm.119-120).
À .:t 7( 171
"'" J~ l A .~
"71 ~ --. ru ~
1.) b'1 ,. ~. ~4; 1tB--- ---.1- h .. h. IlJ.8: +~ .~
-c; --.. .~ [J
v J 1
1 ~~ :~ 1 14-..
, , ltV~
4-23 F~: l
(
(
92
As indicated in Figure 6, there are {our points that make
divisions into the five main sections; introduction, exposition,
development, recapitulation and coda. The first example shows
the vertical structure of a minor seventh chord on C which is a
combination of two fifths separated by a minor third. The
interval of a fifth in the bass, C-G, is suddenly changed into
another fifth on C#, the dominant of F# major. This striking
semitone movement foreshadows the F#-C duality at an early
stage. The second point cornes at the end of
measure 66. As noted before, the en ding of
the beginning of the development are elided.
the exposition in
the exposition and
The last chord of
the exposition section is the C major triad which is achieved
through the semitone movement from the C# ninth chord, the
dominant of F# major. The fifth, C#-G#, formed between the
cello and second violin moves a semitone down to another fifth
on C. This change from C#-G# to C-G is the exact reverse of the
previous change in the introduction. The entry of the canonic
statement also shows the semitone movement, C#-C and G#-G. The
chord structure and the voice-leading at the end of the
development section are very similar ta those of the beginning
of the subordinate theme. The 4-23 chard progresses ta the F#
major triad and produces semitone movement in each voice. Here
the 4-23 has the framework of the augmented sixth moving to an
octave, F#--a characteristic of the cadential progressions found
in the first movement. The voice-leading at the end of the
recapitulation shows similar semitone movement and the same
pitch content. Here again, the 4-23 chord moves ta the FH major
93
triad. This example reveais that there are two types of pattern
used in articulating formaI divisions: one is the semitone
movement between two fifths, and the other is set 4-23
progressing to the Fi major triad. Set 4-23 and the FH major
triad clearly represent the main theme while the semitone
movement shows the chromatic nature of the subordinate theme.
The fourth movement of the Second String Quartet has
received a great deal of attention from scholars especially
because it does not carry a key signature--a characteristic of
Schoenberg's atonal pieces. Schoenberg was aware of the
imbalance between the extensive use of the dissonances and the
intermittent appearances of the tonie in this movement, and he
admitted that the tonality was not supported by harmonie
progressions related to the key.(ll) In this movement, the key
of F# major is not established by harmonic progressions, and the
FI major tonality consistently conflicts with the c minor even
in the 'tonally affirmative' passages in the thematic areas.
Thus the F# major tonie becomes a referential feature. The
movement displays Schoenberg's technique of motivic manipulation
with contrapuntai deviees. The harmony is a result of
exhaustive motive working in individual voices and counterpoints
which feature their own distinct pitch collections. Besides the
F# major tonic, the D-A-G# chord (3-5) and the 4-23 chord play
important roles as 'non-tonal' referential chords throughout the
rnovernent. There is another 'non-tonal' element used in the
introduction, narnely the cilcle of fifths, In the circle, each
~-------------_._-------------_ .. _._-----_._----------------------_. ------------ .-
(
(
(
94
note is equal as long as the circle continues. Sorne of these
characteristics of the fourth rnovement are surnrnarized by Samson:
.. the constructive significance of counterpoint, the use of rhythm and texture as a means of shaping and directing the phrase, the replacement of the tonal cadence by other referential features and the subtle integration of tonal rerniniscences into a predominantly non-tonal musical language. (12)
His points of view are supported by the analysis presented in
this chapter. Samson regards them as the preoccupations of
Schoenberg's early atonal music. Through the use of the motive
working in contrapuntal procedures, Schoenberg was able to
create coherent structure while he eared less about the
inclusion of non-harmonie tones. The eohesive structure is
obtained by the eontrapuntal eombinations of motives with the
support of the already established structure of the poem used as
a text. The atonal motives and their piteh content gain their
importance by playing a raIe as a main structural element, for
exarnple, the subordinate theme melody and the introductory
motive. AlI of these helped ta justify Schoenberg's not
maintaining the piteh hierarehies which are essential in
tonality. We can find in this movement the emancipation of
dissonance that is very characteristic of his atonal works.
i ..
NOTES: CHAPTER V
(1) Rachhaupt, op. cit., p.43.
(2) Schoenberg, "My Evolution", p. 86.
(3) Samson, op. cit., p.l10.
(4) Rachhaupt, op. cit., p.47.
95
(5) An English translation of the poem by Carl Engel appears in the Appendix.
(6) The complete set analysis of the first six bars of the introduction is presented in Allen Forte's article "Schoenberg's creative evolution: The path ta atanality, " in Musical Quarterly, 59/2 (1978), pp.164-171.
(7) Rachhaupt, op. cit., p.48.
(8) Forte, ·Schoenberg's creative evolution ...• , p.170.
(9) The employment of sets as theme (mm.21-35) displays a kind of bridge is situated in the center.
vertical chords in the main arch-type form in which the
mm. 21 .. 24 25 26 Bridge 30 31 32 .. 35
3 - 5 4 - 2 4 [ 4 -19} 4 - 2 2 3 -11 {4 - 2 3 } 3 -11 4 - 2 2 4 - 24 3 - 5c4 - Z 15
1~ ____ I ______________ (4_1_1_9_) _______ (4_-_ll_9_) ___________ ~I (la) Schoenberg, Theory of Harmony (London: Faber and
faber, 1978), p.405.
(11) Schoenberg, "My Evolution", p.86.
(12) Samson, op. cit., p.113.
CONCLUSION
Schoenberg's first atonal work, Das Buch der hanqenden
Garten Op.15, written in 1908, marks the turning point in his
creative career as a composer. The Second String Quartet Op.lO,
which was completed before Op.l5 in the same year, has received
a considerable amount of attention from scholars because it is
regarded as a transitional work leading towards his 'atonal'
period. The harmonie structure of each movement of the Second
String Quartet revealed in the present study will be summarized
( in the following paragraphs.
The first movement begins with the main theme, the
structural basis of which is the f# minor tonality. This tonal
movement remains within a traditional formaI structure which is
often articulated by harmonie progressions which deviate from
traditional cadential progressions. The movement is, however,
composed against a triadic background more consistently than the
fol1owing movement, and in the thematic areas the melodic and
rhythmic elements move in accordance with a more traditional
harmonie structure.
The d minor tonality of the second movement is supported by
the constant emphasis on the tonic note and the freguent use of
( the tonic triad at formaI divisions. The triadic background for
the articulation of large formaI structure is apparent. But the
97
extensive contrapuntal texture often produces chord progressions
not related in a [~nctional way. Also, the semitone content of
the melody results in chromatic and dissonant chord forrns
without conventional resolutions iù some places. The use and
development of short themes which maintain pitch identities and
intervallic content plays a major
structure of the movement.
unifying role for the
The key of the third movement is suggested by the eb minor
tonic triad which appears in the opening motive. The motive
frames eaeh variation and serves as the main reference to the
tonality of the movement, while the harmonie progressions give
little support to key establishment. The. harmonie structure is
largely the result of melodic statements of the motive, employed
in a dense contrapuntal structure. This brings about complex
harmonies without discernible chord progressions pertaining to
the key of eb minor. The absence of functional harmonie
progressions renders the tonal element in this movement more
referential than in the second movement. But the thematieism,
achieved by repeating and developing of thematic material
through contrapuntal and variation technique, serves as
constructive basis for the coherent structure of the third
movement.
The fourth movement begins with an introduction which lacks
tonal stability due to the pitches ernployed in the eontext where
the tonality is suspended. The chordal thematic areas feature
linear melodic statements in the voices, the vertical
combinations of which produce a chord succession rather than a
(
(
(
98
functional chord progression. These melodies serve as important
motives used later in the contrapuntal texture of the
development. The lack of tonal stability is enhanced by the
increased independence of voices which are no longer controlled
by tonal harmony. Therefore, melodic statements organized
through contrapuntal combinations of motives and elaborate
canonic procedures become the determinant for the chromatic
harmonie structure. The F# major triad serves as a referential
element, and its occasional returns at formaI divisions are the
only references to the tonality of the movement. The continuous
use of the motives derived from the thematic areas, and the poem
serving as a text help to integrate the elements of the fourth
movement without sufficient tonal support.
Within the framework of the quartet, the function of
triadic tonal harmony becomes weakened by the gradually
increased emphasis on melody and the growing importance of
counterpoint. The role of traditional harmony as a constructive
element is also diminished in the last two movements, in which
the harmony serves the purpose of expressing the emotionality
portrayed in the text by accompanying the soprano voice.
Therefore, the portion of chroma tic harmonie structure dependent
upon melody and counterpoint as well as the text outgrows that
of tonal structure by the time the fourth movement is reached.
The pitch hierarchies and the distinction between consonance and
dissonance are temporarily dissolved in certain parts of the
fourth movement. This anticipates 'the emanClpatlon of
99
dissonance' which takes place in Schoenberg's next 'atonal'
pieces. The disappearance of distinction between consonance and
dissonance is then followed by his 'twelve-tone' composition in
which each note of the twelve-tone chromatic scale is treated
equally--no pitch hierarchy.
APPENDIX
100
Litany
Deep is the sadness that overclouds me, once more l enter, Lord! in thy house.
Long was the journey, weak is my body, bare are the coffers, full but my pain.
Thirsting, the tongue craves wine to refresh it, hard was the fighting, stiff lS my arm.
Grant thou a rest to feet that are falt'ring nourish the hungry, break him thy bread'
Faint is my breath, recalling the V1S1on, empty my hands, and fev'rish mi mouth.
Lend my thy coolness, quench thou the blazes, let hope be perished, send forth thy light'
Fires are still burning open within me, down in the depth still wakens a cry.
Kill ev'ry longing, close my heart's wound, take from me love, and give me thy peace!
101
Transport
1 teel the air of another planet the friendly faces that were turned toward me but lately, now are fading into darkness.
The trees and paths 1 knew and loved so weIl are barely visible, and you beloved and radiant specter--cause of aIl my anguish--
You are wholly dimmed within a deeper glow, whence, now that strife and tumult cease, there cornes the soothing tremor of a sacred awe.
1 am dissolved in swirling sound, am weaving unfathorned thanks with unnamed praise, and wishless l yield myself into the mighty breath.
A wild gust grips me suddenly, and l can hear the fervent cries and prayers of women prone in the dust and seized in pious rapture:
And then 1 see the hazy vapors lifting above a sunlit, vast and clear expanse that stretches far below the mountain crags.
Beneath my feet a flooring soft and milky, or endless chasms that l cross with ease. Carried aloft beyond the highest cloud,
1 am afloat upon a se~ vf crystal splendor, 1 am only a sparkle of the holy fire, 1 am only a roaring of the holy voice.
102
-
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