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"Mein Weg geht jetzt vortiber":
The Vocal Origins of Webern's
Twelve-Tone Composition*
BY ANNE C. SHREFFLER
* An early version of this essay was presented at the Fifty-sixth Annual Meeting
of the American Musicological Society, Oakland, November I990. I am grateful to
the Paul Sacher Stiftung and the American Philosophical Society for research suppor
during the summer of i99o. I would also like to thank Richard Cohn and Felix Meyer
for their helpful comments on drafts of this essay.
' There have been no single studies devoted to Webern's acquisition of twelve-
tone technique. General books on Webern by Rene Leibowitz, Wallace McKenzie,
Walter Kolneder, Luigi Rognoni, and Friedrich Wildgans assess Webern's evolution
(by necessity) only in terms of his published works; moreover all of these authors take
Webern's later twelve-tone technique as a model, viewing earlier works as experi-
mental and incomplete: Leibowitz, Introduction a la musique de douze sons (Paris:
L'Arche, 1949); McKenzie, "The Music of Anton Webern" (Ph.D. diss., North
Texas State College, i96o); Kolneder, Anton Webern: An Introduction to His Works,
trans. Humphrey Searle (London: Faber and Faber, 1968); Rognoni, The Second
Vienna School: Expressionism and Dodecaphony, trans. Robert W. Mann (London: John
Calder, i977); Wildgans, Anton Webern, trans. Edith Temple Roberts and Humphrey
Searle (London: Calder and Boyars, 1966). Hans Moldenhauer and Rosaleen Mold-
enhauer's ground-breaking (and still essential) biography is based on source material
not available to earlier authors, but does not attempt to alter the prevailing view of
Webern's twelve-tone development: Anton von Webern: A Chronicle of Hir Life and Work
(New York: Knopf, i979). Recent works by Kathryn Bailey and Donna Levern Lynn
discuss Webern's twelve-tone technique from 1924 and after. Bailey's book, The
Twelve-Note Music of Anton Webern: Old Forms in a New Language (Cambridge:
Cambridge University Press, I991), focuses primarily on works after op. 19. Lynn's
dissertation, based on a new assessment of the sources, emphasizes published works:
"Genesis, Process, and Reception of Anton Webern's Twelve-Tone Music: A Study
of the Sketches for Opp. I7-19, 21, and 22/2 (1924-1930)" (Ph.D. diss., Duke
University, 1992).
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276 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
2 Most of the earliest twelve-tone sketches (for opp. 15, 16, and 17, no. I) are in
the Paul Sacher Foundation, Basel (hereafter PSS; manuscript pages will be identified
by microfilm number). The Library of Congress holds significant manuscripts of
Webern's opp. 15, 16, and 18. The main source for Webern's sketches for op. 17, nos.
2 and 3, and opp. i8 and 19 is "Sketchbook I" in the Pierpont Morgan Library, New
York, whose contents have been described briefly by Bailey (Tbe Twelve-Note Music)
and more extensively by Lynn ("Genesis, Process, and Reception").
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WEBERN'S TWELVE-TONE COMPOSITION 277
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278 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
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WEBERN'S TWELVE-TONE COMPOSITION 279
stage. For a summary of the problem, see Felix Meyer and Anne Shreffler, "We
Revisions: Some Analytical Implications," Music Analysis 12 (1993): 355-80.
8 "Bereits die Werke Weberns, die vor den genannten Liedern op. 17 enstand
weisen eine Konstruktion auf, die der Reihenkomposition sehr verwandt ist, so
die spitere Benutzung von Zw6lftonreihen dann nicht als Stilwandel ersch
vielmehr als eine ganz logische und organische Weiterentwicklung der friih
kompositorischen Denkweise" (Gy6rgi Ligeti, "Die Komposition mit Reihen und
Konsequenzen bei Anton Webern, Osterreihische Musikzeitschrift 16 [196 I]: 297-30
297. Wildgans, Webern's first biographer, echoed this: "The observer may r
assume that Webern's development as a composer was along an organic, logical, and
path. Intuitively, he seemed to have sensed the development, possibilities and l
composition with twelve notes. Thus no new components appeared [as a result o
twelve-tone method]" (Anton Webern, 91). See also William W. Austin, Music
Twentieth Century (New York: Norton, 1966), 351.
9 See Ligeti, "Die Komposition mit Reihen," 299: "Die serielle Musik ist
Konsequenz der Webernschen Kompositionsweise, wie die Zw6lftonmusik
solche der freien Atonalitat."
So Bailey, The Twelve-Note Music, 33.
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280 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
" James Ackerman, Distance Points: Essays in Theory and Renaissance Art and
Architecture (Cambridge, Mass., and London: MIT Press, 1991), Io.
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WEBERN'S TWELVE-TONE COMPOSITION 2 8 I
I
" H. H. Stuckenschmidt, Schoenberg: His Life, World and Work, trans. Hump
Searle (New York: Schirmer, 1978), 442.
'3 Cited in Stuckenschmidt, Schoenberg, 442-43. Although not precisely dated
notes (written in English) must have been jotted down between 1933,
Schoenberg emigrated to the United States, and i94o, the date of a postscript
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2 8 2 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
Here I had the feeling, "When all twelve notes have gone by, the piece
is over." Much later I discovered that all this was a part of the necessary
development. In my sketch-book I wrote out the chromatic scale and
crossed off the individual notes.'4
'4 "Ich habe dabei das Gefiihl gehabt: Wenn die zw6lf T6ne abgelaufen sind, ist
das Stiick zu Ende. Viel spAiter bin ich daraufgekommen, daB das alles im Zuge der
notwendigen Entwicklung war. Ich habe in meinem Skizzenbuch die chromatische
Skala aufgeschrieben und in ihr einzelne T6ne abgestrichen" (Webern, The Path to the
New Music, ed. Willi Reich, trans. Leo Black [London and Vienna: Universal Edition,
1975], 51; German original: Der Weg zur neuen Musik, ed. Willi Reich [Vienna:
Universal Edition, i96o], 55). Hereafter, page references to the German version will
be designated "Ger."
'5s The Moldenhauers write, "[Schoenberg's] music had foreshadowed the prin-
ciples of that system from 1914 on, but Webern's string quartet pieces were probing
in the same direction even earlier" (Anton von Webern, I94).
'6 The draft is dated 2 April 1914 (PSS, film ro3:oo49-005oo ). This song, on a
poem by Stefan George, was reconstructed by Peter Westergaard and published by
Carl Fischer in 1968.
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WEBERN'S TWELVE-TONE COMPOSITION 2 83
I f
'RW- i A M 4
:wo"Nop"
Figure i. We
Foundation,
Example 1
"Kunfttag III," mm. 23-24. Paul Sacher Foundation, Basel.
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284 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
Berg responded with the third of his Altenberg Lieder, "Uber die Grenzen
des All," whose pitch organization is ruled by a single twelve-note chord.
Rather than an adumbration of twelve-tone technique, Webern's cross-
ing off the notes to construct a twelve-note sonority in "Kunfttag III"
represents yet another example of early experimentation with the total
chromatic. It is even possible that the entire source of Webern's anecdote
about the Bagatelles lies here, shifted in his memory from a never-
published vocal fragment onto one of his most successful and widely
known compositions.
Years later, Schoenberg reached a critical point in his development
of the method with the procedure he called "composing with tones."
(The chronology discussed below is summarized in Table i.) The
Priludium (op. 25, no. i), completed in July 1921, is usually
acknowledged as his first twelve-tone serial piece, although he only
later characterized the material of the piece as a "row."'8 Almost two
years later, in February 1923, he went public, holding a meeting at
which he explained his new method.'9 Though a few of Schoenberg's
remarks on this occasion have been recorded, later accounts dwell
mostly on emotional impressions of being present at what was clearly
perceived as an event of great historic importance.
Although Schoenberg later claimed to have been "silent for nearly
two years" (between the composition of the Praludium in 192 I and the
1923 meeting), he did apparently confide to one or more friends
during this time.20 Both Erwin Stein and Josef Rufer recalled being
sketched many themes, among them one for a scherzo which consisted of all the
twelve tones," Schoenberg recalled. "An historian will probably some day find in the
exchange of letters between Webern and me how enthusiastic we were about this"
("Composition with Twelve Tones [2]," in Style and Idea: Selected Writings of Arnold
Schoenberg, ed. Leonard Stein, trans. Leo Black [Berkeley and Los Angeles: Univer-
sity of California Press, 1984], 247)-
'8 The set is more accurately described as a composite of three tetrachords than
as a row; in fact it is never presented linearly. See Brinkmann, Kritiscber Bericht, 71,
76-77; and Haimo, Schoenberg's Serial Odyssey, 86.
'9 See Joan Smith's oral history Schoenberg and His Circle: A Viennese Portrait (New
York: Schirmer; and London: Collier Macmillan, 1986), 197. The basic technical
information presented at the meeting was evidently the source for Erwin Stein's
article "Neue Formprinzipien," which appeared in the Schoenberg fiftieth birthday
issue of Musikbliitter des Anbruch (September 1924)-
20 "At the very beginning, when I used for the first time rows of twelve tones in
the fall of 1921, I foresaw the confusion which would arise in case I were to make
publicly known this method. Consequently I was silent for nearly two years. And
when I gathered about twenty of my pupils together to explain to them the new
method in 1923, I did it because I was afraid to be taken as an imitator of Hauer, who,
at this time, published his Vom Melos zur Pauke" (Schoenberg, Style and Idea, 213).
Schoenberg must have meant either Hauer's Vom Wesen des Musikalischen (published in
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WEBERN'S TWELVE-TONE COMPOSITION 285
TABLE I
Chronology
Webern Schoenberg
July 1920 Five Pieces, op. 23, nos. I, 2; no. 4 begun
Aug. 1920 Serenade, op. 24, nos. i, 3, 5 begun
July 1921 Suite, op. 25, (no. i); (no. 4) begun
Aug. 1921 Six Songs, op. 14, no. I
Five Sacred Songs, op. 15, no. I
Sept. 1921 Five Sacred Songs, op. 15, no. 3 Serenade, op. 24, no. I completed
Oct. 192i Serenade, op. 24, no. 2 begun
spring] i922 (Berg: Wozzeck completed)
Apr.-June 1922 Bach orchestrations
July 1922 Five Sacred Songs, op. 15, nos.
2, 4*
Oct. 1922 Serenade , op. 24, (no. 4) begun
Feb. I923 Five Pieces, op. 23, nos. 3, (5); no. 4
completed
Suite, op. 25, (no. 2); (no. 4) completed
Mar. 1923 Serenade, op. 24, no. 6; nos. 2, 3, (4)
completed
Suite, op. 25, (nos. 3, 5, 6)
Apr. 1923 Serenade, op. 24, no. 7; no. 5 completed
(Wind Quintet, op. 26, no. )qbegun
May 1923 (Wind Quintet, op. 26, no. i) completed
UUly] 1923 Canons, op. i6, no. 2 (Wind Quintet, op. 26, no. 2)
Aug. 1923 Canons, op. 16, nos. 3, 4
[spring] 1924 "Morgenglanz der Ewigkeit"
sketches
July 1924 (Wind Quintet, op. 26, no. 4)
Aug. i924 Canons, op. i6, no. 5* begun (Wind Quintet, op. 26, no. 3)
29 Oct. 1924 Canons, op. 16, no. 5* (Suite, op. 29) begun
completed
I2 Nov. 1924 Canons, op. i6, no. I
[autumn] 1924 [Kinderstiick] M. 266*
Autumn 1924 (Kinderstiick, M. 267)
io Dec. 1924 (Three Trad. Rhymes, op. 17,
no. i); "Mutig trigst du die
Last" sketches
(1923-25) (Berg: Chamber Concerto)
[spring] 1925 String Trio movt., M. 273,*
with orchestral sketch*
June 1925
draft*
Three Songs, op. i8, no. 2, first (Suite, o
July 1925 (Three Trad. Rhymes, op. 17,
nos. 3, 2)
[summer] 1925 Klavierstiick, M. 277*; "Dein
Leib geht jetzt der Erde zu,"
sketches*
Aug. 1925 (String Trio movt., M. 278); (Suite, op. 29, nos. 3, 4)
String Quartet movt., M. 279,
sketches*; Klavierstiick, M. 280
sketches
Sept. 1925 (Three Songs, op. I8, nos. I, 2) (Four Pieces, op. 27, no. i)
Oct. 1925 (Three Songs, op. i8, no. 3) (Four Pieces, op. 27, nos. 3, 2); (Berg:
(Schliesse mir die Augen beide))
Nov. 1925 (Four Pieces, op. 27, no. 4); (Three
Satires, op. 28, no. I)
Dec. 1925 (op. 19, no. i) begun (Three Satires, op. 28, nos. 3, 2)
Note: Asterisks denote that although row sketches were made, either they were not used in the
piece or the work remained a fragment. Works within canted brackets are based on a
twelve-tone row throughout.
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286 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
1920) or Deutung des Melos (1923), not Vom Melos zur Pauke (1925).
21 See Stein, "Neue Formprinzipien," 296: "Es war an der Hand diese Stiickes
[op. 23, no. 3, composed in February 1923]... daB dem Verfasser von Sch6nberg die
ersten Mitteilungen uber die neuen Formprinzipien gemacht wurden." In some notes
from around 1940, Schoenberg claimed to have told Stein about the new method in
1921 (Stuckenschmidt, Schoenberg, 442). Stuckenschmidt reports that Rufer was the
one in whom Schoenberg confided (Stuckenschmidt, Schoenberg, 277)-
22 Stuckenschmidt, Schoenberg, 277.
23 Smith, Schoenberg and His Circle, 202, 205. Schoenberg's famous statement
echoes further at the end of Berg's essay "Warum ist Sch6nbergs Musik so schwer
verstandlich?" from 1924: "So daB man schon heute, an Sch6nbergs fiinfzigstem
Geburtstage, ohne ein Prophet zu sein, sagen kann, daB durch das Werk, das er der
Welt bisher geschenkt hat, die Vorherrschaft nicht nur seiner pers6nlichen Kunst
gesichert erscheint, sondern, was noch mehr ist: die der deutschen Musik fir die
nichsten fiinfzig Jahre" (reprinted in Willi Reich, Alban Berg: Leben und Werk [Zurich:
Atlantis Verlag, 1963], 193)-
24 Schoenberg, Style and Idea, 484.
25 "Woher mein Weg war und wo ich gegenwirtig halte, habe ich vor mehreren
Monaten in einigen Vortragen meinen Schiilern mitgeteilt" (letter to Josef Hauer, 25
August 1922 [not sent], Archives of the Arnold Schoenberg Institute, transcribed by
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WEBERN'S TWELVE-TONE COMPOSITION 287
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288 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
29 See Webern, Path, 32 (Ger. 34)- Schoenberg's reaction should also be inter-
preted in light of the fact that he was in America at the time and had no direct con-
tact with Webern. Schoenberg was also highly suspicious of Webern's political
sympathies.
30 Letter from Webern to Berg, in Schoenberg, Berg, Webern: The String Quartets, a
Documentary Study, ed. Ursula v. Rauchhaupt, trans. Eugene Hartzell (Hamburg:
Deutsche Grammophon Gesellschaft, 197 i), 12 I.
3' PSS, film ioi:o647, 0649, o658, 0659. The manuscript sources for all the
works under discussion are listed below in the Appendix.
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WEBERN'S TWELVE-TONE COMPOSITION 289
If Webern, having finished the vocal line, had gone on to fill in the
instrumental parts, this sketch would be like many other sketches
32 I estimate four days because Webern sketched the piece on the verso of a draft
of op. 15, no. 2, dated 22 July 1922. At the end of the op. I5, no. 2, draft, Webern
made some changes dated 3 January 1924. I carefully considered, then rejected, the
possibility that the rows for op. 15, no. 4, were sketched in 1924, after the piece was
completed. The row sketches must have preceded the completion of the atonal
version of the piece for the following reasons: (i) a complete row and allusions to other
forms of the row are present in the final version of the piece, (2) all the handwriting
on the sketch page containing the first melodic idea and the rows is similar (this and
their musical connections strongly suggest that the rows immediately followed the
first, nonserial idea), and (3) the first complete draft has more in common with the row
sketches than do later drafts.
33 I have not reproduced this page because it is now available in facsimile in two
sources: in black and white, in Moldenhauer and Moldenhauer, Anton von Webern,
311 (with discussion on p. 3 o); and in color, in Hans Oesch, "Webern und das
SATOR-Palindrom," in Quellenstudien I: Gustav Mabler-Igor Strawinsky--Anton
Webern-Frank Martin, ed. Hans Oesch (Winterthur: Amadeus, 199i), 114-15. Oesch
is primarily interested in how the early sketch anticipates the later, more controlled
serialism of the Concerto, op. 24. Like many other writers, he emphasizes those
aspects of Webern's twelve-tone music that he saw as leading to postwar total
serialism.
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Example 2
"Mein Weg geht jetzt voriiber," op. 15, no. 4, sketch p. 1 (encircled numbers added). Paul Sacher Founda
04 ?- lieber Mich ni
Gnaden dahin
D.F.
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Example 2 (continued)
- HIM- '
Fl6te
I- ri mdKre b sr ( . . -
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292 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
from these years. But at this point he strayed from his usual procedure
and began to write the vocal line again, this time as a sequence of
twelve different pitches (see Ex. 2, at 0). Even given the certain
influence of Schoenberg, this was a conceptual leap. Whereas at first
Webern was still sketching a vocal line, in the later sketch he was
composing a row. (He made sure he used all twelve pitches by
crossing off notes in the right margin, a later instance of his reported
experience with the Bagatelles.) Webern's earlier compositional prac-
tice-reacting to a poem's sounds and meters-had begun to shift
toward the more abstract process of fashioning material that would
serve for an entire work.
This first row clearly betrays its origins in the preceding vocal
sketch, for the first three pitches of the row match those of the sketch.
The pattern of two descending minor thirds a half step apart appears
also at "da muss ich fah[ren]" in the sketch; moreover the EJ-C from
the beginning recurs at the last phrase of the sketch: "fahr' ich [mit
Freud dahin]." Similarly, the row's pitch pair b-b' occurs also in the
sketch's first phrase. The last four notes of the row (which have only
three pitches because of the repetition of A) match the sketch at
"lieber/da [muss ich]." In short, the two intervals most prominent in
the sketch-minor third and major seventh--have been taken over
into the row both at their original pitch levels and in transposition.
After fashioning the row, Webern wrote out its retrograde (Krebs)
and inversion (Umkehrung) forms (see Ex. 2 at ().34 These are
constructed literally, following the exact registers of the original. The
inversion is particularly awkward, resulting in a high register that
requires many ledger lines. Why would Webern have avoided trans-
posing registers? Octave equivalence is for us such a fundamental
assumption of twelve-tone music that Webern's attempt to write a
literal inversion seems naive. Here is evidence that the row in question
was not yet an abstract formulation, but a specific musical gesture. As
such its special contour was conceived simultaneously with its
pitches, and Webern apparently did not want to separate the two
properties.
The second row (Ex. 2 at 0) is significant for both its new profile
and its relationship with the transposed form. Though some segments
have been preserved-the groups E9-C and F$#-A-G~ and the reor-
dered pairs Bb-B and G-C0, for example--others have been changed
so that the minor third is much more prominent. The text distribution
34 Webern inverts the row about its first pitch, a procedure that became the
standard "inversion form" for him as well as for Schoenberg and Berg.
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WEBERN'S TWELVE-TONE COMPOSITION 293
emphasizes this interval even more, since three of the six acce
syllables now fall at the end of a minor third pair. Because of
meter of the poetry, the row is divided not into hexachords,
instead into two groups of seven and five pitches each: "Mein
geht jetzt voriiber" (seven syllables, seven pitches) / "0 Welt,
acht' ich dein" (six syllables, five pitches). The first group of s
pitches ends with a tritone, while the last group ends with the
B,-B. This pattern had been reversed in the earlier version of the r
suggesting that Webern was beginning to think of specific p
groups as movable units. He still had the vocal line clearly in mind
we can see from the accompanying text and the repeated note (G#
the words "was acht' " (this pitch is repeated in all of the transfor
tions as well, even the retrogrades!).
Next Webern sketched the transposition at the tritone, whic
labeled "D.F." for "Dominant Form" (Ex. 2 at 0) (this terminolo
was common practice at this time, as I shall explain below). 35 He t
used this form in the instrumental sketch below (Ex. 2 at D).
scored these staves for flute, clarinet, and viola, with a blank line
the voice (the final version is for flute and clarinet only). The
begins alone with the tritone transposition of the row, the firs
pitches stated in their original register; perhaps the range of this
suggested the choice of instrument. Then the sketch breaks off
one can easily imagine why. When the register of each pit
preserved, the contour of an answering D.F.--or even an occurr
of the original form--would be too similar to the opening idea.
Webern then wrote out all three transformations of his row and
transposition, perhaps as a way of generating new material. The or
is not systematic; first he sketched the retrogrades of both the
and the original, then the inversion of the original and its retrogr
Then he wrote out the remaining two possibilities, the inversion
retrograde inversion of the D.F.
At some point, Webern sought to explore the harmonic properti
of the two row forms, arranging them to create vertical sonorities
overlapping trichords. At the top of the next page, he divided up t
D.F. among the three instruments (see Ex. 3). He then transposed
whole pattern down a half step. The chordal disposition of the
alone reduces the similarity between this row form and the upcom
vocal line, which uses the original form of the row; furthermore,
transposing the D.F., Webern diverged from the row forms sket
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294 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
on the previous page. Yet he did not continue this idea; instead, the
accompanying treble instrument (either flute or clarinet) presents
isolated trichords of the original row, out of order so as not to double
the voice's statement of the same row. The sketch breaks off where all
the others have (except the very first non-dodecaphonic draft of the
whole vocal line), at the end of the first line of text.
On the next page, we can see all of Webern's careful preparations
coming to pieces (see Ex. 4). He simply could not make the row do what
he wanted, either horizontally or vertically. First he tried to continue the
chordal approach from the previous page, using the notes of the row only
in the upper voice (D.F.: A F# Ab). The chords underneath are not
derived from the row, and there are many pitch repetitions. Then came
the ultimate crisis: Webern changed the row. Both attempts to write a new
vocal line are incomplete; surprisingly, these fragments hark back to the
very first version of the row (Ex. 2, fourth staff). Then Webern tried a
more traditional contrapuntal approach; the sketch indicates schemati-
cally that certain lines are to be heard in rhythmic diminution or
augmentation ("Umk[ehrung] verkl[einert]," "Umk[ehrung] vergr[6s-
sert]"). The "row" has only seven pitches here, and it is unclear whether
Webern intended to introduce the rest.
That Webern could even attempt relatively sophisticated row tech-
niques in the summer of 1922 is explicable only through contact with
Schoenberg, which has now been established. In particular, the sketch
for "Mein Weg" resembles-in its row structure, choice of transposition,
and harmonic disposition-Schoenberg's sketches for the Prfiludium
(later op. 25, no. i), which he had completed the previous summer.
Schoenberg, like Webern, does not present a "row" as an abstract
entity here, but instead forms his material from the process of composing
with motives. In one sketch page, Schoenberg lined up the three
tetrachords on top of one another, exactly as Webern did on the first
sketch page for "Mein Weg" (see Ex. 5). Webern's row is also very similar
to Schoenberg's. First, the last tetrachord of both consists of a chromatic
group. In addition, the pitch pairs E-F and (more significantly) G-C#
appear in both rows. Both composers chose a single transpositional level:
at the tritone. This choice results in the pair G-CQ as an invariant tritone,
a property Schoenberg used to advantage in the Priiludium (see Ex. 6).36
Webern also follows Schoenberg's labeling for the most part,
although not exactly. They both call the transposition at the tritone
36 In his lecture "Composition with Twelve Tones (i)," Schoenberg pointed out
that the transposition at the tritone is desirable here because it avoids doubling the
pitches of the original row (Style and Idea, 23 3).
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Example 3
"Mein Weg geht jetzt voriiber," op. 15, no. 4, sketches p. 2 (order numbers added). Paul Sacher Found
[U.F.] 1 2 3 4 5
A9-
Klar.__ _ __I _ _
.p ..pp [U.F.] , 6l
_-If_ _
I 2 3 4 6 7 8 1 2 3
Br.__
5 6 7 8 >
.... i ?
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296 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
Example 4
"Mein Weg geht jetzt voruber," op. 15, no. 4, sketches p. 3. Paul Sacher Foundation,
Basel.
, - --D" I- [Br.
W I t
Umk. vergr.
Fl6te
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WEBERN'S TWELVE-TONE COMPOSITION 297
Example 5
Schoenberg, Priludium, op. 25, no. i, sketch. From Samtliche Werke, Kritischer
Bericht, p. 77. Used by permission of Belmont Music Publishers, Pacific Palisades,
CA 90272.
Ti iL v-
r-T r -K
KU
_Dm k ADeKr
% b I/
Example 6
Schoenberg, PrAludium, op. 25, no. I, mm. 1-3. Used by permission of Belmont
Music Publishers, Pacific Palisades, CA 90272.
Rasch (. = 80)
P-0 1 2 3 4 5 6 7 8 9 10 11 12
P-6
1. 2 3 4 ~ 5 6 7 8
9 10 11 12
9f!
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298 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
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WEBERN'S TWELVE-TONE COMPOSITION 299
4' Given the discrepancies between these and Schoenberg's first twelve-
sketches, it is possible that he did not get a very close look. It is also possibl
Webern got his information thirdhand, perhaps from Stein or Rufer. (By
mentioning Schoenberg at all, Oesch, in "Webern und das SATOR-Palindro
implies that the sketches confirm Webern's precocity in composing with twelv
method. This case now seems strongly undermined.)
42 This is most apparent in the Library of Congress manuscript (source B in
Appendix).
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300 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
pitch-class pair marks the beginning of the second half of the piece, at
"Mich nicht zu sehr beladen" (m. 9). The same pitch classes, up an
octave, produce the vocal climax, appropriately enough on the words
"in Gottes [Fried]" (m. i i). The opening measure foreshadows this
climax with a B-Bb leap in the exact register in which it later appears
(flute, m. i). An inversion of the B-B6 pair, Bb and A, first pushes the
voice up into its high register, on the word "Himmel" (m. 5); this is
anticipated by the clarinet's leap on the same pitches in the previous
measure (this is conspicuously one of only two leaps of this size in the
clarinet part; the other, also from A, occurs in m. 2). The piece ends
with the same note pair-B, and A, around C# this time-which now,
however, defines a new low register, just as it had articulated the high
point before. The pitch connection of the Bk-A pair in both measure
5 and measure 13 implies a text connection as well, between "Him-
mel" (heaven) and "Freud' dahin" (I go there [to heaven] joyfully).
(The last vocal gesture also echoes the climax at measure i i, which
features a descending leap from Bb over another pitch to the A a minor
ninth lower.) The major seventh (or minor ninth) is of course one of
the most commonly encountered intervals in Webern's music. But the
motivic references in this tiny piece come from the recurrence of
certain pitch classes, which results in an interconnected network of
relationships spanning the work.
In "Mein Weg," composition of a specific gesture--designed for a
specific text-led to the formulation of a row that preserved both its
shape and its textual associations. Because of these associations,
Webern treated the row very cautiously; he often preserved notes in
their original registers, used only one transposition, and was reluctant
to combine row forms. The harmonic use of the row proved especially
problematic. Clearly the four chords formed by the superimposition
of three tetrachords was not going to provide enough harmonic
material for a piece, and Webern was unable to come up with other
solutions.
His strategy in the final version of the piece depended on the free
circulation of small intervallic cells and fixed-pitch motives, which
was not possible within the twelve-tone method as Webern under-
stood it at that time. The main obstacle was the ordering of the
pitches, since an unordered twelve-tone set-the total chromatic-
cannot be perceived as a structural element in itself. A paradoxical
result of the emphasis on pitch order in twelve-tone writing is that
pitch itself is de-emphasized; intervals, rhythms, and textures become
the primary means of differentiation. When on the other hand a set
smaller than twelve is used, it can be identified by its pitch classes
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WEBERN'S TWELVE-TONE COMPOSITION 301
In The Path to the New Music, Webern recalled how difficult it had
been to decide to adopt the twelve-tone method: "This compulsion,
adherence, is so powerful that one has to consider very carefully
before finally committing oneself to it for a prolonged period, almost
as if taking the decision to marry."44 The experience of "Mein Weg
had evidently soured him on twelve-tone technique, and perhaps
slowed his compositional output; between August 1922 and th
autumn of 1924, Webern was able to complete only the Five Canons
op. i6. For a full year after finishing "Mein Weg," Webern compose
nothing. When he resumed in the summer of 1923, he did not even tr
to sketch a twelve-tone row. He produced instead three atonal canon
in quick succession.4s Though at this time Webern considered these
complete set, over a year later he wrote two more Latin canons for th
same ensemble and added them to the three already completed.
All commentators writing about op. i6 before the publication of
the Moldenhauers' biography of Webern (and there have been no
substantial accounts since then) have had to assume that Webern
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302 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
wrote the canons before having had any direct experience with the
twelve-tone method, and so they have viewed the canonic technique
as evidence of a natural propensity for serial composition.46 When we
know that Webern had experimented with the method's specific
properties as early as 1922, the picture looks rather different. Instead
of viewing the canons as a prescient anticipation of twelve-tone
technique, we can now see how they helped Webern to work through
some of its known demands. On the other hand, the existence of five
brief atonal canons, the only fruits of a two-year dry spell, hardly
suggests an all-out effort to come to terms with the new method.
Although in op. i6 Webern adopted several of the operations used in
twelve-tone music, he avoided the heart of the matter: the use of a
twelve-tone row itself. Op. i6-and its halting progress--could
therefore document Webern's struggle to compromise, to adapt
aspects of Schoenberg's discovery without embracing its full implica-
tions. If Webern was not yet ready to adopt twelve-tone serialism, in
these canons he explored other ways of controlling his materials.
Schoenberg first solved the problem of how to impose order on
free materials by what he called "composing with tones of a motive,"
that is, manipulating ordered sets smaller than twelve. Webern's op.
16 represents an alternative solution. With canonic technique he
achieved horizontal and vertical control of pitch as well as uniformity
of rhythm and contour. While adapting parts of Schoenberg's
method, Webern shifted its emphasis from "composing with tones" to
what could be characterized as "composing with inversion and
transposition."
Webern's op. 16 explores serial techniques such as transposition,
inversion, and invariance within a firmly non-dodecaphonic context.
The canons introduce two features that had not been a part of
Webern's practice for many years and that play an important role in
serial composition: equal parts and ordered pitches.47 First, the equal
disposition of voices in a canon represented a real change in Webern's
compositional procedures, which in this period normally allotted the
primary role to the singing voice. Then, by writing canons Webern
46 Wallace McKenzie notes, for example, that in op. 16, no. T, the predominant
intervals are found both horizontally and vertically, creating a unity "which is basic
to serial composition" ("The Music of Anton Webern,", 354)-
47 In 1917 Webern had written the atonal canon "Fahr' hin, o Seel'," op. 15, no.
5, and in 19o8 the tonal canon "Entflieht auf leichten Kihnen," op. 2. Webern's
interest in strict counterpoint goes back at least to his edition of Isaac's Choralis
Constantinus for his doctoral dissertation in 1904: Webern, ed., Heinrich Isaac: Choralis
Constantinus II, Denkmiler der Tonkunst in Osterreich, vol. 32 (1909).
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WEBERN'S TWELVE-TONE COMPOSITION 303
T: E F G D, U (around D6): B6 A G DI
G, Eb Ab D Ab Cb G, C
B C A Bb Eb D F E
This kind of inversion differs from
procedure for the Second Viennese Sch
its first note.
Of course simply writing a canon at inversion would produce
symmetrical relationships, whether Webern was thinking in terms of
serial operations or not (and no sketches for "Dormi Jesu" survive that
might explain whether he was). The relationship between the two
canonic lines in this piece is, however, exactly that which would obtain
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304 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
Example 7
(a) "Dormi Jesu," op. i6, no. 2, mm. 1-2, final version
RuhigS
( = ca 72)
1 2 P ==- L3
Dor - mi Je - su,
A p - -------
pp symmetry around G and C
Example 8
Schoenberg, Priludium sketches. From Samtliche Werke, Kritischer Bericht, p. 75.
Used by permission of Belmont Music Publishers, Pacific Palisades, CA 90272.
- iA I I IgJ I
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WEBERN'S TWELVE-TONE COMPOSITION 305
Example 9
"Dormi Jesu," op. i6, no. 2, final version. Dux and comes from mm. 5-7, lined up.
comes 6-7
, 3-. ,3 r------ 3-----
- I -
dux 5-6 .
Webern Fiinf Canons
Copyright 1928 by Universal Edition
Copyright renewed
All Rights Reserved
Used by permission of European American Music Distributors Corporation, sole U.S. and
Canadian agent for Universal Edition.
of the piece, Webern sketched a twelve-tone row, his first in over two
years. A tentative effort, the row was quickly abandoned. Though it
clearly originates among the sketches for "Crucem tuam," it was never
integrated into any stage of the composition and does not appear in the
finished piece. Moreover Webern did not attempt to transform the
row through transposition, inversion, or retrograde. This seems
peculiar, given his previous experimentation with the method and his
familiarity with Schoenberg's twelve-tone music, which by now
included the Serenade, op. 24, the Suite, op. 25, and the Wind
Quintet, op. 26. His confidence in Schoenbergian twelve-tone tech-
nique had clearly not grown in the year since he expressed his initial
reservations.
The row sketches for "Crucem tuam" are found on the back of a
sheet belonging to draft 3.48 The row is sketched four times (see Ex.
i o and Fig. 2). Webern numbered the notes of the first row i through
12, something he had failed to do in his first twelve-tone sketches. In
48 PSS, film 101o:o7oo (the page with the row sketches is not on film). The row
sketch is undated, and therefore its placement within the loose sketch pages cannot be
determined exactly. Webern probably sketched the row either between drafts I and
3 or during composition of draft 2. Since only drafts 2 and 3 have any material in
common with the row, it is probable that he made the twelve-tone sketches either
after he was unable to complete the second draft, or after essaying the first bars of
draft 2.
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Example 0o
"Crucem tuam," op. 16, no. 5, row sketches. Paul Sacher Foundation, Basel.
1 2 3 4 5 6 7 8 9 10 11 12
tLr
0 o
I ., LJ -.-M
' NOW
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WEBERN'S TWELVE-TONE COMPOSITION 307
..
r i E,
'' r
A
__..._. -TI-?j- -
.__I --?-?----------.-^--.--- -?-I---
-I_
I, ~
--
___~_ --'-----~---=
---?---s ~-~---------- ?
- ----
---
49 The "final" version of the row found among the "Crucem tuam" sketches
conforms in certain respects to a familiar Webernian type. Each of its hexachords is
a member of set class 6-5; this is Bailey's "type d" (see The Twelve-Note Music, 3 35-36).
This row is notated in such an idiosyncratic manner, however, that I hesitate to view
it as closely related to other type d rows such as the String Trio (op. 20) or String
Quartet (op. 28). Another unusual feature of the row is the overwhelming prominence
of interval class 5. The two trichords formed by order pitches 6, 7, 8 and 1o, 11, 12
would be switched at the tritone transposition of both P and I forms. This kind of
invariance later interested Webern greatly and culminated in the row for the
Concerto, op. 24, in which under certain transpositions each trichord changes places
with another and preserves its pitch classes.
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308 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
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WEBERN'S TWELVE-TONE COMPOSITION 309
II
During the next year, Webern finally completed his first works
based on the twelve-tone method. He continued to progress sporad-
ically, however, alternating between what we would characterize as
"complex" and "simple" attempts. His first twelve-tone serial compo-
sitions were a Kinderstiick for piano (M. 267) and a song, "Armer
Siinder, du" (op. 17, no. i), both written in the fall and early winter
of 1924. Upon completion of these two works, Webern ended his
resistance to the method. From this point on he employed the
technique for everything he wrote. The two pieces explore quite
different solutions to the problem of twelve-tone composition. The
dense, knotty surface of "Armer Suinder, du" contrasts markedly with
the spare texture of the Kinderstiick. The piano piece projects the quiet
minimalism for which Webern's music is known. With only seventy-
six attacks in seventeen measures, it seems typically--even stereotyp-
ically--Webernian, while the song, with its busy nervous rhythms
and loud dynamics, seems to come from another hand entirely.
These works also illustrate two approaches to handling a twelve-
tone row, a distinction that runs through the rest of Webern's output.
In the Kinderstiick, the row is treated as a horizontal event; the few
simultaneities that occur are heard as part of a linear flow. In "Armer
Sunder, du," by contrast, the row is broken up and distributed among
all the parts; completely a-thematic, it is heard as a succession of
unordered aggregates. While the "horizontal" approach is character-
istic of many of Webern's later works (for example, the canonic first
movement of the Symphony, op. 2 i), the "vertical" technique (which
Bailey calls "block topography") also occurs, for example in the String
Trio, op. 20.5s These first successful twelve-tone efforts show that
both modes of Webern's serial discourse were present at the very
beginning. Moreover they achieve the opposite aims; whereas the
Kinderstiick row is projected transparently and audibly (perhaps too
much so), the song "Armer Suinder, du" obscures the row's very
existence within a dense, disordered texture.
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310 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
s' Moldenhauer and Moldenhauer, Anton von Webern, 312. As a result, its
existence was unknown until i965, when the Moldenhauers discovered an ink fair
copy of the piece. See Raymond Ericson, "New Webern Haul Found in a Dark
Attic," New York Times, Sunday, io April 1966, section X, p. i i. The piece was
published by Carl Fischer in 1966.
52 PSS, film o01:o684.
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WEBERN'S TWELVE-TONE COMPOSITION 311
Example i i
Kinderstiick sketch, M. 266. Paul Sacher Foundation, Basel.
(a) eleven-note row
3 33
I I L 1 11
io i k L",,M
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312 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
the previous sketch. Since the repeated notes emphasize the first
pitches of the row, it is quite audible, even perhaps overarticulated
(see Ex. 12).53
By drawing attention to the row's boundaries, Webern puts the
row itself in high relief, treating it as an extended melody. This
conception departs radically from Schoenberg's practice; his rows are
often broken up into tetrachords or trichords, which are then reor-
dered so that their identity as part of a series is aurally obscured. Even
when Schoenberg treated the row melodically, as in the vocal line of
the Sonnet (in the Serenade, op. 24), he rotated the fourteen-note
series through lines of thirteen syllables, so that its beginning and end
points were not audibly marked.
Example 12
Kinderstiick, M. 267, mm. 4-8. Notated according to fair copy (order numbers added).
Paul Sacher Foundation, Basel.
3 4 5 6 7 8 9 1011 12 2 3 4
A 1 6 L
At ? ? - ?I
"Armer Siinder, D
Instead of continu
familiar practice of
Suinder, du" (com
the exact identity o
unknown until rece
lost resurfaced.4" T
of the Three Tradit
i7, although the so
s3 Webern originally i
a return to the first
reemphasized the prom
had kept this reading,
instruction would mak
54 PSS, op. 17, no. i,
ss Webern offered th
letters to Hertzka in 1
who implies that Webe
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WEBERN'S TWELVE-TONE COMPOSITION 313
In "Armer Siinder, du," Webern again faced the problem of how
to distribute the row among several parts. The complexities of the
four-part texture (voice, violin, clarinet, and bass clarinet) forced
Webern away from the simple deployment of the row in a single line,
as he had practiced in the Kinderstiick. Webern instead opted for a
vertical distribution of the total chromatic and a correspondingly
dense texture. Rather than emphasizing the row's presence, he now
attempted to obscure it. The row has so little identity that even its
order is unclear. The version given in Example 13, which differs from
the commonly accepted one, comes from the sketches.56 The twelve
pitches are notated in the space of one octave and lie within the treble
staff. The row is divided by bar lines into four trichords, which
belong to only two trichord types: o, 1,6 (trichords I and 3) and o, 1,2
(trichords 2 and 4). It is probably no coincidence that Webern
de-emphasized the row's presence as a melodic gesture precisely when
he first notated it in a single octave, indicating that he conceived of it
more abstractly than he had before. The twelve-tone series, no longer
associated with specific properties such as register or rhythm, can now
function globally, and this in turn allows much greater freedom in the
handling of the musical surface.
The best evidence for this conceptual shift is the simple fact that
the voice does not follow the row. When sketching "Mein Weg" two
and a half years earlier, Webern was able to conceive of the twelve-
tone row only as it was manifested in the concrete musical instance of
a vocal line. In the Kinderstiick of the fall of 1924, Webern likewise
Example 13
Row for op. 17, no. i. Paul Sacher Foundation, Basel.
0i t ij,.
row technique: "Weberns Plan einer Gesamtausgabe," in Neue Musik und
Festschrift Rudolf Stephan zum 65. Geburtstag, ed. Josef Kuckertz et a
Laaber-Verlag, 99go), 508. "Liebste Jungfrau" (op. 17, no. 2) was publis
"Geistlicher Volkstext" in New Music, 193o.
56 PSS, op. 17, no. I, sketches. This is the version most often given: B
E E G G# A C C# D. See Rognoni, The Second Vienna School, 356; and Jan M
"Weberns Zwolftonreihen," in Analytica: Studies in the Description and Analysis
ed. Anders Linn and Erik Kjellberg (Uppsala: Borgstroms Tryckeri, 198
Lynn provides the correct row and makes the plausible conjecture tha
derived it from the opening measures ("Genesis, Process, and Reception,"
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314 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
Example 14
"Armer Siinder, du," op. 17, no. i, final version, excerpts from the vocal line (mm.
2-3, 7-8, and 13-14; order numbers added)
6 9 10 11 12 1 6 9 2 5 4 3 6 9 3 6 9
s7 These chromatic pairs are prominent in (and between) the instrumental parts as
well. Even in the sketches and early draft, Webern treated these two-note gestures as
fixed units, replacing one with another or shifting their positions.
s8 As Joachim Noller has noted in "Das dodekaphone Volkslied," in Musik-
Konzepte Sonderband Anton Webern II, ed. Heinz-Klaus Metzger and Rainer Riehn
(Munich: Edition Text und Kritik, 1984), 143.
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WEBERN'S TWELVE-TONE COMPOSITION 315
Example I5
Rows Webern used in autumn 1924
Op. 16, _ .
no. 5-
266 - e
wp I
Op. 17,
no. 1I v
59 In the sketc
clearer: the vio
before only in
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316 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
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Example 16
X b b ![ ~Krebs
TU.
d . , ' I.
DU
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318 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
K A
* i +, " 7 .-
4 19 *1 0 . r
I ;I
.. -"d I X&
" ?, .,
Figure
Basel.
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WEBERN'S TWELVE-TONE COMPOSITION 319
III
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320 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
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WEBERN'S TWELVE-TONE COMPOSITION 321
are shown in Table 2. They come from two main sources: church
liturgy (both Catholic and Lutheran) and folk song (as adapted in th
collection Des Knaben Wunderborn and by the novels and stories of Pete
Rosegger).67 Uncharacteristically for Webern, he left most of thes
texts unidentified in his manuscripts.68 Perhaps he thought they were
TABLE 2
67 The Moldenhauers identified only "Fahr' hin, o Seel' " as Rosegger's; in 1983
Peter Andraschke attributed more of the "anonymous" folk poems to Rosegger
("Webern und Rosegger," in Opus Anton Webern, ed. Rexroth, o8-12). Felix Meyer
of the PSS identified Kraus as the author of "Mutig triigst du die Last." I located the
rest (new attributions marked with asterisks) with the invaluable help of Dr. Meyer.
68 With the exception of the two poems from Des Knaben Wunderborn, op. I6, no.
2, and op. I8, no. 2.
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322 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
69 In his analysis of "Schatzerl klein" (op. 18, no. i), for example, Reinhard
Schulz claims that the only significant relationship between text and music consists of
structural factors (metrical patterns, number of syllables, etc.) (1Jber das Verbiltnis von
Konstruktion und Ausdruck in den Werken Anton Weberns [Munich: Wilhelm Fink Verlag,
1982], oo- i o i). Ren6 Leibowitz does not mention the text of "Liebste Jungfrau" (op.
i7, no. 2) in his analysis; in fact he omits the words from the musical examples
(Introduction, 86-87). Wildgans (Anton Webern) likewise focuses exclusively on the
technical features of these works. Two notable exceptions to this tendency are H. H.
Stuckenschmidt, who treats Webern's opp. i6 and I7 as sacred music in a chapter
entitled "The Music of Commitment" (Twentieth Century Music, i45-47), and Joachim
Noller, who writes sensitively about the text of "Armer Siinder, du" (without,
however, exploring its context, since its source was unknown to him) ("Das
dodekaphone Volkslied," 142-43).
70 My forthcoming book, Webern and the Lyric Impulse, attempts to redress the
balance somewhat.
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WEBERN'S TWELVE-TONE COMPOSITION 323
only with the String Trio, op. 20, completed in 1927, that Webern
finished an instrumental work for the first time in over a decade.
Webern, I suggest, saw no inconsistency between such "simple"
poetry and twelve-tone technique. Nor was the naivete of the poem
a foil for greater musical complexity; rather he viewed the two a
compatible. What he valued most in the texts corresponded exactly to
what he valued most in twelve-tone composition: unity, immediacy,
and most of all, a kind of eternally present meaning that he found also
in nature. Both the familiarity of the poems and their artless-even
naive-mode of expression served the composer to advantage by
allowing the texts to communicate with an ingenuous directness.
Webern's treatment of the religious texts he chose, even the
liturgical ones, closely reflects his humane beliefs. He selected Latin
texts not to serve as distant icons or religious symbols, but rather to
communicate directly. (In this he differed from Stravinsky, who chose
Latin for Oedipus Rex precisely because of its objectifying, distancing
effect.) In a letter to Schoenberg, Webern expressed enthusiasm for
these poems: "I have borrowed the breviary from the priest. It
contains everything: hymns, psalms, and so forth. The breviary is a
glorious work.""7' He also assumed that the texts would be intelligible
to his audience, describing to Berg how the three songs he first
envisioned as a set, "Dormi Jesu," "Crux fidelis," and "Asperges me"
(later part of op. 16), create a kind of narrative progression: "The first
is, textually, a kind of lullaby of Mary; the second an antiphon: song
(prayer) to the crucifix; the third an invocation (holy water). Musically
the whole represents a unit in form and expression, I believe.""7
While the canonic technique of op. 16 itself alludes to the Netherlands
Renaissance masters, Webern also believed the liturgical texts to be
expressive in themselves.73 Even as a musicology student editing the
Choralis Constantinus of Heinrich Isaac, Webern did not distinguish
between the ritual function of a text and the personal viewpoint of the
composer: "One must not suppose that the reason for doing this
[composing a polyphonic Gradual cycle] was entirely practical; rather
one should also consider the profound piety of the master and his love
for the beauty of these liturgical poems."74
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324 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
We can now add that Webern was involved with the Lutheran
liturgy during these years as well, by setting or drafting four German
chorale texts (see Table 2). In 1922, after completing "Morgenlied"
(later op. 15, no. 2), Webern wrote to Berg of his plans to compose a
"sacred cantata." Here he refers to "Morgenlied" and "Mein Weg,"
both based on chorale texts.75 Four years earlier he had sketched
another chorale setting, "Der du bist drei in einigkeit."76 By 1924, he
had even sketched an instrumental "Vorspiel," possibly to the
planned cantata, along with a draft of another chorale, "Morgenglanz
der Ewigkeit." This "chorale cantata" anticipates not only Webern's
later cantatas on Hildegard Jone's texts, but also reflects his lifelong
involvement with the music of J. S. Bach, with whom the concept of
"chorale" would have been indelibly associated. (Webern's continued
admiration for Bach is shown by his reverent orchestration, in
1934-35, of the Ricercar from the Musical Offering.)77
That Webern's plans to compose a sacred cantata date precisely
from the time of his first attempt at twelve-tone composition is
probably no coincidence. After more than a decade of composing
instrumental miniatures and songs, he would have been anxious to
produce something in a larger form again, perhaps in response to
Schoenberg's massive oratorio project, Die Jakobsleiter. The two
chorales with which Webern began, "Steht auf, ihr lieben Kinderlein"
and "Mein Weg geht jetzt voriiber," could represent the start and end
of a personal religious journey: the first belongs to the category of
"Morgenlieder," while the latter is the second verse of "Ich hab mich
Gott ergeben," a funeral chorale.78 The text of "Mein Weg"-"My
path now goes to the other side / Oh world, what do I care of you; /
Heaven is closer to me, / So I must go there"-can also be read as a
in seiner Liebe zur Sch6nheit dieser kirchlichen Dichtungen" (Webern, ed., Heinrich
Isaac: Choralis Constantinus II, vii).
75 Morgenlied is also found in Des Knaben Wunderborn (the Moldenhauers give this
source only). I am grateful to Daniel Melamed, who first suggested to me that "Mein
Weg" might be a chorale text.
76 PSS, film io3:0798.
77 A colleague of Webern's during the i92os related how he spontaneously played
a Bach chorale after a chorus rehearsal: "Webern, lighting a cigarette, sat down at the
piano and began to play the chorale 'Wenn ich einmal soll scheiden' from Bach's St.
Matthew Passion: 'Now, that chorale was very well known to me. Yet I stood there and
was deeply moved. Webern played it with so much expression and deep emo-
tion. .... I could see one aspect of his personality I had not recognized before: that
Webern was essentially a religious man' " (Moldenhauer and Moldenhauer, Anton von
Webern, 289).
78 As they are classified in Johannes Zahn, Psalter und Harfefiir das deutsche Haus:
Ein evangelischer Liederscbatz (Giitersloh: C. Bertelsmann, 1886).
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WEBERN'S TWELVE-TONE COMPOSITION 325
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326 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
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WEBERN'S TWELVE-TONE COMPOSITION 327
(mm. 7-9, "der Himmel ist dein Hut"), the singer "gets off" again
"Fleisch und Bein," as if trying unsuccessfully to "rhyme" with th
parallel "Mark und Blut.""86 The vocal range gets increasingly wid
culminating in the final leap on the word "Ewigkeit"-as the note
values halve to sixteenths, reflecting the singer's mounting agitati
and progressive loss of control. Even the chaotic, mostly unorder
treatment of the twelve-tone row may have been a conscious reflectio
of the character depicted in Rosegger's story. (And we have alread
seen how, since Webern had composed with an ordered row in th
Kinderstiick, his failure to do it here was not due to inability.)
Although Rosegger often poked fun at the clergy and the orga
nized church, religion was a subject he took very seriously indee
His religious liberalism-particularly his belief in the possibility of
close relationship between humankind and God-would have be
very attractive to Webern, who owned a copy of Rosegger's testament
of his own faith, Mein Himmelreich, and set a poem from it.87 Thoug
Rosegger remained nominally a Catholic, he recognized no automat
authority of priest or pope. Because of Rosegger's belief that divi
redemption comes from human charity, his writings were often
attacked by the Catholic church.88
Another recurring motif in Rosegger's work-and the one that
would have resonated most strongly with Webern's beliefs-is that
God represented in nature. In Mein Himmelreich, Rosegger explain
I would still have found such a tightly knit, unified world of belief upon
the awakening of my reason. And if I had not encountered something like
this, no church, no pulpit, no altar, no pious mother and no father t
point me to God, I believe that I would still have believed from the
depths of my being. I imagine that for example the flower, the storm, the
stars in the heavens, the mountains, the sea, the entire world-essenc
86 Webern sketched "Fleisch und Bein" many times, each time placing it more of
the beat, at the same time increasingly matching the contour to "Mark und Blu
(PSS, op. I7, no. i, sketches).
87 Peter Rosegger, Mein Himmelreich: Ein Glaubensbekenntnis (Leipzig: Staackmann,
1924). The poem Webern set is "Das Kreuz, das muBt' er tragen," op. 15, no. I
(1921).
88 Some of these attacks are documented in Henry Charles Sorg, S.D.S.,
Rosegger's Religion: A Critical Study of His Works (Washington: Catholic University of
America, 1938), 9. This book, which comes to the conclusion that Rosegger's views
were so unorthodox that he can scarcely be considered a Christian at all (see especially
PP- 46-74), represents another such attack. Rosegger also opposed prevailing
anti-Semitic views, although without avoiding conventional anti-Semitic stereotypes
in making his arguments: see Karl Wagner, Die literarische Offentlicbkeit der Provinzlit-
eratur: Der Volkscbriftsteller Peter Rosegger (Tiibingen: Max Niemeyer Verlag, 1991),
237-47.
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328 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
would have gradually but urgently said to me: one God, one eternal
life!89
89 "Eine solche enggeschloffene, einheitliche Welt des Glaubens hatte ich noch
vorgefunden bei dem Aufwachen meiner Vernunft. Und hitte ich nichts desgleichen
vorgefunden, keine Kirche, keine Kanzel, keinen Altar, keine fromme Mutter und
keinen zu Gott weisenden Vater, so meine ich doch, daB ich meiner ganzen Natur
nach glauben hitte muissen .... ich vermute, daB z.B. die Blume, der Sturm, der
Sternenhimmel, die Gebirgswelt, das Meer, die ganze Wesenheit der Welt allmAhlich
so eindringlich zu mir gesprochen hiitten: Ein Gott, ein ewiges Leben!" (Rosegger,
Mein Himmelreich, 9).
90 Stroud, The Sacred Journey, o102.
9' Ibid., 18. Rosegger, like Webern, hated to travel outside his native country.
92 See Felix Meyer, " 'O sanftes Glihn der Berge': Ein verworfenes 'Stuck mit
Gesang' von Anton Webern," in Quellenstudien II: ZwdilfKomponisten des 20. Jahrbun-
derts, ed. Felix Meyer (Winterthur: Amadeus, 1993), 12-17.
93Joachim Noller, "Bedeutungsstrukturen: Zu Anton Weberns 'alpinen' Pro-
grammen," Neue Zeitscbriftfiur Musik 151, no. 9 (1990): 12-I8.
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WEBERN'S TWELVE-TONE COMPOSITION 329
9 "Der Sinn dieser Flora, unerforschlich: das ist der gr68ite Zauber for mi
spiire einen unerh6rten Gedanken dahinter. Und ich kann wohl sagen: mu
wiederzugeben, was ich da spire, danach ringe ich schon mein ganzes Le
Hauptteil meiner musikalischen Produktion liBt sich darauf zuriickfiihren. N
so wie der Duft und die Gestalt dieser Pflanzen--als ein von Gott ge
Vorbild-auf mich zukommen, so m6chte ich es auch von meinen musika
Gestalten. M6ge das nicht als Oberhebung klingen; denn ich setze gleich
vergebliches Bemuihen, das Unfaflbare zu fassen. Aber so wirst Du viell
verstehen, wenn ich im Zusammenhang mit diesem Volkslied, von dem
neulich erzahlt habe, sozusagen als richtunggebend gesagt habe: Rosmarin"
Anton Webern, ed. Rexroth, 90-9i). All citations from the letter in the n
paragraphs come from this source, pp. 90-92.
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3 30 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
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WEBERN'S TWELVE-TONE COMPOSITION 33I
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332 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
Example 17
Mary
Jesus
"'o2 This text may have had a further Mahlerian association for Webern:
for the sixth movement of the Third Symphony reads, "Vater, sieh an die
mein! / Kein Wesen laB verloren sein!" Webern was of course intimately fam
the symphony, having conducted it in 1922 (Moldenhauer and Moldenhau
von Webern, 246). Whether he knew the motto or not--it does not appear
published editions but was apparently inscribed in an autograph score--
question.
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WEBERN'S TWELVE-TONE COMPOSITION 333
Example I8
0 _ _ , ~It . ..oL ,
eyI , .0.J._ ' - i -'--...L_
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334 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
piece also makes a nod to the symmetry of the whole; it ends with the
reversed forms of the rows with which it began:
Beginning End
Eb clarinet: P R
Guitar: RI I
The invocation to
poem-"Gaude, Virgo
relatively long dur
voice up to that poin
The symbol "Jung
Webern associated
correspondence of e
of the tripartite sh
progressive, moving
from youth to matu
being ascend from ea
ulating the inexorabl
The texts that Web
several ways: "Schat
earth, while "Ave r
The second song, "
heavenly realms as
The language used
"Schatzerl klein" to
the universal Latin
The different kinds
represent yet anothe
bern adopted for th
employs a single row
The second, associat
while the last, the hy
row forms simultane
Even if the progressio
(praxis) of serial proc
the sequence "Jungf
When Webern wrot
him,'?4 he was referr
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WEBERN'S TWELVE-TONE COMPOSITION 335
Example 19
Progressive relationships in op. I8
and row sketches demonstrate, but instead to his control over different
kinds of twelve-tone techniques, which he could now deploy according
to the poetic situation at hand.
Webern evidently did not judge the third song of op. I8 to be
superior to the other two because of its more advanced row technique.
For the anthology prepared in honor of Emil Hertzka's twenty-fifth
anniversary at Universal Edition in 1925, Webern chose "Schatzerl
klein," the first and "simplest" of the three songs from op. 18. This
occasion represented the public debut of both Webern and Berg in
twelve-tone composition. Berg's contribution-two settings of
"Schliesse mir die Augen beide," one tonal and one using the
twelve-tone method-makes a rather self-conscious assertion about
the progress of musical technique. In choosing his "Rosmarinlied,"
Webern was concerned only about the appropriateness of the text as
a dedication song, but finally decided in its favor: "I'll just call it
'Schatzerl klein, muBt nicht traurig sein', as in my song," he wrote to
Berg. He expressed no reservations about the technical level of his
contribution. 'I
In adopting the twelve-tone method, Webern was convinced
neither of its historical inevitability (at least at first) nor of the need to
"ensure the supremacy of German music for the next hundred years."
Rather, he came to the decision from a personal desire that was more
modest and at the same time more ambitious: to reflect Nature's order
in music. This could take a literal form, as in the texted vocal melody
that led to his first twelve-tone row, or in the more abstract presen-
tation of the row in his later works. But whether he used one row or
several, the technique was never an end in itself. For Webern, it
served as a metaphor for the ineffable in nature and heaven, and
105 "Ich uiberlege nur noch wegen des Textes; aber schlieglich der hat doch nichts
zu bedeuten, d.h. wenn ich jemandem ein Lied oder Lieder widme . . . mug doch
nicht der Text unbedingt eine Beziehung ausdrticken ... Also meine ich kann es doch
auch wie in meinem Lied ruhig heiBen: 'Schatzerl klein, muBt nicht traurig sein' "
(ibid.).
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336 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
APPENDIX
Sources 107
Sources for "DormiJesu" and "Crucem tuam," Op. i6, Nos. 2 and 5
'"6 Ibid.
107 This list includes only the manuscripts relevant to the present study. Omitted
manuscripts are usually fair copies that Webern made for presentation; these are
especially numerous for op. 15, no. 5, and for op. i6.
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WEBERN'S TWELVE-TONE COMPOSITION 337
3. Sketches of individual passages; row. Marked "3 Lieder, op. 17 No. i."
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338 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
A. Pencil sketches for no. 2, 6 pp. Pierpont Morgan Library, Robert Owen Lehman
Collection.
i. Sketchbook i, pp. 1, 2, 3. Sketches for early version. Clar., bass clar., viola.
"Begonnen Juni 1925."
2. Sketchbook i, pp. 19, 22, 23. Dated 27 September 1925-
B. Pencil sketches for no. i, 4 pp. Pierpont Morgan Library, Robert Owen Lehman
Collection.
Sketchbook 1, pp. i8, 19, 20, 21. Dated io September 1925-
C. Pencil sketches for no. 3, 4 pp. Pierpont Morgan Library, Robert Owen Lehman
Collection.
Sketchbook I, pp. 24, 25, 26, 27. Dated 28 October 1925. Row charts pasted
into sketchbook.
D. Pencil sketches for no. 3, 3 Pp. Paul Sacher Foundation.
Canonic sketches, undated (possibly 1923-24, in connection with Five
Canons).
E. Ink fair copy of no. i, 2 pp. Library of Congress.
Made for 25th anniversary of founding of Universal Edition: "Die innigsten
Gluckwiinsche, sehr verehrter Herr Direktor, von Ihrem Ihnen treu und
dankbar ergebenen Anton Webern." "September 1925, M6dling."
F. Ink score with corrections of op. i8, io pp. Paul Sacher Foundation.
"3 Lieder ffir Gesang, Es-Klarinette u. Gitarre op. 18 (1925)."
G. Ink fair copy. Pierpont Morgan Library, Robert Owen Lehman Collection.
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WEBERN'S TWELVE-TONE COMPOSITION 339
ABSTRACT
The essay explores Anton Webern's earliest encounters with the twelve-
tone method in the context of his previous decade-long preoccupation with
vocal music. Examination of Five Sacred Songs, op. 15, Five Canons, op. 16,
Three Traditional Rhymes, op. 17, Three Songs, op. I8, and sketches and
drafts from 1922 to 1925 suggests that Webern did not accept Arnold
Schoenberg's method uncritically, but alternately rejected and embraced it.
The religious and folk texts that Webern set during these years, hardly
anonymous ciphers, were essential in helping him to articulate his own
twelve-tone technique.
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